“Lupin is a huge achievement not only for us. But also for all producers around the world,” said Krista Riande, Vice President of Gaumont. Who is also the producer of the hit Netflix series, on a panel on the European film market.
Star Omar Sy, the global streaming player, is produced by Gaumont TV:
It has amassed service number records for the French series. The first half of the first season will be available in early January. Talking about Part 2 of Season 1 of Lupin, We can expect it by summer 2021.
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Commenting on Lupin’s success, Riande said: “There are no more limits, this is a proof of concept”. The overall result is, “No matter where you are, whatever language you speak.
You have access to a global audience, and I think that bodes well for all the makers. The producers around the world that they can reach fans”.
“The impact of all the streamers,” he said, “shows that there are no boundaries today”. Season 1, Part 2 of Lupin is in “the final step of childbirth,” said Rianda, noting that more news is imminent.
Riandée said Gaumont, the world’s oldest film studio:
Banned to release in France. However, he is actively producing with 19 shows currently being produced worldwide. It is shipped from his offices in America, England, Germany, and France.
“There’s a lot of demand for platforms around the world, and even more so than last year. Because Disney and HBO have reorganized their teams – they’re going global”.
Sure, they have access to a huge library of shows and films, but they do. Also want to create content for local audiences, “said Riande”. Like Amazon and Netflix, they host many local exhibitions in all of their local offices. This has had a great and significant impact on us and the industry, and that’s great.”
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On the EFM panel and with the Riandée was former Trustnordisk CEO Rike Ennis, founder of Copenhagen-based REinvent Studios. “The demand for streaming services is staggering even though Scandinavia is a smaller region,” he said.
He continued, “When Disney has been around for a long time. HBO Max starts to develop and have more platforms. It is wonderful as a production company because you can produce more than before.
Sure, you can feel the budget is a little bit more. Limited because the Platform tries to get hold of it. More titles at less cost because there are as many titles as possible. But from a production point of view, it’s interesting. Internationally, it’s a different case because the more global it is, the less attractive it is to sellers.”
Another potential downside is that Ennis allows “very little” when working with streamers:
“This is more of a recruiting job”. He points out to there is still room for owners in some services like ViaPlay Nordics … What is needed right now is a good search for flexibility because no event is the same. As you have to be super creative and innovative. It’s about financing.”
Amid an explosion of possibilities, Riandée notes that “talent is everything,” starting with inner talent. Gomon has 25 factories in different countries, and “You have to make them feel this is their home.
It’s not just about money, about the trust and autonomy you can give them. It’s important for them to feel that they’re running the show. I think the foundation of our work today is. If you don’t have a good producer and screenwriter, you can’t have a good show. “”
He added that the show “has to be unique in the market. It’s a huge opportunity and we have to always be amazing. To come up with the next great idea, the next great project.”
Ennis repeated, “In this sea of content, you have to do something to get noticed.”