Tag Archives: John Morayniss

Top execs line up for Drama Summit West

Visit Drama Summit West online by CLICKING HERE.

Content chiefs at AMC, Netflix, Showtime, Starz and Bad Robot will speak at C21 Media’s Drama Summit West, which takes place in LA on Friday May 19, bringing together the global scripted business to facilitate new productions and partnerships.

The one-day summit, which occurs between the Upfronts and LA Screenings at The Ebell Theatre in Hollywood, will focus on ‘new drama, new models,’ bringing partners together around a creative conference, festival and networking agenda with a view to helping facilitate next-generation relationships.

AMC and Showtime president of original programming and development Joel Stillerman, Showtime president of programming Gary Levine and Starz president of programming Carmi Zlotnik are among a raft of top-tier US programming execs speaking at the event.

They will discuss the state of the US market and their respective 2017 slates, which include Loaded and The Son (AMC); Twin Peaks, Billions and Homeland (Showtime); and American Gods, The Girlfriend Experience and The Missing (Starz).

Netflix VP of content Elizabeth Bradley and VP of international originals Erik Barmack will host a joint session at the event, outlining their global coproduction and international originals strategies respectively. This in-depth session will provide unique insight into how the international business can work with the platform.

Entertainment One Television CEO John Morayniss joins a panel of industry leaders discussing the big questions ahead in US scripted television and creating premium scripted series, which include the forthcoming Sharp Objects starring Amy Adams for HBO; Ransom, from executive producer Frank Spotnitz for CBS/Corus/TF1/RTL; Foreign Bodies for E4; and Havana, starring Antonio Banderas for Starz, among many others.

Bad Robot head of television Ben Stephenson and HBO Latin America VP of original production Roberto Rios will also join panels at the event.

Marti Noxon, showrunner of Sharp Objects, and execs from from Lionsgate, The Ink Factory, Color Force and TV Globo will also speak at the event.

Noxon, whose other credits include UnREAL, Glee, Mad Men and Buffy the Vampire Slayer, will join a panel of writer-producers discussing the evolving entrepreneurial role of showrunner in the changing TV landscape. Sharp Objects, an adaptation of Gillian Flynn’s bestselling novel of the same name, is being directed by Jean-Marc Vallee (Dallas Buyers Club, Big Little Lies) and produced by eOne.

Stephen Cornwell, co-CEO of The Night Manager producer Ink Factory, and Nellie Reed, senior VP of Television at American Crime Story producer Color Force, also join a panel looking at how the industry’s hottest independent studios and seasoned producers are developing, producing and packaging next-generation drama.

DSW17 Speakers

Further speakers will be announced in the coming weeks.

This year will see the addition of a Drama Summit West Networking Lounge where delegates can reserve meeting tables to use throughout the day.

The 2016 event sold out, attracting more than 500 top-level executives.

Visit Drama Summit West online by CLICKING HERE.

Register today by CLICKING HERE.

Drama Summit West is the sister event to the International Drama Summit, part of C21’s Content London, which takes place in London in December. Recent speakers and contributors have included actor Tom Hardy, director Ridley Scott and writer Steve Knight (Taboo); showrunners Bryan Fuller (American Gods), Peter Morgan (The Crown), Tony Grisoni (Southcliffe, Red Riding) Jed Mercurio (Line of Duty) and Simon Mirren (Versailles); executives Joel Stillerman (AMC), Channing Dungey (ABC), Eric Schrier (FX), Sharon Tal Yuguado (Fox) and Morgan Wandell (Amazon); and leading global producers Jane Tranter, Jane Featherstone, Liza Marshall, Greg Brenman, Richard Brown, Gub Neal and Andrew Marcus.

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One step ahead

Hell on Wheels producer Entertainment One is proving to be a nimble operator as it bends to the changing television landscape.

While the independent film market is struggling in the face of big budget blockbusters, it is proving to be a source of inspiration for the television arm of Entertainment One (eOne).

Pancho Mansfield
Pancho Mansfield

The global production giant still plays the traditional US network game, with series orders for both Kiefer Sutherland-starrer Designated Survivor and Conviction at ABC.

But it is also adopting an indie filmmaking approach by developing, financing and packaging projects in-house before taking them out to the market. A case in point is “polyromantic” comedy drama You Me Her, ordered by DirecTV’s Audience Network, which sees husband and wife Greg Poehler and Rachel Blanchard embark on a three-way affair with an escort (Priscilla Faia).

