US investment giant RedBird Imi has agreed a £1.2bn deal to buy super-indie All3Media.
The deal, announced today, will see the Jeff Zucker-led Red Bird Imi take ownership of the producer-distributor from current owners Warner Bros Discovery and Liberty Global for £1.15bn.
Redbird Imi, a joint-venture between RedBird Capital Partners and Abu Dhabi-based International Media Investments, will now have control over the London-based company which commands some 50 international production labels, including Studio Lambert, Raw TV, Two Brothers Pictures, Silverback Films and houses some of the biggest titles in global TV, such as The Traitors, Squid Game: The Challenge and The Tourist.
The deal, announced today, will see the Jeff Zucker-led Red Bird Imi take ownership of the producer-distributor from current owners Warner Bros Discovery and Liberty Global for £1.15bn.
Redbird Imi, a joint-venture between RedBird Capital Partners and Abu Dhabi-based International Media Investments, will now have control over the London-based company which commands some 50 international production labels, including Studio Lambert, Raw TV, Two Brothers Pictures, Silverback Films and houses some of the biggest titles in global TV, such as The Traitors, Squid Game: The Challenge and The Tourist.
- 2/16/2024
- ScreenDaily
Jeff Zucker and Gerry Cardinale’s RedBird Imi has finalized a £1.15 billion ($1.45 billion) deal to acquire production powerhouse All3Media — the largest TV producer in the U.K. and the company behind such shows as reality series Squid Game: The Challenge and films like World War I epic 1917 — from owners Warner Bros. Discovery and John Malone’s cable and telecom giant Liberty Global.
The deal gives the new owner control over a big production business across scripted and unscripted series as well as theatrical movie titles. Earlier this year, RedBird Imi acquired a stake in Media Res, the studio behind the Apple TV+ shows The Morning Show and Pachinko, among other projects, which was founded by former HBO executive Michael Ellenberg.
Launched in late 2022 with a $1 billion war chest backed by RedBird Capital and Abu Dhabi’s Imi, RedBird Imi has the mandate to pursue investments in the news, entertainment and sports sectors.
The deal gives the new owner control over a big production business across scripted and unscripted series as well as theatrical movie titles. Earlier this year, RedBird Imi acquired a stake in Media Res, the studio behind the Apple TV+ shows The Morning Show and Pachinko, among other projects, which was founded by former HBO executive Michael Ellenberg.
Launched in late 2022 with a $1 billion war chest backed by RedBird Capital and Abu Dhabi’s Imi, RedBird Imi has the mandate to pursue investments in the news, entertainment and sports sectors.
- 2/16/2024
- by Georg Szalai
- The Hollywood Reporter - Movie News
All3Media has finally been sold.
Redbird Imi has snapped up the production-distribution giant behind “The Traitors” and Jamie Dornan-starrer “The Tourist” from owners Liberty Global and Warner Bros. Discovery for $1.45 billion.
An investment group run by Jeff Zucker and former Goldman Sachs banker Gerry Cardinale, Redbird Imi recently revealed plans to acquire the U.K.’s Telegraph newspaper and Spectator magazine.
Jeff Zucker, the CEO of RedBird Imi, will become the chair of the All3Media board. CEO Jane Turton and COO Sara Geater will continue to lead the company for RedBird Imi.
“All3Media is one of the world’s great content companies, and this gives us an incredible platform to continue to grow our expanding portfolio,” Zucker said. “The demand for new shows and ongoing existing series, both scripted and unscripted, makes All3 a perfect fit for us. And we would not be doing this if not...
Redbird Imi has snapped up the production-distribution giant behind “The Traitors” and Jamie Dornan-starrer “The Tourist” from owners Liberty Global and Warner Bros. Discovery for $1.45 billion.
An investment group run by Jeff Zucker and former Goldman Sachs banker Gerry Cardinale, Redbird Imi recently revealed plans to acquire the U.K.’s Telegraph newspaper and Spectator magazine.
Jeff Zucker, the CEO of RedBird Imi, will become the chair of the All3Media board. CEO Jane Turton and COO Sara Geater will continue to lead the company for RedBird Imi.
“All3Media is one of the world’s great content companies, and this gives us an incredible platform to continue to grow our expanding portfolio,” Zucker said. “The demand for new shows and ongoing existing series, both scripted and unscripted, makes All3 a perfect fit for us. And we would not be doing this if not...
- 2/16/2024
- by K.J. Yossman
- Variety Film + TV
The All3Media sale saga has drawn to a close after almost a year with RedBird Imi confirming the acquisition of The Traitors superindie from Warner Bros. Discovery and Liberty Global for £1.15B ($1.45B).
Jeff Zucker and Gerry Cardinale‘s RedBird Imi takes control of a 50-label outfit with production entities across the world that owns the likes of Fleabag maker Two Brothers Pictures, Traitors producer Studio Lambert and 1917’s Neal Street. The deal will complete in Q2 or Q3 of this year subject to regulatory approvals.
All3Media CEO Jane Turton and COO Sara Geater will continue to lead the company, RedBird said.
“All3Media is one of the world’s great content companies, and this gives us an incredible platform to continue to grow our expanding portfolio,” Zucker said. “The demand for new shows and ongoing existing series, both scripted and unscripted, makes All3 a perfect fit for us.
Jeff Zucker and Gerry Cardinale‘s RedBird Imi takes control of a 50-label outfit with production entities across the world that owns the likes of Fleabag maker Two Brothers Pictures, Traitors producer Studio Lambert and 1917’s Neal Street. The deal will complete in Q2 or Q3 of this year subject to regulatory approvals.
All3Media CEO Jane Turton and COO Sara Geater will continue to lead the company, RedBird said.
“All3Media is one of the world’s great content companies, and this gives us an incredible platform to continue to grow our expanding portfolio,” Zucker said. “The demand for new shows and ongoing existing series, both scripted and unscripted, makes All3 a perfect fit for us.
