Fremantle kicked off its presence at the Venice Film Festival with a bang this year with the announcement of its new €150M ($162.7M) Scripted Fund forged in partnership with Israel-based Ibi Investment House.
The fund is reserved exclusively for select projects being developed by Fremantle’s stable of scripted drama companies, which include UK’s Dancing Ledge and Element Pictures, Italy’s The Apartment, Wildside and Lux Vide, as well as The Immigrant, specialized in Latin America and Spanish content.
First projects backed by the fund include previously announced feature Maria, the high-profile Maria Callas biopic, starring Angelina Jolie and directed by Pablo Larraín, who is at Venice this year with Augusto Pinochet dark comedy/horror El Conde.
Two newly unveiled series will also benefit: the four-part thriller Generation Loss, written by Bridgerton’s Sarah Dollard, and six-part revenge thriller Shelter, to which Jeremy Webb is attached to direct.
Fremantle is not involved in Larrain’s Netflix-backed El Conde but is present instead with five other Golden Lion contenders, including Yorgos Lanthimos’ buzzed about Poor Things, Stefano Sollima’s well-reviewed Adagio, Sofia Coppola’s Priscilla, Salvatore Costanzo’s 1950s Cinecittà drama Finally Dawn, and Pietro Castellitto’s Enea
In a sign of a growing presence in the film world, the company is basing itself out of a vast beachfront villa just down the road from the festival’s main hub for the first time this year.
Deadline sat down with top Fremantle execs, Group COO and CEO Continental Europe Andrea Scrosati and CEO Global Drama Christian Vesper, in the peace of its lawned garden to discuss the genesis and implications of the new scripted fund.
Deadline: How did Fremantle connect with Ibi Investment House?
Scrosati: It came to us through our CEO in Israel Guy Hameiri, who is also going to be the CEO of the fund. He runs our company there [Abot Hameiri), which we initially invested in and then bought out two years ago.
He came to me around like nine months ago, saying that the leadership in Ibi was interested in finding a way to invest in scripted content. Together, we developed this model that I think is pretty new.
Deadline: What do you mean by new? There are other funds in existence investing in scripted content.
Andrea Scrosati: I think the interesting component here is that it’s a financial institution partnering with a content production company. The projects can only come from Fremantle. So that’s the intriguing component, for us. Then, this fund will fully finance those projects, which is also rare, especially for TV. To have a self-funded studio kind of model on drama is slightly rare. And then Fremantle will go out and sell.
Deadline: What encouraged you to go down this route?
Scrosati: It’s coherent with our strategic positioning. Talent has a lot of opportunity choices… but to super simplify, there are two key potential choices. One, talent signs a deal with a big direct-to-consumer operation. It’s an absolutely a fine choice. But obviously, what happens is that the talent then has to deliver results that are coherent with the platform that needs to sell the subscriptions.
Our approach to talent is different. We say, ‘We’re going to focus on your project, we’re going to support your project, we’re going to potentially finance or risk on your project, and then we’re going to find the right home for your project, because not every project is okay for every place.’ This new device helps us with this strategic positioning.
There is a tactical component because of where the market is today. Big traditional buyers didn’t stop buying but are for sure on a slower kind of pace. We strongly believe that good content has a future. I’m very positive about where the market is going to be in three or four years from today. In every market there’s growth, and then an adjustment.
The problem with where the market is today is that there are great opportunities, sometimes that involve great talent, but they have a time component and you risk not doing those projects if you’re waiting for the green light from Apple, Disney, Netflix, or Amazon.
Deadline: If the commissioning contraction hadn’t happened would you still have gone down this route?
Scrosati: Yes, for the strategic reason I mentioned.
Christian Vesper: Not Maria, because Maria is a film and starts very soon. And that was a different calculation. But for the two TV shows that we discuss in the [press] release, part of the consideration there was we believe in the projects. We know there’s a market for them but the talent attached has a discrete window, and so much of our business model has been based on how we bring in talent. How do we service our talent? Our job is to help them get their shows made and on the air. And this gives us one more powerful tool for doing that.
Deadline: Will the new fund change the way you deal with the broadcasters and streamers ?
Scrosati: The buyers are our partners. These shows will go to a client or a streamer. The fund is simply a way to accelerate the production time schedule. The buyer will be able to access a product when it is actually already in production or is already produced.
Vesper: One of our best clients in the UK is struggling now with some of their bigger shows. Even if they’ve greenlit them, they can’t find the financing for the rest of the budget. This is partly to step into that void. The networks, the linears and the public broadcasters, they’re struggling to fulfill all their programming needs with the resources they have and this provides yet one more avenue to do that.
Deadline: Can the fund be accessed by all the companies producing scripted content under the Fremantle umbrella?
Scrosati: Yes, as you can see with the first three projects. One of them is taking place in Israel, one in in UK, and one is a Chilean-Italian co-production, shot in Hungary. It’s going to be fantastically global.
Deadline: You have set yourselves the target of a €3B turnover by 2025. Do you think that’s realistic? And why have you set yourself this goal?
Scrosati: The goal was set by our shareholders… I’ve worked for a few different shareholders over the course of my career. The thing I’ve found incredibly strong is that Bertelsmann and Rtl have set a goal but have also given us all the support and instruments to reach that goal. It is a very ambitious goal because obviously the company was doing a very different number three years ago, but again they have given us all the support.
