TBI Weekly: How global execs are picking their paths to growth in 2024

American Pickers (Source: Cineflix)

As the next 12 months unfold, it is clear that competition across all facets of the industry will be rife, as streamers and broadcasters shift strategies to make ends meet.

Growth will likely be hard won, so what kind of strategies are being employed by producers, commissioners, distributors and financiers to deliver a profitable 2024?

To find out, TBI has spoken to execs from across the globe who lead companies of all sizes to hear how they are plotting a course through the turbulence and where opportunities for growth lie.

Tim Mutimer (Source: Cineflix Media)

Tim Mutimer, CEO Rights, Cineflix Media

During 2023 we launched five FAST channels – a mix of single brand channels like Property Brothers and American Pickers – and genre channels like Real Disaster Channel. They are providing a significant route to increasing revenue from our producer partners’ IP, and 2024 will be when we start to benefit commercially from our busy year of launch activity. We will continue to launch new channels in 2024, and also expect to see further growth in AVOD as we look to maximise the digital exploitation of our large catalogue. We will continue our growth in scripted with new series such as So Long, Marianne and Virdee launching alongside returning seasons of existing hits. We’re also building our slate into new genres with comedies and straight dramas sitting alongside our strong crime offering.

To read Tim Mutimer’s answers in full, click here

Rob Wade, CEO, Fox Entertainment

Over the past several years, we’ve expanded our in-house production capabilities for greater ownership of IP in unscripted, animation and live-action scripted content. Early success of such shows as Next Level Chef, Krapopolis, Animal Control and Grimsburg have given us momentum as we look to the new year.

To read Rob Wade’s answers in full, click here

Amelia Brown (Source: Fremantle)

Amelia Brown, CEO of Fremantle UK

Trusted IP is still very much at the forefront of the business as buyers still look to known brands and reliable shows in a turbulent time. Saying that, we are launching a huge new reality show for NBC and have another new reality title in production, so we are still seeing a real appetite for this genre and where the opportunity for IP is strongest.

To read Amelia Brown’s answers in full, click here

Sunder Aaron, co-founder, Locomotive Global

I’d say it’s producing theatrical release films in India. We have been focused on premium long form scripted drama until now, but that doesn’t provide the upside that a strong-performing theatrically released film can. While the market for theatrical release is more tricky than ever before, opportunities for ownership in filmed content exist quite unlike when you’re producing a series on a commission/fees basis. Also, we’ve seen the film business contract for streamers in India, so our objective this year will be to successfully produce and release small to mid budget genre films which can have a global appeal. We believe that India is yet to have its Parasite moment, and hopefully we can come close with one of our new projects.

To read Sunder Aaron’s answers in full, click here

Min Lim (Source: Vision New Media)

Min Lim, group CEO of Malaysia’s Vision New Media

International opportunities. We’ve spent the last few years developing and setting up projects that take our shows beyond Malaysia (and even Asia) and given the response so far, I am optimistic that this will be the thing that will allow us to make that quantum leap. South East Asian shows traditionally have not travelled well outside the region but that is changing fast. 2023 saw Malaysia’s first Oscar win (in Michelle Yeoh), its first Cannes prize (in Tiger Stripes) and its first television show sold into Australia (in The Bridge) so one can only dream about what 2024 will bring.

To read Min Lim’s answers in full, click here

Tom Fussell, CEO, BBC Studios

Having produced the UK’s five most watched programmes of 2023 and had the biggest entertainment, drama and factual series with Strictly, Happy Valley and Planet Earth III, we’re looking forward to another big year for production that will showcase our quality across the board. And we’ll reach our audiences wherever they are as we build on the relaunch of the world’s biggest English-language news website, BBC.com, and continue to evolve our streaming services, including the transition of UKTV Play to U, as well as UKTV’s free-to-air channels to U&Dave, U&DRAMA, U&YESTERDAY and U&W.

To read Tom Fussell’s answers in full, click here

Nomsa Philiso, CEO of general entertainment, MultiChoice Group

In 2023 I told you that we were doubling down on our OTT offering and this will continue to be our focus. Over the past year we’ve seen a 9% YOY increase in local content production. Key to this success is our regional presence across Africa and building on our hype- local approach and local languages. Our content offering and annual investment across the continent sets us apart from our competitors.

To read Nomsa Philiso’s answers in full, click here

Jin Woo Hwang (Source: Something Special)

Jin Woo Hwang, co-founder & president, Something Special

Our biggest growth area this year would be our format sales. Battle In The Box is now optioned in 16 territories, including a commission by UKTV. This will join one of our most successful format exports after four popular Korean formats – The Masked Singer, I Can See your Voice, Grandpas Over Flowers, Running Man. Furthermore, Something Special will be representing more Korean format in 2024, including the top rating unscripted shows in the charts (titles to be announced soon).

To read Jin Woo Hwang’s answers in full, click here

Marina Williams, co-CEO, Asacha Media Group

English-language drama and European co-productions. We are also expanding ancillary business off the back of the huge success of The Sea Beyond (Mare Fuori). I expect more partnerships and working with mainstream product, which Asacha production companies are very strong at.

To read Marina Williams’ answers in full, click here

Kate Beal (Source: Woodcut Media)

Kate Beal, founder & CEO, Woodcut Media

Our aim is to continue to focus on our main priorities – consolidating us as the home of true crime production, championing female-led specialist factual, working more closely with the production community on Woodcut International and our exciting development with factual entertainment. However, there are two more areas we will be prioritising throughout the year. Firstly, we’re looking to formalise our post-production offering. We have bold plans in the works to create a first-class on-site and remote facility for Woodcut productions and third parties. Perhaps our most important goal this year is to delve deeper into how we operate as a company… what our values are, how we treat our team, how we interact with our clients and who we work with in terms of suppliers. As a business, Woodcut has a solid foundation, and we intend to use our power to enact positive change.

To read Kate Beal’s answers in full, click here

Mark Fennessy, founder & CCO, Helium

Helium has an incredibly diverse slate of scripted series rolling out that will build on the excellent momentum created by Last King Of The Cross and Paper Dolls. We’ve already doubled our business in 2023, so we’re looking forward to continuing those relationships and new ventures with new partners. On the unscripted side, we’ve increased our focus on premium factual with a number of high-end factual series and feature docs across entertainment, sport & music.

To read Mark Fennessy’s answers in full, click here

James Burstall (Source: Argonon)

James Burstall, CEO, Argonon

Despite the industry-wide challenges of 2023, I am cautiously optimistic about the global content market for the next twelve months after a series of positive meetings with buyers. Across the group, we’re laser-focused on driving organic growth across our portfolio of UK and US labels with many projects in funded development and active discussion. Building IP and creating premium content with international appeal is at the heart of our strategy as well as extending the life of our back catalogue of programming as the number of platforms and ways of consuming content will continue to expand in 2024.

To read James Burstall’s answers in full, click here