CJ ENM CO., Ltd. (A035760) Earnings Call Transcript & Summary

May 4, 2023

Korea Exchange (KOSDAQ) KR Communication Services Entertainment earnings 59 min

Earnings Call Speaker Segments

Operator

operator
#1

[Interpreted] Good morning and good evening. First of all, thank you all for joining this conference call. And now, we will begin the conference of the Fiscal Year 2023 First Quarter Earnings Results by CJ ENM. This conference will start with a presentation followed by a divisional Q&A session. [Operator Instructions] Now, we shall commence the presentation on the fiscal year 2023 first quarter earnings results by CJ ENM.

Kay Choi

executive
#2

[Interpreted] Good afternoon. This is Kay Choi from CJ ENM's IR. I thank the shareholders and analysts for taking time out of their busy schedules to attend our earnings release session. We will now begin the earnings presentation of CJ ENM for Q1 2023. Please note that the financial and management results have yet to undergo an independent auditor's review, and could be subject to changes upon that review. Here today with us we have our CFO, Deuk-su Hwang and heads of different business divisions. So we have CFO, Deuk-su Hwang with us; EVP, [ Hoo-Kyung Lee ]; CSO Jey-Hyun Kim; and Yoon Sang Hyun from Media platform. From Pictures & Drama, we have Chang-Gun Koo. From Music we have Chang-Bin Song; and from Commerce, we have [indiscernible]. And we have heads or CEOs from our subsidiaries, including Ms. Kim Jey-Hyun from Studio Dragon; Jieul Yang from TVING; and [indiscernible] from CJ ENM studios. And we also have Steve Chung, who heads the Global Business. First, we will be hearing from CFO, Deuk-su Hwang on our reorganization.

Deuk-su Hwang

executive
#3

[Interpreted] Good afternoon once again. This is CFO, Deuk-su Hwang. CJ ENM underwent a business restructuring process in January to give more business responsibility to clear business units and also set up a cooperative process that will strengthen synergy between different business units and our subsidiaries. In line with this restructuring, our business-wise profit and loss classification has been changed from the previous Media, Pictures, Music and Commerce to Media Platform, Pictures & Drama, Music and Commerce to give more clarity to our profit numbers. Media Platform includes TV channels and OTT platforms that deliver our content to the customers and also TV ads, subscription and TV businesses. The company is going to enhance platform competitiveness by increasing synergy between linear channels and OTT. Pictures & Drama is comprised of diverse content productions, pictures, performance and content distribution business through our multi-studios. This multi-studio system will fortify our content competitiveness and enhance cooperation through joint planning and production, allowing global distribution of content. As for Music, Mnet related business numbers that were previously included in the Media business were brought in to show the entirety of the business. Commerce remains the same, with sales classification for TV commerce and digital commerce. The economy slowdown that began in the second half of last year continues to decrease the ad market and dampen consumption. With that, the business is facing a very difficult environment, as is illustrated by the slower growth in OTT subscription. However, through our organization reshuffle, CJ ENM will add efficiency and productivity to our business and is doing our best to restore our competitiveness. The overlaps in organization operation has been reorganized, centering on core R&R, and we are focusing on our business competencies. We will address the fast-changing market conditions and expand domestic and international results. Thank you. Next is the results presentation. The quarterly and yearly results presented by CJ ENM are based on K-IFRS and on a consolidated basis. Y-o-Y comparisons are given on a pro forma basis. The business division-wise operating numbers have not eliminated internal transaction numbers. Now, we will hear the management result presentation of the Company for Q1 2023.