- 2/16/2024
- by Max Goldbart
- Deadline Film + TV
The Film4, BBC and Amazon Studios executives will help to shape skills strategy.
Director of Film4 Ollie Madden, the BBC’s chief content officer Charlotte Moore and Amazon Studios’ head of diversity and inclusion Miranda Wayland have joined the board of the UK’s National Film and Television School (Nfts) as it seeks to tackle the skills gap.
They join existing governors Channel 4’s head of drama Caroline Hollick, Sky Arts director Phil Edgar-Jones and All3Media chief operating officer of Sara Geater.
They will oversee the development of a corporate plan for 2023, chaired by former chief executive officer of...
Director of Film4 Ollie Madden, the BBC’s chief content officer Charlotte Moore and Amazon Studios’ head of diversity and inclusion Miranda Wayland have joined the board of the UK’s National Film and Television School (Nfts) as it seeks to tackle the skills gap.
They join existing governors Channel 4’s head of drama Caroline Hollick, Sky Arts director Phil Edgar-Jones and All3Media chief operating officer of Sara Geater.
They will oversee the development of a corporate plan for 2023, chaired by former chief executive officer of...
- 11/24/2022
- by Heather Fallon Broadcast
- ScreenDaily
Studio Lambert and Neal Street-owner All3Media has appointed its first ever Head of Diversity, Equity and Inclusion.
Annika Allen joins the super-indie from Barclays’ Global Diversity, Equity and Inclusion division and will oversee strategy, working with All3Media’s mainly British-based production companies that also includes Fleabag producer Two Brothers Pictures, Des indie New Pictures and Objective Fiction.
She will work with Hr and talent teams, build external stakeholder relationships and also contribute to sector-wide diversity and inclusion work.
The move comes after All3Media commissioned consultancy Included last year to undertake a group-wide mapping project of its diversity offering.
Allen will report into COO Sara Geater, who said her “experience will enable us to continually improve our working practices, attitudes, and behaviours.”
Allen said All3Media is “in a great position to take advantage of the many opportunities that are presented by diversity, equity and inclusion.”
Allen began her...
Annika Allen joins the super-indie from Barclays’ Global Diversity, Equity and Inclusion division and will oversee strategy, working with All3Media’s mainly British-based production companies that also includes Fleabag producer Two Brothers Pictures, Des indie New Pictures and Objective Fiction.
She will work with Hr and talent teams, build external stakeholder relationships and also contribute to sector-wide diversity and inclusion work.
The move comes after All3Media commissioned consultancy Included last year to undertake a group-wide mapping project of its diversity offering.
Allen will report into COO Sara Geater, who said her “experience will enable us to continually improve our working practices, attitudes, and behaviours.”
Allen said All3Media is “in a great position to take advantage of the many opportunities that are presented by diversity, equity and inclusion.”
Allen began her...
- 6/7/2022
- by Max Goldbart
- Deadline Film + TV
Pact Appointments
UK producers group Pact has appointed See-Saw Films’ TV chief Hakan Kousetta as Pact Chair for the next two years. Kousetta succeeds All3Media COO, Sara Geater, who stands down at the end of the year having served the maximum four-year term as Chair. During her tenure, Geater has overseen Pact’s re-negotiation of Terms of Trade with all of the domestic broadcasters, and played a key role in Pact’s Covid-19 response. The newly elected Pact Council Members are:
• Alex Jones, Red Planet Pictures – re-elected
• Claire Mundell, Synchronicity Films – re-elected
• Gwenda Carnie, Cardiff Productions, re-elected as National Representative for Wales
• Jacqueline Moreton, FremantleMedia – newly elected
• Jane Kelly, Big Mountain Productions, newly elected as National Representative for Northern Ireland
• Jane Muirhead, Raise The Roof Productions, uncontested and re-elected as National Representative for Scotland
• Kate Norrish, Hillbilly Films & Television – newly elected
• Laura Marshall, Icon Films – re-elected
• Marc Samuelson, Route 24 – re-elected
• Nicky Bentham,...
UK producers group Pact has appointed See-Saw Films’ TV chief Hakan Kousetta as Pact Chair for the next two years. Kousetta succeeds All3Media COO, Sara Geater, who stands down at the end of the year having served the maximum four-year term as Chair. During her tenure, Geater has overseen Pact’s re-negotiation of Terms of Trade with all of the domestic broadcasters, and played a key role in Pact’s Covid-19 response. The newly elected Pact Council Members are:
• Alex Jones, Red Planet Pictures – re-elected
• Claire Mundell, Synchronicity Films – re-elected
• Gwenda Carnie, Cardiff Productions, re-elected as National Representative for Wales
• Jacqueline Moreton, FremantleMedia – newly elected
• Jane Kelly, Big Mountain Productions, newly elected as National Representative for Northern Ireland
• Jane Muirhead, Raise The Roof Productions, uncontested and re-elected as National Representative for Scotland
• Kate Norrish, Hillbilly Films & Television – newly elected
• Laura Marshall, Icon Films – re-elected
• Marc Samuelson, Route 24 – re-elected
• Nicky Bentham,...
- 12/8/2020
- by Andreas Wiseman
- Deadline Film + TV
U.K. producers body Pact has appointed See-Saw Films’ COO for television, Hakan Kousetta, as its chair for the next two years.
The executive’s appointment was uncontested during the recent Pact council elections.
Kousetta succeeds All3Media COO Sara Geater, who will step down at the end of the year having served the maximum four-year term as chair. During her tenure, Geater oversaw Pact’s re-negotiation of terms of trade with all the domestic broadcasters, and played a crucial role in Pact’s Covid-19 response this year, working with industry partners and government officials to help ensure production could get up and running again.