One thing, which is really important to say, is that the growth we have done in the last few years has been a been a mix of M&a and organic growth. This growth is not simply because we are acquiring companies, but rather because we are diversifying and creating a business portfolio. An example of this, is that five years ago, we were delivering two movies a year, and last year, we delivered 17, and with the exception of Element, which is an acquisition, all these movies come from companies that were already part of Fremantle.
Vesper: When I joined the company, Wildside was already a crucial part of the company, and I’ve been here six years now and the growth there is all organic and extraordinary.
Scrosati: The M&a we’ve done is all part of strategic plans. It’s been about acquiring companies that were best in class in a sector where we were not present. Element is a fantastic example of that. We did not have an English language, movie production company. Or, best in class in potentially growing regions where we were not present. We invested in Latin American company The Immigrant a few years ago when it was a start-up. It now has three productions on the go and its first movie Adolfo won the Generation 14 Plus prize in Berlin.
Vesper: One of our companies in England, Dancing Ledge, is hitting it out of the park in terms of the number of series they have on BBC and all the platforms. Like The Immigrant, we invested in them when they had done nothing. It’s not like we’re buying revenue. A lot of the M&a is investment in the future.
Deadline: Do you plan to keep up the pace of scripted company acquisitions of the last three years, or is that calming down?
Scrosati: In line with what we were just saying, If there is something that is coherent with our growth, in areas where we’re still not present, or there is a company or creative team that we really think has potential, we will still invest. The other component is the cultural element. We are a big company but we’re very lean. The scripted management team is basically in front of you. The only way it can work is if we see can see an element where it will work intellectually and culturally.
Deadline: Do you have further growth plans for scripted in the U.S.?
Scrosati: It’s our first territory. The company’s core business is still the entertainment and unscripted business and the U.S. is a massive territory for us for that. In addition, Dante di Loreto is leading the scripted team and has a lot going on.
Vesper: We have a show, Fellow Travellers, coming out on Paramount+ at the end of September. It’s a big mini-series with Matt Bomer, Jonathan Bailey and Allison Williams, that was developed with Showtime and that we produced for them. Six-part, gorgeous, about the gay panic in the CIA in the 50s. We also produced two seasons of Mosquito Coast for Apple.
We have a number of big shows that we’re about to announce. What’s interesting is that we have a couple of projects that the U.S. have set up to shoot here (Europe), and vice versa. We’re trying to make sure that our European producers have the resources in the U.S., and the other way round. We’re constantly strategizing about this, it’s important for us to continue to build that business in the U.S..
The fund is reserved exclusively for select projects being developed by Fremantle’s stable of scripted drama companies, which include UK’s Dancing Ledge and Element Pictures, Italy’s The Apartment, Wildside and Lux Vide, as well as The Immigrant, specialized in Latin America and Spanish content.
First projects backed by the fund include previously announced feature Maria, the high-profile Maria Callas biopic, starring Angelina Jolie and directed by Pablo Larraín, who is at Venice this year with Augusto Pinochet dark comedy/horror El Conde.
Two newly unveiled series will also benefit: the four-part thriller Generation Loss, written by Bridgerton’s Sarah Dollard, and six-part revenge thriller Shelter, to which Jeremy Webb is attached to direct.
Fremantle is not involved in Larrain’s Netflix-backed El Conde but is present instead with five other Golden Lion contenders, including Yorgos Lanthimos’ buzzed about Poor Things, Stefano Sollima’s well-reviewed Adagio, Sofia Coppola’s Priscilla, Salvatore Costanzo’s 1950s Cinecittà drama Finally Dawn, and Pietro Castellitto’s Enea
In a sign of a growing presence in the film world, the company is basing itself out of a vast beachfront villa just down the road from the festival’s main hub for the first time this year.
Deadline sat down with top Fremantle execs, Group COO and CEO Continental Europe Andrea Scrosati and CEO Global Drama Christian Vesper, in the peace of its lawned garden to discuss the genesis and implications of the new scripted fund.
Deadline: How did Fremantle connect with Ibi Investment House?
Scrosati: It came to us through our CEO in Israel Guy Hameiri, who is also going to be the CEO of the fund. He runs our company there [Abot Hameiri), which we initially invested in and then bought out two years ago.
He came to me around like nine months ago, saying that the leadership in Ibi was interested in finding a way to invest in scripted content. Together, we developed this model that I think is pretty new.
Deadline: What do you mean by new? There are other funds in existence investing in scripted content.
Andrea Scrosati: I think the interesting component here is that it’s a financial institution partnering with a content production company. The projects can only come from Fremantle. So that’s the intriguing component, for us. Then, this fund will fully finance those projects, which is also rare, especially for TV. To have a self-funded studio kind of model on drama is slightly rare. And then Fremantle will go out and sell.
Deadline: What encouraged you to go down this route?
Scrosati: It’s coherent with our strategic positioning. Talent has a lot of opportunity choices… but to super simplify, there are two key potential choices. One, talent signs a deal with a big direct-to-consumer operation. It’s an absolutely a fine choice. But obviously, what happens is that the talent then has to deliver results that are coherent with the platform that needs to sell the subscriptions.
Our approach to talent is different. We say, ‘We’re going to focus on your project, we’re going to support your project, we’re going to potentially finance or risk on your project, and then we’re going to find the right home for your project, because not every project is okay for every place.’ This new device helps us with this strategic positioning.