“That was shot as an indie picture,” explains Pancho Mansfield, president of global scripted programming at eOne. “All the scripts were written in advance and every episode has the same director. They shot 10 episodes, 350 pages, in 35 days and it looks great and feels like a feature romantic comedy. It’s just five hours long instead of 90 minutes.”

In the increasingly saturated television market, it’s not just networks feeling the competitive strain but producers and studios too. “So it’s critical for us to control our IP and, at times, develop internally,” Mansfield continues.

“If it’s the right idea, we will write scripts internally and package them. A show like HBO’s True Detective is part of a new category of feature TV, where you have movie stars coming to do television and it’s all put together and goes direct to series. It’s becoming more and more common, as the feature business isn’t satisfying for a lot of talent in that industry.”

‘Polyromantic’ comedy You Me Her
‘Polyromantic’ comedy You Me Her

eOne, whose credits include Saving Hope, Rogue and Bitten, partnered with Sienna Films on Cardinal (pictured top), a serialised drama for CTV based on the novel Forty Words for Sorrow by Giles Blunt. The show stars Billy Campbell and Karine Vanasse as a pair of detectives attempting to uncover what happened to a 13-year-old girl whose body is found in an abandoned mine.

“TNT, USA Network – all these networks that used to have blue-sky, comfort-food, closed-ended episodic procedurals are out of that business,” Mansfield says. “They’re all into serialised provocative drama that has to have some hook to make them stand out.”

John Morayniss
John Morayniss

But the studio is also seeking to meet the needs of international buyers that are no longer sated by content produced for US networks, especially when it comes to procedurals. One example is Private Eyes, which stars Jason Priestley as an ex-pro athlete who turns to solving crimes alongside his partner, played by Cindy Sampson.

John Morayniss, CEO of eOne Television, notes: “There are not a lot of procedurals being originally commissioned in the US anymore. That will change, it goes in cycles, but we know the international market still wants them. So if we have the opportunity to produce one of those light procedurals you’re not getting out of the US, we’re going to do it.

“What’s interesting about a lot of those shows is they end up being reverse-engineered back in the US. It’s not that networks don’t want them, they’re just not motivated to develop them in the same way anymore. So you just have to be nimble enough to know who your target buyers are, both in the US and internationally, and hopefully you’ll have the right talent to make it commercial, sellable and desirable.”

Mansfield adds: “Channels are looking for the best programming that makes sense for their networks. We’re seeing networks doing things in the US that we didn’t expect. We expected niche programming from SundanceTV but now it’s broadening out and certainly the digital platforms can do it. It is challenging for certain networks that still rely on ratings, but for studios, developers and producers it’s a very exciting time.”

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Light at the end of The Tunnel?

Stephen Dillane and Clémence Poésy in The Tunnel
Stephen Dillane and Clémence Poésy in The Tunnel

Season two of Sky Atlantic’s The Tunnel finished on May 31, and although the official ratings aren’t yet in for the last couple of episodes, the show hasn’t done as well as its first season in late 2013.

While the first outing debuted with 803,000 viewers (live+7), the follow-up kicked off with 680,000. The first run settled down around the 500,000 mark, whereas the second season had been attracting around 300,000.

This reduced audience doesn’t necessarily mean the second season (Sabotage) is inferior to the first. There are several possible explanations for why it hasn’t achieved the same high standards.

One was the unfortunate timing of the show’s launch. Due to premiere around the time of the Belgium terrorist attacks, it was delayed by a week out of respect for the victims. This may have been enough to knock the edge off the show’s appeal.

Another is that the Scandinavian show on which The Tunnel is based, The Bridge, has become a big international hit in its own right. With BBC4 in the UK attracting an audience in excess of one million for the first three seasons of The Bridge, it’s possible that audiences have decided to bypass The Tunnel in deference to the original.

There’s also the time lag between the two seasons. Echoing the situation with The Returned in France, it’s possible that the lengthy gap between them has sapped the franchise of some of its momentum. By a similar token, people who missed season one may (rightly or wrongly) have shunned season two for fear of walking into a franchise in the middle of its story.

The Bridge, on which The Tunnel is based
The Bridge, on which The Tunnel is based

Then there’s the fact that Sky Atlantic ‘did a Netflix,’ releasing all eight episodes of the latest season in one go as a box set. To get a true reflection of the show’s performance, we really need to see how it did when those numbers are also factored in.

