Netflix never stops. It seemed a matter of foil, but now we move on to cannon fire. In a long chat with ScreenDaily, Scott Stuber, the head of global film production at Netflix, explained that now the most famous brand in the world of streaming movies and series is producing and will produce both blockbusters and auteur titles competing fully with theatrical distribution of films. Stuber recalls that the company has already approached, produced and co-products great and young authors such as Martin Scorsese, Alfonso Cuaron, Jane Campion, Paolo Sorrentino, Noah Baumbach; as well as a robust amount of blockbusters, not least that Red Notice with Gal Gadot, Dwayne Johnson e Ryan Reynolds which was not to say, loved by users but viewed as few.
In short, at the production level Netflix has expanded and will expand as far as the financial resources allow. And Netflix’s financial resources seem to really allow for havoc. In the face of about seventy films produced in 2021, Stuber reports that the figure will be on average in those parts, even if in 2022 about 55 original titles produced by Netflix are expected. “The idea is to realize the best movies for its audience to be perceived as a production that offers the best in whatever you produce, as if it were any movie studio”Explained Stuber. And to make it clear that Netflix-branded films will in the future be increasingly competitive for every commercial target, here is the simplifying example, very petty American culture, but also damn pragmatic: “Every script we produce is different. We always joke in our budgeting process, because someone can write a line where it says: “The army comes from the hill” and this can be a line with even a $ 2 million budget. You just have to understand and identify how large the audience you want to refer the film to. Sometimes when you read a script and there are eight action scenes, you may only need five ”.
In the long interview Stuber says that a production in collaboration with Steven Spielberg, which he is very pleased to have in the carnet It was the hand of God from Paolo Sorrentino (which with the narrow distribution first in theaters and then in mid-December on Netflix is causing Italian exhibitors to go mad) and that neither for the 007 brand – acquired by Amazon through the MGM archive – than for the future projects of Christopher Nolan, from Netflix they have not beaten much. “Chris wanted to continue with what he had established earlier [lunghe finestre cinematografiche esclusive]. It’s not in our business model right now, so I think it was the right positioning. We hope that along the way we will be able to do something together ”. Even the Oscar nominations and participation in traditional festivals such as Venezia, non Cannes which still vetoes the streaming service, makes Stuber go crazy, ready to indulge in praise for the latest edition of Venice where a film such as The lost daughter by Maggie Gyllenhall based on the novel by Elena Ferrante. Finally, recently, Netflix publishes the rankings of its products every Tuesday with a new calculation method that is no longer based on the number of subscribers who have seen at least two minutes but on the hours seen per title. Red Notice in fact, it stands out with a figure that fluctuates between 148 million hours in the first week of programming and 129 million in the second. The rankings of the individual countries are also available in Excel. In Italy in the last week of relief is the sixth place, the first series of Italian production, entitled Wound, on the murder of Yara Gambirasio, directed by Marco Tullio Giordana and produced by Taodue di Valsecchi, historical producer of Checco Zalone.