Joe Lewis, producer of Fleabag and 100 Foot Wave, says independently funded television production is the “solution” to many of the problems facing the industry.
The former head of script development at Amazon Studios told attendees at Rome’s MIA Market that his experience creating era-defining shows such as Channel 4 and Amazon’s dark comedy Fleabag forced him to change. He said he told me. He currently leads Amplify Pictures out of LA, with a focus on unfunded programming without a network, streamer or distributor.
“In 2018, I produced a few shows, including ‘Fleabag,’ which was a great show and I really thought I could do everything I could to produce it, but in doing so, I realized that there was no possible program. [model]. We were lucky to see them swinging. Even with my Fleabag work, which I’m infinitely proud of, I realized that it wasn’t a model to live a life and have a career as a producer. ”
The former Comedy Central, Fox and Amazon executive launched Amplify in 2018 and went on to independently finance three seasons of the surfing documentary “100 Foot Waves,” which aired on HBO. Lewis noted that co-production and pre-sales will play a bigger role in the future, but he passionately urged his contemporaries to embrace indie financing models that more closely resemble film production. did.
“Amplify is a company that is moving into the co-production space, but truly independently financing television is the real solution to the problems facing studios, producers, creators and even distributors,” Lewis said. he said. “There are probably more ways than the three we’ve done so far.”
In a panel discussion hosted by Turning Point CEO Carlo Duci, several international executives discussed the key changes producers must make to cancel shows in an era of shrinking budgets and reduced purchasing appetite. He noted that collaboration, planning, and packaging are all at various stages of evolution.
Lars Blomgren, head of international at Pachinko and Morning Show maker Media Res, said market conditions are “ineviting” producers to move to a co-production model, and even the U.S. market is changing. said that they are beginning to accept it.
“We think there are many opportunities for the United States and Europe and European countries to work together,” he said. “I thought I had a pretty good understanding of America, but when I arrived, [at Media Res] Two years ago, I realized that I knew nothing. The biggest challenge was convincing America that they were different. What if we put on a Scandinavian show with a budget of 8.5 million euros? [$9.2M]they’re like, “Why?” They don’t understand when you tell them you have eight or nine different partners, but they’re slowly starting to understand and accept the co-production model. ”
Laura Abril, a former Paramount executive and current vice president of Script Global Business Development at Buendía Estudios in Spain, added: One is that they just have a lot of money.
“I think there is a very interesting opportunity from a fiscal and business model standpoint to support the Commissioner as a means of supporting a situation where budgets are shrinking. [finding] Have a great show. ”
protect producers
Elsewhere in the chat, Arvand Cosvani, Executive Vice President and Head of Scripted Television Strategy for The Fifth Season, said his company, owned by CJ ENM, sees changes in the market spreading across the international production world and the world. As he continues to do so, he said he’s noticed more and more producers needing strong advice. The largest media companies seek sustainable profitability.
“The most important part of our business these days is providing producers with the information that the market tells us,” says Hosvani. “What do buyers say is working? In this moment of corporate upheaval, can we predict what they’ll look like in a few years? We’re scaring producers into submission and creating a We don’t want to hinder them, but we want to give them knowledge. Then we run the interference to get them where they need to be.”
That strategic advice often extends to deterring producers from jumping ship, Hosvani added. “We want to make sure creatives are protected as much as possible and projects are only released at the right time.Producers often respond by having fun conversations with buyers and wanting to send something right away. I get it, but a lot of my time is spent trying to get people off that shelf.
“Now more than ever, we need to protect, nurture, and nurture to the point where we can bring it to market in a more competitive auction format. It’s a process that has been going on in America for a long time. We are seeing results in the region as well.”
Marika Muselaers, head of international financing and co-production at Nordisk Film Productions, said a cultural change is needed to encourage co-production in Europe, echoing Khosvani’s analysis: Generally agreed. For European streamers, it’s especially important to welcome creators right now. If there’s a lesson for European producers, it’s this. Obtain the appropriate package to complete the transaction. ”
Blomgren said streamers switching to a revenue model creates opportunities for indie producers. “For a while, we were just rental guns, working for someone else and giving up all rights,” he said. “It’s harder to get funding now, but I like that the big broadcasters can carve out just the U.S. and buy it.” [for example]”
