DCD Media Companies

Head office

DCD Media plc
9th Floor, Winchester House
259-269 Old Marylebone Road
NW1 5RA

T +44 (0) 20 3869 0190
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DCD financial contacts

Company Secretary & Registered Offices

Andrew Lindley
Winchester House
9th Floor, 259 - 269 Old Marylebone Road
London
NW1 5RA

Nominated Advisor/Broker

finnCap Ltd
60 New Broad Street
London
EC2M 1JJ
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Registrars

Capita Registrars
The Registry
34 Beckenham Road
Beckenham
BR3 4TU
Shareholding queries: +44 (0) 208 639 3367
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Auditors

SRLV
89 New Bond Street
London
W1S 1DA
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Solicitors

Dickson Minto W.S.
16 Charlotte Square
Edinburgh
EH2 4DF
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Bankers

Coutts & Co
440 Strand
London
WC2R 0QS
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Head office

DCD Media plc
9th Floor, Winchester House
259-269 Old Marylebone Road
NW1 5RA

T +44 (0) 20 3869 0190
.(JavaScript must be enabled to view this email address)

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DCD Rights strikes new deals for matchlight factual specials

DCD Rights strikes new deals for matchlight factual specials

Independent UK based distributor DCD Rights continues to see international success through its strong collaborations with leading factual producers, signing a host of new deals for Matchlight’s diverse slate of original one-hour specials, and launching the UK independent’s latest one hour HD title Darcey Bussell: Looking For Margot to international broadcasters at MIPCOM.  

Produced for BBC One, My Baby Psychosis And Me, revealing the untold story of what it means to battle the terrifying condition of Postpartum Psychosis, has been secured by broadcasters around Europe including TVN (Poland), Discovery Networks (Denmark), Sveriges Utbildningsradio AB (Sweden), NRK (Norway) and Yes (Israel), as well as non-theatric rights to FMG for North America.

Ted Hughes Stronger Than Death, illuminating the compelling life story and vision of one of Britain’s greatest and most controversial poets, produced for BBC Two, has been picked up by NTR (Netherlands), Sky Television (New Zealand), British Columbia’s Knowledge Network (Canada), YLE (Finland), FMG (North American Non-Theatric), ITI Neovision – Planete+ (Poland) and Foxtel (Australia), who have also acquired The Making Of An Ice Princess, produced for BBC Two.

Sky Television (New Zealand) and Foxtel (Australia) have also secured Matchlight Productions’ Mozart In London, alongside TV Ontario (Canada), Viasat World (Nordics, Central and Eastern Europe, Russia, Turkey, Africa and Israel) and APT (USA). Commissioned for BBC Four, Mozart In London follows Lucy Worsley as she traces the forgotten and fascinating story of the young Mozart’s adventures in Georgian London.

Available for the first time at MIPCOM is Darcey Bussell: Looking For Margot (1 x 60’).  Margot Fonteyn has inspired generations of ballerinas. She was beautiful, brilliant, talented and never put a foot wrong on stage. Her late flowering partnering with a much younger man, Rudolf Nureyev, created the most dazzling ballet partnership in history.  And yet, as Darcey discovers as she goes behind the scenes at the Royal Opera House and the Royal Ballet, and travels from London to New York and Panama looking for Margot, her colourful personal life was often chaotic and marked by tragedy. But, in the end, Darcey learns that by following her heart, Margot found a kind of happiness; though it came at a high price.

Nicky Davies Williams, CEO at DCD Rights, commented, “We’re very pleased to work with the team at Matchlight. Their wide-ranging line-up of intriguing factual specials have strong appeal with multiple platforms around the world as these sales across all forms of television indicate. We’re looking forward to launching further brand new titles at MIPCOM.”

David Smith, MD at Matchlight, adds, “Nicky and the team at DCD Rights continue to secure an impressive roster of international sales for our diverse range of factual specials. New special Darcey Bussell: Looking For Margot presents a fascinating, fresh insight on the life and career of one of the world’s greatest dancers, told from Darcey’s expert and passionate perspective, and we’re confident it will hold great appeal for global audiences.”