Emmy-winning Kousetta joined See-Saw Films in 2014 to co-run its TV division and has overseen the finance and production of many films and television programs. He has been co-chair of Pact’s film policy group for the past two years and currently sits on the Pact council.
The executive’s appointment was uncontested during the recent Pact council elections.
Kousetta succeeds All3Media COO Sara Geater, who will step down at the end of the year having served the maximum four-year term as chair. During her tenure, Geater oversaw Pact’s re-negotiation of terms of trade with all the domestic broadcasters, and played a crucial role in Pact’s Covid-19 response this year, working with industry partners and government officials to help ensure production could get up and running again.
Emmy-winning Kousetta joined See-Saw Films in 2014 to co-run its TV division and has overseen the finance and production of many films and television programs. He has been co-chair of Pact’s film policy group for the past two years and currently sits on the Pact council.
- 12/8/2020
- by Naman Ramachandran
- Variety Film + TV
UK producer body Pact has revealed that indies were in truly swaggering form before the pandemic upended the global entertainment business.
The group’s annual UK Production Census found that producers generated record revenues of £3.3 billion ($4.3B) last year, up 11% on 2018. Beneath that headline, international revenue blasted past £1B for the first time in the history of the census, rising 30% to £1.25B, according to research compiled by Oliver & Ohlbaum.
Netflix and Amazon’s push into the UK market continued to be felt, with producers being commissioned to the tune of £337M by streaming services. This was up 20% on 2018 thanks to shows like Netflix hit Sex Education, which is made by Sony-owned Eleven.
Domestic revenues also reached a new high of £1.9B, with drama accounting for 40% of commissioning spend following the success of shows including Line Of Duty and Chernobyl. Drama was 13 percentage points higher than the next biggest genre: entertainment.
The group’s annual UK Production Census found that producers generated record revenues of £3.3 billion ($4.3B) last year, up 11% on 2018. Beneath that headline, international revenue blasted past £1B for the first time in the history of the census, rising 30% to £1.25B, according to research compiled by Oliver & Ohlbaum.
Netflix and Amazon’s push into the UK market continued to be felt, with producers being commissioned to the tune of £337M by streaming services. This was up 20% on 2018 thanks to shows like Netflix hit Sex Education, which is made by Sony-owned Eleven.
Domestic revenues also reached a new high of £1.9B, with drama accounting for 40% of commissioning spend following the success of shows including Line Of Duty and Chernobyl. Drama was 13 percentage points higher than the next biggest genre: entertainment.
- 10/1/2020
- by Jake Kanter
- Deadline Film + TV
The U.K.’s independent television production sector generated a record £3.3 billion ($4.2 billion) in 2019, driven by international revenues that broke £1 billion ($1.3 billion) for the first time.
The Pact U.K. Production Census, an annual survey conducted by the country’s trade org for producers, showed that international work proved to be the most lucrative for British program makers in 2019, generating £1.3 billion ($1.6 billion) — an increase of 11% on 2018 revenues (£962 million), and a 30% growth over the past five years.
“The growth is in original commissions, which basically means that U.K. indie creativity is at a premium, not just domestically but also internationally,” said John McVay, CEO of Pact, who described a “long story” getting to this point over the last 10 years.
“First of all, we started selling formats, then we started selling direct to the networks in North America, and that’s grown year on year to the point where, now, British...
The Pact U.K. Production Census, an annual survey conducted by the country’s trade org for producers, showed that international work proved to be the most lucrative for British program makers in 2019, generating £1.3 billion ($1.6 billion) — an increase of 11% on 2018 revenues (£962 million), and a 30% growth over the past five years.
“The growth is in original commissions, which basically means that U.K. indie creativity is at a premium, not just domestically but also internationally,” said John McVay, CEO of Pact, who described a “long story” getting to this point over the last 10 years.
“First of all, we started selling formats, then we started selling direct to the networks in North America, and that’s grown year on year to the point where, now, British...
- 10/1/2020
- by Manori Ravindran
- Variety Film + TV
Updated: The U.K.’s film and TV production restart scheme may have finally opened for applications, but it still requires State Aid approval from the European Union — a process that’s still ongoing, with no clear end date in sight.
“I was hoping it would be several weeks ago, I hope it’s tomorrow, but I just don’t know,” John McVay, CEO of U.K. producers trade org Pact, told Variety on Thursday.
The fund opened for applications late on Thursday, but makes clear that it is not yet live. Meanwhile, the European Union Commission is planning legal proceedings against the U.K. for breaching its obligations under the Withdrawal Agreement from the European Union, though it’s unclear whether that initiative will impact the fund in any way.
The £500 million ($644 million) scheme is designed to help U.K. productions that have been suspended and aren’t able to secure insurance going forward,...
“I was hoping it would be several weeks ago, I hope it’s tomorrow, but I just don’t know,” John McVay, CEO of U.K. producers trade org Pact, told Variety on Thursday.
The fund opened for applications late on Thursday, but makes clear that it is not yet live. Meanwhile, the European Union Commission is planning legal proceedings against the U.K. for breaching its obligations under the Withdrawal Agreement from the European Union, though it’s unclear whether that initiative will impact the fund in any way.
The £500 million ($644 million) scheme is designed to help U.K. productions that have been suspended and aren’t able to secure insurance going forward,...
- 10/1/2020
- by Manori Ravindran
- Variety Film + TV
Ivan Garel-Jones, who was previously chief operating officer at Hillary and Charmed producer Propagate, has joined All3Media America.
He becomes COO of the UK production group’s U.S. division. His appointment follows the departure of Tim Pastore, which Deadline revealed earlier this week.
At Propagate he oversaw operations, business affairs and legal and will now report to Sara Geater, Group COO of All3Media. Prior to Propagate he was EVP, Business Affairs at ITV Studios U.S. Group, now ITV America, where he was part of the team responsible for building the group through acquisitions, which included Leftfield Entertainment.
