Gary Pudney, General Manager, Asia, Keshet International

What are your top three priorities for distribution of Keshet content in Asia in 2020?

Firstly, the content - as without it, there is no #2 or #3! Then focusing the right content on the right region: so scripted in India and Japan, and non-scripted to Vietnam, Thailand, and Indonesia. Finally, developing more local content, primarily for the local markets but also for ‘over the Himalayas’ too.

In terms of titles, our new raft of star-studded dramas are really cutting through – Total Control, Secret Bridesmaids Business and The Stylist in particular.

Did the Asia market live up to expectations in terms of acquisitions in 2019?

This year our attention was more focussed on the distribution side of the business, in particular meeting high demand on the scripted side – our raft of star-studded dramas including Our Boys, Total Control, Secret Bridesmaids Business, The Trial of Christine Keeler, The Stylist are really cutting through. We are always happy to look at new content though.

What do you think will have the biggest influence on acquisition of your content in Asia in 2020?

Firstly, the story and its geographic appeal is the starting point. Universal themes are key here – take Bandi Yuddh Ke (Prisoners of War India), which ran to two series and 110 episodes on Star TV, as an example of how well Israeli IP can travel. Other considerations are how it will be digested by viewers - traditional TV or digital – and then also the budget.