Unknown Executive

executive
#4

[Interpreted] Good afternoon. This is [indiscernible] from Finance. Consolidated revenue in Q1 recorded KRW 949.0 billion, which is a 0.9% decrease Y-o-Y, with operating loss of KRW 50.3 billion. Entertainment recorded revenue of KRW 632.9 billion, with operating loss of KRW 67.8 billion. Commerce recorded revenue of KRW 316.1 billion, with operating profit of KRW 17.5 billion. The operating number decrease from entertainment was mainly due to sluggish TV ad business and FIFTH SEASON delivery absence, and increase in production. Commerce showed improved profitability with high profit portfolio programming. The business will strengthen distribution in Q2 centering on premium content and focus on profitability recovery in commerce portfolio strategy that centers on megabrands. [indiscernible] TV ads and expand TV subscriber base. International drama distribution will be enhanced with Tale of 9 tailed 1938 and Family. The company will increase delivery to FIFTH SEASON. And DXTEEN will be making their debut, and our in-house artists, including JO1 and INI will increase activities and concerts continuing their growth. Based on one-platform strategy, Commerce will enhance programming of high profit products to restore profitability. Please refer to the documents for details of different businesses.

Kim Jey-hyun

executive
#5

[Interpreted] Good afternoon. This is CEO, Jey-Hyun Kim of Studio Dragon. I will brief you on the Q1 management results. 2023 Q1 revenue increased by 74.4% at KRW 211.1 billion. With increase in simultaneously [indiscernible] titles and OTT originals, sales revenue grew 113% Y-o-Y, continuing our fast growth. Our operating profit recorded KRW 21.6 billion, with sales to Netflix and Disney+ and also with added efficiency to regional sales. In particular, our content recorded 33.2% of watchtime for non-English TV series on Netflix. Our first local US drama, The Big Door Prize, was launched successfully and the confirmation of Season 2 is an encouraging result. The company has around 20 projects in queue, including Hotel Del Luna, Crash Landing On You, The Pluses and Mastermind. We will be delivering tangible results throughout the year. Starting from Q2, we will further enhance our growth potential by bringing in marketing for our production process. So Tale of 9 Tailed 1938 will be aired simultaneously on Amazon and tvN. And the company will enhance hit ratio of our titles by engaging in marketing activities together with these platforms from the planning stage onwards. Encouraging results from the new platforms will lead to enhanced partnership and sales of new and library titles, which in turn will improve productivity and profitability, leading to a virtuous cycle. Thank you.

Kay Choi

executive
#6

[Interpreted] Now, we will be entertaining your questions.

Operator

operator
#7

[Interpreted] [Operator Instructions]. Currently, there is no participant with questions. [Operator Instructions] The first question will be given Ms. Kim So-Hye of Hanwha Investment & Securities.

So Hye Kim

analyst
#8

[Interpreted] Yes, I have 1 question. The company [indiscernible] communicating about [indiscernible] and also [indiscernible]. And when will see the actual results coming from these efforts?

Unknown Executive

executive
#9

[Interpreted] Yes, it's true that the company has been engaging in reshuffling measures since the beginning of last year -- end of last year, and that we also underwent a restructuring. So it was to eliminate any inefficiencies and to add more -- and to streamline our decision-making process. So it was possible to add [indiscernible] decision-making. And in the wake of that, we had to do some restructuring as well. And the focus was not on short-term cost-cutting measures but on longer-term business efficiency enhancement. So through all these activities, we wanted to enhance our overall performance. And as was mentioned during the presentation, with the economy slow down, we are also making added efforts to decrease our cost. And I believe that there could be some tangible results out in the second half of this year.

Operator

operator
#10

[Interpreted] The following question is by Ms. Shin Eun Jung of DB Financial Investment.

Eun Shin

analyst
#11

[Interpreted] Yes, I have a question for CJ ENM and a question for Studio Dragon. The first question that goes to CJ ENM is as follows. Could you please give us more detailed loss numbers regarding your business in FIFTH SEASON and TVING? And could you also tell us about the subscriber growth trend at TVING? And I would like to see some more color on your Q2 delivery to FIFTH SEASON. Are there any fixed titles that are [indiscernible] in Q2? And you've [indiscernible] 24 to 28 titles on a yearly basis. Do you still stick to your original position of delivering 24 to 28 titles? And my next question that goes to Studio Dragon, well, [indiscernible] numbers we were briefed on. Well, the operating margin [indiscernible] match the growth in your topline. Could you please tell us why?