There is a tactical component because of where the market is today. Big traditional buyers didn’t stop buying but are for sure on a slower kind of pace. We strongly believe that good content has a future. I’m very positive about where the market is going to be in three or four years from today. In every market there’s growth, and then an adjustment.
The problem with where the market is today is that there are great opportunities, sometimes that involve great talent, but they have a time component and you risk not doing those projects if you’re waiting for the green light from Apple, Disney, Netflix, or Amazon.
Deadline: If the commissioning contraction hadn’t happened would you still have gone down this route?
Scrosati: Yes, for the strategic reason I mentioned.
Christian Vesper: Not Maria, because Maria is a film and starts very soon. And that was a different calculation. But for the two TV shows that we discuss in the [press] release, part of the consideration there was we believe in the projects. We know there’s a market for them but the talent attached has a discrete window, and so much of our business model has been based on how we bring in talent. How do we service our talent? Our job is to help them get their shows made and on the air. And this gives us one more powerful tool for doing that.
Deadline: Will the new fund change the way you deal with the broadcasters and streamers ?
Scrosati: The buyers are our partners. These shows will go to a client or a streamer. The fund is simply a way to accelerate the production time schedule. The buyer will be able to access a product when it is actually already in production or is already produced.
Vesper: One of our best clients in the UK is struggling now with some of their bigger shows. Even if they’ve greenlit them, they can’t find the financing for the rest of the budget. This is partly to step into that void. The networks, the linears and the public broadcasters, they’re struggling to fulfill all their programming needs with the resources they have and this provides yet one more avenue to do that.
Deadline: Can the fund be accessed by all the companies producing scripted content under the Fremantle umbrella?
Scrosati: Yes, as you can see with the first three projects. One of them is taking place in Israel, one in in UK, and one is a Chilean-Italian co-production, shot in Hungary. It’s going to be fantastically global.
Deadline: You have set yourselves the target of a €3B turnover by 2025. Do you think that’s realistic? And why have you set yourself this goal?
Scrosati: The goal was set by our shareholders… I’ve worked for a few different shareholders over the course of my career. The thing I’ve found incredibly strong is that Bertelsmann and Rtl have set a goal but have also given us all the support and instruments to reach that goal. It is a very ambitious goal because obviously the company was doing a very different number three years ago, but again they have given us all the support.
One thing, which is really important to say, is that the growth we have done in the last few years has been a been a mix of M&a and organic growth. This growth is not simply because we are acquiring companies, but rather because we are diversifying and creating a business portfolio. An example of this, is that five years ago, we were delivering two movies a year, and last year, we delivered 17, and with the exception of Element, which is an acquisition, all these movies come from companies that were already part of Fremantle.
Vesper: When I joined the company, Wildside was already a crucial part of the company, and I’ve been here six years now and the growth there is all organic and extraordinary.
Scrosati: The M&a we’ve done is all part of strategic plans. It’s been about acquiring companies that were best in class in a sector where we were not present. Element is a fantastic example of that. We did not have an English language, movie production company. Or, best in class in potentially growing regions where we were not present. We invested in Latin American company The Immigrant a few years ago when it was a start-up. It now has three productions on the go and its first movie Adolfo won the Generation 14 Plus prize in Berlin.
Vesper: One of our companies in England, Dancing Ledge, is hitting it out of the park in terms of the number of series they have on BBC and all the platforms. Like The Immigrant, we invested in them when they had done nothing. It’s not like we’re buying revenue. A lot of the M&a is investment in the future.
Deadline: Do you plan to keep up the pace of scripted company acquisitions of the last three years, or is that calming down?
Scrosati: In line with what we were just saying, If there is something that is coherent with our growth, in areas where we’re still not present, or there is a company or creative team that we really think has potential, we will still invest. The other component is the cultural element. We are a big company but we’re very lean. The scripted management team is basically in front of you. The only way it can work is if we see can see an element where it will work intellectually and culturally.
Deadline: Do you have further growth plans for scripted in the U.S.?
Scrosati: It’s our first territory. The company’s core business is still the entertainment and unscripted business and the U.S. is a massive territory for us for that. In addition, Dante di Loreto is leading the scripted team and has a lot going on.
Vesper: We have a show, Fellow Travellers, coming out on Paramount+ at the end of September. It’s a big mini-series with Matt Bomer, Jonathan Bailey and Allison Williams, that was developed with Showtime and that we produced for them. Six-part, gorgeous, about the gay panic in the CIA in the 50s. We also produced two seasons of Mosquito Coast for Apple.
We have a number of big shows that we’re about to announce. What’s interesting is that we have a couple of projects that the U.S. have set up to shoot here (Europe), and vice versa. We’re trying to make sure that our European producers have the resources in the U.S., and the other way round. We’re constantly strategizing about this, it’s important for us to continue to build that business in the U.S..
- 9/4/2023
- by Melanie Goodfellow
- Deadline Film + TV
Global production and distribution powerhouse Fremantle has revealed a strategic alliance at the Venice Film Festival with Israeli-based Ibi Investment House, which involves the launch of a 150 million euro ($163 million) fund to bankroll a portfolio of premium scripted TV and film projects.
