Joe Otterson TV Reporter Fans of “The White Lotus” or those looking forward to the “It’ prequel series at HBO and Max will likely be waiting for a while longer. “‘Welcome to Derry,’ we had had that scheduled for Halloween of 2024.
13.10.2023 - 17:11 / variety.com
Nick Vivarelli International Correspondent Investment in original content production continues to grow in Italy where resources across all genres reached a total of €1.8 billion ($1.9 billion) thanks to increased investments from U.S. streamers.
But linear TV remains the Italian industry’s main driver. That’s the main takeaway from the annual report on local production presented on Friday by Italy’s TV producers’ association APA at Rome’s MIA market The $1.9 billion pot of cash poured into Italian productions of all types in 2022 represented only a small increase over 2021, which is when local originals were boosted by a 55% post-pandemic growth spurt, according to figures from the APA report.
Film and TV product currently account for 55% of these investments with an increase in resources now going into documentaries and animation product mostly destined for streaming play. “The constantly growing investment from streamers is currently worth almost a third of the total TV market,” said APA chief Chiara Sbarigia.
But she noted that “though we are seeing that starting in 2018 global operators [mostly streamers] have increased investments linear TV remains the main market player in our country.” Sbarigia also pointed out that APA is seeking to “avert the risk of a polarization of the [Italian] market with a scenario that would see [high-end] global productions from the streamers versus [only] domestic productions coming from the local players,” she said. Netflix VP of Italian originals Eleonora Andreatta, who was on the panel, underlined that Italy is an important territory for Netflix.
Joe Otterson TV Reporter Fans of “The White Lotus” or those looking forward to the “It’ prequel series at HBO and Max will likely be waiting for a while longer. “‘Welcome to Derry,’ we had had that scheduled for Halloween of 2024.
Christopher Vourlias With the resolution of the Hollywood writers strike in September, hopes were high for a return to business as usual in bustling Budapest, host to such recent high-profile productions as Yorgos Lanthimos’ Venice sensation and Oscar frontrunner “Poor Things.” But the sudden breakdown in negotiations between SAG-AFTRA and the AMPTP in early October dampened that enthusiasm. “We were starting to get momentum back, which was leading us to believe that we would be opening up offices on new shows in early November, on the assumption that the strike would be over by the end of October,” says Adam Goodman of Mid Atlantic Films, which is currently servicing Peacock and Sky’s spy series “The Day of the Jackal.” Instead, a waiting game is playing out in studios and C-suites across the globe, as actors, talent reps, executives and other industry players not only try to hash out a blueprint for the film and TV business moving forward but plot the next step for the many productions put on pause during the nearly four-month-old strike.
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