All3Media Group CEO Jane Turton said: “I am delighted to welcome Ivan to All3Media America. His expertise and experience of operations, business affairs and legal will help us to bolster our U.S. business. We have a major opportunity to develop our footprint in America and I am looking forward to working with Ivan,...
He becomes COO of the UK production group’s U.S. division. His appointment follows the departure of Tim Pastore, which Deadline revealed earlier this week.
At Propagate he oversaw operations, business affairs and legal and will now report to Sara Geater, Group COO of All3Media. Prior to Propagate he was EVP, Business Affairs at ITV Studios U.S. Group, now ITV America, where he was part of the team responsible for building the group through acquisitions, which included Leftfield Entertainment.
All3Media Group CEO Jane Turton said: “I am delighted to welcome Ivan to All3Media America. His expertise and experience of operations, business affairs and legal will help us to bolster our U.S. business. We have a major opportunity to develop our footprint in America and I am looking forward to working with Ivan,...
- 9/23/2020
- by Peter White
- Deadline Film + TV
Tim Pastore is stepping down as CEO of All3Media America, exiting the role after two years at the top of the “Fleabag” and “The Circle” production group. Pastore joined All3Media back in Sept. 2018, having previously served as president of original programming and production at National Geographic.
“It’s been a privilege to lead such a dynamic group of people in my time at the helm of All3Media America,” Pastore said in a statement. “I’m so proud of the work that this team has accomplished, including the launch of new companies with marquee creative talent, the expansion of the overall programming slate, and truly meaningful diversity and inclusion initiatives that I know will create more and more equitable opportunities for years to come. I look forward to seeing All3Media America continue to grow and succeed under Jane Turton and Group COO Sara Geater’s direct leadership going forward.
“It’s been a privilege to lead such a dynamic group of people in my time at the helm of All3Media America,” Pastore said in a statement. “I’m so proud of the work that this team has accomplished, including the launch of new companies with marquee creative talent, the expansion of the overall programming slate, and truly meaningful diversity and inclusion initiatives that I know will create more and more equitable opportunities for years to come. I look forward to seeing All3Media America continue to grow and succeed under Jane Turton and Group COO Sara Geater’s direct leadership going forward.
- 9/21/2020
- by Will Thorne
- Variety Film + TV
After two years, Tim Pastore will exit as CEO of All3Media America.
Pastore joined All3Media, the London-based distributor of series like “Fleagbag” and “Gold Rush” in 2018, coming over from Nat Geo, where he served as president of original programming and production. All3Media America is made up of 13 different production companies, including Gordon Ramsay’s Studio Ramsay, Jimmy Fox’s Main Event Media, Kevin Bartel’s Best Production Company and Woodman Park Productions, as well as the U.S. operations of U.K.-based companies Studio Lambert, Lime Pictures and Lion TV.
Studio Lambert is known for producing CBS’ “Undercover Boss.” Along with “Undercover Boss,” All3Media is behind CNN’s “United Shades of America,” USA’s “Chrisley Knows Best” and Fox’s “24 Hours to Hell and Back.” All3Media is headquartered in London.
“I’d like to thank Tim for his leadership and the expertise that has contributed...
Pastore joined All3Media, the London-based distributor of series like “Fleagbag” and “Gold Rush” in 2018, coming over from Nat Geo, where he served as president of original programming and production. All3Media America is made up of 13 different production companies, including Gordon Ramsay’s Studio Ramsay, Jimmy Fox’s Main Event Media, Kevin Bartel’s Best Production Company and Woodman Park Productions, as well as the U.S. operations of U.K.-based companies Studio Lambert, Lime Pictures and Lion TV.
Studio Lambert is known for producing CBS’ “Undercover Boss.” Along with “Undercover Boss,” All3Media is behind CNN’s “United Shades of America,” USA’s “Chrisley Knows Best” and Fox’s “24 Hours to Hell and Back.” All3Media is headquartered in London.
“I’d like to thank Tim for his leadership and the expertise that has contributed...
- 9/21/2020
- by Tim Baysinger
- The Wrap
Exclusive: Tim Pastore is stepping down at All3Media America. The former Nat Geo exec, who was CEO of the U.S. division of the Fleabag and Gold Rush production group, is leaving after two years at the helm.
Pastore joined the Discovery and Liberty Global-backed super-indie in September 2018, having previously been President of Original Programming and Production at National Geographic Channels. He replaced Greg Lipstone.
Deadline understands that the company, which is run by All3Media Group CEO Jane Turton in London, is not seeking to hire a direct replacement for Pastore. This is due to the federal nature of the business; in the UK, the production companies that make up the company, including the likes of Studio Lambert, Objective Media Group and Maverick TV, are independently run with business and logistical support from the central group.
This is similarly the plan in the U.S., where the company...
Pastore joined the Discovery and Liberty Global-backed super-indie in September 2018, having previously been President of Original Programming and Production at National Geographic Channels. He replaced Greg Lipstone.
Deadline understands that the company, which is run by All3Media Group CEO Jane Turton in London, is not seeking to hire a direct replacement for Pastore. This is due to the federal nature of the business; in the UK, the production companies that make up the company, including the likes of Studio Lambert, Objective Media Group and Maverick TV, are independently run with business and logistical support from the central group.
This is similarly the plan in the U.S., where the company...
- 9/21/2020
- by Peter White
- Deadline Film + TV
The UK government has published the awaited eligibility criteria and guidelines for its £500M ($646M) film and TV production restart program.
The scheme is aimed at helping UK productions that have been suspended and are not able to secure insurance going forward, or are yet to start because of no existing insurance, get back underway before the end of the year.
Following industry lobbying, the government committed to an emergency Covid insurance fund back in July. It will be available to compensate productions after they have restarted, and only where costs are then incurred due to delays or abandonment as a result of coronavirus.
