Welcome to another episode of Strictly Business, the podcast in which we speak with some of the brightest minds working in the media business today. I'm Andrew Rollenstein, chief media analyst with Variety Intelligence Platform. The Israeli TV show Stissel found an international audience thanks to distribution on Netflix in recent years, so when a Stistle prequel was announced, it was quite a coup that the show ended up exclusively
on a relatively small new Israeli streamer called Izzy. For Izy co founder Nati Dinar, the February twenty eighth premiere of Kogel is a big moment for his venture, for which success is defined by more than just commercial appeal. It's about promoting positive images for his homeland. We'll be back with him in just a moment, and we are back with Nati Dinar, a veteran of the Israeli TV business who was exporting the best of his country's TV via Izzy all over the world. Nati, thanks for being.
With us, Thank you, thank you for having me.
So let's get the elevator pitch out of the way first. For those who don't know, explain to us what is Izzy.
Well, it's a string platform it's just focused on Israeli content. We want to bring Israeli content to the world, and that'd be dependent on what is selected by other media platforms. We want to enhance the world's relationship with Israel, get them connected with the Israeli storytellers, get an outlet for the Israeli storytellers to tell their story beyond the borders of Israel, and grow that as much as we can so Izzy will have an impact on the world.
And what kind of programming are we talking about here.
Well, we have almost everything on the platform. We're very non selective for Israeli content. If something was produced for Israeli audience, we believe that it's good content for the world. So we have films, we have TV shows, we have documentaries, we have some weekly podcast shows that we put on with content that we think is relevant. We have short films that we aggregated and brought to showcase them on the platform. We have almost everything.
And how many countries are you in? Obviously you and I are talking about the US market, but I understand you're more than just there.
Well, unfortunately, we only have one country where we're not showcasing this content, and that's Israel due to licensing agreements, but we're available worldwide. Last time I checked, we had subscribers from over one hundred and ten countries, some very big, some very small.
And I assume the US is a key market. Are there other markets where you are predominantly?
Yes, US is key. You know, I think almost sixty percent of our subscribers come from the US, partly because when we started, we were focused on English speaking countries because we subtitled all the content to English. But in about eight months ago we added Portuguese, Spanish and French and put some marketing efforts into Latin America and we're growing there very nicely. So it is you know, it is not for us to work locally where we can find audiences. We do start where where we can find
audience that have a passion for Israel. And that's why US is a big market. And also you know Canada, Austraila, UK where we grew at beginning.
And so who in those key markets is the market for Izzy?
Is this?
You know? Uh? Israeli expats?
Is it?
You know, Jews who just have an affinity for Israeli programming.
So I think the majority, the big majority of our audience is not Israeli. Israelis outside of Israel want to stay connected to the here now. They want to watch news, they want to watch sports, maybe watch reality shows that the Israelis are talking about. That's not our audience. I would assume that the big majority of our audience are Jewish.
We don't ask that, so we don't know, but I believe that's the people who want to be connected with Israel maybe watch shows in Hebrew to improve their Hebrew. I believe that's the audience, or or you know, audiences that have watched shows from Israel on Netflix, on Apple and just want to see more of that culture. So I think that's our audience. That's why I like to define on people with a passion for israel I believe they want some connection to this country.
I mean we should point out this is not a market. You have to yourself. There are a number of other streaming services that do this. What is your competitive edge? How do you distinguish yourself?
Well, as I said, I think we're focused about Israel. That's our mission. It's not only about growing a streaming service. We don't license content that is not Israeli produced or not Israeli oriented. We don't, so that's our focus. Our focus is to get more of the Israeli storytelling out there to the world. So I think if I look at who else is operating in the space, that's not
their focus. So I think that differentiate us. But yeah, there's there's other platforms that you know, kind of share with us, not to say compete licensing Israeli content, but I think, and I'll say this about ourselves, I started easy with the idea that I'm not for exclusivity because I want the content to be out there to as many people as possible. If I license content exclusivity, I
kind of close it to just to my audiences. So you will find that on the different platforms in the space we share some of the content as well.
Well. That's all well and good and nice, but exclusivity is the thing that distinguishes yourself in the marketplace. So you know, if you don't have exclusivity, how do you distinguish yourself?
Again, the content we bring, we don't cherry pick on the content from Israel. We want every content that was made. We bring old content to the platform because we think it still resonates with audiences. So we might have stuff that are exclusively on our platform even though we don't have an exclusivity deal for licensing it, But that doesn't mean that are the other players in the space would pick up that content for their reasons. So that's true.
Having said that, you would imagine when we did the Google deal, I did take it exclusively to make a difference. So there will be occasions where we'll think exclusivity is right. But with Coogle, I don't think that we are limiting the audience that can see it. We're building such a big campaign to such a big audience. They will find it, and it will find it is the end they will find Google.
Well, let's of course talk about that. Google is the prequel to Stistle, which was a show that obviously was big in Israel itself on the Yes network and then Netflix put it on its air worldwide where it got a great international audience. How on earth were you able to get this? I mean, I know you now currently have the rights to the previous three seasons of Stissel, That in itself is impressive. How on earth did you do this?
