ROME – In an increasingly complex TV market, with a host of new big-ticket streaming services preparing to enter an already crowded arena, both buyers and sellers are rethinking some of the f…
The discussion was dominated by the impending launch of a raft of deep-pocketed streaming services, including Disney Plus, Apple TV+, and NBCUniversal’s Peacock, which will soon join a content arms race powered in recent years by Netflix and Amazon.
Wald agreed. “There’s no question that it’s changed over the years. Of course there’s much more being produced for the global platforms,” he said. “But the reality now is that…there’s still a lot of content out there that doesn’t fall in that bucket. Practically speaking, there’s still a lot to distribute.”
“There’s actually an opportunity for a creator to have a choice of every buyer, and really determine who is the best buyer brand-wise,” said Lederman. “Who is the best buyer in the way they see the rollout of that show? And that gives them incredible freedom, rather than working for a platform which, of course, has upside, but the downside is that if the platform doesn’t love that idea, they can’t make it.
Having struck gold with “The Walking Dead,” which began as a comic book series, Skybound is trying to develop more IPs across a range of comics, novels, video games and merchandise, “so that when we go to distribution partners, and when we go to platforms, there is maybe a heightened receptivity to that project,” said Furst.
“It’s really important that you think what that buyer needs, and what that channel or service is catering to,” he said. “When you are in the creative phase, even if there are 12 buyers, probably each of those 12 needs something different.”
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