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MIPCOM: How Fremantle plans to hit $3 billion in deals, with Angelina Jolie, Cara Delevingne

For a company still known for shining entertainment like American Idol, Global Production Powerhouse Fremantle has come a long way.

When Fremantle Group CEO Jennifer Mullin and Group COO and Continental Europe CEO Andrea Scrosati On stage at INTERNATIONAL TELEVISION CONFERENCE MIPCOM Tuesday, it was One of the largest independent filmmakers in the world. In two years, Fremantle has grown from about eight feature films per year , including recent festival winners such as the Cannes jury Troupe winners Eight Mountains and Bones and All received the Venice Best Director Award for helmer Luca Guadagnino.

Meanwhile, Fremantle has been on a buying spree of boutique production houses – including Ireland’s Element Pictures, producer of the BBC/Hulu series Normal People and Joanna Hogg The Eternal Daughter starring Tilda Swinton; Bosch Producer Faber; Italian screenwriter Lux Vide (Leonardo); Eureka Productions (Finding Magic Mike); and others.

Fremantle also signed an A-list talent production deal, a three-year international deal with Angelina Jolie to produce a series of films , TV series and documentaries, beginning with her adaptation of Alessandro Baricco’s international bestseller Without Blood , recently completed production in Italy; and for the documentary series Planet Sex with Cara Delevingne gets the green light, a co-production of Fremantle’s Nude TV and Delevingne’s Milkshake Productions, co-commissioned by Hulu and the BBC. The show, shown by Delevingne on MIPCOM on Tuesday, has been sold worldwide 92 including RTL in Germany, M6 in France, SBS in Australia and NHK in Japan. Joined as co-producer.

But Fremantle is just getting started. The company’s parent company, German media giant RTL Group, has set an ambitious target for Fremantle to raise full-year revenue to $3 billion by Euro ($3 billion). Last year, Fremantle recorded revenue of 1. 92 billion euros ($1.9 billion), a new record.

“We’re on track [to hit revenue targets],” Mullin said. “Last year was our biggest year by revenue, and this year we will surpass that number,” noting that the group’s current “priorities” are Latin America and India. When it comes to acquisitions, however, Mullin insists that Fremantle is not buying companies to inflate profits.

“We’re not ‘buying revenue.’ We’re looking to grow,” Mullin said.

Media reports link Fremantle parent company RTL Group as a potential buyer for UK production giant ITV Studios, which produces shows including Love Island, but Mullin said such a deal was “out of my pay grade” and she didn’t know anything about it. ITV Studios has yet to be officially listed for sale, and many wonder if ITV will abandon its lucrative production arm.

Scorosatti said finding the “right cultural fit” between Fremantle and a production company was more important than the purely financial deals involved.

“Frankly, I don’t believe in financial transactions in this industry,” he said, “it’s about creative vision.”

Mullin added: “We focus on businesses, creatives and companies that feel right and that complement the type of content we’re already producing.”

On the film side, Financing has actually gotten easier for the films Fremantle wanted to do, says Scrosatti.

“We are not in a Hollywood blockbuster, a movie we make will cost up to 25 million dollars,” He says. “These films are risky, but today’s environment gives you a lot of protection [because] there are a lot of ways to monetize these films. In the first and second cycles…I think today’s film ecosystem financing is very similar to three It was completely different years ago. So you could go the traditional theatrical route or go straight to streaming, but what I find really fascinating is the hybrid solution,” involving different distribution models on different platforms in different parts of the world.




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