Under the deal, which will last four years, Fremantle will bring a diverse range of projects from its network of studio companies to the Ibi fund, fast-tracking the production of each title. The partners say the projects will also benefit from the creative oversight of Fremantle’s global drama team, led by its CEO Christian Vesper, who will work with the fund throughout the lifecycle of each production. All TV projects approved through the fund will be distributed by Fremantle International.
“At Fremantle, we are always focused on innovation and this alliance with Ibi is a perfect example of this ethos and approach,” said Fremantle Group CEO Jennifer Mullin.
Under the deal, which will last four years, Fremantle will bring a diverse range of projects from its network of studio companies to the Ibi fund, fast-tracking the production of each title. The partners say the projects will also benefit from the creative oversight of Fremantle’s global drama team, led by its CEO Christian Vesper, who will work with the fund throughout the lifecycle of each production. All TV projects approved through the fund will be distributed by Fremantle International.
“At Fremantle, we are always focused on innovation and this alliance with Ibi is a perfect example of this ethos and approach,” said Fremantle Group CEO Jennifer Mullin.
- 9/1/2023
- by Patrick Brzeski
- The Hollywood Reporter - Movie News
One of first projects put forward for funding is a biopic of Maria Callas starring Angelina Jolie
Producer and distributor Fremantle has formed a strategic alliance with Israeli based Ibi Investment House, which is launching a new €150m fund to finance a portfolio of scripted television and film projects
Under an initial four-year deal, Fremantle will bring projects from its network of production companies to the Ibi fund. They include previously announced feature film Maria, a biopic of Maria Callas starring Angelina Jolie to be directed by Pablo Larrain.
The Ibi Fund will work with Fremantle and its labels, producers...
Producer and distributor Fremantle has formed a strategic alliance with Israeli based Ibi Investment House, which is launching a new €150m fund to finance a portfolio of scripted television and film projects
Under an initial four-year deal, Fremantle will bring projects from its network of production companies to the Ibi fund. They include previously announced feature film Maria, a biopic of Maria Callas starring Angelina Jolie to be directed by Pablo Larrain.
The Ibi Fund will work with Fremantle and its labels, producers...
- 8/31/2023
- by Tim Dams
- ScreenDaily
Pablo Larraín’s Maria Callas biopic starring Angelina Jolie, a mystery thriller penned by Bridgerton’s Sarah Dollard and a revenge drama created by Jim Keeble and Dudi Appleton are the first projects to emerge from Fremantle and Ibi Investment House’s €150M ($162.7M) Scripted Fund.
Unveiled today, the fund will see Fremantle label’s high-end TV and film projects funded via a bespoke model by the Israeli investor, which will “fast-track the production of each project,” according to the pair. Ibi, which is making its first foray into international film and TV production, will work closely with Fremantle and talent to greenlight each project and find the best route to market.
As CEO of the fund, Fremantle-owned Abot Hameiri boss Guy Hameiri will oversee the pot. He spearheaded the deal with Fremantle Group COO and Continental Europe CEO Andrea Scrosati, who has been the driving force behind the super-indie’s much-publicized investment splurge.
Unveiled today, the fund will see Fremantle label’s high-end TV and film projects funded via a bespoke model by the Israeli investor, which will “fast-track the production of each project,” according to the pair. Ibi, which is making its first foray into international film and TV production, will work closely with Fremantle and talent to greenlight each project and find the best route to market.
As CEO of the fund, Fremantle-owned Abot Hameiri boss Guy Hameiri will oversee the pot. He spearheaded the deal with Fremantle Group COO and Continental Europe CEO Andrea Scrosati, who has been the driving force behind the super-indie’s much-publicized investment splurge.
- 8/31/2023
- by Max Goldbart
- Deadline Film + TV
Welcome to Global Breakouts, Deadline’s fortnightly strand in which we shine a spotlight on the TV shows and films killing it in their local territories. The industry is as globalized as it’s ever been, but breakout hits are appearing in pockets of the world all the time and it can be hard to keep track… So we’re going to do the hard work for you.
This week we feature East Side, an Israeli drama that puts family at the center of the action Sopranos style, in East Jerusalem’s politically-charged Old City. The show has been a critical success for public broadcaster Kan 11 and is also available locally on Netflix Israel through a deal struck in February. Marking a new direction for internationally-popular Israeli drama, it follows a father and fixer who brokers shady property deals between the Arab residents of East Jerusalem and powerful Jewish...
This week we feature East Side, an Israeli drama that puts family at the center of the action Sopranos style, in East Jerusalem’s politically-charged Old City. The show has been a critical success for public broadcaster Kan 11 and is also available locally on Netflix Israel through a deal struck in February. Marking a new direction for internationally-popular Israeli drama, it follows a father and fixer who brokers shady property deals between the Arab residents of East Jerusalem and powerful Jewish...
- 5/16/2023
- by Jesse Whittock
- Deadline Film + TV
Israeli company is behind documentaries including ‘Shadow Of Truth’ and Emmy-nominated ‘Buried’.
Global TV producer and distributor Fremantle has acquired a majority stake in Israeli company Silvio Productions as its worldwide acquisition spree continues.
The producer (formerly known as Egg Films) was founded by award-winning director-writer-producers Yotam Guendelman and Mika Timor, and is behind high-profile documentaries Shadow of Truth, Coastal Road Killer, After Midnight, The Baby Daddy and Emmy-nominated Buried.