If I can take you through the long story, I think the first time was when when I heard the news that Netflix is not going to continue their deal with Sticel after third year. I think it was somewhere in twenty twenty two. The producer of Stil Abutamiri, who are now a fre mental company. As a good friend from the TV days, we worked a lot together and and I called him right away and I said, they can't stop this brand just by deciding they don't want
to continue. We need to continue this brand. Let's think, you know, how do we continue this? How do we spinoff? And his reply was like I have something in mind, and that's where it ended, and I let it go jump. I think two years later I saw a short video that Yes put out with Sassong Gabay talking about Google, the new spin off series that they're doing for Yes.
I think they did interrupt you explain who Sassoon is.
Oh Sassong Gabbai, who is the lead actor in Stisil and one of the acclaimed actors in Israel. He they made a clip with him talking in Hebrew that they're making this spinoff. Verstle called Kogo and I said, well it happened. I was, you know, I thought it was just a conversation that died two years ago. So I called up my friend again. I said, what is this? He told me, yeah, we filled this, We filmed it in Belgium. And I said, that's good. But who's going
to pick it up? If Netflix said no to the brand, would they pick up that the spinoff? Would their competitors do it? And this was twenty twenty four. We're, you know, in the hardest year of Israel through October seventh, And I said, and we felt that, you know, they're they're picking up content from Israel these days is not a thing. And I said, you know what, put me in touch with for Mental because we have to get this brand
out there to the world. We have to get it out there quickly, not to let it you know, a two year deal from now ors whatever. And started a conversation with frementto. They also looked at me the same way you just asked this question, how why would why would a small streaming platform from Israel pick up you know, a brand that's super strong, maybe the strongest brand that came out of Israel. But luckily through conversation it took a while I convinced them we are the right way
to go for the brand. We'll do everything for it, We care about it. It's it's it's not a we're not checking a box saying we have something from Israel and uh, and we made it happen.
That's amazing. But to be clear, though, are you suggesting that the appetite for the Stitle or Google brands were diminished because of the cloud that had sort of built up over any sort of Israeli programming, that Netflix or other streaming services were loath to go to even successful content because of a sort of brand issue around Israeli.
Well, you will have to ask them that question. But I tell you what we feel, and you know, I talk with all the producers and storytellers here in Israel and creators. It's hard. It was. It was a hard year and it's still not easy, not easy for for for international conversations. Even though when they do have the conversation with the executives, Uh, they like the Israeli content
and they like the brands. It's just decision making. And that's why I thought we have to step up, and I talk with you know, my partners and investors, says this is this is our time. We have to do this and make sure that Google, which at the time, I didn't even watch an episode. I just nut believe said, this is probably as good as Tisils, so we have to make it uh a worldwide success. Now having watched the series, you know doesn't fall short of this, so
maybe even better at some point. So so I think this is this is this is the times we are, This is where we need to step up. Israel has to take care of Israel, and if that means we need to you know, expedite Easy's growth, that's what we're gonna do. And and and you know, Google is the first stepping stone, and it's a big one.
Well, and we'll get back to the implications for the Israeli TV business in a moment, but to be clear, this represents a big opportunity for Easy and its growth, right.
Yes, definitely. You know, when when I started exploring the idea of you know, I was kind of dreaming, what if I can get Google on Easy, I did a small survey with our subscribers, not even you know, not
even telling anybody. I'll just send a question there and we asked them a thousand subscribers, what did they if they watched Kissel, if they watched it again on Eazy would they watch a spin off if it was on Easy And the results I got were like, you know this, this is too good, this is we can't let this go.
And the funny thing is that the people Infrumental heard about this questionnaire that I put out because I sent it to subscribers, and probably some of the subscribers, you know, our of our email list are here in Israel, and the word got around and and the call I got was, can you tell us the results of this survey that you did? So they were very good. The results were very good. So so I knew, you know, this is this is a game changer. At least I felt it
could be a game changer. I believe, you know, even though we don't know the numbers, we believe that over a million people watched Netflix and watched Diesel on Netflix all three seasons. We know they're diehard fans. You know, there's two big series that they became big on on on Netflix. It's Schiesel and Fouda. But we found the connection the audience has with with Giesel. It is different. I mean, I think they watch Fouda, but they feel sttl.
It's something about the storytelling. It's true that it's about Orthodox Jews, but it's not. It's about family, it's about people, and it's a very strong connection. So so it was there that I thought, if we get it and start telling people it's gonna be on Easy, we'll see they they'll come. As they say, if you build it, they
will come. And and that's what happened. The minute, the moment we started saying there's Google, It's it's the return of the Thistles, it's gonna be on Easy, we started to feel the hype, whether it's with people you know, commenting on our advertising, signing up, you know, on the whole, the whole range. But whatever you can expect with a.