Among productions that won’t be eligible are news and current affairs, live events broadcasts such as sports or theater or musical screenings, and productions in front of a paying live audience.
The program has been set up as a temporary measure, supporting productions which begin...
The scheme is aimed at helping UK productions that have been suspended and are not able to secure insurance going forward, or are yet to start because of no existing insurance, get back underway before the end of the year.
Following industry lobbying, the government committed to an emergency Covid insurance fund back in July. It will be available to compensate productions after they have restarted, and only where costs are then incurred due to delays or abandonment as a result of coronavirus.
Among productions that won’t be eligible are news and current affairs, live events broadcasts such as sports or theater or musical screenings, and productions in front of a paying live audience.
The program has been set up as a temporary measure, supporting productions which begin...
- 9/17/2020
- by Andreas Wiseman
- Deadline Film + TV
The U.K.’s Department for Digital, Culture, Media and Sport (Dcms) and the Treasury have revealed the rules for the country’s £500 million ($648.5 million) film and TV production restart program.
The program is designed to help U.K. productions that have been suspended and are not able to secure insurance going forward, or are yet to start because of the lack of insurance but can begin principal photography before the end of the year. The go-live date for the program is not yet announced.
The program is open to eligible productions that will incur at least 50% of the production budget on U.K. expenditure and pass the cultural test that qualifies them as “British.”
Several categories of production are excluded from the program, including news and current affairs programs that are broadcast live; productions that provide coverage of live events, including sport, or theatrical, musical or artistic performances given...
The program is designed to help U.K. productions that have been suspended and are not able to secure insurance going forward, or are yet to start because of the lack of insurance but can begin principal photography before the end of the year. The go-live date for the program is not yet announced.
The program is open to eligible productions that will incur at least 50% of the production budget on U.K. expenditure and pass the cultural test that qualifies them as “British.”
Several categories of production are excluded from the program, including news and current affairs programs that are broadcast live; productions that provide coverage of live events, including sport, or theatrical, musical or artistic performances given...
- 9/17/2020
- by Naman Ramachandran
- Variety Film + TV
The Dcms published draft rules and explanatory notes to support the scheme.
The UK government has published its plan to support insurance for film and TV productions during the Covid-19 pandemic, paving the way for many productions to restart in the coming weeks.
It has released draft Scheme Rules and Explanatory Notes on the website of the Department for Culture, Media, and Sport (Dcms) for the £500m Film and TV Production Restart Scheme, which was announced at the end of July.
The draft Rules state compensation will be made available to “to both pre-existing eligible productions (which have had to...
The UK government has published its plan to support insurance for film and TV productions during the Covid-19 pandemic, paving the way for many productions to restart in the coming weeks.
It has released draft Scheme Rules and Explanatory Notes on the website of the Department for Culture, Media, and Sport (Dcms) for the £500m Film and TV Production Restart Scheme, which was announced at the end of July.
The draft Rules state compensation will be made available to “to both pre-existing eligible productions (which have had to...
- 9/17/2020
- by Ben Dalton
- ScreenDaily
The UK government has listened to months of industry lobbying and launched an emergency £500M ($646M) film and TV coronavirus production insurance fund, which will effectively underwrite the cost of shoots closing in the event of a second lockdown.
The insurance solution is a significant boost to producers who have been looking for a way to return to production without exposing themselves to potentially catastrophic financial risk. It’s also good news for countless out-of-work freelancers, with Pact CEO John McVay reckoning it could open the floodgates to a backlog of shoots worth an estimated £1Bn ($1.3Bn).
Here are the main details of the Film And TV Production Restart Scheme:
The fund only covers delays relating to coronavirus The cash will only be available until June 2021, but losses can be backdated Compensation for Covid delays will be granted up to a value of 20% of the production budget. Compensation for abandoning...
The insurance solution is a significant boost to producers who have been looking for a way to return to production without exposing themselves to potentially catastrophic financial risk. It’s also good news for countless out-of-work freelancers, with Pact CEO John McVay reckoning it could open the floodgates to a backlog of shoots worth an estimated £1Bn ($1.3Bn).
Here are the main details of the Film And TV Production Restart Scheme:
The fund only covers delays relating to coronavirus The cash will only be available until June 2021, but losses can be backdated Compensation for Covid delays will be granted up to a value of 20% of the production budget. Compensation for abandoning...
- 7/29/2020
- by Jake Kanter
- Deadline Film + TV
The U.K. has finalized its insurance solution for domestic film and TV production, with a £500 million ($647 million) fund set up to boost the industry.
Variety was first to reveal in May that a government-backed fund estimated to be in the hundreds of millions of pounds was being proposed by an industry taskforce.
The proposal effectively asked government for a guarantee around coverage for suspension or abandonment costs relating to Covid-19.
Details of the funding, are expected imminently from the Department for Digital, Culture, Media & Sport (Dcms). It is anticipated that the funding should be available to all productions where at least 50% of the budget is spent in the U.K. There is no upper budget limit on the contributions, Variety understands, thus helping several high-end U.K. productions restart production.
Series “War of the Worlds” is already back in production as is “Death in Paradise,” with several others due...
Variety was first to reveal in May that a government-backed fund estimated to be in the hundreds of millions of pounds was being proposed by an industry taskforce.
The proposal effectively asked government for a guarantee around coverage for suspension or abandonment costs relating to Covid-19.
Details of the funding, are expected imminently from the Department for Digital, Culture, Media & Sport (Dcms). It is anticipated that the funding should be available to all productions where at least 50% of the budget is spent in the U.K. There is no upper budget limit on the contributions, Variety understands, thus helping several high-end U.K. productions restart production.
Series “War of the Worlds” is already back in production as is “Death in Paradise,” with several others due...
- 7/28/2020
- by Manori Ravindran
- Variety Film + TV
Restrictions may be slowly easing in the U.K., but drama producers are beginning to feel the full force of the vast domino effect triggered by the coronavirus pandemic. Crucial components of the production process, such as casting and scouting, are becoming arduous as productions fish from the same pool of bankable actors and attractive locations — and inevitably get delayed.