And finally there is the ongoing process of media fragmentation. Two or three years on from the launch of season one, there are new scripted channels and new platforms pulling audience away from Sky Atlantic.

Overall, however, the Ben Richards-scripted show has probably done enough to justify a third season – particularly as the cost of production is shared with Canal+ in France and it can be aired across Sky’s services in Italy, Germany, Austria and Ireland.

While it can’t compete in ratings terms with Sky Atlantic shows such as Game of Thrones and Fortitude, it outperformed The Last Panthers and is comfortably ahead of most of the US acquisitions that have featured on the channel (Vinyl, Veep, Billions).

As we’ve observed before, there is so much scripted content on the international market these days that it’s incredibly hard for shows to make their mark – unless they are placed in BBC1 primetime or the AMC slot just after The Walking Dead. However, one show that has managed to make some noise this week is Entertainment One (eOne) TV’s polyamorous comedy You Me Her.

Created and written by showrunner John Scott Shepherd, the show is about a couple who hire a female sex worker to introduce a spark into their sex lives. All three then fall in love.

You Me Her has been given a second season
You Me Her has been given a second season

There’s very little public indication of how the first series did when it aired on DirecTV’s Audience Network in March, but the channel is obviously happy, having just greenlit two new seasons. “Our viewers have opened their hearts and minds to embrace the unique relationship between Jack, Emma and Izzy,” said Chris Long, senior VP of original content and production at AT&T (the company behind DirecTV). “Audiences strive for compelling storylines and intriguing characters, and we believe in the potential for this show to grow even more as we continue our journey with eOne.”

You Me Her is the second collaboration between DirecTV and eOne. The two companies previously partnered on Rogue, a police drama starring Thandie Newton.

Commenting on the alliance, John Morayniss, CEO of eOne Television, added: “You Me Her is a bold, provocative show that grabs your attention immediately. We’re delighted AT&T has signed on for another two seasons, which speaks to the strength of these dynamic characters and storytelling. We’re looking forward to seeing how this complicated, polyamorous relationship that John Scott Shepherd has brilliantly created will continue to unfold.”

One story that has attracted a lot of attention this week is Netflix’s decision to release some insight into how its viewers consume drama series. Although the SVoD platform didn’t actually go as far as releasing any numbers, it did provide some insights into the speed at which people binge shows.

In a nutshell, the Netflix research looked at the way audiences watch 100 shows across 190 countries (though keep in mind that some of these countries will have small subscriber bases, so what we’re primarily seeing is user behaviour in major subscriber territories like the US, Canada, UK and Scandinavia).

Netflix-binge-scaleNetflix then created a binge scale (see above), identifying the shows that get devoured most quickly. Its conclusion? “Series like Sense8, Orphan Black and The 100 grab you, assault your senses and make it hard to pull away. The classic elements of horror and thrillers go straight for the gut, pushing the placement of series like The Walking Dead, American Horror Story and The Fall towards the devour end of the scale. Likewise, comedies with a dramatic bent, like Orange is the New Black, Nurse Jackie and Grace and Frankie seem to tickle our fancy and make it easy to say ‘just one more.’”

By contrast, Netflix added: “It’s no surprise that complex narratives, like House of Cards and Bloodline, are indulged at an unhurried pace. Nor that viewers take care to appreciate the details of dramas set in bygone eras, like Peaky Blinders and Mad Men. Maybe less obvious are comedies like BoJack Horseman, Love and Unbreakable Kimmy Schmidt. But the societal commentary that powers their densely layered comedy paired with characters as flawed as they are entertaining allows them to be savoured.”

You might be tempted to suggest that shows at the slower end of the scale are not being savoured and are instead struggling to hold viewer attention. However, with strong titles like House of Cards, Narcos and Daredevil in that position, it seems unlikely.

Possibly a point that doesn’t come out of the analysis is different binging speeds according to age. A teenager or young, single adult probably has more time (and inclination) to watch episodes back to back than an older adult (at least up to the age of 60). So that might skew Netflix’s binge-ometer.

More granular insights are probably required to make use of Netflix’s data. But there may be a lesson for more traditional channels about the way they deliver their content to audiences. If channels want to make a big impact quickly, then perhaps they need to buy or commission shows that lend themselves to super-fast binging. But if they want to encourage audiences to come back to them week after week, then there may be a role for shows where audiences are happy to wait for the next episode.

