Exclusive: Upgrade Productions, a Los Angeles-based production company focused on local language content, has released a first trio of projects from around the world.
Industry veterans Matt Brodley (formerly of Disney and Netflix) and Jonathan Kier (formerly of Sierra / Affinity) were released late last year with support from mainstream German Konstantin, a team looking to fuel the current content boom. generated from the outside. English, which finds an audience on the world stage.
The first three approved projects, which are expected to be completed in early 2023, are the following:
twenty faces (Japan): Based on popular books written by Japanese mystery writer Edogawa Ranpo, the show is produced by leading Japanese producer and distributor The Klockworx (Crunchyroll’s). field in the room) and produced with Akiko Funatsu (goddess of 1967). Anime writer Seishi Minakami (Peppers) is attached as a writer. Ranpo published 62 books from the 1920s until his death in 1965, and many of them are still read throughout Japan. The series follows a group of teenagers who help a detective solve mysteries in 1930s Japan.
Gaia / The cage (Spain): Original fantasy horror series created in collaboration with Spanish producers and distributors DeAPlaneta (RTVE Trial). Ana All inside) and Absolute Minority (a Netflix romantic comedy I love you stupid). Supernatural Show director Jose Luis Montezinos (Goya Award for short film) runners) who will also write together with Jacques Blessed and Luis Alte. On New Year’s Eve 1999, a group of kids sneak into an abandoned mansion to celebrate the turn of the millennium, only to discover that their party house is actually the lair of a dangerous group of vampires.
Sausages (t / t) (Australia) – An original series by Australian comedian Ryan Shelton who is behind many Australian shows such as We can be heroes. Shelton will write, produce and perform SausagesWith Upgrade Productions who are executive producers. Set in Australia, the show follows the comedian’s semi-fabricated struggle to start his first television show. When he and his friends switch to a sketch show, the series explores the dizzying mix of megalomania and insecurity that helps bring his original ideas to life on screen.
Below, Brodley and Kier describe why these projects are first to market, which later areas are most interesting to them, and discuss the deal with Bron, which saw Kier take on the role of president of sales, marketing and distribution at Bron. part. Broader strategic partnership.
DEADLINE: Tell us about your mission with Upgrade Productions.
Brodley: We have always worked in this space. [international content], was our passion. Many of us look at what was once called “foreign language” content. In recent years it has become a very important part of the business for all studios and broadcasters, although it remains an important part of local theater broadcasters and distributors. All of these shoppers have a real need for local content that aligns very well with our passion throughout our careers.
DEADLINE: Is it time to abandon the name “foreign language” forever?
Brodley: Yup! 100%. Not everyone is a stranger. That’s why we always speak “local language”.
CHIER: One of the three projects we announce today is Australian, so the local language is English. People ask us if we are interested in English and the answer is yes, especially in the UK, South Africa and Australia.
DEADLINE: So is it less about the local language and more about culturally specific content?
Brodley: In this way, we always want everything we do to be placed in an authentic place, albeit with universal themes. It is important to be true to the position.
DEADLINE: Is there more focus on producing content for local audiences in these areas if you’re specifically looking to create content that crosses borders?
Brodley: First of all, a film or television series has to work in its own territory, that’s where it has the most impact. That’s why many of these global shoppers are interested in the local language when trying to lure customers or cashiers to penetrate this particular area. When it crosses borders, it’s great, but we don’t necessarily build it that way. We want you to be successful locally because that’s exactly what buyers are looking for.
DEADLINE: Taking a clear example, squid gameWhy do you think it has been so well received outside of Korea?
CHIER: This caused discomfort and anxiety that were global at the time. The content became very clear. Competitors won 45.6 billion won, and everyone who watched didn’t rush to convert the currency into a computer. But there was a pig full of money on the show, and that’s generally understandable. There was something similar throughout the show that made it very accessible to a global audience. This is what we are trying to do with our many projects.
Brodley: We want the content to be accessible. Hopefully this is what we can bring to the table, think of things like a pig full of tons of money. Providing feedback that creates accessibility is helpful in the development process.
DEADLINE: Virtually no formula?
Brodley: No, usually in this industry, if you are trying to find a formula, you are probably going in the wrong direction. You have to try many different things.
DEADLINE: Tell us about your method of identifying, developing and ultimately producing these designs.
Brodley: We have a development fund. We find projects mainly in our 25 years of relationships with local producers and directors. We don’t have a production financing fund, but as soon as we develop, we see what we have, we work with a local creative team and we each decide who we consider a good buyer. Should we go the path of global buyers, streamers and studios or sell to a local broadcaster and do it by region? Each project is individual.
DEADLINE: Considering the scale of the projects you are carrying out, is it more likely to be a major fragmented international funding deal or a major global deal than any particular broadcaster in the area?
CHIER: However, it is, depending on the size and volume of the project. If you can do this with a broadcaster in the local market, that’s great.
DEADLINE: Tell us about your association with Constantine.
CHIER: oliver [Berben] and Martino [Moszkowicz] They have been true mentors to us throughout this process. The deal is a fairly simple investment in our company.
Brodley: One of the reasons we turned in the first place is that it is also a strategic partnership. They already understand this space. We have a project that we will announce later in Germany and we are working with one of their manufacturing companies.
DEADLINE: And tell us about the strategic partnership with Bron.
CHIER: It is a specific joint venture for the sale of feature films. Basically we created a movie sales agency together. For the skin I hold meetings with retailers for the sale of features.
DEADLINE: Let’s go deeper into these three initial projects. Interesting distribution: Japan, Spain, Australia. Why were they the first to walk out the door?
Brodley: We are happy to work with the creatives involved. Shows geographic and gender distribution. People always try to get into our box, but we try to do a little bit of everything in there. We are thrilled that it shows what we can do outside. This creativity is very powerful.
DEADLINE: These are two original series and an adaptation. Are you trying to do a mix?
Brodley: It’s a bit like both. We have a number of book-based projects. The good news is everywhere.
DEADLINE: Are there any specific areas other than these three that are particularly exciting for you right now?
CHIER: Latin America. This is very interesting because the Spanish-speaking group is huge. But one of the misconceptions is that, despite the linguistic similarities, it’s not necessarily a culture – finding projects that can travel the Spanish-speaking world would be really fun and challenging.
Brodley: There are now eight or nine global streamers playing in Latin America, with all players being local. This is a very competitive market, with many buyers and many opportunities.
DEADLINE: We just saw Netflix lose some subscribers, what’s your take on how this international streaming battle could go?
Brodley: Some of the numbers that came out were very interesting. It was extraordinary for me to add over a million subscribers in Asia. This really shows that there is still growth in many countries around the world. It will be interesting to see how other streamers grow, both globally and regionally, such as Viaplay and Vix. With all of these streamers, what they’re looking for is very different. Netflix is trying to be something for everyone, Disney has its role model: why should other players leave?
DEADLINE: As for the theatrical part, do you foresee a revival?
Brodley: I imagined that the world would partially close, then open and close again, so the future would be brighter than the last two years.
CHIER: It won’t be difficult to escape the closure of everything, but the number one theater in the United States is still closed [the ArcLight Hollywood]. I wonder what will happen when it reopens, especially for specialty films. It will be interesting for our film projects.
DEADLINE: Finally, new hires?
CHIER: It will take some time, but I hope it will be in the near future.
Source: Deadline
Elizabeth Cabrera is an author and journalist who writes for The Fashion Vibes. With a talent for staying up-to-date on the latest news and trends, Elizabeth is dedicated to delivering informative and engaging articles that keep readers informed on the latest developments.
