Pinto emphasised that Turkish dramas hold significant appeal in key markets, including Chile, Argentina, Ecuador, Honduras, and the US Hispanic market, making them crucial buyers in the industry.
Global Agency CEO Izzet Pinto has anticipated a surge in Turkish telenovela production costs, foreseeing an increase from the current average of $30,000 per episode to $50,000. Pinto discussed the evolving landscape of Turkish dramas, their global success, and changing industry dynamics during a conversation with the lead actor of One Love Bariş Kılıç at Content Americas.
Pinto, reflecting on the enduring popularity of Turkish dramas, noted the industry’s expansion over 15 years, spanning territories from Bulgaria to Latin America. Despite initial scepticism about their sustainability, Turkish dramas have thrived, with 2023 marking a particularly successful year for Global Agency.
Kılıç highlighted the evolution of Turkish productions, citing changes in episode duration, from 40 minutes to almost an hour and a half. He pondered the possibility of future episodes extending to three hours, emphasising the growth and improvement in Turkish storytelling.
The conversation delved into the challenges of Turkish programming sales in Latin America, with Pinto acknowledging fierce competition. Out of 70 annual dramas in Turkey, only about 15 are sold to Latin America. Pinto emphasised the importance of factors like story fit, talent recognition, and the reputation of producers in the market.
Latin America, including Chile, Argentina, Ecuador, and Honduras, alongside the US Hispanic market, emerges as pivotal buyers of Turkish dramas. Pinto attributed the sustained popularity in these regions to the family-oriented nature of dramas like One Love, devoid of explicit content.
Discussing budget dynamics, Pinto noted a steady increase from $100,000 to over $300,000 per episode. He predicted budgets would reach $500,000 soon. While acknowledging the substantial amount for Turkey, he emphasised the profit-sharing model contributing to industry stability.
Pinto detailed the shift in funding mechanisms, where Turkish productions previously recouped investments through local channels. With larger budgets, recovery now relies on international sales, presenting increased challenges and competitiveness.
Streaming platforms were a focal point, with Pinto suggesting an ideal series duration of two seasons with eight episodes each, lasting 45 minutes. He highlighted the advantage of longer episodes for sales but expressed the need for shorter durations to ease production challenges. Pinto’s insights underscored the changing landscape of Turkish dramas, navigating evolving viewer preferences and industry demands.