Nashville
Nashville could be revived on CMT

In terms of shows destined to be big international hits, FX Productions and Marvel Television’s X-Men spin-off series Legion looks well-positioned to make its mark. An eight-part series from Noah Hawley (Fargo), the show will debut on FX in early 2017 after being produced in Vancouver this summer.

As the result of a new deal signed this week, it will also have a day-and-date premiere on Fox channels in 125 countries.

Legion follows David Haller who, diagnosed as schizophrenic, has been in and out of psychiatric hospitals for years. But after a strange encounter with a fellow patient, he is confronted with the possibility that the voices he hears and the visions he sees might just be real.

Finally, there may be a reprieve for country-and-western scripted series Nashville, cancelled after four seasons by ABC. Producer Lionsgate has been looking for a new home for the show and there are reports that CMT may be willing to pick up the tab.

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One step ahead: eOne adapts to a changing industry

Hell on Wheels producer Entertainment One is proving to be a nimble operator as it bends to the changing television landscape.

While the independent film market is struggling in the face of big budget blockbusters, it is proving to be a source of inspiration for the television arm of Entertainment One (eOne).

The global production giant still plays the traditional US network game, with both a series order for Kiefer Sutherland-starrer Designated Survivor and pilot Conviction at ABC.

But it is also adopting an indie filmmaking approach by developing, financing and packaging projects in-house before taking them out to the market. A case in point is “polyromantic” comedy drama You Me Her, ordered by DirecTV’s Audience Network, which sees husband and wife Greg Poehler and Rachel Blanchard embark on a three-way affair with an escort (Priscilla Faia).

Pancho Mansfield
Pancho Mansfield

“That was shot as an indie picture,” explains Pancho Mansfield, president of global scripted programming at eOne. “All the scripts were written in advance and every episode has the same director. They shot 10 episodes, 350 pages, in 35 days and it looks great and feels like a feature romantic comedy. It’s just five hours long instead of 90 minutes.”

In the increasingly saturated television market, it’s not just networks feeling the competitive strain but producers and studios too. “So it’s critical for us to control our IP and, at times, develop internally,” Mansfield continues.

“If it’s the right idea, we will write scripts internally and package them. A show like HBO’s True Detective is part of a new category of feature TV, where you have movie stars coming to do television and it’s all put together and goes direct to series. It’s becoming more and more common, as the feature business isn’t satisfying for a lot of talent in that industry.”

eOne, whose credits include Saving Hope, Rogue and Bitten, has partnered with Sienna Films on Cardinal, a serialised drama for CTV based on the novel Forty Words for Sorrow by Giles Blunt. The show stars Billy Campbell and Karine Vanasse as a pair of detectives attempting to uncover what happened to a 13-year-old girl whose body is found in an abandoned mine.

“TNT, USA Network – all these networks that used to have blue-sky, comfort-food, closed-ended episodic procedurals are out of that business,” Mansfield says. “They’re all into serialised provocative drama that has to have some hook to make them stand out.”

You Me Her
‘Polyromantic’ comedy drama You Me Her,

But the studio is also seeking to meet the needs of international buyers that are no longer sated by content produced for US networks, especially when it comes to procedurals. One example is Private Eyes (pictured top), which stars Jason Priestley as an ex-pro athlete who turns to solving crimes alongside his partner, played by Cindy Sampson.

John Morayniss, CEO of eOne Television, notes: “There are not a lot of procedurals being originally commissioned in the US anymore. That will change, it goes in cycles, but we know the international market still wants them. So if we have the opportunity to produce one of those light procedurals you’re not getting out of the US, we’re going to do it.

“What’s interesting about a lot of those shows is they end up being reverse-engineered back in the US. It’s not that networks don’t want them, they’re just not motivated to develop them in the same way anymore. So you just have to be nimble enough to know who your target buyers are, both in the US and internationally, and hopefully you’ll have the right talent to make it commercial, sellable and desirable.”

Mansfield adds: “Channels are looking for the best programming that makes sense for their networks. We’re seeing networks doing things in the US that we didn’t expect. We expected niche programming from SundanceTV but now it’s broadening out and certainly the digital platforms can do it. It is challenging for certain networks that still rely on ratings, but for studios, developers and producers it’s a very exciting time.”

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