When Netflix can spend $320 million on its latest feature, The Electric State, there is clearly still money flowing in the scripted film and TV industry.
But, according to Vitrina’s Production Pulse report for January 2025 there has been a 10% drop in global production rates compared to December 2024 and January 2024. That being said, drama is still the most-produced genre, followed by comedy and documentary, with English-language productions making up 49% of all projects. French and German productions are next in line.
Despite the big money being thrown at Netflix blockbusters, scripted producers are facing many problems with securing money and getting shows made.
There does, however, seem to some signs of positive change. In particular, it appears local broadcasters are beginning to step up. Nordic broadcasters, for example have had a tough few years, which has filtered down to the domestic producers. However, the Nordisk Film & TV Fond reports that networks like TV 2 Denmark and TV 2 Norway are recovering and starting to compete with global streamers. Meanwhile, the New8 alliance—made up of SVT, DR, YLE, RÚV, and NRK—plans to produce eight high-end series per year, with crime and thriller dramas set to lead the slate.
It’s a model pioneered by The Alliance of France Television, Rai, and ZDF. Who in partnership with A&E Networks have commissioned the globetrotting thriller from Submarine, The Kollective. Over the coming years expect more of these broadcasting partnerships to emerge.
For producers though, what can they do in the meantime as these broadcaster deals begin to crop up more frequently?
We’ve gone out and spoken to scripted experts from around the world to pick their brains on what producers can do to find the right partners, get funding, and ultimately get their shows made.
Finding the right co-production partner can be a total game-changer in the same way as the wrong one could wreck any chance of a series getting made. Having a co-producer, you can trust will help you to tap into international funding, break into new markets, or take advantage of tax incentives.
The above is all well and good, but as every contributor to this article said – it’s not just about the money. It’s about finding the right fit creatively, strategically, and logistically.
Finding “the one”
Not all co-production partners are created equal. Getting it wrong can lead to delays, creative clashes, or even funding disasters. So, what should you be looking for?
Been there done that
Julianne Forde CEO of Irish prodco Tailored Films puts it simply:
“It is very advantageous if they have experience in official international co-production and understand that at the end, we will all own the IP of the project according to the finance that each person brings.”
Fatima Salaria, EP Factual and Factual Drama at the UK based Dancing Ledge Productions agrees “Be Clear on Legal & Financial Terms – Make sure contracts outline who owns what, how revenue will be split, and who has creative control. These things can get messy fast if not addressed early.”
In other words, experience helps avoid headaches down the line.
Who do they know?
Establish early who are their solid connections with local broadcasters, streamers, and funding bodies.
Forde told us that “It is hugely helpful if the co-production partner you’re working with has a good track record in securing funding from their national and local funds and local broadcasters.”
If they’ve done it before, they can open doors you might struggle with alone.
For Larry Bass, Founder and CEO of ShinAwil, another of Ireland’s top production companies behind and Borderline, a copro with the UK’s Further South for Germany’s ZDF in association with Lionsgate, relationships with everyone become a lot easier when you “get your domestic commissioning network on board first. And do not leave things to last minute, give the project at least 6 months ahead of shooting to do final prep and SPV set ups.”
In short, be prepped, be connected, and keep making new contacts.
Creative compatibility
Do you see the story the same way? Will their audience vibe with your project? Canadian producer Sarah Kolasky suggests:
“Meet with them in person multiple times to make sure it’s the right fit, and trust your gut. If you’re from different cultures, discuss how you’ll work together so everyone feels heard and respected.”
We’ve all heard of bands breaking up due to “creative differences” Likewise, many a show has been derailed due to creative mismatches on even the best-funded projects.
Keep agile
Ben McGrath, Executive Producer, Head of Drama for the UK based Three River Fiction, the creators of BBC/Virgin TV crime drama Dead and Buried, coproduced in partnership with Ireland’s Vico, makes it clear:
“The industry is moving too quickly for producers to stand still and rely on old models. My advice is to commit to a strategy, find the points of difference and a USP, and be someone others want to work with.”
Trust and communication
For Yamamoto Hyoe of Japanese produco Vesuvius Pictures, it all comes down to trust:
“It all comes down to communication and personal relationships… Building momentum is key.”
Marc Lorber, an international programming consultant behind many of the most popular scripted series on our screens, including the recently announced high end drama Masquerade in partnership with Iceland’s Glassriver agrees:
“The key is to identify the organic elements for the co-production. Make sure you’re aligned from the get-go creatively, legally, financially, and in marketing.”
Fatima Salaria sums it up:
“Finding the right co-production partner isn’t just about funding. It’s about making sure you’re aligned creatively, strategically, and logistically. If you don’t have that, even the best deal can fall apart.”
Now onto the money side…
One of the biggest perks of international co-productions? More access to funding and tax incentives. But to really make the most of it, you need a game plan.
Know which country is right for your drama
Some places offer better tax breaks than others. Forde shares a clever trick she used while producing Louise Lives Large:
“In Ireland, we cannot get Irish tax credit on production insurance, but it’s possible through the Belgian tax credit, so we took out the insurance policy in Belgium, covering us for Ireland and Canada too.”
In addition, Forde spoke about how “in many co-productions, which we have done for feature film it is also common for each partner to organise their own cashflow facility and be responsible for cashflowing the finance that they raise.
At the start of the project, it is not always apparent what way to split the work up according to the finance that each producer raises.
It is necessary to discuss a lot and try different combinations and permutations to arrive at what works best. On our series Louise Lives Large it made sense to do a lot of the picture finishing in Canada as it was costly to bring crew from Canada and would have required visas, whereas crew from Belgium were EU so it was a lot more straightforward.”
Make sure you know the rules
Marc Lorber warns that funding isn’t just free money:
“Tax credits and funding bodies are a movable chessboard. You have to weigh where brings you better scenarios versus any creative changes you’ll need to make, and production changes to cast/crew/post-production.”
Whilst Andri Ómarsson, CEO of Glassriver Productions, suggests looking beyond the obvious:
“Don’t overlook smaller territories—especially those with strong local talent, streamlined incentives, and a global mindset.”
These are the sort of places that will go the extra mile. Have the agility to pivot when things inevitably change. And can help you stretch your budget as far as possible.
The last word from Fatima Salaria
“A successful co-production is about more than just financial incentives—it’s about finding the right creative and strategic fit. If you do your homework, set clear expectations, and choose partners who bring real value beyond just funding, you’ll have a much better shot at getting your show made—and making it a success.”
Now, go find that perfect partner and get your show on the road.
Xander Ross is a co-founder and PR Director at Percy & Warren, the specialist international film and TV Public Relations consultancy. The consultancy runs industry and consumer PR campaigns that span the full lifecycle of the IP – from book optioning to premiers. He is particularly proud of having clients in every continent (except Antarctica – although he and the team are working on that).
