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  Rights Trader Jan Mojto in Interview: Golden Times for German TV Series – Media | Bit Updates
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Rights Trader Jan Mojto in Interview: Golden Times for German TV Series – Media

Sunday, November 12th, 2017 | bitcoin updates

Mr. Mojto, Beta Film has already been able to sell the series "Babylon Berlin" in more than 60 countries. What are essential buying arguments? Which surprising countries are among the buyers Arguments are the narrative and the production quality: storytelling, budget and the visual level. Of course, the Berlin at the end of the 20s is a very important factor. For example, the Scandinavians have already recognized this from the screenplays, the three directors and the actors. That's why I was not surprised, but proud that Netflix bought "Babylon Berlin" for evaluation in North America, even though the series was shot in German rather than English. Is German television better than ever? German thriller series, German fiction have always sold relatively well in continental Europe. We were able to license "The Dead of Lake Constance" by Sam Davis in 60 countries, as well as "The Traces of Evil" with Heino Ferch. What is new is that more and more fictional productions from Germany meet the highest international standard. Playing with German productions in the "Champions League" of high-end drama has always been my dream. With producers like Nico Hofmann, we've been working for over two decades on how the productions show "Our Mothers, Our Fathers," or "The Same Sky." But also include projects like "Contergan" by Michael Souvignier or "Terror" by Oliver Berben. With "Babylon Berlin" by X Filme we have come even closer to this goal. Has demand changed dramatically over the years and decades? In the past "Derrick" or "The Black Forest Clinic" were considered bestsellers. Customers do not buy German fiction primarily because it's German, but because they think it's going to interest their audience. Decisive are the mode of production, narrative attitude and the topic. On the other hand, viewers abroad are also interested in the specific German – meaning the past hundred years in Germany: the great variety of unique topics and the way they are processed and processed. Does fiction only work well in the international market or are shows also marketable?

 As far as shows and show formats are concerned, Germany is more an import country than an exporter. Here is adapted. On the positive side, there is terrain to win. Does the phenomenon exist that flops are in demand on German television abroad? "Germany 83" has indeed brought RTL disappointing quotas, but worked beyond the borders. The ZDF is counting on sales successes at "Zarah". Yes, and vice versa: Not everything that works abroad has to work in Germany. We are moving in an unpredictable market. Let's take a look at the cards: How does the license business work? Very complex. Model A offers a finished film to potential foreign customers. Model B works as described in "Babylon Berlin" in Scandinavia. We talk to the broadcasters at an early stage, often at the concept stage or during production preparation, and say: "Something special is created. If you are interested, then decide as soon as possible. "So one day it's about selling a finished product, the other is about selling an idea, a promise. This promise must then redeem the product, otherwise it will not work next time. Beta Film stands and has to stand for quality and credibility: The goods that come from us are something special. And does the special product already come from Germany? In today's international programming market, average but good programs are not in short supply. The great need exists for high-end products. Since Germany had pent-up demand. All the more remarkable is that the production partners at "Babylon Berlin", ARD Degeto and Sky, went straight to risk with 16 episodes. German television is ready to go new ways. Mention also: Beta Film has no shopkeepers and Jan Mojto lives in golden times.

 Yes, we live in the golden times of the big TV fiction. But the predictable success, that does not exist. Beta Film as a co-producer tries to contribute to the development of programs from national resources that work in their home country. This applies to Germany as well as to Spain, Italy, the Czech Republic or Scandinavia. For special topics, we try to improve production quality with additional pre-financing so that the films can also be used elsewhere. And most importantly, happiness. We have a few storekeepers, but we do not talk about that. What makes a production internationally attractive? Quality and also determines the courageous handling of a topic. Think of the NSU trilogy by Gabriela Sperl. People are reacting to the fact that the German public-service system makes films that deal with the functioning and better non-functioning of certain state organs. It shows foreign countries how mature German democracy is. Also such points play an important role in the decision – I look at a program or not – an important role. Does more have to be promoted? A country like Germany, which willy-nilly and politically and economically plays a certain role in Europe and the world, a country that lives off exports, must have a vital interest in having its image differentiated and disseminated in the world. The most successful way to convey messages is through fiction programs. The French have recognized this long ago, the Italians too, Germany has neglected that. It's not about product placement, that's where a Porsche is shown somewhere, it's about showing the German reality. More promotion can help with this eminently important task. The interview was conducted by Joachim Huber. Jan Mojto works as a film producer and rights dealer. Core of its group is Beta Film, with over 15,000 hours of programming one of the largest international distribution companies.


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