Fremantle’s acquisition was led by its European chief Andrea Scrosati and Guy Hameiri, co-founder of its existing Israeli label Abot Hameiri, producer of Netflix’s Shtisel.
Guendelman and Timor...
Global TV producer and distributor Fremantle has acquired a majority stake in Israeli company Silvio Productions as its worldwide acquisition spree continues.
The producer (formerly known as Egg Films) was founded by award-winning director-writer-producers Yotam Guendelman and Mika Timor, and is behind high-profile documentaries Shadow of Truth, Coastal Road Killer, After Midnight, The Baby Daddy and Emmy-nominated Buried.
Fremantle’s acquisition was led by its European chief Andrea Scrosati and Guy Hameiri, co-founder of its existing Israeli label Abot Hameiri, producer of Netflix’s Shtisel.
Guendelman and Timor...
- 11/22/2022
- by John Elmes Broadcast
- ScreenDaily
Fremantle has acquired a majority stake in Silvio Productions, the Israeli production outfit behind hit documentary series such as “Shadow of Truth” and Showtime’s “Buried” which earned an Emmy nomination.
Silvio Productions, previously known as Egg Films, was founded by the award-winning Israeli filmmakers Yotam Guendelman and Mika Timor.
The acquisition of Silvio Productions underscores Fremantle’s commitment to grow its presence in the premium documentary landscape and invest in talent-driven production companies.
The deal was spearheaded by Andrea Scrosati, group COO and continental Europe CEO of Fremantle, and Guy Hameiri, co-founder of Abot Hameiri, the Fremantle-owned Israeli banner behind Netflix’s hit drama series “Shtisel,” and local adaptations of “Got Talent,” “Survivor” and “The X Factor.”
Under the deal, Hameiri be tapped chairman of Silvio Productions, with Guendelman and Timor reporting into him. Guendelman and Timor will collaborate and work closely with Abot Hameiri.
Silvio Production’s “Shadow...
Silvio Productions, previously known as Egg Films, was founded by the award-winning Israeli filmmakers Yotam Guendelman and Mika Timor.
The acquisition of Silvio Productions underscores Fremantle’s commitment to grow its presence in the premium documentary landscape and invest in talent-driven production companies.
The deal was spearheaded by Andrea Scrosati, group COO and continental Europe CEO of Fremantle, and Guy Hameiri, co-founder of Abot Hameiri, the Fremantle-owned Israeli banner behind Netflix’s hit drama series “Shtisel,” and local adaptations of “Got Talent,” “Survivor” and “The X Factor.”
Under the deal, Hameiri be tapped chairman of Silvio Productions, with Guendelman and Timor reporting into him. Guendelman and Timor will collaborate and work closely with Abot Hameiri.
Silvio Production’s “Shadow...
- 11/22/2022
- by Elsa Keslassy
- Variety Film + TV
Fremantle has acquired a majority stake in Israeli producer Silvio Productions and Fremantle-owned Shtisel indie Abot Hameiri’s Guy Hameiri will become Chair.
Alongside Fremantle Group COO/Continental Europe CEO Andrea Scrosati, Hameiri spearheaded the deal and Silvio Founders Yotam Guendelman and Mika Timor will report to him, with both indies working closely together.
The move is the latest in a flurry of Fremantle M&a activity and is the Rtl-owned super-indie’s second in Israel, following the 2016 Abot Hameiri deal, which was extended to a 100 stake in 2021.
Silvio is best known for Hot8 true crime doc series Shadow of Truth, which was picked up by Netflix globally and examines the mysterious murder case of an Israeli girl found murdered in her high school toilets, along with Showtime’s Emmy-nominated Buried. A new season of Shadow of Truth is in production alongside Kan’s 1948 and Yes Docu’s Dunam and a Half.
Alongside Fremantle Group COO/Continental Europe CEO Andrea Scrosati, Hameiri spearheaded the deal and Silvio Founders Yotam Guendelman and Mika Timor will report to him, with both indies working closely together.
The move is the latest in a flurry of Fremantle M&a activity and is the Rtl-owned super-indie’s second in Israel, following the 2016 Abot Hameiri deal, which was extended to a 100 stake in 2021.
Silvio is best known for Hot8 true crime doc series Shadow of Truth, which was picked up by Netflix globally and examines the mysterious murder case of an Israeli girl found murdered in her high school toilets, along with Showtime’s Emmy-nominated Buried. A new season of Shadow of Truth is in production alongside Kan’s 1948 and Yes Docu’s Dunam and a Half.
- 11/22/2022
- by Max Goldbart
- Deadline Film + TV
Click here to read the full article.
Production giant Fremantle has acquired a majority stake in Silvio Productions, the Israeli production company behind documentary series Shadow of Truth, Coastal Road Killer, After Midnight, The Baby Daddy and Buried.
Financial terms weren’t disclosed. Fremantle is part of media giant Bertelsmann’s Rtl Group.
Silvio, formerly known as Egg Films, was recently nominated for two honors at this year’s News and Documentary Emmy Awards. It was founded by award-winning Israeli-based director-writer-producers Yotam Guendelman and Mika Timor.
“The acquisition of Silvio Productions further underlines Fremantle’s commitment and ambition to grow its global documentaries proposition, investing in and helping develop premium production companies working with the world’s most exceptional creative talent,” the company said.