Unknown Executive

executive
#12

[Interpreted] Yes, the first number-wise question on the loss associated with the FIFTH SEASON and TVING, well, coincidentally, the number is quite similar at minus KRW 40 billion for Q1 and the loss has seen an increase on a Y-o-Y basis.

Ji-eul Yang

executive
#13

[Interpreted] Yes, this is CEO Yang of TVING, addressing your question. [indiscernible] we do not disclose the actual subscriber numbers, but I could give you the growth trend. So Q1 subscriber growth rate on Y-o-Y basis, it grew by 65.2% but on a Q-o-Q basis, it was a growth of 4.4%. There are 2 reasons behind that. First is the illegal streaming sites and second will be [indiscernible] I may give you more color on our [indiscernible] amounting to KRW 40 billion. Well, our key content was concentrated in Q1. Duty After School will -- that began airing on March 31. The cost [indiscernible], so leading to our loss numbers.

Unknown Executive

executive
#14

[Interpreted] So we will now give you the answer from Studio Dragon followed with the answer on FIFTH SEASON.

Kim Jey-hyun

executive
#15

[Interpreted] Yes, in Q2 there was heavy sales -- first window sales concentration in Q1, so -- and also if I may talk about last year's Q1, there was a heavy library contract with new platforms in Q1, but now the library sales, it's well disbursed throughout [indiscernible]. So things are back to normal. And with that, we will be seeing an average of OP margin around 10%.

Steve Chung

executive
#16

[Interpreted] Yes, this is Steve Chung, heading the Global Business. For accuracy sake, I will deliver my answer in English. So for FIFTH SEASON, I think there were 2 questions, one was sort of our expectations for Q2 delivery and also if -- what our remaining forecast is for number of titles delivered for this year. So on the first part, for Q2, we do expect to be delivering one TV series, 3 film titles and numerous documentary outputs and so that will round up 2Q expected delivery. In terms of the full-year delivery titles, we remain unchanged in our expectations to deliver 24 titles to 28 titles, as you had cited.

Operator

operator
#17

[Interpreted] Currently, there is no participant with questions. [Operator Instructions] The next question will be given by Mr. Choi Yong Hyun of KB Securities.

Yong Hyun Choi

analyst
#18

[Interpreted] Yes, I have 3 questions for CJ ENM. First is on your investment. If your investment is to be on par with what you invested last year, I believe the company will require [indiscernible] to receive investment. So how are you balancing your growth and business efficiency? This is the first question. And my second question goes to TV. Well, [indiscernible] invest the same amount that you did in 2022 [indiscernible] more capital injection or you would have to also resort to borrowings or -- so what is your funding plan? This question is for TVING. And my third question is related to assets and consolidation. [indiscernible] holdings and also real estate, is there a possibility that you can think of selling some of your business units?

Unknown Executive

executive
#19

[Interpreted] So excluding FIFTH SEASON when it comes to CJ ENM and our subsidiaries for the production cost that we indicated last year that [indiscernible] increase. This is for OTT content external sales. So for CJ ENM, the cost stands at KRW 740 million. This is excluding what we require for TV originals. So KRW 600 billion was budgeted and on top of that, [indiscernible] for TVING. And with these numbers, I can say that it's a slight increase for the production cost that we saw last year. But as was mentioned during the presentation, we are working on it to add more efficiency and to see if there are any redundancies when it comes to cost.

Ji-eul Yang

executive
#20

[Interpreted] As mentioned in the previous answer, we will be spending to create originals for TVING and the budget remains more or less the same as what we have executed in year 2022. We are seeing our subscriber bases increase and also our revenue number increase. And as of next [Audio Gap] first throughout the remaining quarters. So we are going to see some improvement in our numbers in Q2 to Q4. So with that, we would be requiring no additional external funding. We could use the cash we generate.

