Whatever our opinion on the platform itself. The red N very easily manages to be talked about regularly, a great publicity stunt.
In this pivotal period, wedged between two key years seeing the emergence of an impressive number of competitors, it regularly returns to the news, for two reasons.
First, his ambitions for the coming months are impressive . Aided by a budget dedicated to original productions gargantuan , future programs are unveiled to the trailer of Spenser Confidential , of Locke & Key or to Horse Girl in upcoming movies lists containing the names of David Fincher , Ben Wheatley , Spike Lee or Charlie Kaufman .
Locke & Key , a new series with teens
Secondly, we also often talk about the exits from the end of last year , having brought in a sum that is difficult to quantify, but certainly amazing, for the executives responsible for supervising them. Of course, this is materialized by the presence at the Oscars of films like Marriage Story (6 nominations) or the monumental The Irishman (10 nominations).
In an interview with Guggenheim Securities on the economic health of their business, the boss of the contents of Netflix , Ted Sarandos and CEO Reed Hastings assured that infiltrate the academy was part of their strategy .
“The fact that we finished the Oscar-nominated studio with these films is exciting. The most interesting thing is that these films are also incredibly popular with our subscribers.”
Marriage Story by Noah Baumbach , who seeks statuettes rather than trumpets
Admittedly, their new method of measuring the popularity of a program, considering the said program as consumed after 2 minutes of viewing, is not an exact value, but it must be noted that the feature films recently produced by the firm have knew how to create the event. However, such honors do not always necessarily provide benefits . For Hastings, the question does not even arise.
“The economic benefit is that we are going to win deals that we could not have had otherwise for incredibly solid content.”
In other words, the platform wants to use this notoriety acquired on the red carpet to find new franchises, new reasons to convince the filmmakers most reluctant to the SVoD model or new broadcasting rights . On this last point, all is not rosy for the service. Indeed, many large groups are entering the market, and to attract crowds, they seek at all costs to recover their franchises, especially those left to Netflix . Disney has recovered the rights to its series , for example.
Daredevil , tragically canceled before the arrival of Disney +
But what has most grieved American subscribers is the absence of Friends since January 1 in the United States, recovered by Warner Media which intends to make it a central element of its new HBO Max platform, in addition to ‘ a meeting of the original actors of the legendary sitcom . Don’t panic: for the moment, nothing like this has been planned in France. But the issues raised by such changes are definitely relevant, and Sarandos cannot give its opinion lightly.
“Typically, what happens is that our subscribers are able to find their next favorite series. This is what will happen with Friends fans . Some will find it elsewhere, and some will therefore find their next favorite series elsewhere. “
Friends leaves US Netflix
Basically, the strategy is to compensate for this loss of attractiveness with a plethora of new original programs. Given the busy schedule for 2020 on the Netflix release side , we have no trouble believing them. The obvious example is Klaus , the studio’s first animated feature, also named at the Oscars. Very popular, it convinced its leaders to invest more in this type of project .
“They travel much more predictably than series.”
Sarandos has thus sold well the next animated essays produced by him, The Willoughbys and Over the Moon , two intriguing films which he describes as “large-scale feature films that can compete with anything you can see in theaters.” This last statement sets the tone for the continuation of operations for the firm, the tone of ambition.