The Variety Streaming Room, presented by ITV, hosted a panel discussion on global storytelling. Executives from production companies that are part of the ITV Studios family, including Tomorrow…
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!
The Variety Streaming Room, presented by ITV, hosted a panel discussion on global storytelling. Executives from production companies that are part of the ITV Studios family, including Tomorrow Studios CEO Marty Adelstein and partner Becky Clements; World Productions CEO and Creative Director Simon Heath; and Piv Bernth, CEO and creative and executive producer of Apple Tree Productions, participated in the event.
Heath spoke about his years of experience and how the market has expanded in the last few years with the injection of capital and the rise of streamers.
“I’ve been doing it for 25 years. For 20 years, we were effectively pitching to three buyers in the U.K.: ITV, BBC and Channel 4. In the last five years, you’ve obviously seen a massive rise in Sky commissioning, but you’ve now also got five streamers with London, U.K. offices, and they’re all commissioning directly from U.K. production companies. So suddenly we’re looking at nine or 10 potential buyers,” Simon said when talking about the new opportunities that exist for finding homes for his material.
“Chaos has always been good for me, and this is certainly a time of chaos and opportunity. So we look at it as not just a consolidation or an explosion of production, but just as an opportunity, and really our job has been to sort of exploit where the opportunities are,” Adelstein said when talking about how he is handling this new era, with immense funding and new content platforms.
His partner, Clements, spoke about their relationship with creators and what she sees their job as: “Removing as many layers of process as possible and really focusing on what are the tools that we can give our writers, our directors, our actors? What they need to make something unique and special.”
Bernth spoke about the explosion of content from the Nordic region. Shows like “The Bridge,” “The Killing” and “The Legacy” shined a light on their local stories.
“That’s why local could be global, because that is a thing that you hit something which is in all people, all humans around the world, but you think it’s very special for your country or for your sort of tribe here, but it gets more universal in that way. And I think that’s so important that we keep focusing on local stories and then make them travel,” Piv said about stories from the Nordic world.
All of the executives described this era as a golden opportunity for global content to find a place in the American mainstream.