Deuk-su Hwang

executive
#21

[Interpreted] Now on your third question, which was on asset securitization. Yes, we did execute a big-scale investment back in year 2022 leading to added burden on our financials. And as was mentioned in February, we did come up with a list of the investment assets that could be up for sale. They are of course noncore assets not related to our direct business. And 3 months have passed since February and we implemented some of the quicker ones and most of the listed up divestment plans, it needs a counterparty. So we are currently reviewing the various possibilities. We are preparing to execute these deals. And as for the last part of the question, do we have any plan to sell off our business units or divisions? The answer is no.

Operator

operator
#22

[Interpreted] The next question will be given by [ Ms. Yan Zhang ] of NH Investment Securities.

Unknown Analyst

analyst
#23

[Interpreted] I have questions. First is on your TVING and [indiscernible]; you discontinued it and what kind of performance would you have on CJ ENM and Studio Dragon? This is my first question. My second question to Steve. It's a follow-up question to the previous one. You've mentioned delivery of 24 to 28 titles in 2023. Could you please give us the percentage breakdown for dramas, films and documentaries? And my last question goes to TVING. Well, we are seeing the increase of production costs and with that, we do see an increase in your [Audio Gap]. So are you going to stick to your more expensive content strategy or would you be changing directions?

Deuk-su Hwang

executive
#24

[Interpreted] Let me address the first question, which is on the discontinuation of Wednesday, Thursday drama block. This is not a discontinuation, but adding more flexibility to our strategy where instead of having dramas for the Wednesday, Thursday blocks; we're going to have nonscript formats and also the successful TVING original content to be aired on Wednesday and Thursday. And the influence to CJ ENM would be associated with smaller production cost compared to the drama format. And as for Studio Dragon, although the titles that they supply to us could see somewhat of a decrease. But since Studio Dragon has such a healthy third-party clientele, I don't think it will really be influencing them.

Kim Jey-hyun

executive
#25

[Interpreted] This is follow-up answer given of Studio Dragon. We've given the guidance for the number of titles that we were going to supply and it had already taken into consideration the discontinuation of the Wednesday and Thursday block. So our stats remains the same. And as was mentioned by [ Mr. Han ], we're going to also focus on hybrid distribution and we will also be working on developing newer platforms too.

Steve Chung

executive
#26

So I'll answer also in English on this one as well. So the question was on the 24 to 28 title guidance, what's the breakdown between the TV series and the film and drama. And before I answer that, I think it's important to note obviously traditionally FIFTH SEASON has been strongest and with roots in TV dramas and TV series. So that's been the historical strength of the company and it will be such as well in 2023. That said, there are many ways to understand the distribution of the titles. From a pure numerical perspective, I'm a little hesitant to give exact numbers but roughly speaking, dramas by number of titles would be less than for example documentaries because the average sort of budget and revenue of the TV series is orders of magnitude greater than the typical documentary. So while there are fewer numbers of titles from a proportion of importance in terms of revenue, the TV series slate is probably of the most importance. So I think that's one way to answer your question to give you a better idea of the importance of the titles and the distribution between film, documentary versus television. [Foreign Language]

Ji-eul Yang

executive
#27

[Interpreted] Ji-Eul Yang from TVING speaking. Well, we think our content investment as a portfolio investment. So within the portfolio, we have 10 top titles and also titles that are associated with a smaller budget, but value for money. And we try to optimize the titles that are delivered to our diverse mix. So in your question, you said there could be an increase in our loss. But with the strengthening of our subscriber bases and with the same amount of investment going in for our titles, we believe the profitability of our business will improve going forward. As was mentioned by [ Mr. Hun ] from Media Platform, we will be enjoying more synergies as well.

Operator

operator
#28

[Interpreted] The following question is from Mr. Kim DongMin of CLSA.

DongMin Kim

analyst
#29

[Interpreted] We have been seeing some negative news coverage when it comes to Studio Dragon while the OTT and TV business is where it used to be. So realistically speaking, how much of a growth do you expect in the number of titles that you can deliver? Could you give us a guidance on that platform? You're working with Netflix, Disney, plus Amazon and Apple TV and what is your growth seen in these different OTTs? We even heard that Netflix was quite limited in their expansion activity. So if you could give us some more guidance on these issues, it would be much appreciated. On Netflix once again your new contract with Netflix, the market seems to have some misunderstanding of it or it seems to have a different understanding. So could you give us further information on what kind of margin upside you can enjoy with the new terms and conditions with Netflix? And when will those new terms and conditions [Audio Gap]? Congratulations on you confirmed Season 2 of The Big Door Prize and when will it be reflected in your revenue numbers, your sales numbers? And now once again back to your overseas drama production. When can we see a meaningful steady title production from your overseas activities by when?

