Endemol Shine International managed to maintain their formats in the air reinventing them based on four pillars: they developed original contents apt for the crisis; they adjusted the formats in a broadcast to production limitations; they searched in their catalog for formats adaptable to the moment, and they created original products based on classic formats. Bolivia, for example, created an entirely original Yo Me Llamo
combining previous seasons and archive material.
The company's´ more than 150 production companies around the world had formats in different production stages when the pandemic erupted. The solutions found in one country were applied to the same format in other territories and even in different formats.
Michelle Wasserman, SVP Format Licensing and Content Development at Endemol Shine International, highlighted that it was key to work side by side with clients. "Local creative teams worked together with Endemol´s creative team to find solutions. I applaud them. It was like benchmarking," she assured.
She also highlighted that joint work has increased during the pandemic. "Usually, when an executive is interested in a program, before confirming it, he goes out to look for advertisers to be able to produce it. Today, I am my clients´ partner in pitchings. I join an upfront, where I had never been, and tell clients to hear straight from content creators´ mouths how to integrate their brands to the show.
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