Richard Evans Email & Phone Number

England, United Kingdom

London, England, United Kingdom

Working alongside the EVP Content Acquisitions to implement the acquisition strategy for Banijay Rights, focussing on non-scripted programming, including the preparation of investment cases and negotiation of commercial terms.Liaise with internal production companies to identify programming with commercial potential and ensuring BR’s commercial rights are represented in the commissioning agreements especially when productions are dependent on deficit financing. Advise heads of legal across internal and third-party companies on preferred clearance routes for rights and market specifics and ensure the efficient implementation to achieve the best commercial results.Draft and finalise internal legal acquisition paperwork that reflects the rights granted, investments, and clearances.Manage the collection of data from producers covering available rights, clearances, residual schedules, material considerations, and sales approval, and ensuring this is correctly reflected in the databases.Handle any specific clearance, rights, or archive catalogue queries and oversee any specific archive clearance projects and manage sales approval process for finished tape sales and several key format titles.Work closely with UK legal counsels and PACT on market policy, such as terms of trade, holdback release and duty of care, to ensure the best commercial outcomes.Managing complex and multi-tiered relationships within the Banijay Group and internal departments such as sales and digital teams, legal, and marketing teams.Supervision of two staff members.

London, United Kingdom

Main contact for all producers; both internal operating companies and third party producers, based in UK and internationally, advising on legal, technical and specific content requirements of Endemol. Drafting and negotiating acquisition contracts ensuring Endemol receive the required rights needed to distribute the programming, often working with large investments and complex multi-party agreements. Financial planning including payment schedules, revenue recognition and investment. Overseeing the rights team inputting of sales and rights data for financial and sales team and helping with sales contracting with any queries concerning licensing of rights.Updating sales & financial team on delivery information, rights and restrictions and available licensing dates. Ensuring technical delivery and required archive and music clearance runs smoothly.

I was analysing and advising the Heads of Production and Distribution on the third party costs of Shed Productions’ drama archive to ensure the programmes were cleared for international distribution. I was also negotiating with third party right holders for the most favourable rates.

I was responsible for advising producers, as well as the acquisition and legal team, on contributor & third party costs; equity, writers, music, archive etc. to ensure most cost-effective solutions are achieved for international distribution.I was also liaising with producers to ensure programming is delivered on time and to spec with the appropriate paperwork detailing clearances and rights obtained, then collating transmission, hold back and content information from producers to add and support the sales team.I responded to specific producer queries regards sales, rights and promotion and obtained rights information to assess costs for further exploitation and updating the current systems (COMET) with the correct rights information including, where appropriate, restrictions and costings for the sales and legal team. I negotiated with collection agencies to organise ‘blanket agreements’ to ensure DRG have favourable rates. I was responsible for co-ordinating & delivering content and metadata for VOD/DTO new media deals.

I was assessing Channel 4 Education programmes that are available to exploit in both Espresso services and internationally, and costing and arranging multi-territory, cross-platform clearance. I was negotiating deals with copyright owners and exploring new ways to utilise their content. I also was supporting senior team on the acquisition of programmes and developing relationships with producers to ensure Espresso needs are reflected in output deals with Channel 4 Education.

I ensured programming is cleared for various C4 platforms with specific attention to VOD & DTO and liaised with producers to ensure that their programmes are available clearance-wise for VOD & assess the additional costs for the VOD as well as other C4 platforms. I also worked with the VOD scheduling team to provide the necessary content to meet delivery targets & help create a workable system that ensures that available content is used to its maximum potential.