Turn On Tune In Podcast

Turn On, Tune In Podcast: Sex Education

Turn On, Tune In Podcast - Episode 1: Sex Education

Recorded in front of a live audience, Beren Money talks to Executive Producer, Jamie Campbell, about his hugely successful Netflix series, Sex Education. We get an exclusive insight into how this groundbreaking drama was conceived and brought to screen.

The show racked up more than 40 million views in a month when the first series launched last year, with a second season now released and a third already commissioned.

This is part of the Turn On Tune In series of podcasts, presented by FAB Media and ProductionBase, where we get to hear from the TV industry’s best creative talent and learn the secrets and stories behind some of the most successful shows in recent years.

Subscribe via all major podcast platforms, and look out for more episodes soon!

Turn On, Tune In
Turn On, Tune In Podcast: Sex Education

How To Get Your Independent Film on Netflix

How to get your independent film on Netflix

With distribution in film theatres often infeasible for independent features and DVD sales plummeting, all in combination with a general oversupply of content, the thought of a deal with Netflix seems like the Holy Grail of distribution.

Aside from the money (although in fact,  the streaming service does not usually pay more than four figure sums in licensing fees) the really alluring prospect is getting your film delivered to more than 100 million potential viewers worldwide. Obviously, though, it is not easy to obtain such a deal. Netflix usually request films they’re interested in, but if your film has not been screened at major festivals or if it didn’t go viral, you will be better off going through a distributor or aggregator.

The first step is getting your film into the Netflix Database, which is basically a list of potential additions to the Netflix library. In order to do that, you have to either get a distributor on board with your project who can leverage connections within the company, or go through an aggregator.
A good option for independent filmmakers with few connections or who don’t want to share their revenue with third parties, is indie distribution company Distribber. It is owned by IndieGoGo and deals with distribution on Netflix and other major streaming platforms in exchange for a single fee (up to $1600), and you get to keep all of the revenues.

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News: Between Record-Breaking Subscribers and Price Hikes, What Does the Future Hold for Netflix?

News: Between Record-Breaking Subscribers and Price Hikes, What Does the Future Hold for Netflix?

It’s been a year full of milestones for leading worldwide streaming company Netflix, now one of the world’s biggest content producers.

After hitting 100 million subscribers during the second quarter of 2017, of which more than 50 million are in the US, the streaming service also outmatched the USA’s leading cable TV networks by more than 2 million subscribers for the first time in history.

Last month, Netflix took over the Emmy Awards ceremony with a staggering 20 wins out of 91 nominations, second only to Time Warner owned TV giant, HBO (29 wins/110 nominations).

The results for Q3, released on 16th October, exceeded even the most optimistic predictions, with the company earning close to $3 billion dollars, and adding 5.3 millions subscribers, most of whom are outside the US.

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Edinburgh Festival: Spacey Delivers MacTaggart Lecture

Oscar winning actor, and star of Netflix political drama House of Cards, Kevin Spacey, recently defended ‘TV Binges’ and called for innovation in storytelling as the boundaries between film and television are being broken down. Spacey used his address at the annual MacTaggart Lecture during the Edinburgh Festival as a rallying call to develop new and emerging storytelling talent, saying that not enough is being doing to support new talent across the industry.

Referring to innovative figures such as Steve Jobs and Henry Ford, Spacey urged Television personnel ‘to be that innovative. In some ways we need to be better than the audience. We need to surprise, break boundaries and take viewers to new places.’

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