Netflix spends more than $18 billion a year on content, and that’s not going to change anytime soon, according to head of series Ginny Howe, a writer in the U.S. and Canada. Howe gave a keynote speech at the Banff World Media Festival last week, speaking to industry members.
“Our volumes are not slowing down,” she told the audience, without giving specific numbers. “We’re very fortunate to still have this growth mindset. I think we’re committed to satisfying our members, and we know that their appetite is strong and there are so many types of shows that they expect and expect from us.”
Howe, who was appointed to his current post in August, has been busy restructuring parts of his team, understanding previously unfamiliar genres (such as comedy), and building a studio entity within Netflix. “We’ve evolved some of the structures to make sure we’re as proactive as possible in the places we want them to be. The studio is an opportunity for us to help build from the ground floor some of what’s not coming from the market, and just give it a little more oomph that way,” she said.
Howe is also keen to diversify Netflix’s services. “We were trying to think about how we could be more competitive not only with key intellectual property, but also with key talent that was emerging, rather than reacting more to packaged projects coming out of the market,” she said.
With shows like “Ginny & Georgia,” “Forever,” “XO, Kitty” and “My Life with the Walter Boys,” Netflix and Howe continue to pursue young adults as a key audience. Mr. Howe used Banff to launch “Icebreaker,” an adaptation of Hannah Grace’s best-selling hockey romance novel. “I know there’s a lot of romance in hockey,” she said. “This is a book that aims to really ignite and inspire this genre, so we’re really excited about it. Stay tuned for more.”
But Howe said she is also considering looking for more projects aimed at younger male audiences.
On the IP front, Netflix has new takes on “Little House on the Prairie,” “A Different World,” and “Scooby Doo” (“Scooby Doo: Origins”). Howe said he is very selective about which films deserve reboots/remakes/revivals.
“IP alone is not enough to make the best animated television adaptation,” she said. “It really depends on the writers. What we’re trying to be thoughtful about is not just going after probably the most popular IP on the market, but actually pairing it with someone who feels inspired by the source that comes in with a really original take, or something that just sticks… Not everything has to be based on an IP. Not every project has to be tightly packaged for us. We’re just as excited about things that feel completely original.”
What’s the best way to market Netflix these days? