Campaign Profile

As the London TV Screenings gets underway, Camille Dupeuble, exec VP of international TV and digital distribution at Studio TF1, and Mike Benson, MD of UK scripted label Clapperboard Studios, discuss the French media group’s content and distribution strategies and the shows they are collaborating on as part of a growing English-language slate.

How does Studio TF1 position itself today in the distribution market?

Camille Dupeuble: Studio TF1 is a European media group that is active across all genres and all languages. Over the past few years, we’ve significantly accelerated our international strategy, especially in the English language and UK market, which is now a key growth area for us. And what really defines us is our integrated model because we are involved across development, financing, production and distribution. This allows us to support strong IPs with the clear international ambition and, above all, to work with a wide range of established producers across Europe and in the UK like Clapperboard Studios.

Can you tell us more about Clapperboard? 

Mike Benson: Clapperboard Studio is a London-based indie. There are two companies, in fact. There’s Chalkboard TV, where we do non-scripted, while Clapperboard is scripted programming. We produce a wide range of scripted dramas for UK and international broadcasters. We’re probably unique in terms of the number of primetime dramas that we produce: last year it was 44 primetime hours, and this year it’s going up again. So, we work with a volume of programmes – and the international appeal of concepts is key to securing the backing for this level of programming. Hence, we work very closely with Studio TF1, and being part of the wider Studio TF1 Group, we collaborate with their teams at all different levels.

How would you describe Studio TF1’s content strategy and how does it differ from your competitors?

Camille Dupeuble: Our strategy is defined around three drivers: commitment, flexibility and creativity. We can step in at very different stages of a project’s lifecycle, sometimes early at a financing stage and sometimes later depending on the project’s needs. We have strong expertise in early-stage financing and in structuring international coproduction and windowing deals with multiple and complementary partners, like for instance, linear and platforms. And what differentiates us from other players is our ability to think globally from day one and help shape projects with a clear international ambition and, when relevant, bring all the partners on board to maximise the value. Our strength also lies in the very close, trust-based relationships we’ve built with European buyers.

What is your current strategy for the English-speaking markets? 

Camille Dupeuble: English-language content is a key strategic growth pillar for Studio TF1. Over the past few years, we have accelerated our collaborations with a wide range of established UK producers, including third-party partners, with a clear objective: to identify and develop projects with strong commercial appeal from the outset. Studio TF1 is firmly established in the UK and also in the US through Studio TF1 America, leader in TV movies production. We intend to capitalise on this strong positioning and further scale our footprint through the acquisition and development of high-value IP.

Can you expand on your strategy around IPs, and can you give examples?

Camille Dupeuble: By IPs, I mean everything that can lead to creating a strong brand. So of course, literary IPs but also programmes that are based on a strong concept, with strong talent attached. HIP, which was initially a French-language TF1 series, has become a true franchise. The series has travelled all around the world: it has been sold to more than 100 territories, adapted in eight countries including the US recently and it’s working extremely well there. It is one of our key IP successes so far.

How is Studio TF1 adapting its strategy to ensure its content travels successfully?

Camille Dupeuble: We already have a strong expertise in making non-English-language shows that travel all around the world, but we know that the market is narrowing and we know that English-language content travels the most in the current risk-averse market. It is essential for us to prioritise this if we want to distribute programmes that can travel successfully in key territories – including English-speaking markets, the Nordics and regions that tend to be more language-sensitive.

How does Clapperboard fit into this wider content strategy?

Mike Benson: Any producer has to be developing content, not just for their home market, but for the international marketplace too. That’s true now more so than ever as broadcaster budgets are going down, so the international viability of a show is key. You can’t develop things in a bubble; you must be led by the market needs and obviously Studio TF1 is very close to those market needs. So, when we’re partnering on a show, we’re trying to hit certain criteria that we know will sell internationally, with volume of episodes being one, returnability being another. And IP as well. As the market becomes increasingly conservative, buyers are wanting reassurance in existing proven IP. So, we will often be developing with the international marketplace in mind as much as the home broadcaster.

How does Studio TF1’s collaboration with Clapperboard work in practice?

Mike Benson: We have a lot of face time with the Studio TF1 teams. They will be reporting on the market on a monthly basis. They will be reporting on IPs that could be interesting, IPs that have been launched within the group that have been successful in their local market. So, we have a lot of market information derived from Studio TF1. In fact, we have two development deals with Studio TF1 companies – De Mensen in Belgium and Aux Singuliers in France – and we either develop concepts together or we’ll work together to adapt concepts for the UK market.

Camille Dupeuble: I would add that our collaboration is on a project-by-project basis, and has already delivered a number of successes, such as The Serial Killer’s Wife, Cooper & Fry and The Teacher. We are working more closely together, and we are looking forward to announcing other projects soon together.

How did your collaboration on Cooper & Fry come about?

Mike Benson: On Cooper & Fry, we were actively looking for a returning detective series where there was a volume of IP to work with and that IP had decent profile in the UK and internationally. We knew that that was one of the criteria that Studio TF1 was looking for as well. So, it felt like a perfect fit. The books are superb, but they needed updating. Some of them were written 25 years ago. And so, we worked on the development hand-in-hand with 5, but also understanding from Studio TF1 the needs of the market. And we collaborated with them on the casting as well. The series has been a huge success in the UK and, hopefully, the sales will back this up internationally as well. The key is the returnability, which this series has.

The Teacher is now into season three. What makes it such a valuable IP?

Mike Benson: We shot series one a few years ago. It was incredibly well received with a consolidated audience of over five million viewers per episode, but it was not necessarily designed at that time to return. But then in conversations with 5, and in conversations with our distributor Studio TF1, the feeling was that it is the perfect series to return in an anthology shape. So not a continuation of the story, but a different teacher, a different school, different concepts, every series. And in terms of the subject matter, series around teachers and schools are so relatable, they also tend to bring in a wider audience. With this relatable and inter-generational setting, you can broaden your audience – bringing in adults as a core audience, but also older kids as well to watch it who see their life reflected in the story. So, it felt like a perfect opportunity for an anthology series which returns, which is exactly what’s happened.

How well is each series of The Teacher selling internationally?

Camille Dupeuble: The series has performed strongly, both commercially and locally, and the upcoming third season takes the series further – with strong attached talent such as Victoria Hamilton and themes that are even more deeply anchored in timely social issues. This reinforces our confidence in its international appeal and makes it a highly compelling proposition for buyers. We have now ongoing discussions with returning and new buyers, and we’re confident that further deals will follow. For me, it truly has all the ingredients of a genuine franchise, and we’re delighted to be working with Clapperboard on this project.