Distribution : The Global Content Revolution: Why International Co-Productions Are Thriving by Geoffroy Faugerolas

A few days ago, I had an illuminating conversation with the president of one of the largest studios in the world - a European studio. While American executives often project pessimism about the industry's future, I was struck by the refreshing optimism from my European counterpart about the expanding global marketplace.

International content has quietly become the dominant force in global production over the past decade. Unlike the United States, which operates largely in isolation with no formal co-production treaties, European countries, Commonwealth nations, and others have developed sophisticated frameworks that make international collaboration not just possible, but financially advantageous.

These co-production structures create remarkable financial efficiencies. Imagine shooting principal photography in Ireland, completing additional scenes in Canada, and finalizing post-production in England: each phase qualifying for specific tax incentives and rebates in its respective territory. This approach can reduce production costs by 30-40% while simultaneously opening access to multiple distribution markets.

What particularly intrigued me was the studio president's enthusiasm about two key trends. First, format adaptations (high-concept series reimagined for different cultural contexts) have proven to be incredibly valuable IP, allowing successful concepts to be monetized across diverse markets. Second, audience acceptance of dubbed and subtitled content has grown exponentially, removing what was once a significant barrier to international distribution.

Netflix's success with non-English content like "Squid Game," "Money Heist," and "Dark" demonstrated that compelling storytelling transcends language barriers. This shift has fundamentally altered how studios approach development, focusing more on universal themes and exportable concepts rather than culturally specific references.

For writers and creators, this global ecosystem presents exciting opportunities. Projects with universal themes, distinctive visual elements, and flexible settings that could work across multiple cultures now have expanded pathways to production. Stories that might struggle to find funding in a single-market approach could thrive in a co-production framework.

So I'm curious: Do you have projects in your portfolio that could flourish in this global ecosystem? Have you considered how your stories might translate to international audiences? The barriers between markets are falling, and the creative possibilities are expanding. The most successful writers of tomorrow may be those thinking beyond their home markets today.