What made you take the step of leaving DR Sales to join REinvent Studios? Helene Aurø:
I’ve been working for DR Sales nearly 20 years. It’s been a tough decision but in a way it felt like ‘mission accomplished’. When Rikke presented me her business plan and vision, I found it unique and saw it as a fantastic opportunity to take part in her new challenge. Also, Rikke and I started working in sales almost at the same time. She’s one of the persons I’ve had the most trust and faith in over the years, having seen what she’s done on the feature film side. We’re like-minded, with a similar drive. It feels the timing is right.

What is REinvent's uniqueness in the market? 
HA: World distribution of high end Nordic TV drama is very competitive, with many companies from France, the UK, Germany among others, handling Nordic content.  DR Sales has a strong position, but there is room for a new player to keep the Nordic brand alive and keep it here. REinvent also offers something unique: packaging, gap and bridge financing, on top of world distribution, which is what is needed in today’s changing industry. At a time when streaming services are investing in excellent Nordic shows, you need to be closer to producers and talents as early as possible and offer them something unique. REinvent has also the ability and the knowledge to shape their own and third part projects from early stages, in order to match international interests, either as a co-production or pure distribution. Last but not least, REinvent has a deep commitment towards fresh talent to renew the face of Nordic drama.

What major changes have you noticed in world distribution of Nordic TV shows in recent years that have altered the way you conduct your business?
The game is more complicated with more rights to sell and windows to deal with. You have to be alert, be aware of all players. Streaming services want more rights, specific rights, but you need money from different sources and keep in mind what’s best for rights owners. Flexibility is crucial in our global distribution jigsaw.

In terms of content, what shows are hot these days?
Unique good stories. Crime is still in high demand, but people look for new stories. There are shorter formats, webs series as well, and scripted content being bought for remakes.

Is there a landmark series that you’ve been most proud of being associated with at DR?
It is Borgen. Few people believed in it but we did. It broke new ground for original language TV shows in territories such as the UK, the US, that were averse to it. The story had many different angles that enabled us to sell it in different ways. I remember when we first went to France with creator Adam Price to a press conference organised by Arte. Twenty journalists were waiting, wanting to know more. The buzz was fantastic and the show became a huge hit.

Today Sweden, Norway and Iceland are also creating unique and extremely well written material. We are spoilt with choice and there is a place for all those shows on the market.