AgTalk | We have robust growth plans for 2011: Turner's Mark Eyers

Mark Eyers, Chief Content officer, Turner Broadcasting System Asia Pacific Inc, has over the years been associated closely with the Television space. In an exclusive interview with Adgully, Eyers talks about his content plans for the group and the importance of the Indian market. Excerpts:

Adgully (AG): Can you share with us some of the key trends that you foresee in the Television content space in 2011?

Mark Eyers (ME): Television, like all other mediums today, is trying to adapt itself to the changing lifestyle of the Indian consumer, who wants specialized, stylized content that provides instant entertainment. Content, hence is moving from the "one size fits all' approach to being more niche, catering to the specialized needs of different individuals. This movement is evident in the rising number of niche channels in India. For channels like Cartoon Network and POGO it is important to be in and own spaces where kids are gravitating towards. Knowing your audience is not just about looking at what is happening to cable television. In our experience, television remains number one but we now have to explore how the second and third screens audiences are consuming and add them to the overall brand experience for an optimum 360 degree effect.

AG: How important a market is India in Turner Broadcasting System's scheme of things?

ME: India is one of Turner's fastest growing markets in the region and we continually explore opportunities to expand our offerings here through additional channels, local production and more. Turner's strategy is to create compelling content and build our brands across every possible platform, such as TV, online, merchandising and mobile, in a number of key markets. On the animation front, Cartoon Network in India has lifted animation to a family entertainment option. In fact, we have championed the cause of animation regionally.

To me, India is present on the global stage as much as anybody else. We have seen some great content emerging from India and that will only increase. The growing consumption of animation and the talent pool that has emerged from India makes it one of the most important markets for Turner. We will continue expanding into different genres and audiences, extending our reach across platforms and devices.

AG: What is the way forward for Cartoon Network and Pogo as the kid's entertainment genre gets competitive in India?

ME: The clear way forward for Cartoon Network and POGO is the continued investment in fantastic content across all platforms. We are about a 360 degree brand experience that is fresh, surprising and ultimately entertaining.

Our commitment to content creation doesn't just apply to India. Across Asia Pacific we are increasing our investment and have devised a three-pronged strategy that focuses on the local, regional, and international at the same time. From an all audience reach, Cartoon Network is the number one international channel hands down in Asia Pacific, across 23 markets.

We want Cartoon Network to be top of mind when someone thinks of developing a new animation concept. That's our commitment.

AG: What potential do you see in the Indian market?

ME: India has a great animation talent pool and is one of the most important markets for Turner in that respect. India has a rich tapestry that lends itself well to animation and we have seen great content emerge from here. Recently we've enjoyed much success with series such as Roll No 21, My Name Is Raj, Arjun & The Ice Lotus, Chhota Bheem, Kumbh Karan. Viewers of both POGO and Cartoon Network have responded well to these home-grown series.

A great aspect about India is that it is not just one homogenous market. It is like a melting pot of different cultures and traditions, with a common thread running across. This makes it a very potent and fascinating space to explore for any broadcaster.

AG: What growth plans have you charted for 2011?

ME: We have robust growth plans for 2011. You will see more TV movies from us this year that are a combination of home-grown stories and regional sensibilities. A case in point is Arjun and the Ice Lotus. When we take this content out of India, Arjun will be shown in English, in Mandarin, in Bahasa, in Malay and Thai. We are confident that the story we have created about Arjun and his brothers will work beyond borders and people will want to tune in. It is a beautiful example of our Desi Toons vision, in a nice Indian execution. If content is king, then story is God, so you will see more made-for-India content, including more Roll No. 21, Kumbh Karan and Chhota Bheem this year.

We're also excited about continuing our SNAPTOONS (Short New Asia Pacific Toons) in the region and this commitment to content development is unmatched by any other international brand. One of the key sayings we have is that it is better to have more ideas than money. The focus on development and working with partners, locally and regionally, are the cornerstones to our strategy.

AG: Any plans to explore the Indian regional market?

ME: Since 2003 or so, from when we first started investing in India's rich storytelling heritage to develop content that is familiar, we have really ramped up. Our focus emphasizes market relevant content alongside regional content, whether it be India, Australia or Japan. A fantastic example of that is Arjun and the Ice Lotus, a TV movie made specifically for India, which we are now also broadcasting in South East Asia in different local languages. Roll No 21 is the most recent example of successful content made for India. It has performed fabulously, reaching a 1.2 TVR in March, since its launch in November 2010.

Similarly, My Name Is Raj, a tele-movie developed for India did brilliantly clocking a 1.4 TVR. We see this wave of regional content continuing in India. With SNAPTOONS, we have worked on a number of projects that are developed in India as well. For example, "Kulveera', which was a brilliant short from India, and we are looking at it as a potential as a series now. You are going to see more announcements from SNAPTOONS proving that locally developed content will move regionally. In fact, we will be soon announce the shortlist for another whole wave of SNAPTOONS content that will be developed in Malaysia with a regional aspect.

Another rule that has worked well is the 20 per cent rule. Take a great story, change it about 20 per cent to make it regional and it will work. A character-driven story, which is the backbone of our development philosophy, will make sure content travels. Our "Desi Toons' strategy exemplifies it well ' basically the character should have an outlook to the world, but it can have a desi nature. "Roll No 21', "Chhota Bheem' and "Krishna and Balram', "Kumbhkaran' are all examples of successful Desi Toons.

AG: Across the Asia Pacific region if you could point out any three key market in terms of acceptance to newer formats.

ME: We are seeing continuous growth in Asia. From a subscription TV content point of view, Asia Pacific will probably exceed half of the world's subscribers in the next seven years. I see this as the most important thing. I also see Asia coming of age as it is not just one market. It is like a crisp salad with very identifiable parts, tastes and flavours and I see various parts becoming true and complete in themselves. As important as Japan has been in the animation content, I have seen countries like Indonesia, Malaysia and Korea come in line as IP generators and content creators in themselves. I see this as an important shift. | By Prabha Hegde [prabha(at)adgully.com]