ITV Studios label World Productions was dealt a double blow in March when it was forced to hit pause on two marquee BBC titles: returning crime blockbuster “Line of Duty” and nuclear submarine-set thriller “Vigil.” No firm date has yet emerged for the resumption of either show, though “Line of Duty” is believed to be eyeing a late August start.
“Vigil” star Suranne Jones had been due to reprise her lead role in BBC/HBO co-pro “Gentleman Jack” in June, once filming had wrapped on “Vigil,” one of several factors...
ITV Studios label World Productions was dealt a double blow in March when it was forced to hit pause on two marquee BBC titles: returning crime blockbuster “Line of Duty” and nuclear submarine-set thriller “Vigil.” No firm date has yet emerged for the resumption of either show, though “Line of Duty” is believed to be eyeing a late August start.
“Vigil” star Suranne Jones had been due to reprise her lead role in BBC/HBO co-pro “Gentleman Jack” in June, once filming had wrapped on “Vigil,” one of several factors...
- 7/17/2020
- by Robin Parker
- Variety Film + TV
Insurance is the “number one issue” that will facilities the restart.
A proposal to the UK government for a guarantee it will help cover any costs for UK film and TV projects incurred due to coronavirus-induced suspension or abandonment has been “well-received” by the UK government, according to John McVay, CEO of producers’ organisation Pact, and the head of the taskforce which submitted the proposal.
The proposal was submitted to the Dcms at the end of last week by a group including Pact, the UK’s major broadcasters, Directors UK and insurance and legal experts. They believe the plan will...
A proposal to the UK government for a guarantee it will help cover any costs for UK film and TV projects incurred due to coronavirus-induced suspension or abandonment has been “well-received” by the UK government, according to John McVay, CEO of producers’ organisation Pact, and the head of the taskforce which submitted the proposal.
The proposal was submitted to the Dcms at the end of last week by a group including Pact, the UK’s major broadcasters, Directors UK and insurance and legal experts. They believe the plan will...
- 5/29/2020
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
After months of negotiations, the BBC and Pact have agreed new terms of trade that give the broadcaster an automatic 12-month window to play shows made by independent producers on its BBC iPlayer streaming platform.
The new terms of trade will transform what the BBC can show on BBC iPlayer, allowing it to compete more effectively with streaming rivals such as Netflix and Amazon Prime.
Currently, content is only guaranteed to be on the iPlayer for 30 days, unless by separate negotiation.
The BBC will receive an automatic 12-month BBC iPlayer window on all content it commissions within its initial payment. This will come at no extra upfront charge to the BBC.
In return, independent producers will receive enhanced back-end on shows the BBC commissions. The BBC back-end on U.K. sales during license periods has dropped from 25% to 20%, while BBC back-end on all other exploitation, including international sales, has fallen...
The new terms of trade will transform what the BBC can show on BBC iPlayer, allowing it to compete more effectively with streaming rivals such as Netflix and Amazon Prime.
Currently, content is only guaranteed to be on the iPlayer for 30 days, unless by separate negotiation.
The BBC will receive an automatic 12-month BBC iPlayer window on all content it commissions within its initial payment. This will come at no extra upfront charge to the BBC.
In return, independent producers will receive enhanced back-end on shows the BBC commissions. The BBC back-end on U.K. sales during license periods has dropped from 25% to 20%, while BBC back-end on all other exploitation, including international sales, has fallen...
- 5/6/2020
- by Tim Dams
- Variety Film + TV
Fears start to emerge over inability to secure cover against Covid-19-related suspensions post-lockdown.
Pact and leading super-indies have formed a taskforce to tackle production insurance issues as the industry eyes a return to work.
According to Deadline, the John McVay-chaired group is raising concerns with insurers about whether productions will be able to obtain cover against coronavirus-enforced suspensions after strict lockdown measures are lifted.
“Right now, none of the insurers will cover Covid-related problems,” McVay said.
“That’s a scandal, and I’ve been raising the matter with government since the lockdown started. The insurance sector is what will drag back recovery.
Pact and leading super-indies have formed a taskforce to tackle production insurance issues as the industry eyes a return to work.
According to Deadline, the John McVay-chaired group is raising concerns with insurers about whether productions will be able to obtain cover against coronavirus-enforced suspensions after strict lockdown measures are lifted.
“Right now, none of the insurers will cover Covid-related problems,” McVay said.
“That’s a scandal, and I’ve been raising the matter with government since the lockdown started. The insurance sector is what will drag back recovery.
- 4/30/2020
- by 1101315¦Max Goldbart Broadcast¦0¦
- ScreenDaily
Exclusive: “The single biggest obstacle to getting back to work is production insurance,” the head of UK producers group Pact has told us.
Pact chief John McVay has been working with broadcasters and leading production firms as part of the BFI’s coronavirus task force, which was set up in response to the pandemic. McVay is chairing the domestic broadcasters working group, which has identified insurance as a key concern. We understand the group includes leading TV execs such as All3Media COO Sara Geater and Argonon CEO James Burstall.
“How can we even conceive of social distancing protocols if we can’t get insurance?” McVay questioned (yesterday we revealed details of the task force’s production protocols plan), noting that studios and streamers generally operate on a different plane than UK indies when it comes to insurance.
“If you’re a big U.S. studio, you’re big enough to cover that insurance yourself.
Pact chief John McVay has been working with broadcasters and leading production firms as part of the BFI’s coronavirus task force, which was set up in response to the pandemic. McVay is chairing the domestic broadcasters working group, which has identified insurance as a key concern. We understand the group includes leading TV execs such as All3Media COO Sara Geater and Argonon CEO James Burstall.
