London-based independent distributor DRG – part of MTG Studios - had a full slate of Nordic scripted and non-scripted content at MIPCOM, via NICE Entertainment Group and NRK. We spoke to the company’s SVP and Head of Acquisitions Noel Hedges (pictured) about Nordic Drama and its international appeal.

What has it meant for your company to have all NRK content-script and non-scripted programmes in its line up since May 2014?
Noel Hedges:
It’s a positive growing strategy for DRG to be working closely with broadcasters and the production companies within those broadcasters. Having NRK scripted content on top of non-scripted gives a whole new dimension to our collaboration and we’re really thrilled with it. 

It also comes at a good time as Scandi drama continues to thrive…
NH: It’s a great time to be working with Scandinavia. After Sweden and Denmark, Norway is the next Scandinavian country to break through and the guys at NRK are really focused on engaging people and getting the highest quality possible, not only on a writing perspective but also across the board.

Do you come up with MGs? How do you collaborate with NRK and other production partners?
NH:
Yes we do. The way we work with NRK is the same with any partner. We work organically. We listen to what they want to put into production and try to collaborate on the whole financing plan, when it comes to the pre-sales, co-production money etc. That goes hand in hand with the value of the project internationally and what we think we can bring to the table. We don’t just act as the MG deficit financiers and distributors. We really look at the international strength or weaknesses of the project, where we think there is pre-buy potential, what else is the cross over, basically we try to maximise the value of each project. 

You’re part of NICE group that has many strong drama production companies in Scandinavia such as Moskito. Strix Drama, Nice Drama, Monster Scripted and now Brain Academy. Do you take on board all their content or is it on a case by case basis?
NH:
We are the official representatives of all NICE group satellite companies and help them finance their programmes. So we have close relationships with all companies and work very organically with them. We may not want to take some programmes, but obviously there are commercial benefits of functioning within the group, so our strategy is all about making it happen. 

So how was MIPCOM for Scandinavian drama in your line-up, in particular NRK’s new shows?
NH: NRK’s Eyewitness [set to air on NRK1 on October 20] was one of our key titles at MIPCOM. We’ve had a really nice reception from people who are very interested in crime drama from Norway, especially with so many layers and cliff-hangers. We’ve also had great responses from a scripted format point of view so we’re licensing remake rights and negotiating with the US, the UK, France for instance.

As soon as you talk Scandi drama, the remake potential is very high and there is a lot of interest, but when you work with an international distributor, the key thing is to strategize what’s the priority…

You mean trying to push for the original programme first….
NH
: Yes. With Eyewitness we want to plant the original out there first. We don’t want to damage its value, so we try to evaluate what’s the best time to do a format deal. 

Are you in serious discussions with potential buyers of the original format then?
NH: It’s a little early but there are definitely some good signs. It’s gone down very well.

What about Struggle for Life (Kampen for tilværelsen currently airing on NRK)?
NH:
It’s obviously a bit different as it’s not crime. Most people buy crime and people who normally don’t buy foreign-language drama usually go for crime. So the people that do not buy crime tend to be public service broadcasters who are interested in depth and different storytelling. So we’ve presented Struggle for Life as a unique, meaningful, different drama, authored-piece, very well produced satirical drama. It’s a very engaging series, that doesn’t really fit into any genre per se. We know that once you start watching it, you become very engaged. It’s another good example of the variety of quality drama coming out from NRK.

What we do is keep producers well informed with good and bad feedback. When something is rejected you need to tell why. NRK is keen for their dramas to travel so we engage in constructive discussions with them.

Mammon has been one of your first strong NRK dramas that you’ve handled…
NH: Yes definitely. We’re still selling Season 1 and waiting for Season 2 to come. Plenty is happening with Mammon.

NRK’s situation comedy Side by Side (Side om side) was also among your new titles. How does this different genre work internationally?
NH:
It’s a lovely comedy, so silly, with relatable characters. It’s been interesting to look at the avenues for non-English language comedy, but in general comedy is a tough format, especially in foreign language. However as a scripted format it’s very appealing and we already have discussions going on in the US. We’ll do our best to maximise its potential. 

You’ve just closed a deal with CBS Studios in the US for the remake rights of the Finnish crime show Black Widows (Mustat Lesket). US producers/distributors seem even more aggressive these days with Nordic crime formats…
NH: Yes we’ve closed a very important deal with CBS Studios. Moskito has created a great concept and produced it well so it’s getting a lot of noise on the format side. US buyers are indeed very aggressive, but you have to be cautious. So many pilots are made but shows are never produced. You can licence remake rights to somebody and never hear back from them. So you need to seriously look at who you want to partner with and what you want to get out of it. Do you want to keep distribution, is it just a good press story, do you want to make money? It depends what your strategy is. 

As you’re handling drama from around the world, what trends are there on the market?
NH:
I’ve been pitched a lot of serialised crime dramas, 8 or10 part murder series. I think it is part of the Broadchurch effect. A lot of shows are in this genre. There is a big commercial potential but you still have to read them thoroughly. It’s all about the writing, cliff-hangers, what makes you come back every week.