In a recent discussion at the MIA Market in Rome, Joe Lewis, producer of the acclaimed series Fleabag, shared his insights on the evolving landscape of independent television financing. Alongside industry experts Lars Blomgren of Media Res and Arvand Khosvani from Fifth Season, Lewis emphasized the urgent need for innovative financing models to address the challenges the television industry is currently facing.
Lewis, who has transitioned from his role as scripted development chief at Amazon Studios to head Amplify Pictures in Los Angeles, underscored the unsustainability of traditional production methods. Reflecting on his success with Fleabag in 2018, Lewis acknowledged that while producing such a groundbreaking series was immensely fulfilling, it became clear to him that many existing frameworks were inadequate for long-term viability. His current focus is squarely on financing projects independently, free from the constraints of networks and streaming platforms.
At the panel, Lewis articulated his belief that the way forward lies in embracing indie financing strategies akin to those used in filmmaking. He mentioned that Amplify has successfully funded multiple seasons of the surfing documentary series 100 Foot Wave, which airs on HBO. He noted that co-productions and pre-sales would gain prominence in the near future, but he encouraged peers to explore fresh independent financing avenues.
Leading the conversation, Turning Point CEO Carlo Dusi moderated a group of international executives who discussed the imperative adaptations producers need to consider amidst tightening budgets and fewer available buyers. They highlighted the growing necessity for collaboration, meticulous pitching, and innovative packaging of projects. Blomgren pointed out that shifting market dynamics are pushing American producers to accept co-production models, traditionally more familiar to European counterparts.
Laura Abril, a former executive at Paramount and current EVP at Spain’s Buendia Estudios, echoed this sentiment. She highlighted the potential for European producers to leverage their unique collaborations and financial structures to create compelling content without solely relying on American financing.
Khosvani emphasized the importance of equipping producers with relevant market insights, enabling them to navigate the complexities introduced by corporate transformations in media. He stressed the need to protect creative integrity while ensuring projects are appropriately positioned in a competitive market landscape—a skill set that has long been cultivated in the U.S. but is becoming increasingly relevant worldwide.
Furthermore, Marika Muselaers from Nordisk Film Productions advocated for a cultural shift towards collaboration among European producers. She encouraged the inclusion of creators in the financing discussions, emphasizing that a solid, well-packaged project is crucial in securing funding.
Blomgren also indicated that new profit-focused models adopted by streaming platforms can serve as an opportunity for indie producers to reclaim creative rights and control over their projects. This evolution marks a departure from past practices where independent producers often functioned merely as hired hands, relinquishing ownership of their intellectual property.
This roundtable discussion at the MIA Market highlighted a landscape undergoing substantial change, one that offers both challenges and opportunities for television producers as they seek to adapt to a rapidly shifting industry. As the call for fresh financing strategies becomes clearer, industry professionals are urged to think outside the conventional box in order to thrive in this new era of television production.