“How can we even conceive of social distancing protocols if we can’t get insurance?” McVay questioned (yesterday we revealed details of the task force’s production protocols plan), noting that studios and streamers generally operate on a different plane than UK indies when it comes to insurance.
“If you’re a big U.S. studio, you’re big enough to cover that insurance yourself.
- 4/28/2020
- by Andreas Wiseman
- Deadline Film + TV
International streaming services including Netflix, Amazon and Apple spent £280M ($345M) on original British commissions in 2018, according to UK producer trade body Pact.
This was up from £150M in 2017 and £126M in 2016.
It comes as the trio of tech companies ramp up their originations outside of the States; Netflix produced around 40 original series out of the UK last year including Sex Education, while Amazon has UK originations such as Good Omens and Apple started commissioning shows out of its London base including shows from the likes of BBC Studios and Plimsoll Productions.
The data, produced by Oliver & Ohlbaum for Pact, also shows that British producers scored £425M worth of commissions from international broadcasters, including the likes of Discovery and A+E Networks, which regularly work with British non-scripted producers. This was up from £399M in 2017 and £342M in 2016.
It takes the total revenues within the UK television production sector in 2018 to over £3B,...
This was up from £150M in 2017 and £126M in 2016.
It comes as the trio of tech companies ramp up their originations outside of the States; Netflix produced around 40 original series out of the UK last year including Sex Education, while Amazon has UK originations such as Good Omens and Apple started commissioning shows out of its London base including shows from the likes of BBC Studios and Plimsoll Productions.
The data, produced by Oliver & Ohlbaum for Pact, also shows that British producers scored £425M worth of commissions from international broadcasters, including the likes of Discovery and A+E Networks, which regularly work with British non-scripted producers. This was up from £399M in 2017 and £342M in 2016.
It takes the total revenues within the UK television production sector in 2018 to over £3B,...
- 9/6/2019
- by Peter White
- Deadline Film + TV
Update This deal has now been signed, a major boon for British producers.
Previous, August 23. Viacom-owned British broadcaster Channel 5 has agreed a terms of trade deal with independent producers that will simplify complicated rights’ negotiations.
The network, which airs series such as Big Brother in the UK, is on the verge of signing the deal with Pact (Producers Alliance for Cinema and Television), which represents producers in the UK.
It is the first deal in eight years for the company and means that producers will have a rights framework in place once they secure a commission. The terms of trade, which were introduced in 2003, essentially give British producers the international and ancillary rights to their formats and finished programming, which has lead to a boom in the creative industries.
Channel 5’s Director of Programmes Ben Frow, speaking at the Edinburgh International Television Festival, said the deal “had taken...
Previous, August 23. Viacom-owned British broadcaster Channel 5 has agreed a terms of trade deal with independent producers that will simplify complicated rights’ negotiations.
The network, which airs series such as Big Brother in the UK, is on the verge of signing the deal with Pact (Producers Alliance for Cinema and Television), which represents producers in the UK.
It is the first deal in eight years for the company and means that producers will have a rights framework in place once they secure a commission. The terms of trade, which were introduced in 2003, essentially give British producers the international and ancillary rights to their formats and finished programming, which has lead to a boom in the creative industries.
Channel 5’s Director of Programmes Ben Frow, speaking at the Edinburgh International Television Festival, said the deal “had taken...
- 9/11/2018
- by Peter White
- Deadline Film + TV
All3Media exec takes over the position from Laura Mansfield, CEO of Outline Productions.
Sara Geater, chef operating officer of All3Media, has been confirmed as the new chair of Pact Council after being elected unopposed.
The council oversees the financial plans of trade body Pact (Producers Alliance for Cinema and Television) as well as deciding the organisation’s policies, campaigns, terms of trade and collective agreements.
With a career spanning TV, film and digital, Geater previously served as COO and later CEO of Fremantle Media UK. Before then, she held the position of head of commercial affairs at Channel 4 and director of rights & business affairs at the BBC, where she negotiated the first Terms of Trade between the BBC and Pact.
She formerly served as head of film & TV at Avalon, head of production at Miramax Films and Channel 4 Drama co-production executive. She is also a barrister and a Fellow of the Rsa.[p...
Sara Geater, chef operating officer of All3Media, has been confirmed as the new chair of Pact Council after being elected unopposed.
The council oversees the financial plans of trade body Pact (Producers Alliance for Cinema and Television) as well as deciding the organisation’s policies, campaigns, terms of trade and collective agreements.
With a career spanning TV, film and digital, Geater previously served as COO and later CEO of Fremantle Media UK. Before then, she held the position of head of commercial affairs at Channel 4 and director of rights & business affairs at the BBC, where she negotiated the first Terms of Trade between the BBC and Pact.
She formerly served as head of film & TV at Avalon, head of production at Miramax Films and Channel 4 Drama co-production executive. She is also a barrister and a Fellow of the Rsa.[p...
- 11/9/2016
- ScreenDaily
Former FremantleMedia UK chief executive Sara Geater has won the race to become chair of Pact council in the organisation’s first contested election in at least 14 years.
Geater secured the most votes from Pact members who are qualifying indies, beating Nine Lives Media boss Cat Lewis and Outline Productions managing director Laura Mansfield to the role. Both will remain council members.
Geater left Fremantle in May and is now executive chair of fledgling drama producer Emerald Films, which is run by Carol Ann and Aileen Docherty.
In her manifesto, Geater said she would use her experience at C4, ITV, the BBC and Fremantle to help Pact “face some very big issues in 2015/16”, including charter renewal and terms of trade negotiations.
In January she will replace Keo Films managing director Debbie Manners, who stepped down after five years as chair of the council having served her term.
Serving a two-year term, Geater will be...
Geater secured the most votes from Pact members who are qualifying indies, beating Nine Lives Media boss Cat Lewis and Outline Productions managing director Laura Mansfield to the role. Both will remain council members.