Hit, got it. We'll be back in just a moment with more with Nati Dinnar of Izzy. And we are back with the co founder and CEO of the Israeli streamer Izzy, Nati Dinnaru. Nati, I've read Izzy's mission statement, which is to quote, enhance the world's relationship with Israel through entertainment, help talent and find an audience in the world end quote. So this is about more than just you know, financial success. How do you go about fulfilling such an ambitious mission?
That's a good question. I think the first step is defining the mission and and it's exciting when it's a very bold mission. H you know, she would pay us. The late President of Israel I wrote a book called There's no Room for Small Dreams. If you're going to take on a mission, take a big mission. You know, both it's the same work. But let's do something you know, very big, successful. And I think this is very bald
to say this is what Israel needs. You know. Part of my pitch is saying that if if Paris was alive, we're alive today, this is probably what he would do to make a change of how the world sees Israel. You know, we feel that every day that that will people see when they come here. It's not what they see when they're not here, and and the only experience they have to see Israel if they're not coming to Israel is through media. It could be the internet, could
be news channels, it could be streaming. It's very hard to compete in social and it's very hard to compete in news. The whole world is you know, watching a Jazier. It became a big success. Can we compete with that? Can we you know through news try to tell a different story. I believe that the best stories from Israel coming in our our content creation, especially premium content. We have great storytellers. It's been proven time and time again.
The only thing is we are dependent at this point on you know, international platforms picking up content from us. And I think if we're if we were independent in its territory and say, you know, we have the platform, let's just push all the content and then promote it so people will come. You know, we have no no barrier between us and the audience. And so I think that's that's the ball mission I see in front of me.
But I always remind myself since I got out of the you know, the Army, I had uh and and playing a few years basketball professionally. When I started working from Channel to in Israel, the commercial first commercial TV station Israel, I was doing business. So that never I never let that go. And I think when you challenge yourself to do something important but make it a business
as well, that that's an exciting challenge. And I think this is what we're doing with Izzy and and with time I hope will make it, you know, successful and prove that not only it fulfills the mission. It was fun, you know, traveling this journey.
You're also fulfilling this mission through something called the Israel Entertainment Fund. Tell us how that works.
Yes, well, probably early on when we started, as we said, okay, great, we'll build this platform for Israeli content. But in order to get the good content we want out there to the world, we have to make sure that keeps going on. And Israel in the past four years going through rough times even before October seventh, of budgets being cut and producing content. And when you cut the budget of a TV show, usually the budget you cut is its chance
to compete globally. It's lowering the production value to a level where it's hard for international executives to say I want that, and for audience to feel they're watching, you know, a feel competitive a TV show as they're watching from other places in the world that the budgets are very high. So the idea was, let's see if we can bring support and bring money from people who care about Israel, care about Israel storytelling, and set up a fund that
will co produce content. And that was the idea. It took a long time until I managed to you know, get the first funding for it, and that maybe did change through October seventh, but but I did manage to convince jennf you say to partner on this initiative and commit to the first initial money. And we've already produced one documentary series that we funded fifty and that's how we fund the projects. The IF gives matches dollars a dollar for Israelia TV stations or operators to fulfill their
goals and production. It's a documentary called Fighters. It follows the soldiers who are wounded in the guy As a war early on and follow their story, the rehabilitation and how they are supported by their families and how resilience they are about what they did and what they want to do. Very very powerful. We're going to start distributing this with a distribution company next month and hopefully get
it out there to the world. It is a different point of view about the war that you will never see. And we also got into a big drama again. It's a five episode drama on October seventh about Israeli civilians who saved lives in those twenty four to thirty hours when the attack started. It's a very big production for Israeli standards. Kesh It is one of the partners. We're part of the funding with the Israel Entertainment Fund the IF several investors from LA that are involved. Amongst them
is Laurence Bender, a big time film producer. So we're very excited about that. Shooting is going to start this March and with God's help, they'll be ready for October twenty twenty five.
So it sounds like you're getting some real success finding outside funding. In terms though, of changing hearts and minds within the existing entertainment industry. Is that a.
Challenge international industry?
I would say both internationally and in Hollywood.
Yeah, I think again, I don't know if we can really make a change quickly. These things say take time. We assume that's going to take about two or three years until we're back to where we were before, which was not you know, the best place in the world. But we had success and and you know, Hollywood was interested and Israeli storytelling and didn't shy away from that.
Now they kind of are things need to go back or fall into place until things get back, That's why we have an obligation to fulfill that void, at least for these two three years. I see it as a big opportunity for is It. But but that's something we need to do and I can't tell you that there's a change yet. I think Israel still feeling that people are people are on the fence, and so it will
it will take time. And maybe you know, if we do good work and bring more content there, that can also speed up how quickly the Netflix, the Apple, et cetera come back into the game, and you know showcase Israeli content.
Well, I wish you luck with that. I wish you luck as well with Kogel, which is obviously going to be transformative for the Izzy business. Nati Dinar, thank you for coming on Strictly Business.
Thank you very much, Thank you for having me.
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