The deal was spearheaded by Andrea Scrosati, Fremantle’s group COO and CEO of continental Europe, and Guy Hameiri, co-founder of Abot Hameiri, the Fremantle-owned Israeli...
Production giant Fremantle has acquired a majority stake in Silvio Productions, the Israeli production company behind documentary series Shadow of Truth, Coastal Road Killer, After Midnight, The Baby Daddy and Buried.
Financial terms weren’t disclosed. Fremantle is part of media giant Bertelsmann’s Rtl Group.
Silvio, formerly known as Egg Films, was recently nominated for two honors at this year’s News and Documentary Emmy Awards. It was founded by award-winning Israeli-based director-writer-producers Yotam Guendelman and Mika Timor.
“The acquisition of Silvio Productions further underlines Fremantle’s commitment and ambition to grow its global documentaries proposition, investing in and helping develop premium production companies working with the world’s most exceptional creative talent,” the company said.
The deal was spearheaded by Andrea Scrosati, Fremantle’s group COO and CEO of continental Europe, and Guy Hameiri, co-founder of Abot Hameiri, the Fremantle-owned Israeli...
- 11/22/2022
- by Georg Szalai
- The Hollywood Reporter - Movie News
Fremantle has acquired international distribution rights to “East Side,” the latest series from “Shtisel” producer Abot Hameiri, starring Yehuda Levi, a Series Mania 2022 best actor winner for “Fire Dance.”
Taking 100 ownership of Abot Hameiri last year, Fremantle, which also co-financed the series, will bring “East Side” onto the market at this next week’s Mipcom trade fair and conference in Cannes.
To debut on Israel’s Kan 11 channel, “East Side” turns on Momi, a former Israeli secret service agent hired to take over a Palestinian neighbourhood, one home at a time. He attempts one last sale in order to set up for life his 18-year-old daughter Maya who is on the autism spectrum. The challenge is to wrestle ownership of a grand hotel which dominates entrance to Jerusalem’s Old City. Whoever controls the entrance controls the City, Momi is told. But the owner, the new Greek Orthodox Patriarch of Jerusalem,...
Taking 100 ownership of Abot Hameiri last year, Fremantle, which also co-financed the series, will bring “East Side” onto the market at this next week’s Mipcom trade fair and conference in Cannes.
To debut on Israel’s Kan 11 channel, “East Side” turns on Momi, a former Israeli secret service agent hired to take over a Palestinian neighbourhood, one home at a time. He attempts one last sale in order to set up for life his 18-year-old daughter Maya who is on the autism spectrum. The challenge is to wrestle ownership of a grand hotel which dominates entrance to Jerusalem’s Old City. Whoever controls the entrance controls the City, Momi is told. But the owner, the new Greek Orthodox Patriarch of Jerusalem,...
- 10/16/2022
- by John Hopewell
- Variety Film + TV
“The Bourne Identity” helmer Doug Liman is attached to direct the adaptation of a chapter from acclaimed nonfiction book “Rise And Kill First.”
It details how Israel’s Mossad reached out in desperation to former Nazi Waffen SS lieutenant colonel Otto Skorzeny, a favourite of Hitler’s -branded by British intelligence services as “the most dangerous man in Europe,” to thwart an existential threat to Israel’s existence.
The stranger-than-fiction true story is set up at New York’s Story Syndicate, headed by Academy Award- and Emmy Award-winning Dan Cogan and Liz Garbus, and at Israel’s Abot Hameiri, producer of “Shtisel,” “The Attaché” and “Power Couple.” A Fremantle company, its co-founder, Guy Hameiri, assembled the world-class direction-production team.
A Cannes Festival alum with 2010’s Palme d’Or contender “Fair Game,” Liman will also oversee development of the limited series. David Bartis also produces through Hypnotic.
The story unspools against...
It details how Israel’s Mossad reached out in desperation to former Nazi Waffen SS lieutenant colonel Otto Skorzeny, a favourite of Hitler’s -branded by British intelligence services as “the most dangerous man in Europe,” to thwart an existential threat to Israel’s existence.
The stranger-than-fiction true story is set up at New York’s Story Syndicate, headed by Academy Award- and Emmy Award-winning Dan Cogan and Liz Garbus, and at Israel’s Abot Hameiri, producer of “Shtisel,” “The Attaché” and “Power Couple.” A Fremantle company, its co-founder, Guy Hameiri, assembled the world-class direction-production team.
A Cannes Festival alum with 2010’s Palme d’Or contender “Fair Game,” Liman will also oversee development of the limited series. David Bartis also produces through Hypnotic.
The story unspools against...
- 5/19/2022
- by John Hopewell
- Variety Film + TV
Fremantle has taken full control of Israeli producer Abot Hameiri, which makes the local versions of Got Talent and Survivor, as well as the Netflix drama series Shtisel.
Fremantle acquired 51% of Tel Aviv-based Abot Hameiri in 2016 and is now taking ownership of the remaining 49% of the company, which was founded in 2006 by Eitan Abot and Guy Hameiri.
Abot Hameiri’s original formats include Power Couple and Find Me Somebody To Love, while it also boasts scripted series The Attaché, which premiered on Starzplay in Europe and Acorn TV in the U.S.
