Fremantle is open to creative deals with Canadian partners

Executive Michela Di Mondo discusses how the global distributor is building on its work in Canada, both in formats and scripted shows like Sullivan's Crossing and Little Bird.

Creativity on all fronts will be a key ask for potential partners as global distributor Fremantle continues to expand and diversify in Canada.

The Canadian branch has adapted a number of its formats locally with the 2021 return of Citytv’s Canada’s Got Talent (McGillivray Entertainment Media [MEM]) and CBC’s 2019 debut of Family Feud Canada (Zone3), while partnering on two of 2023’s uniquely homegrown scripted series, including Crave’s Little Bird (Rezolution Pictures, OP Little Bird) and CTV’s Sullivan’s Crossing (Reel World Management; pictured above).

Michela Di Mondo (pictured left), EVP of Fremantle’s Canadian office, tells Playback they’re focusing on strong IP that makes sense in Canada, but still appeals to an international audience. From there, they’re delving into new ways to grow – like partnering with Bell Media on a book about French Canada’s L’Amour est dans le pre (the French version of format Farmer Wants a Wife, produced by Montreal’s Attraction), or the Family Feud Canada board game.

For the exec, a significant part of a pitch needs to be about how the project can be uniquely Canadian, or if it has global appeal to bring in distribution deals. Fremantle debuted its first original Canadian format with CTV, The Take Back (MEM), on Nov. 24, 2023. The hour-long special gives deserving Canadians a second chance at a milestone celebration, which Di Mondo says is a good example of the type of programming Fremantle wants to take to market.

Playback: When you took on your current role in 2021, Fremantle had nine productions on air or in development across English and French-speaking regions. Where is that number now?

Michela Di Mondo: I can’t really give a full number because we’re in development on a few right now. A significant amount, to be honest. I’m proud of the shows still on-air and going into their next seasons. We’re not just a flash in the pan; we follow our formats continually, we look at it as a three-way partnership with Canadian producers and the broadcasters. We try to vary producers we work with as much as possible.

Do you estimate it at more than nine? More than a dozen?

I always hate to put real numbers on it because it’s much more about the shows themselves. Anytime you start chasing a number it brings the wrong [message]. It’s not about how many shows we have, it’s about how those shows are doing and how do we feel about what we’re working on. And for producers, [the message is] this is what we do and how can we work with you.

On the scripted side, what do you look for in a distribution title?

Little Bird and Sullivan’s Crossing could not be more different, yet they were exactly what we’re looking for. The stories resonate with an international audience. They live outside of Canada, and are stories that everyone around the world relates to. We came in for both at the script stage, even before casting. We saw that immediate “of course” moment. We have sales and production offices across 27 territories, so we really are mindful of that global voice.

At what point in a show’s life cycle should someone reach out to Fremantle about becoming a distribution partner?

Earlier is always better, if you have a formulated idea or undeniable IP, because we provide that international viewpoint. We can help you across all the talent we have in our shop, provide guidance on how it makes sense for an international territory, or potential coproduction partners, or financing. All of those pieces are usually done quite early. We also look to acquire unscripted formats in the territory. We are a diversified place. It’s about having a place where creatives can call home and being that megaphone.

Do you have advice for Canadian producers looking to partner with you?

Do not pitch me the same version of a format I already have. What are the points that make it different? That will be the first thing on my mind. It’s really important that they do their homework, and we do ours to make sure it’s the right fit for the producers. It’s also really the most important time to be your most creative. And, by the way, creativity is not just in the content, but in the deal-making as well.

How so?

Not every deal is set up the same way. You have to be creative around dealing with budgets that have changed dramatically and look at what’s going on in the market. Where are funds coming from? Who are the partners you can work with? Before, you wouldn’t see distributors coming together for deals. Now, people are trying to de-risk. More than ever, there’s an opportunity to fundamentally look at a deal structure. Those who can do that in the most creative way will score a win for all involved partners. That’s going to be an interesting thing to watch.

This story originally appeared in Playback‘s Winter 2023 issue