At the heart of Banijay Entertainment’s global strategy lies a commitment to nurturing writers. With a vast network of 170 labels operating across 25 territories, the company emphasizes that their focus isn’t solely on scale, platforms, or market trends; it begins with talent. During a recent appearance at Iberseries & Platino Industria, Steve Matthews, head of scripted content, asserted the fundamental importance of strong writing. “Good writers, I mean, it really boils down to that,” he stated, reflecting a shared perspective among industry leaders regarding the balance between commercial appeal and creative ambition.
Creative Identity and International Collaboration
Maria Grazia Vairo, director of content at Italy‘s Groenlandia, echoed this sentiment, noting that the task for producers is not only about finding commercially viable content but also maintaining their creative identities within an international context. Matthews highlighted Banijay’s challenge in forging an international network without compromising the unique creative voices of its individual entities. “I built this large group of companies and then encouraged this granular process where the company has maintained their different creative identities,” he explained. “All of these are based on creativity, based on talent, based on writing.”
Investment in Writers
Matthews elaborated on an innovative initiative at Banijay: a twice-yearly boot camp lasting four days, where writers and producers from various labels come together to collaborate on developing ideas and scripts. “My real pleasure is looking for writers who are episodic writers and are ready to create a show,” he remarked, emphasizing the necessity of training new talent in light of the shifting landscape of the media industry.
This sentiment was echoed by a panel featuring Vairo, Simone Oliveira of Brazil’s A Fábrica, and Carolina Bang, CEO of Spain’s Pokeepsie Films, all of whom confront the universal challenge of discovering compelling material and talent amid an ever-crowded scripted landscape.
Fostering Original Stories
At Groenlandia, Vairo shared that the company focuses on original narratives, frequently inspired by real events and marginalized figures. For example, their series on the Italian pop group 883 evolved from a single-season plan into a recurring success. “What they’re really looking for are original stories,” she asserted, underlining the importance of distinctiveness in a saturated market.
The company’s strategy to reconcile quality with commercial interests centers around writers. Groenlandia is recognized for being talent-friendly, fostering an environment where writers are paired with creative partners who champion their ideas. This relationship is crucial, Vairo noted, as commissioners increasingly seek projects that offer unique angles rather than merely conforming to conventional genres.
Long-term Relationships and Creative Integrity
A Fábrica’s Oliveira also emphasized the significance of establishing enduring collaborations with creators. The Brazilian production company strives to develop both adaptations and original series with writer Raphael Montes, focusing on the importance of cultivating talent over chasing market trends. The aim, he explained, is to create fertile ground for the next breakout hit rather than predict it.
Reflecting on this approach, Bang of Pokeepsie discussed how her company ventured into young-adult storytelling after discovering books her younger family members enjoyed. “We do whatever we like,” she stated passionately. “If you have in mind to have a success, you will not have it. You have to believe in what you are doing.”
The Importance of Creative Vision
This instinctive connection to authentic storytelling is vital, especially in a fast-paced market where trends can shift from inception to production. Matthews cautioned against using market intelligence as a blueprint for development, asserting that success cannot be manufactured. “You never set out to make a commercial show,” he remarked. Instead, he believes in the importance of balancing market understanding with the creative integrity that initially drove a project’s inception.
Moreover, Vairo pointed out that producing content is inherently risky, with many factors influencing a project’s success or failure. Matthews noted that Banijay’s extensive structure can mitigate some of this risk while allowing individual labels to operate with agility. “These guys are taking these creative decisions all day, every day,” he commented. “The philosophy of getting that balance [is that] these guys can stay small, wind behind them, to come up with something big.”
Connecting Creative Talent
Banijay’s cross-border model focuses more on connecting creative talent rather than generating uniform content. Matthews described his role as providing essential support—whether through funding, introductions, development time, or access to colleagues across different territories—while allowing producers the creative freedom to lead.
As the scripted business tightens and commissioning becomes increasingly selective, Matthews acknowledges the challenge of finding work. However, he remains optimistic that the squeeze in the industry may elevate standards. “I genuinely believe that good shows will get made,” he affirmed. “Shows that are manufactured to be commercial will not.”
