When discussing the current state and future of creative production in South Korea, during the Variety Streaming Room presented by KOCCA, executives from Arc Media, Doremi Entertainment and OH…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
When discussing the current state and future of creative production in South Korea, during the Variety Streaming Room presented by KOCCA, executives from Arc Media, Doremi Entertainment and OH Story emphasized the importance of finding strong writers.
Kim Uno, chief creative producer at Doremi Entertainment, noted that his production company’s focus is on the originality of both scripts and screenwriters — pointing Doremi’s award-winning “I Can Hear Your Voice,” as they also worked series writer Park Hye-ryeon for her first piece, “Get Karl! Oh Soo-jung.”
“We like to work with young and emerging writers,” Kim said, through a translator, to deputy awards and features editor Jenelle Riley in Variety’s Streaming Room presented by the Korea Creative Content Agency (KOCCA) and South Korean Ministry of Culture, Sports and Tourism.
“We place a lot of the priority on the writers — and I think that is different from the U.S.,” he continued. “We do not receive the scripts from the writers. We mostly look at the previous works of the writers.”
CEO of content production at Arc Media An Chang Hyun, joined by producer Hong Hyun Jae (Amy Hong), added that Arc’s team finds writing and production talent by watching successful work of competitors and through competitions. Arc media has previously tried competitions, but it’s difficult because there are many script writing competitions in the market. An pointed to major competitions of TV Networks like KBS and MBC.
The panel also discussed how Korean content expands on an international level — notably pointing to Netflix’s smash hit “Squid Game.”
Hwang Jun Young, director of production at OH Story, said that many dramas are being prepared or planned by global streamers like Netflix and Disney Plus. But there are also profit sharing concerns for creators.
“Regrettably, even with something like ‘Squid Game,’ the profit sharing wasn’t that fair compared to the popularity of the drama series — meaning that the creators and producers didn’t get their fair share for their efforts,” Hwang said, also through a translator. “We hope that the contract terms will improve so the writers, creators and production companies will be motivated to help create the ‘next Squid Game.’”
Hear more in the conversation above.