Scripted developments include Bibi, a high-end TV series on the life of the Israeli Prime Minister Benjamin Netanyahu, written by Kirk Ellis; and, Prisoner X, a drama series based on the extraordinary true story of Mossad recruit Ben Zygier.
Hameiri said: “By marrying our flourishing multi-genre development slate with the expertise, experience and creative global network that Fremantle has to offer,...
Fremantle acquired 51% of Tel Aviv-based Abot Hameiri in 2016 and is now taking ownership of the remaining 49% of the company, which was founded in 2006 by Eitan Abot and Guy Hameiri.
Abot Hameiri’s original formats include Power Couple and Find Me Somebody To Love, while it also boasts scripted series The Attaché, which premiered on Starzplay in Europe and Acorn TV in the U.S.
Scripted developments include Bibi, a high-end TV series on the life of the Israeli Prime Minister Benjamin Netanyahu, written by Kirk Ellis; and, Prisoner X, a drama series based on the extraordinary true story of Mossad recruit Ben Zygier.
Hameiri said: “By marrying our flourishing multi-genre development slate with the expertise, experience and creative global network that Fremantle has to offer,...
- 4/12/2021
- by Jake Kanter
- Deadline Film + TV
Fremantle has upped its stake in Abot Hameiri, taking full control of the Israeli production company behind Netflix hit Shtisel and Israeli-French drama The Attaché.
Fremantle, the production powerhouse behind such reality show franchises as The X Factor and Got Talent, as well as drama series including American Gods and The Young Pope, on Monday increased its stake in Abot Hameiri to 100 percent. Fremantle previously controlled a 51 percent stake in the Tel Aviv-based company run by Eitan Abot and Guy Hameiri.
Outside of Israel, Abot Hameiri is best-known for its drama series, including the romantic comedy Shtisel, which is set in Israeli’s ultra-Orthodox community,...
Fremantle, the production powerhouse behind such reality show franchises as The X Factor and Got Talent, as well as drama series including American Gods and The Young Pope, on Monday increased its stake in Abot Hameiri to 100 percent. Fremantle previously controlled a 51 percent stake in the Tel Aviv-based company run by Eitan Abot and Guy Hameiri.
Outside of Israel, Abot Hameiri is best-known for its drama series, including the romantic comedy Shtisel, which is set in Israeli’s ultra-Orthodox community,...
- 4/12/2021
- The Hollywood Reporter - Film + TV
Fremantle has upped its stake in Abot Hameiri, taking full control of the Israeli production company behind Netflix hit Shtisel and Israeli-French drama The Attaché.
Fremantle, the production powerhouse behind such reality show franchises as The X Factor and Got Talent, as well as drama series including American Gods and The Young Pope, on Monday increased its stake in Abot Hameiri to 100 percent. Fremantle previously controlled a 51 percent stake in the Tel Aviv-based company run by Eitan Abot and Guy Hameiri.
Outside of Israel, Abot Hameiri is best-known for its drama series, including the romantic comedy Shtisel, which is set in Israeli’s ultra-Orthodox community,...
Fremantle, the production powerhouse behind such reality show franchises as The X Factor and Got Talent, as well as drama series including American Gods and The Young Pope, on Monday increased its stake in Abot Hameiri to 100 percent. Fremantle previously controlled a 51 percent stake in the Tel Aviv-based company run by Eitan Abot and Guy Hameiri.
Outside of Israel, Abot Hameiri is best-known for its drama series, including the romantic comedy Shtisel, which is set in Israeli’s ultra-Orthodox community,...
- 4/12/2021
- The Hollywood Reporter - Movie News
Fremantle has taken full ownership of Abot Hameiri, the Israeli production company behind international drama hit “Shtisel” and original formats “Power Couple” and “Hear Me, Love Me, See Me.”
Abot Hameiri is also the Israeli producer for global formats such as “Got Talent,” “Survivor” and “The X Factor.” The latter will return on Reshet 13 this summer with Simon Cowell as a judge – the first time “The X Factor’s” creator has served as a judge in a country outside of the U.S. and the U.K.
Fremantle is upping the 51% stake that it acquired in Abot Hameiri in 2016 to buy 100% of the Tel Aviv- based company, which was founded in 2006 and is headed by Eitan Abot and Guy Hameiri.
“It’s been a terrific five years together,” Hameiri told Variety. “Acquiring 100% is proof of Fremantle’s belief in the company, and that the company is far from reaching its potential.
Abot Hameiri is also the Israeli producer for global formats such as “Got Talent,” “Survivor” and “The X Factor.” The latter will return on Reshet 13 this summer with Simon Cowell as a judge – the first time “The X Factor’s” creator has served as a judge in a country outside of the U.S. and the U.K.
Fremantle is upping the 51% stake that it acquired in Abot Hameiri in 2016 to buy 100% of the Tel Aviv- based company, which was founded in 2006 and is headed by Eitan Abot and Guy Hameiri.
“It’s been a terrific five years together,” Hameiri told Variety. “Acquiring 100% is proof of Fremantle’s belief in the company, and that the company is far from reaching its potential.
- 4/12/2021
- by Tim Dams
- Variety Film + TV
Stephen Corvini has partnered with Fremantle Australia and Fremantle-owned Israeli production company Abot Hameiri to develop a passion project based on the story of Melbourne-born Mossad recruit Ben Zygier.
