A group of experts shared their insights into maximising the value of each IP, licensing strategies, and building powerful alliances between producers, broadcasters and licensees

l-r: Cristina Angelucci, Francesco Manfio, Nele De Wilde, Simone Fenu, Matteo Olivetti and Gianluca Ferrara during the panel (© MIA)

On 14 October, Rome’s Cinema Barberini hosted a panel titled “Alliances and Strategies for Programme Licensing”, moderated by The European Animation Journal and Licensing Magazine publisher Cristina Angelucci. The talk, which unfolded on day 1 of this year’s MIA Market (14-18 October), saw the participation of producer and general manager of Italy’s Gruppo Alcuni Francesco Manfio; DeAPlaneta Kids & Family head of Italy and international head of Toys Gianluca Ferrara; CCO Audiovisual and Music and executive producer at Belgium’s Peyo Company Nele De Wilde; VP Licensing Sales and Strategy at Italy’s Rainbow Spa Matteo Olivetti; and Paramount’s senior director of Licensing for Italy, Turkey, Greece and Malta, Simone Fenu.

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Angelucci first introduced the “dark side of the business” – namely, increasing the IPs’ commercial value, a task that is often not welcomed by producers but is nonetheless a valuable tool. Manfio touched on Gruppo Alcuni’s production output, consisting of two series each year and one feature every two or three years, before zooming in on Peppa Pig as a prime example of a successful IP. Even though Peppa Pig’s success is certainly not recent news, Manfio said that visibility on the small screen is still essential. “Some will argue that things have changed, but our licensees still ask us when a given programme airs on Rai YoYo,” he highlighted. He also underscored the importance of “repetition” for kids aged between two and four, which is backed by solid academic research. “It’s something that infuses confidence and allows kids to grow up. And if [repeated viewing] happens with parents, that’s even better,” he summed up, adding how quality IPs need to be "tested out" within an appropriate time frame, ideally a minimum of ten episodes.

De Wilde spoke about Peyo’s most successful IP, The Smurfs, which she billed as having been “a worldwide blue phenomenon since the 1980s”. She also spoke about the upcoming movie being made with Paramount and set for release in July 2024. She defined Peyo’s licensing strategy as “constantly evolving, fully integrated and [implemented] following big content releases”. In 2018, Peyo launched its production arm. This allowed the firm to work on licensing strategies at an earlier stage. “Producing and licensing are now done within the same company by creating synergies within both departments.” The all-encompassing licensing strategy includes 2D and 3D consumer products, storybooks, playsets and sticker books, among other items. Meanwhile, the Belgian giant is also focusing on reviving two of its iconic IPs from the 1960s, Johan and Peewit and Benny Breakiron, set to become a 10x22-minute and a 26x22-minute show, respectively.

Fenu spoke about Paramount’s growing need to source external content and the US player’s focus on programming it three to five years in advance. “We want to invest more, and we need all categories covered. Baby Shark is a very good example of how Paramount has invested in an IP outside of its original portfolio. We approached the market in a hybrid fashion. Oftentimes, we try to find IPs outside of our company – books, comics, ideas from all over the world. […] Baby Shark was a big phenomenon on YouTube. We spoke to the creators and decided to collaborate. We focused on the animation side of business, and they kept on managing the YouTube part.” Other notable examples cited by Fenu include Ninja Turtles, Paw Patrol and the upcoming launch of Dora the Explorer, whose show is set to run for four seasons.

Olivetti talked through Rainbow’s different subsidiaries, including Colorado Film (producing adult-orientated, live-action content), the talent agency Moviement, Rainbow CGI and the Canadian studio Bardel, among others. The Italian outfit is working on franchises such as Gormiti, Mermaid Magic and The Winx. Rainbow follows a 360-degree business approach, spanning TV, VoD, recreational activities, film, home video, digital media, toys, consumer products, retail and publishing. The solid network of partners includes over 150 TV networks, more than 50 streaming platforms, 500 consumer product licensees and a number of theatrical distributors in Europe and worldwide. “Of course, social-media platforms such as TikTok and YouTube are playing an ever-more crucial role,” he pointed out.

Finally, the mic was handed to Ferrara. His company, born as a joint venture between Spain’s Grupo Planeta and Italy’s De Agostini, “crafts 2,500 new stories every year” and operates through three divisions – Fiction, Kids & Family, and Interactive. Ferrara praised the 2D show Milo, aimed at children aged between three and six, as the first co-production slated to air on PBS Kids in the USA, billing it as a project “with a European heart and a global vision. […] The tactile experience with toys is still unique and irreplaceable. Over the last year, toys have not only been for kids, but also for other targets, including adults and young adults. This [tendency] allows [us] to bridge a generational gap, and we see parents playing with their kids. And, of course, this can be a big help when it comes to planning a long-term brand strategy,” he concluded.