how is he able to release 79 series and movies a month

No less than 79 premieres we counted in our monthly report Netflix has for this month of July, and we possibly fall short. In fact, we stay: After the publication of this post, the streaming platform announced surprise releases that it had not communicated before.. For example, the fabulous psychological horror film ‘Session 9’, ‘Dawn of the Dead’ by Zack Snyder or the latest series of the always reliable ‘Power Rangers’, ‘Beast Morphers’.

The pace is feverish and to keep it up to date it is better to follow a Twitter account like Modo Netflix, which tracks everything that enters and leaves the platform, than from the official Netflix channels. This rhythm is striking when compared to platforms like HBO, Movistar The Amazon Prime Video, than markedly reduce their number of releases, and even during these months they get to completely do without releasing own production.


As strange as the summer ahead is, it is standard practice every year: once the course is over, the summer months allow the platforms to load batteries, pull the catalog back and renew strategies. It is true that this summer will be possibly one of the highest television consumption in the history of many platforms, but the custom of a impasse Summery is ingrained. Except for Netflix.

Because to the absolutely overwhelming number of licenses are added, and perhaps that is the most surprising thing, a good amount of own productions. For example, This July we have the second season of ‘Umbrella Academy’, the first of the youthful fantasies ‘The Warrior Nun’ and ‘Damn’, the also youthful “The Kangaroo Club”, the children’s animation “The amazing adventures of Captain Underpants in space”, the anime “The sinking of Japan: 2020″, the new series of Transformers, the Japanese horror ” Ju-On: Origins’ and the Mexican ‘Oscuro desire’.

On Netflix, to the absolutely overwhelming number of licenses are added, and perhaps that is the most surprising, a good amount of own productions

And that’s not all: we have four documentaries (‘Zac Efron: Down to earth’, ‘The drug business’, ‘Street Food: Latin America’ and ‘Fear City: New York vs. The Mafia’), about ten competitions among which are the successful ‘Floor is lava’ and the Spanish ‘A cantar’. And the movies have talked a lot about the blockbuster ‘The old guard’, but we also have ‘Catch that email’, the Italian ‘Los infieles’,’ A fatal slip, ‘Mi primer beso 2’, ‘Solterísima’ and the Spanish ‘Offering to the storm’.

As usual, It is not easy to determine, from all this, what is a completely independent production of Netflix and what a co-production. Netflix itself divides its productions into its own production, exclusive distribution, licenses according to territories and exclusive licenses for different areas. And although it is still an overwhelming number of new features, that is the first answer to the question of how Netflix does it: it produces so much every month because in many cases it does not have to implement a complete production mechanism, as explained in Espinof, but it licenses and finances for others to produce materially.

Seven years of own production

Netflix

Netflix has been producing its own material for seven years, putting it only behind HBO, which started in the late 1990s. Even so, Netflix has moved ahead quickly in terms of quantity and variety of material, always ready to sacrifice some of the polishing of its products to get faster and more public. The neatness and finish of the HBO series continues to be the hallmark of the streaming Owned by Warner since the days of cable television, so Netflix need not fear direct competition in that regard: HBO will continue to be careful … and slow.

But … where is the secret of Netflix’s prolixity? An abundance of productions that places it not just ahead of any other platform streaming but, as far as his films are concerned, along with traditional Hollywood producers like Universal, Warner or Disney itself. The secret could be, apart from the aforementioned desire to make series more immediate and less complex than those of competitors such as HBO, to something that Ted Sarandos, responsible for content, said. in your last quarterly financial report.

Sarandos affirmed that the question was that “2020 productions have been filmed for a long time, and are in the post-production phase in studios around the worldThat is, the problem that has shaken, for example, all the schedule of premieres of Marvel series in Disney +, which were almost on the verge of post-production but with parts still to be shot, does not affect Netflix, which stopped filming its 2020 catalog even in 2019. And, by the way, they are already preparing series for 2021. ” We do not plan to move the calendar too much, and certainly not in 2020, “said Sarandos, logically leaving the door open for part of the 2021 production to be delayed precisely because of the blank months we have experienced in 2020.

Against competition, international deployment

Since Netflix saw that the competition was going to multiply a couple of years ago, with more and more production companies announcing the opening of their own platforms., it was also clear that the licensed content, the basis of his business, was going to end. The case of Disney has been the clearest and most open, with the Marvel and Star Wars films gradually returning in all countries to the company, to be exploited at Disney +. In 2016 I announced that I wanted 50% of your content is your own.

Casadepapel

And for that purpose to work, it relies on its already vast network of production companies at the international level. Every month it is more frequent to see how series and movies not necessarily produced in the United States are released on Netflix, as is obvious from the list above, of premieres for July. Spain, for example, has provided productions such as’ in recent monthsThe Cable Girls‘, ‘Vis a vis‘or, above any other,’The paper house‘, and compete directly with American series and movies.

Netflix matches its catalog to all countries and budgets, and that also serves to highlight the most modest productions. So you can afford to release around seventy new titles each month. The trick is to look long-term and have enough waist to react to the decisions of your competitors.