Distribution in Focus: Banijay Rights’ Cathy Payne

With buyers flocking to London TV Screenings and Mip London this week, Broadcast International speaks to Banijay Rights chief exec Cathy Payne about filling scripted deficits and retaining trust when managing production budgets.

We’ve talked a lot over the last year about how the market is faring, and the reality is it’s now showing signs of recovery as we all take a more pragmatic approach to business. Of course, challenges remain, and underpinning scripted deficits is certainly one of those.

On the formats front, there’s a general focus – and ‘leaning into’ – proven formats and reboots, giving these shows on air the best chance to grow their audience. Generally-speaking, for must-have product, budgets will always be found. However, we’re finding the mid-priced factual and documentary market remains static.

Mergers and acquisitions always have a huge impact on our sector. For 2025, it will be interesting to see the outcome of the [Paramount deal] and how the separation of linear and streaming assets from other majors such as Warner Bros. Discovery and NBC affects their appetite for content.

There are always opportunities, and it’s good to remain positive. Outside of having a very sought-after title, proven IP that has a track record is important, in particular when coming from producers/distributors who can help with innovative ways to manage production budgets that may require bringing on a second partner.

Honestly, not a great deal. It has been challenging with streaming clients seeking to balance their accounts, with budget restraints, but there are green shoots.

This will come from a combination of strong exploitation of our burgeoning catalogue, increased format commissions and return of a more regular flow of scripted series. At London TV Screenings, we have an incredible scripted offering spearheaded by the likes of Maigret, Bergerac, The Family Detective and Half Man.

Everyone is looking for ways to underpin scripted deficits. Coproductions with linear broadcasters or streamers are important, with many of these with linear partners as opposed to a global streamer.

As everyone looks to balance their schedules with originals and acquired shows, there is an understanding that partners who coproduce have to find agreements on rights and marketing positions. There are, of course, streamers who are predominantly focused on original commissions that they control solely. We are also seeing interesting window opportunities around non-scripted for linear and streamers to cooperate in Latin and Asian markets.