Titled Prisoner X, one of the placeholder names used for Zygier while imprisoned, the eight-part series will follow his journey from suburban Melbourne to the Israeli Defence Force, before joining Mossad.
Described as a character-driven drama, the series will follow Zygier’s dreams of heroism – dreams which tragically disintegrated when he was imprisoned and stripped of his identity. Zygier died in custody in Tel Aviv in 2010 under mysterious circumstances.
Corvini, the producer behind Safe Harbour, Hungry Ghosts and Secret City 2 – Under the Eagle, will EP the co-production under his Live Wires banner. He had previously been developing the project with Keshet International.
Giula Sandler is attached as lead writer, and former ABC Foreign Correspondent reporter Trevor Bormann, who broke the story of Zygier’s death,...
Titled Prisoner X, one of the placeholder names used for Zygier while imprisoned, the eight-part series will follow his journey from suburban Melbourne to the Israeli Defence Force, before joining Mossad.
Described as a character-driven drama, the series will follow Zygier’s dreams of heroism – dreams which tragically disintegrated when he was imprisoned and stripped of his identity. Zygier died in custody in Tel Aviv in 2010 under mysterious circumstances.
Corvini, the producer behind Safe Harbour, Hungry Ghosts and Secret City 2 – Under the Eagle, will EP the co-production under his Live Wires banner. He had previously been developing the project with Keshet International.
Giula Sandler is attached as lead writer, and former ABC Foreign Correspondent reporter Trevor Bormann, who broke the story of Zygier’s death,...
- 3/15/2021
- by Jackie Keast
- IF.com.au
U.S. screenwriter Kirk Ellis, best known for adapting David McCullough’s “John Adams” biography for HBO, has been tapped by Fremantle to write the screenplay for “Bibi,” its TV series about scandal haunted Israeli Prime Minister Benjamin Netanyahu.
The previously announced high-end series about the personal and political life of Netanyahu – who on Sunday went on trial in Jerusalem on corruption charges one week after managing to remain in office after a protracted political crisis – is being produced by Tel Aviv-based Abot Hameiri, a Fremantle company.
It is based on prominent Israeli journalist Ben Caspit’s “The Netanyahu Years,” a bestselling biography of politically canny and deeply divisive figure known at home as Bibi who is Israel’s longest-serving prime minister, in power since 2009.
“Ben Caspit’s insightful reporting demonstrates how private life always shapes public affairs, and there’s no shortage of conflict – or opinions – when it comes to Benjamin Netanyahu,...
The previously announced high-end series about the personal and political life of Netanyahu – who on Sunday went on trial in Jerusalem on corruption charges one week after managing to remain in office after a protracted political crisis – is being produced by Tel Aviv-based Abot Hameiri, a Fremantle company.
It is based on prominent Israeli journalist Ben Caspit’s “The Netanyahu Years,” a bestselling biography of politically canny and deeply divisive figure known at home as Bibi who is Israel’s longest-serving prime minister, in power since 2009.
“Ben Caspit’s insightful reporting demonstrates how private life always shapes public affairs, and there’s no shortage of conflict – or opinions – when it comes to Benjamin Netanyahu,...
- 5/28/2020
- by Nick Vivarelli
- Variety Film + TV
The personal and political life of Benjamin Netanyahu is being developed into a high-end TV series by Fremantle through its Israeli production company, Abot Hameiri.
Abot Hameiri has bought adaptation rights to prominent Israeli journalist Ben Caspit’s “The Netanyahu Years,” a bestselling biography of the politically canny but divisive and scandal-haunted figure known at home as Bibi. Netanyahu’s bid to continue his tenure as Israel’s longest-serving prime minister is currently in doubt.
The book sheds light on little-known aspects of Netanyahu’s life and focuses on how his personality has shaped Israel’s political and security establishment.
“It’s the biggest IP we can deliver out of Israel today to the world,” said Guy Hameiri, co-founder of Abot Hameiri. “Nobody has influenced our country in the past 20 years more than Benjamin Netanyahu.”
Hameiri described the series as “an epic political story with a very big philosophical and psychological undertone.
Abot Hameiri has bought adaptation rights to prominent Israeli journalist Ben Caspit’s “The Netanyahu Years,” a bestselling biography of the politically canny but divisive and scandal-haunted figure known at home as Bibi. Netanyahu’s bid to continue his tenure as Israel’s longest-serving prime minister is currently in doubt.
The book sheds light on little-known aspects of Netanyahu’s life and focuses on how his personality has shaped Israel’s political and security establishment.
“It’s the biggest IP we can deliver out of Israel today to the world,” said Guy Hameiri, co-founder of Abot Hameiri. “Nobody has influenced our country in the past 20 years more than Benjamin Netanyahu.”
Hameiri described the series as “an epic political story with a very big philosophical and psychological undertone.
- 10/30/2019
- by Nick Vivarelli
- Variety Film + TV
Growing its international footprint, FremantleMedia has taken a 51% stake in Israel’s Abot Hameiri. The production company specializes in entertainment formats, scripted reality and drama. Since being founded by Eitan Abot and Guy Hameiri in 2006, the outfit has produced local versions of The X Factor, Survivor and Amazing Race. Abot Hameiri also develops and produces its own formats, including Power Couple. Scripted programming has included Shtisel and A Good…...
- 1/21/2016
- Deadline TV
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