Banijay Entertainment’s head honcho Marco Bassetti, slated to receive the Variety Vanguard Award at the Mipcom conference, prefers to let his accomplishments speak for themselves, showing greater interest in revenue and business strategies rather than personal achievements. With a calm demeanor, a friendly smile, and a charming Italian accent, Bassetti embodies the phrase “an iron fist in a velvet glove.”
Assuming control of Stéphane Courbit’s media giant Banijay in 2013, Bassetti has successfully navigated the company through significant shifts, including the acquisition of the production titan Endemol Shine amid the pandemic in 2020 and diversifying their offerings in live entertainment through Balich Wonder Studio and the Independents. All the while, he has expanded both scripted and unscripted programming, strengthening new and established IPs.
While Banijay is widely recognized for its successful unscripted franchises like “MasterChef” and “Big Brother,” it is also responsible for critically acclaimed series and films such as “Peaky Blinders” and “Black Mirror.” Recently, Banijay was awarded at the Venice Film Festival for Valérie Donzelli’s “At Work,” produced by Alain Goldman, whose Montmartre Films is under the Banijay umbrella. However, don’t expect Bassetti to boast about these accolades or linger on the red carpet.
“At the end of the day, our focus is on quality and yielding positive results for our stakeholders; we prioritize a solid bottom line over winning Oscars or Golden Lions in Venice,” he tells Variety at Banijay’s Paris headquarters, situated in the upscale 8th arrondissement, nestled just off the Champs Elysees.
Indeed, while other major media groups like ITV and Fremantle have wrestled with industry challenges in recent years, Banijay Entertainment, under the umbrella of publicly-traded Banijay Group listed on the Amsterdam Stock Exchange, continues to post impressive figures. In the second quarter, revenue increased by 3% from 2024 to €1.13 billion, with half-year revenue reaching €1.42 billion and an adjusted EBITDA climbing 6% to €208 million.
The competitive landscape among Europe’s leading media firms can be intense, but Bassetti commands respect from his counterparts. Jane Turton, CEO of All3Media, remarks, “Marco and I go way back, and throughout the years, he has been both a formidable competitor and a greatly admired friend.”
“He is deeply passionate about television, incredibly knowledgeable, and frustratingly successful!” Turton adds.
Tarak Ben Ammar, the Franco-Tunisian producer and head of Italy’s premier independent distribution company Eagle Pictures, refers to Bassetti as a “fantastic manager trusted by many.”
“He blends creativity with financial acumen. He earns the banks’ trust, keeps a keen eye on the markets, and is multilingual,” Ben Ammar says, highlighting that Bassetti’s focus lies in the “company’s performance, strategic direction, and relationships with global television networks that acquire their formats and series.”
Born near Lake Maggiore in Northern Italy, Bassetti divides his time between Paris and Rome, mastering TV production in Milan. He stumbled into the industry while pursuing an economics degree after landing a job at Antenna 3, one of Europe’s early private TV stations, through a school associate. Initially drawn by financial incentives, he quickly embraced a wide array of roles in TV production, noting, “I started as a studio assistant, worked in mixing and video, then became a director’s assistant, directed, and produced.”
His fortunate timing in the late 1980s saw him collaborating with Steve Carlin, a producer whose significant connection with ABC opened avenues for innovative entertainment formats. Bassetti recalls, “They told me to stick close to Steve Carlin. I worked alongside him for about two to three years as a producer, which provided invaluable insights into the expansive U.S. market compared to Europe.” He learned that a strong producer’s vision is crucial for a successful format and observed cultural differences in the hierarchy between producers and directors.
Partnering with Carlin led to the creation of “M’ama non m’ama” (“Love Me, Love Me Not”), Europe’s first dating show at that time. After a period at the French channel La Cinq, he launched La Italiana Produzioni, among Italy’s pioneering independent production firms, at just 29. While many shows were produced in-house, Bassetti became a trailblazer in light entertainment and game shows.
John de Mol, another key figure in Bassetti’s journey, invested in Bassetti’s companies and played a pivotal role in establishing Endemol Italy in 1997, producing iconic reality formats like “Big Brother,” “Deal or No Deal,” and “Who Wants to Be a Millionaire?” across 13 territories.