Geater left Fremantle in May and is now executive chair of fledgling drama producer Emerald Films, which is run by Carol Ann and Aileen Docherty.
In her manifesto, Geater said she would use her experience at C4, ITV, the BBC and Fremantle to help Pact “face some very big issues in 2015/16”, including charter renewal and terms of trade negotiations.
In January she will replace Keo Films managing director Debbie Manners, who stepped down after five years as chair of the council having served her term.
Serving a two-year term, Geater will be...
- 12/10/2014
- ScreenDaily
Simon Cowell will return to judge the UK X Factor in 2014, it has been confirmed.
Cowell is the first judge announced for the show's 11th series and the rest of the panel will be revealed in the coming months.
"I'm absolutely thrilled to be returning to The X Factor UK. It's been three years since I last judged the competition and I'm excited to find a global superstar again," said Cowell.
"The UK X Factor has set the benchmark in finding worldwide superstars over the years - including One Direction, Leona Lewis, Cher Lloyd, Olly Murs, Jls and Little Mix."
Cowell departed the UK series in 2011 to launch a Us version of the talent show for the Fox network. However, the Us series got off to a bad start with first pick judge Cheryl Cole leaving after only a few days of filming and original host Steve Jones being mocked by American TV critics.
Cowell is the first judge announced for the show's 11th series and the rest of the panel will be revealed in the coming months.
"I'm absolutely thrilled to be returning to The X Factor UK. It's been three years since I last judged the competition and I'm excited to find a global superstar again," said Cowell.
"The UK X Factor has set the benchmark in finding worldwide superstars over the years - including One Direction, Leona Lewis, Cher Lloyd, Olly Murs, Jls and Little Mix."
Cowell departed the UK series in 2011 to launch a Us version of the talent show for the Fox network. However, the Us series got off to a bad start with first pick judge Cheryl Cole leaving after only a few days of filming and original host Steve Jones being mocked by American TV critics.
- 2/7/2014
- Digital Spy
Simon Cowell has signed a new three-year deal with ITV to keep X Factor and Britain's Got Talent on the air until 2016.
The current tenth run of The X Factor was rumoured to be the last, but in June ITV boss Adam Crozier restated the broadcaster's commitment to what he called "a very important programme for ITV".
Cowell said: "I am thrilled that we have extended our deal with ITV for Britain's Got Talent and The X Factor.
"They have been fantastic partners and we have some exciting new plans to take the shows to the next level."
ITV Director of Television Peter Fincham added: "Britain's Got Talent and The X Factor are two of the most popular and most talked about shows on TV. They set the gold standard for entertainment production.
"We're pleased to announce this deal, which will see them continue to be an important part of ITV's schedule.
The current tenth run of The X Factor was rumoured to be the last, but in June ITV boss Adam Crozier restated the broadcaster's commitment to what he called "a very important programme for ITV".
Cowell said: "I am thrilled that we have extended our deal with ITV for Britain's Got Talent and The X Factor.
"They have been fantastic partners and we have some exciting new plans to take the shows to the next level."
ITV Director of Television Peter Fincham added: "Britain's Got Talent and The X Factor are two of the most popular and most talked about shows on TV. They set the gold standard for entertainment production.
"We're pleased to announce this deal, which will see them continue to be an important part of ITV's schedule.
- 11/15/2013
- Digital Spy
ITV has today announced a new three-year deal for The X Factor and Britain’s Got Talent, the UK’s two biggest television formats. The TV channel has also managed to secure exclusive broadcast rights to the American version of The X Factor and America’s Got Talent for ITV2.
Under the new agreement, which extends ITV’s successful nine-year relationship with Simon Cowell until 2013, Britain’s Got Talent will return to ITV1 in late-spring 2011, and The X Factor in autumn 2011. ITV2 will also continue to broadcast hit shows The Xtra Factor and Britain’s Got More Talent.
Simon Cowell said: “I am thrilled this deal has been concluded with ITV to enable our relationship to continue to develop. I am committed to making sure both shows get bigger and better every year. I have a lot to thank ITV for; they have been key in making The X Factor...
Under the new agreement, which extends ITV’s successful nine-year relationship with Simon Cowell until 2013, Britain’s Got Talent will return to ITV1 in late-spring 2011, and The X Factor in autumn 2011. ITV2 will also continue to broadcast hit shows The Xtra Factor and Britain’s Got More Talent.
Simon Cowell said: “I am thrilled this deal has been concluded with ITV to enable our relationship to continue to develop. I am committed to making sure both shows get bigger and better every year. I have a lot to thank ITV for; they have been key in making The X Factor...
- 10/18/2010
- by Lisa McGarry
- Unreality
Lorraine Heggessey, CEO of the TV company which makes The X Factor and Britain’s Got Talent over here, is leaving after five years in the job. Heggessey, who was controller of BBC1 before becoming CEO of Talkback Thames in 2005, will be replaced by Sara Geater, currently the COO, for the time being. At Talkback, Heggessey has been responsible for overseeing Simon Cowell’s talent show juggernauts. However, she didn't originate the shows -- they were invented by Cowell -- and Talkback has not come up with any other big new franchises. Also, ITV has cancelled Talkback's long-running police soap opera [...]...
- 6/8/2010
- by TIM ADLER
- Deadline London
LONDON -- Channel 4 on Friday named Sara Geater, director of rights and business affairs at the BBC, to the newly created post of head of commercial affairs. Reporting to commercial director Rob Woodward, Geater succeeds Andrew Brann in charge of the commercial terrestrial channel's rights and business deals with independent program suppliers. She will also have a seat on the board of the company's 4 Ventures. Geater, who takes up the position in April, previously worked at Channel 4 running production and finance for its Film on Four slate. She worked at Miramax HAL Films and indie Avalon before joining the BBC. Brann had announced in January that he was stepping down and is expected to announce his plans shortly.
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