(Continued From Cover) 26 lings Television, has another take. “As traditional production and distribution evolves into a more integrated global approach, development becomes an essential part of the package to allow an informed pre-buy decision. The package includes all scripts, showrunner, director, and talent. On Sherlock and Daughter [produced by Starlings], we had all eight scripts and talent attached, then nine buyers, and a distributor committed early in the process.” Why is it so difficult to produce a successful show? Granted, development has never been easy, but these days it’s difficult to get a foot in the door. Plus, there’s the cost factor getting in the way. And if that wasn’t enough, when a producer gets a deal and delivers the goods that the TV outlet wants, the outlet often goes and cancels the show after three episodes — even though it receives great numbers… just not enough to rate in the very top tier. Years ago, content creators and producers would put forward an idea, and if the TV entity loved it they would tell them to go ahead, even give them money. Today, that doesn’t exist… in the main. The TV executives now given greenlight power are, by and large, scared of opening the gate to new ideas, new people, and new themes due to fears of losing their jobs, their titles and all the benefits associated with it. The late Bernie Brillstein (1931-2008) and the prolific Dick Wolfe (of Law & Order fame) certainly have a better entree when they get a good idea, but for most of the rest it can be an uphill climb with not so profitable returns — or good ownership rights assignments. This shift in the development process started to emerge a few years ago. As early as 2016, Jonas Crabtree, executive producer, Development, at London-based Twenty Twenty Television, told the audience at the Royal Television Society conference in the U.K.: “You are trying to come up with shows that get commissioned, but remember that TV is a business. You’re trying to create hits that pay the bills. You can have a lot of commissions but not necessarily of things that generate IP. More and more, everyone wants formats, and these days they have to be more subtle.” He continued, stressing the fact that, “Broadcasters have to work harder to get people’s attention,” which is another problem. One more problem is the fact that production companies need to have a strong cash flow for the day-to-day business, development, and production, as well as unexpected events (read Covid-19), strikes, and weather delays. Over in the U.K., James Burstall, CEO of Argonon Films, revealed, “We made a decision to keep development in top gear throughout the pandemic and during the recent downturns. For starters, we are passionate about talent and original ideas, which are our lifeblood. So, when things did pick up, we [had] projects in advanced stages of readiness and good to go. This is what has happened and we are now seeing a real uptick in commissioning, which is great for the industry.” If there’s one trend Burstall has also noticed, it’s that some networks are buying “more episodes at a slightly lower tariff (possible with economies of scale).” He also noted: “International co-productions are increasingly popular at the $1 million mark, in both scripted and non-scripted, as audiences around the world seek out highend premium content, and yet many buyers cannot afford the full tariff alone.” Another requirement he’s experienced from buyers — ‘A’ List talent, “both on and off screen, is at an absolute premium.” There’s at least one aspect he would welcome, but isn’t on the buyer radar: “I would like to see buyers taking more risks on new talent on screen and off screen. There are so many wonderful actors, writers, directors who deserve a break and we must grow the next generation, in addition to celebrating our existing stars.” This is nothing new, because the majority of buyers are reducing the amount they will pay for content and being overly cautious on what receives a greenlight. This in turn, means that if a production company agrees, they are in a greater financial red zone than usual. The Los Angeles-based Richard Propper, CEO and founder of Vic TV and Solid Entertainment, wrote in April 2024 in Work it Daily, a job search website, about the difference between development in Europe and in the U.S.: “In Europe, they partially fund new productions to keep their creative communities alive. In Hollywood, it’s always been a game of sink or swim.” Propper then explained: “It’s somewhat easier for the established producers to get their content on air, but the independents or unknown producers [have to] navigate the labyrinth of junior-level executives who have the ability to say ‘no’ but lack the authority to say ‘yes.’” He then continued: “We’ve become an industry of executive know-nothings who are paid to interfere in every production.” And concluded: “I’ve seen plenty of creators/producers who came up with a great show, then produced it for well under the going rate, scratch out little in the way of profit for a first and second season. That successful new concept series is then renewed for a three-four percent budget increase in the third season. Then, a fourth-season negotiation gets heated and the big brains at the network take the series from the producers, cut it away from those creators, and give it to another production company.” (By Mike Reynolds) Richard Propper, CEO and founder of Vic TV and Solid Entertainment Chris Philip, executive producer and co-founder of Starlings Television “Independents or unknown producers [have to] navigate the labyrinth of junior-level executives who have the ability to say ‘no’ but lack the authority to say ‘yes.’” — Richard Propper VIDEOAGE January 2025 Development
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