Bassetti’s adept diplomacy was instrumental in persuading networks to air “Big Brother” in predominantly Catholic Italy. “Securing funding was quite challenging due to skepticism about a show viewed as scandalous,” he chuckles, recalling his audience with a cardinal who ultimately granted his blessing after a humorous discussion.
After serving as managing director and then president of Endemol Italy until 2004, Bassetti returned to Endemol Group as COO, later becoming president and CEO before departing in 2012 for Banijay.
Bassetti emphasizes that his experiences as an independent producer have influenced current business practices, with third-party producers crafting content for international broadcasters and streaming services. “We recognized early on that there was value to be had as independent producers by collaborating with global companies,” he states, noting that today, many top shows originate from production firms.
He identifies the primary challenge for producers and networks as the continuous quest for novel ideas, reflecting, “I can’t see anything that would rival ‘Big Brother,’ ‘Millionaire,’ or ‘Deal or No Deal.’”
Among his notable successes, Bassetti points to the effective integration of Endemol Shine into Banijay, a merger scrutinized by skeptics. Banijay’s $2.2 billion acquisition of Endemol Shine in 2020 established it as the largest non-U.S. content player, with an extensive catalog that outmatches BBC Studios and ITV Studios.
“Many were concerned about the consolidation of two independent companies into a significant entity, as it complicates market maneuvering,” Bassetti quips. “However, scaling was vital. To build something substantial with ample IP, leverage is crucial.”
Despite initial doubts surrounding Banijay’s ability to generate value from Endemol, given its previous merger with Shine, Bassetti’s familiarity with Endemol was a considerable advantage.
Convincing financial stakeholders to support the deal was a formidable challenge. “Entering the market as a French company and pursuing an acquisition as massive as Endemol Shine was no small feat—especially given its financial troubles,” he admits.
Reflecting on the past, Bassetti notes, “Banijay was fortunate that the timing aligned perfectly, closing just before the pandemic lockdown in 2020. The current environment for consolidation is much more challenging; a cautious approach is necessary to minimize risks and control costs.”
Disputing rumors of Banijay’s interest in ITV Studios, Bassetti emphasizes the company’s preference for talent partnerships over acquisitions, particularly in the U.S. “We’re content with our position; we possess the right size and capable leadership at the moment.”
Looking to the future, Bassetti aspires to elevate Banijay’s film output, sensing a resurgence in cinematic interest. Last year saw Banijay’s release of “Diamanti,” one of Italy’s top-grossing films of 2024. “There’s an increased demand for films, and with repetitiveness in series, a correction is on the horizon.”
Yet, he clarifies that Banijay won’t pursue extensive theatrical endeavors, as the company is not keen on altering its core business model.
While focusing on television content, Banijay has flourished in live events and sports, achieving notable success recently. Live experiences were a significant growth driver for the company during the first half of 2025, generating €173 million, marking a 15.4% year-over-year increase.
Bassetti shares that they have expanded into live entertainment with their acquisition of Balich Wonder Studios, global marketing group Independents, and Lotchi, renowned for immersive experiences like “Luminescence.” He affirms the strategy to enhance value around their IPs and tap into the increasing demand for live engagement.
“A few years back, we resolved to evolve from a pure production company into a comprehensive media entity. This meant producing content around our IP. Ignoring the potential for ‘Survivor’ camps, ‘Black Mirror’ VR experiences, or live events about ‘Peaky Blinders’ and ‘MasterChef’ would be a missed opportunity,” Bassetti remarks.
“We aim to not just license our IP but also operate them through IP-driven events,” he adds, expressing interest in attracting other IP holders keen on similar live initiatives.
Sports events represent another lucrative sector for Banijay Entertainment. Bassetti notes a “growing appetite for content related to significant sporting events such as highlights and documentaries,” emphasizing the sizeable market potential. “With sports rights investments hitting €60 billion, even if 10% goes toward producing affiliated content, that’s already a substantial opportunity!”
Bassetti is also monitoring the rise of the creator economy, which he recognizes as an opportunity rather than a challenge. “Previously, commissioners sought individuals from film backgrounds, but now platforms crave creators from YouTube,” he laughs, adding that welcoming fresh talent has always been integral to their strategy.
