As more filmmakers have entered the TV space, television programming is starting to resemble more and more big-screen fare, according to the INTV panel today The Film Factor: How Filmmakers are Changing the Landscape of Television.
“We’re producing episodic TV as we produced movies. It’s far more intense and rigorous and the budgets have become inflated,” said Liza Chasin founder of 3dot Productions and EP of Mary Queen of Scots on translating pic producerial experience to TV, ” We’re producing hours and hours of television with the head space of producing film.”
“You have these amazing filmmakers who are coming into TV with serious POVs, and they have something substantial to contribute. They’re coming from movies with these enormous budgets. They don’t understand you’re on a schedule, you don’t get the extra money to go to your studio — you need to have your non-writing producer who is looking at things at 30K feet in the air,” said Jonathan Baruch, Founding Partner of Rain Management Group.
What determines if a piece of IP is ripe for film or TV? “I think it has to do with how long a story should be sustained,” said Naegle, “Is it 30 minutes? Is it an hour? Is it best served as a movie?…When you stretch so far that it breaks, you’ve gone too far.”
Given the flexibility in formats, it’s not unusual for content to be both exploited for both TV and film simultaneously. One particular property at Annapurna is Jenn Lyons’ The Ruin Of Kings, the first in the five-book series A Chorus of Dragons.
While none of the panelists have no interest in capsizing the theatrical business, streaming has afforded content creators the ability to reach global audiences simultaneously and not deal with the nightmare of empty theaters for a particular film on an opening weekend. While Roma received a lot of attention during Oscar season, “Bird Box was the biggest deal” said Naegle referring to the 80M-household viewed sensation. “Everyone was home during the holidays, and it was high concept enough you could watch as a family.”
Streaming has also opened doors for local-language productions to find a greater audience, with most audiences preferring the original series in their foreign language (as opposed to U.S. reboots).
Also sitting on today’s INTV panel was Danny Perkins, Founder of Elysian Film Group, and Adi Ezroni, co-head of Keshet Films.