Fremantle enjoyed something of a drama boom last year. Buoyed by hits including American Gods and The New Pope, the global producer’s drama revenue climbed 36% to €414M ($494M) in 2019.
Then the pandemic hit. Fremantle, like all other major producers, suffered unprecedented shutdowns across the 30 territories in which it operates. Production is only now getting fully back on its feet.
The coronavirus crisis will inevitably put a dent in Fremantle’s scripted growth trajectory. But underneath an anomaly that no-one saw coming lies a steely confidence that the company is well-positioned in a frantically competitive market.
That confidence flows from Andrea Scrosati, Fremantle’s chief operating officer. Scrosati has just added global drama to his brief following the departure of Sarah Doole this month and he now oversees a slate that currently spans 50 shows all over the world.
Then the pandemic hit. Fremantle, like all other major producers, suffered unprecedented shutdowns across the 30 territories in which it operates. Production is only now getting fully back on its feet.
The coronavirus crisis will inevitably put a dent in Fremantle’s scripted growth trajectory. But underneath an anomaly that no-one saw coming lies a steely confidence that the company is well-positioned in a frantically competitive market.
That confidence flows from Andrea Scrosati, Fremantle’s chief operating officer. Scrosati has just added global drama to his brief following the departure of Sarah Doole this month and he now oversees a slate that currently spans 50 shows all over the world.
- 8/21/2020
- by Jake Kanter
- Deadline Film + TV
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