Netflix’s Chief Content Officer Bela Bajaria Wear she is open to doing more backend stores with filmmakers, talent and producers, but she says Almost none of them really want aDespite some public lobbying.
On his “The Town” podcastPuck -founder Matt Belloni grilled Bajaria about a large selection of topics: the scandal that plagues “Emilia Pérez” Oscar -Push, Greta Gerwig’s special “Narnia” agreement and the usual chatter on sports programming and data parsley. A prominent segment for us was a relatively short conversation about backend offers, where talent – an actor, a director or a producer – harvests the economic benefits of a hit film or show through a percentage of profits. The Netflix The model for almost always skipping some meaningful theater edition for movies definitely complicates questions, and for series some recently shared (but still kind of limited) viewing statistics a little back door – but not completely.
Historically, Netflix has almost always paid out its offers in front. But is it old history? Eh, probably not.
On the question of Netflix will make more backend offers, a la the one it recently made on the Ben Affleck movie “Rip”, Bajaria first pointed to rare in such agreements at Streamer. They made it for “RIP” simply “because (Affleck’s company) Artists Equity was interested in it.”
“I can count on a hand, actually half By one hand, the (backend) deals that we have done, ” Said Bajaria.
They are not the only ones in streaming. Belloni said that a source on Amazon (home to Prime Video, Amazon Studios and MGM) told him that they “desperately” tried to do more, “but no one wants them.”
“The other you are talking about a backend, you talk about less money in advance – and no one wants less money in advance,” Belloni forwarded from that conversation.
Bajaria agreed to say that Netflix has not made many backend offers because “Talent likes” is paid in advance. “We take all financial risks,” she continued. “They get paid well.”
Probably desperately after spring training, Belloni went to a baseball analogy and pointed out that with advance agreements, filmmakers reached “a lot of doubles”, but the “home runs” for a backend shop is over.
“Jason Blum wrote to on-ed To say, “Why don’t you just let all these people invest in themselves?” “Bajaria replied. “But I think Amazon experiences is true. People are just not willing to go, “Oh, let me take less and I bet on myself.” It doesn’t really happen. ”
Flower, Blumhouse -founder And producer of films “Five Nights at Freddy’s”, “Get Out” and “M3gan”, claimed in the referenced column that the Netflix product would be better if the producers had a revenue agreement in place.
“If you give artists a lot of creative freedom and some money in advance but a large proportion in the film’s or TV Show’s commercial success, often than not, the result will be both commercial (the filmmakers are stimulated to make films that will reason with the audience) and artistically interesting (creative freedom!), ”Blum wrote in the New York Times.
It has worked for Blumhouse, he offered as evidence. Does Bajaria agree with her proposal?
“I don’t think so,” she said. “But we’re always open to it.”
