It’s always the actors or actresses that really get the highest paychecks, but for a reason. In the end, the directors receive the best of all worlds, if I remember correctly: money, a cool movie, recognition, and perhaps a little glory along the way, too.
It’s been a while since I’ve discussed the difference the film industry has made to certain genres — like television shows and dramas. I’ve said that it’s been a tough few years for many television series, for which the studio or network is generally doing a better job this year than it was last year. I’ve also written about how television shows are making a lot less money than they did just a few years ago while simultaneously being more popular. Now that I’ve had the experience of having worked as a TV show creator, I can say that these trends in TV are becoming more common than ever — and the TV producers are being pushed out of their own studios by the new business models that are emerging.
That’s where this story is headed. Netflix has announced the next slate of its original series, a group of four shows based on new properties that have just announced their availability. Of course, when you’re a creator, you want all your properties to be easy to access: you want them to be available to people all over the world. As it stands, that’s not always the case. The studios don’t always allow shows outside of their own territories, or even with the exact same network. Some of the new shows will be available in other countries, such as Canada and Australia, which is great since Netflix is willing to be a part of this global push.
I’ve known and worked directly with a couple of these shows. One of them, Master of None, was developed in Sweden, where a production company that produces popular dramas, including Orange is the New Black made a deal to produce it in the United States. On top of that, it’s based on a Swedish show called Silicon Valley, which is a great show that won a second Emmy nomination this year. Other creators have had to go abroad, such as Alan Yang (The Middle), who worked on a show on another Swedish network that was picked up in America, but now it’s on Netflix. That shows that even if the Swedish network is a good fit for Master of None, Netflix’s network is probably going to make it work better.
If you’re a creator not in Sweden, you still need to go overseas. There’s a reason why
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