Fiction series and contents for segmented audiences stand out as part of the acquisition strategies highlighted by those buyers interviewed during this second day of Mipcom at the Palais des Festivals in Cannes.
By Gonzalo Larrea, Pina Mezzera and Rodrigo Ros, from Cannes, France
Keshet International’s Kelly Wright highlights the importance of searching for new content, especially now that they have their own network Keshet 12, and given the positive result of shows like First Sight and Ninja Warrior:
"This is making us look at the link between our development strategies and acquisitions, now more than ever," stressed the executive, "promoting cooperation between production talents that will allow us to continue producing new hits."
The search for quality fiction series is undoubtedly one of the main points in the acquisition strategy, which has become more important due to the increased demand from digital platforms and changes in consumption habits that have consolidated the genre as one of the most stable.
In this sense, Gaumont Television’s Vanessa Shapiro, underscored that one of the priorities in the company’s acquisition strategy has been the acquisition of fiction series: "we are interested in everything within fiction, particularly in the sci-fi genre, we can certainly say it’s our priority."
Regarding their origin, Shapiro explains that they’re “looking everywhere. The only we have not yet looked at is Asia, but with the huge number of series and shows produced in Europe and other regions, we have a lot to see. "
NatGeo’s Diego Reck explains that one of his main focuses when looking at content acquisition has to do with children's content linked to history, science, space and adventure, commenting that "a while ago it seemed difficult to find everything we needed for our programming profile."
"Today I think there is a great variety of content, and that it has allowed us to work on the acquisition of specific programs linked to our main themes ".