Unknown Executive

executive
#30

[Interpreted] Yes. I do understand the concerns and expectations for the OTT and TV market. When it comes to Netflix, they have recently announced their continued investment and interest in K-drama. And on top of that, we are seeing increase in interest from new platform players such as Amazon and Apple that have yet to make big investments for Korea content. And going forward we do expect to see contracts from diverse platform players. And as to the number of title, well, each title they are now seeing production cost increases. So rather than increasing the number of -- adding the number of titles, we will be working on improving the hit ratio and also the volume and margin associated with each different title. And we hope to get the best contracts with different platforms. And now on our renewed contract with Netflix, all I can say that the general terms and conditions with the new contract is better than the previous one and there is reflection of [ feedback ] too. But when it comes to original, the revenue is recognized at the time of delivery so we will be seeing improvement in our number starting from next year when our delivery begins. And now on the sourcing, we are currently working on the production asset and at this given point in time we do expect to see delivery happen at the end of year '23. but we will have to update you on the exact schedule as things progress. And as for medium and steady number of titles to be created overseas, in particular the U.S., well, we do hope to see some tangible result this year and after year '24, we do hope to create -- a few titles to be created overseas.

Operator

operator
#31

[Interpreted] The next question is from Ms. Hyunji Lee from Eugene Investment Security.

Hyunji Lee

analyst
#32

[Interpreted] I have 3 questions. First is on TV ad. Well, I know that TV ad market is quite cyclical, but do you think you have bottomed out -- that the TV ad market has bottomed out in Q1 or will Q2 be as difficult as Q1? And when do you expect to see a recovery of the TV ad market? This is the first question. And second question goes to TVING. I believe that we were given the guidance of 5 million subscribers for TVING. Do you still maintain your position? My third question goes to Studio Dragon. I might have missed because of poor line connection, but your U.S. drama, did you say 20 titles because I thought it was going to about 10 titles? So have you won any new contracts with the new platform? And you talk about you're seeing tangible results in the overseas market. Is it related to Big Door 2 or are you talking about new titles?

Unknown Executive

executive
#33

[Interpreted] If I may address your ad market question first. As you're well aware, the TV ad market has been Y-o-Y minus 30% growth in Q1 and it's quite difficult to predict what will happen going into the future. But having said that, I do see that there will be some improvement in Q2 on a Y-o-Y basis. Our basis is the increase of advertisers in Q2 compared to Q1, we see more advertisers come to the ad market. And with that, I cautiously think that in the second half of this year, things will start to improve.

Ji-eul Yang

executive
#34

[Interpreted] This is from TVING. As you're well aware, the market is quite volatile. There are various challenges and also opportunities out there for us and we may not be reaching the 5 million subscriber base that was mentioned. There is a big possibility of that. So we will working on upgrading our existing subscriber bases because there is a need to have content on larger screen TVs and also with higher resolution TVs. So we are thinking of moving up the plan scheme for existing subscribers.

Kim Jey-hyun

executive
#35

[Interpreted] This is Studio Dragon. You heard the number correct. It's 20 titles in this drama market. Well, it's in diverse format. They include Korean titles remakes in the U.S. market and also Korean and U.S. originals. So we have plans to work on it alone and for some titles we will be working together with a U.S. company for development and production too. And the tangible results that I've talked about for year '23 include the results from Big Door Prize Season 2 and one new tittle that we are currently working on.

Kay Choi

executive
#36

[Interpreted] This now concludes the Q1 2023 earnings results by CJ ENM. Thank you for your participation. Portions of this transcript that are marked [Interpreted] were spoken by an interpreter present on the live call.

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