Observed Signal · Oct 21, 2026 · Opinion / Commentary · Source: DWDL · Impact: 2/5 · Sentiment: Positive
LEONINE Studios CEO Fred Kogel Calls for Future Optimism
In a guest article for DWDL, Fred Kogel, CEO of LEONINE Studios and board member of the Production Alliance, shares his wishes for the future of the German media and content production industry. He reflects on 45 years of industry changes, from private radio to streaming and AI, and emphasizes the need for producers to embrace change rather than fear it. He calls for effective investment obligations, competitive tax incentives, and better economic conditions for producers, including fair revenue-sharing and cost-plus models that cover rising production costs. Kogel advocates for shorter decision-making paths, more local autonomy, and a culture that encourages experimentation and decisive action over endless discussion. He stresses the importance of self-responsibility, investing in technology and talent, and maintaining trust and commitment as competitive advantages. He also highlights the enduring value of quality content and shared experiences in an increasingly fragmented media landscape. His core wish is 'more joy in shaping the future'.
Insights from a leading German producer on industry challenges and advocacy for investment incentives, relevant to content production and media policy.
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Key Takeaways & Evidence Grounding
- LEONINE Studios CEO Fred Kogel wrote a guest article for DWDL.
- Kogel has been working in the media industry for 45 years.
- He calls for effective investment obligations in Germany.
- He advocates for tax incentives competitive with other production locations.
- He emphasizes the need for fair economic conditions for producers.
Ontology Mapping & Concepts
Related Market Signals & Shifts
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Stefan Oelze: Seize Opportunities through Internationalization and AI
In a guest contribution for DWDL's 25th anniversary series, Stefan Oelze, CEO of Rosebank Entertainment AG, urges the German film and TV production industry to confront the biggest technological and economic upheaval in its history. He identifies key opportunities in internationalization, AI adoption, and the creation of investment incentives, such as a tax credit model similar to other European countries. Oelze highlights the UK's 31% growth in feature film production to $3.8 billion in 2025, attributing it to foreign investment and favorable conditions. He calls for defending public broadcasting values while adapting to AI-driven changes in the workforce and business models. He emphasizes the need for partnerships and bold action to shape the industry's future.
Leonine Targets €500M Revenue Amid Market Uncertainty
Leonine Studios CEO Fred Kogel discusses the company's performance and future prospects amid significant market uncertainty. In 2025, the German production giant increased revenue by nearly 6% to €432.3 million, with total performance up almost 8% to €477.1 million. Kogel describes 2026 as the most challenging year since the company's founding, citing reduced broadcaster budgets, production delays, and shifting industry dynamics. He expresses concerns about regulatory issues such as the pending German investment obligation and the lack of a tax credit, as well as the impact of the RTL Group's acquisition of Sky and the potential Paramount/Warner Bros. Discovery merger. Leonine aims to at least maintain last year's revenue and targets a medium-term annual revenue of €500 million through organic growth. The company is expanding into branded entertainment and creator content with its new unit Leonine C_, launched in July.
Producer Moszkowicz Wants German Producers to Keep Rights
In an opinion piece for DWDL, Martin Moszkowicz, managing director of Transcontinental Entertainment Studios and a veteran producer, advocates for a systemic shift in the German film and TV industry. He argues that current practices, rooted in the 1950s, leave producers as mere contractors or service providers who lose rights and revenue to broadcasters, streamers, and distributors. Moszkowicz outlines a future where producers retain rights, license content to broadcasters and streamers within defined windows, act as rights holders rather than debt-laden manufacturers, and build direct audience relationships. He highlights the impact of AI and global platforms, which could render producers obsolete if they do not own their content and data. He points to France, the UK, and Scandinavia as examples where producers own their works. The piece concludes with a personal wish: that in 25 years, a German production company will own something.
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