Paul Presburger on How AVOD Is “a Bit of a Mirage” and the Dutch Series That Is ‘Succession’ With Two Murder Mysteries

by

As a seasoned gamer with years of experience navigating the ever-evolving landscape of the entertainment industry, I can’t help but feel a sense of nostalgia listening to Paul Presburger‘s insights at the Iberseries & Platino Industria conference. His words echo my own journey in gaming, where the promise of riches often feels like a mirage, and the real rewards come from mastering the game itself rather than the prizes.

On Tuesday, Paul Presburger, the current CEO of Miércoles Entertainment Studios, who was previously a top executive at Lionsgate, expressed his views regarding moderate streaming spending and the expansion of advertising-supported streaming (AVOD) during the Iberseries & Platino Industria Spanish- and Portuguese-language TV conference and market in Madrid.

“For content owners, AVOD is a bit of a mirage,” he said during a session in which he was interviewed by Sergio Pizzolante, president, Secuoya Studios commercial & international distribution. “So far, even if it’s working well, it’s pennies, right?” He compared the financial benefits by mentioning artists and music streamer Spotify. ”Oh, my song was played 3 million times, and I made $500,” Presburger said. “It’s somewhat like that. But money’s been made at the top end by the company selling the advertising, and not as much drips down.”

The executive mentioned that he’s exploring options to integrate advertising into his business effectively. He suggested that having an advertiser involved from the beginning would be beneficial, as it might lead to smoother operations, according to his perspective.

Presburger advocates a revival of content distribution cycles within the film and television sector. “Just like we’ve done with movies, we’ll distribute content through different ‘windows.’ You earn significant profits in cinemas, from Video on Demand sales, pay-one rights, pay-two rights, free TV rights, AVOD rights, and so on,” he explained. “This method will return as streaming services aim to reduce costs.

He additionally highlighted shifts in negotiation strategies for funding and rights during streaming talks, as profitability remains a key concern for numerous players in the Hollywood industry. “Previously, we’d often go to Netflix or someone who said, ‘no, we won’t share rights. We want full ownership.’ But now they’re more adaptable, not just geographically but also regarding rights, because they aim to minimize risk in content,” Presburger explained. “Producers are looking for studios that can assist with financing, so it’s about securing sponsors, equity investments, tax incentives, and so on. The aim is to bring all these elements together and then find streamers or partners who can help finance these productions, similar to how independent films have been funded in the past.

During a discussion on remakes and adaptations, Presburger recounted an interesting story featuring fellow panelist Meg Thomson, executive vice president of Globalgate Entertainment. He explained, “Last year, I met with the head of international at one of the major streaming platforms to brainstorm about potential projects in the Spanish-speaking market. They suggested something akin to ‘Succession.’ After our meeting, I reached out to Meg, and she proposed ‘Swanenburg,’ a captivating Dutch series that carries similarities to ‘Succession’ but also includes two intriguing murder mysteries. Remarkably, she had already arranged for it to be developed in South Korea.

As a gaming enthusiast, I recently chose to shift my focus from Pantelion Films and the Spanish-streaming service Pantaya, where I had been working, towards Globalgate. This transition took place at the end of last year, 2022.

Read More

2024-10-01 21:25