Pierre-Antoine Capton, CEO of MediaOne who recently engineered the high profile acquisition of Brad Pitt’s Plan B company, said the two companies have already started working together on some projects.
“We are working on our first development and co-production projects between Plan B and our French companies, and they are happening organically,” Capton said on stage at a daylong conference hosted by French TV and film promotion agency UniFrance.
“It’s very exciting for everyone, and the producers (from MediaOne) who now have access to Plan B’s teams are excited about the level of standards from a company like Plan B, an independent production company that has won the most Oscars with such quality. project,” continued Capton. “We have a lot to learn and I think it will benefit our French ecosystem,” he added.
MediaOne, launched in 2015 by Captain, tech tycoon Xavier Neal and financier Mathieu Pigasse, now owns 60 production labels in 11 countries.
In France, the group is the majority shareholder of some of the country’s most successful outfits, such as Chi-Fu-Me, whose recent film “November”, directed by Cédric Jiménez, was the second biggest French-language hit of 2022, and Chapter 2, whose two-part story “The Three Musketeers” will hit theaters this year MediaOne is the parent company of ON Kids & Family (“Supernatural”), as well as Mon Voisin Productions and Septembre Productions, behind the biggest French scripted TV hit of the last decade, “Call My Agent!” and “HPI.” The banner’s prestigious international labels include U.K.’s “Doctor Foster” producer Drama Republic, Italy’s Palomar (“Montalbano”) and Boomerang TV (“Ainness of My Soul”).
Going forward, Caption said MediaOne will aim to gain a bigger presence globally, particularly in the US, through a strategic alliance with Brad Pitt and another prominent talent, playwright-filmmaker Florian Zeller, whose directorial debut “The Father” won two. oscar Several months before acquiring a majority stake in Plan B, MediaOne also struck a deal with Zeller and former CAA executive Federica Saint-Rose to launch a new LA-based production company, Blue Morning Pictures. With both deals, MediaOne is buying more than shares, it’s investing in talent and building long-term partnerships with them. Under the deal with Plan B, Pitt and his partners Dede Gardner and Jeremy Kleiner took a minority stake in MediaOne.
Capton said one of the main ideas behind the expansion into North America is to allow French filmmakers and producers who are part of MediaOne “to fulfill their ambitions and find a greater resonance in the United States”.
“We want to make sure that the next series like Florian Zellers and ‘Lupine’ will maintain their position in France and go even further,” added the captain.
The producer said MediaOne’s order was inspired by his encounter with Jailer years ago. A leading TV producer through his company Troisieme Oeil, now part of MediaOne, recalls the experience of making Captain Zeller’s play “The Father” and watching the director struggle to finance an English-language film adaptation in France – even as the play was a global hit. Eventually, Zelle was able to make the film with British producers including French producers (Jean-Louis Livy and Philippe Carcassonne) who brought in most of the financing. Zeller’s follow-up, “The Son,” an Oscar contender with Hugh Jackman and Laura Dern, was also produced outside the UK.
The captain, who is an ardent football fan, compared the situation between the French film talent and the French soccer league, which has many champions such as Lionel Messi, Kylian Mbappe and Neymar. He said the French soccer league, like the local film industry, faced an “economic problem” due to the collapse of a billion-dollar TV deal with Mediapro in 2020.
Quoting Vincent Labrun, president of the French professional soccer league, the captain said that these champions are now surpassing their home markets in terms of financial value.
In the French film and TV sector, Capton said the challenge facing aspiring content creators was the same as “financing resources are becoming scarcer” in their local markets.
“Are the French capable of producing films and series worth €200, €300 or €500 million? The answer is yes,” said Capt. “Where do we get this money for this financing? Certainly from economic partners of different nationalities.”