As with so many industries that
have been upended by the streaming business, distributors are having to adapt.
Top dogs
Still, familiar names dominate the annual distributor section of the Production 100. As part of the Production 100 survey, Televisual asked producers to name the producers they work with, and the ones they rate.
All3Media once again tops our list of most used and most rated distributors this year, and is praised for its scale, judgement and support by those who have worked with it. One drama indie says: “They’re
quick and they have the resource and expertise to back a show and take some risk. You feel very supported by a team that are evidently very close.” Another indie concludes: “Efficient operation, good communication and administration, recovered advance quickly on a new genre and went into profit.” One indie describes All3Media International as collaborative, adding: “You don’t feel that you are purely part of a catalogue and they will work with you to find solutions in a world where financing shows has become more complicated.” In joint second place in the ‘most used distributor’ table are Banijay Rights and BBC Studios. Both are described by one indie
as “world leaders in scale of content and reputation.” Banijay, says one, “really pushes sales on all the titles they represent and is good on windowing and renewals; ensuring long tail of sales… rather than just doing the first easy deals and then letting a title languish.”
Another says that Banijay gives “realistic advances to assist with deficit funding, and is adept at monetising our back catalogue as well as our latest shows.” There’s plenty of plaudits for BBC
Studios, which indies say is “prepared to take a risk and deficit finance” and is “collaborative and supportive.” “We continue to work with them
on a number of finished programmes and they’ll always be an important partner for us,” says one scripted indie. “They have a highly personable team, with scripted led brilliantly and energetically by Caroline Stone.” “Their advances are more than other distributors, their communication better and their sales team seem to work hard at selling our shows,” is the verdict of another indie. Fremantle takes fourth place, with indies saying it has a “broad international footprint both in television and film” and praising its “strong and close relationship, strength and global reach.” In at joint fifth this year are
Beyond Rights and ITV Studios Global Distribution. Beyond is up from ninth last year.
“They are easy to deal with and very clear and good in terms of their deal making and commercial sense/logic,” reports one indie. ITV Studios, meanwhile, is “very
commercial and has the ability to make significant investment.” Others say it gives “good advances and is very helpful for deficit funding.” “Lovely people, great communicators, think outside the box,” is the verdict of another indie. Abacus Media Rights and Blue Ant International share seventh place. Abacus makes an impressive debut in the Televisual Production 100, having only been launched two years ago by managing director Jonathan Ford with backing from Amcomri Media Group. Abacus also ranks fourth in the most rated chart. “Very proactive and seem to genuinely care about our shows and selling them. We have seen income much quicker than with other distributors. Nice people and easy to work with,” says one producer. Another adds: “Jonathan Ford has the magic touch and is an extraordinary salesman.”
Other indies say Abacus is “very
good at raising money for premium docs” and is “supportive and pays promptly. They do what they say they will do.” Blue Ant – which recently
Autumn 2022
You don’t feel that you are purely part of a catalogue and they will work with you to find solutions in a world where financing shows has become more complicated
acquired Drive Media Rights – is also in seventh place. One indie says: “They are good communicators, report regularly and give it the personal touch.” Others describe Blue Ant as “ambitious and confident” and “great at bringing finance to shows.”
In at ninth place is Cineflix Rights. One indie reports that Cineflix is easy to deal with, gave a good advance, sold its programme well. “Consistently good at selling popular factual,” adds one more indie. In tenth place is Passion Distribution. “Passion is brilliant – they believed in our idea and in us, as programme makers, and were fully supportive from the get- go,” says one indie. “We feel fully supported by Passion and the team are a true pleasure to work with.” A special mention to Silverlining Distribution, which makes it to sixth place in our most rated chart. “As a boutique distributor they provide a bespoke service with helpful international and editorial steers,” says one indie. Another praises it for being “flexible, innovative and hardworking.”
New distributor BossaNova also makes the most rated chart, with indies calling it “small but perfectly formed” with “a personal touch”. Hat Trick International is also cited for being “brilliant, nimble, imaginative, clear and constructive” and providing a “friendly, helpful service.”
P30
televisual.com
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