Pinto said quality content not only travels across global media outlets but needs marketing weapons that provide the perfect springboard for it to better connect with audiences.

Pinto flew from Turkey last week to be a judge in the Content Creator project co-produced by MCOT and Entertainment Lab. The project aims to snare potential TV formats possibly suited for global audience demand.

“We’ve become one of the leading exhibitors participating in MIP Com [global event for entertainment content with the most participants],” he said.

He said nine years ago the |company was a “no name” at the event.

“Global Agency has now become the seventh biggest spender in this event,” he said.

The other big spenders are Sony Entertainment Television, Warner Brothers, RTL Group and Disney.

Pinto said that in two to three years his company wanted to be among the

five top spenders in this annual show.

He said Global Agency would invest more in the event based on the belief that the more content-buyers see the company’s ads and sponsorships, such as billboards, digital screens and airport leaflets, the more sales opportunities it has.

“My philosophy is that if we earn $10, we will spend $9 on marketing to create awareness of quality content and the corporate brand,” he said.

The selection of content is the key weapon, he said, adding that Global Agency gets more than 500 proposals from TV production houses annually. Of that figure, 10 projects called ‘diamonds’ have the potential to be sold internationally.

Pinto referred to the most profitable content as that which generates long-term income. “Magnificent Century” and “Shopping Monster” are perfect examples in this regard.

“Magnificent Century” is seen in more than 80 countries and is estimated to have more than 300 million viewers. More than 300 episodes of this TV format have been produced worldwide.

“After nine years, I know what global audiences want. A TV format is, for instance, the best selling content. It must be a simple and original idea, not a copycat. When we watch it, we should be hooked right away and [have it that] it makes us stayed tuned with the programme,” Pinto said.

He described the format business as being akin to a kind of lottery. Only one out of every hundred formats becomes big enough to help sustain the company.

“I would say that 5 per cent of total formats have some success but unfortunately 95 per cent fail,” he said.

When asked about key markets for the firm, he explained that the European market was the most important because the licence fees they pay are huge – more than 10 times higher than the average fee. After that, it was Russia and Ukraine, and Latin America.

“Asia is still growing but the big issue is piracy. For the Thai market, TV broadcasters and production houses are good content buyers so they prefer to import both formats and finished programmes for audiences,” he added.