As a movie buff with a deep appreciation for the European film industry and its evolution, I’m absolutely thrilled to see the strides made by Sébastien Raybaud and Anton Capital Entertainment over the past decade. The groundbreaking deal he secured in 2011 to bring institutional financing to European films was a game-changer, bridging the gap between investors and the industry.
In 2011, Sébastien Raybaud established Anton (originally known as Anton Capital Entertainment). His initial significant business transaction brought about a revolutionary change in the European film industry.
Despite the common use of institutional slate financing in American film industries, this practice was rarely seen in Europe. Raybaud, who had facilitated several deals during his tenure at Société Générale’s film division in London, was an exception to this trend.
“He noted a gap,” he explained, referring to the substantial financial differences between the U.S. and Europe. Initially, Anton aimed to bring together major investors with the industry. This goal was accomplished through a €150 million (approximately $160 million) three-year financing agreement between StudioCanal and Falcon, an American fund. The capital infusion played a crucial role in funding both the successful “Paddington” and “Shaun the Sheep” franchises, thereby instigating a prosperous phase for the Vivendi-owned studio.
“Through the funds we collected, we significantly advanced their goals to produce larger films, according to Raybaud. Anton himself financed over 150 films in collaboration with StudioCanal.”
At Anton, there have been significant developments since then. While Raybaud maintains that it remains the sole European entity providing institutional financing, the business has broadened its horizons beyond just financial operations. In 2019, Anton established its own production wing with the debut project being the survival thriller “Greenland” starring Gerard Butler. Subsequently, a sales division was introduced and is currently marketing the Annecy award-winning film “Memoir of Snail.” Last year, they launched their TV production branch, spearheaded by former Fremantle executives Sangeta Desai and Sarah Doole. Currently, Anton operates in three locations: London, Berlin, and L.A., and employs a team of 50 individuals.
But now, this expansion is set to be fast-tracked, at least in terms of its productions.
I was thrilled to learn that in May, at the Cannes Film Festival, Anton made an exciting announcement. They successfully secured over €100 million ($110 million) in new financing from a group of institutional investors, with BlackRock leading the charge. Previously, this financial boost would have been directed towards other producers’ projects. However, this time around, the funds will be allocated to Anton’s own film and television productions. Upon finalizing the deal, Raybaud expressed his enthusiasm, stating that this investment would enable us to “greenlight more ambitious projects.”
As a devoted cinephile, I’ve been thrilled to witness the impressive growth in the quality of Anton’s productions. At this year’s Berlinale, they premiered two intriguing projects that truly showcased their upward trajectory: “Fuze,” a gripping thriller featuring Aaron Taylor- Johnson and Theo James, and the thought-provoking psychological horror “Palette” starring Hunter Schafer. These projects joined an exciting lineup of upcoming in-house productions, including “The Cleaner” with Daisy Ridley. Moreover, the “Greenland” sequel is underway, bringing Gerard Butler and Ric Roman Waugh back together. Currently, both “Fuze” and “Greenland: Migration” are being filmed, with Sam Worthington and Gugu Mbatha-Raw added to the cast of “Fuze.” Production for “Fuze” commenced earlier this month.
The intention for the new investment is to allow Anton to work at an accelerated pace, build their production pipeline and produce around 8-10 features a year (although there’s no strict figure). The overall goal is to create what Raybaud describes as a “pan-European studio,” with a focus on commercial English-language features, specifically genre films from action and thrillers to elevated horror and sci-fi, and one that draws in directors who want to work outside the studio or streamer world.
“Raybaud proposes an attractive proposition: if you’re a renowned filmmaker looking to create an action blockbuster, he asks, what are your available choices? Working with streaming platforms means relinquishing intellectual property and missing out on potential profits. However, by collaborating with us, directors maintain greater ownership, resulting in higher earnings for all involved creatives.”
In addition to funding larger action movies like “Greenland: Migration” (which has a budget of approximately $90 million), there’s also an effort to support smaller, director-led projects and emerging talent. One example is “Femme,” an LGBTQ revenge thriller produced by Anton for first-time directors Sam H. Freeman and Ng Choon Ping. This film premiered at the Berlin Film Festival in 2023.
I openly acknowledge that I draw inspiration from the large privately-equipped film production companies in the U.S., such as Legendary, given their success. Although Anton’s company is much smaller and won’t be producing a “Dune”-sized blockbuster anytime soon, securing investment from giants like BlackRock – the world’s largest asset management firm with a whopping $10 trillion in assets – serves as a significant validation for my innovative approach of introducing private equity slate financing into Europe.
Raybaud explains that investing in the project enables Anton to carry on making films just as he has been doing. However, with more resources at his disposal, he can now do even more of it.
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2024-07-24 11:47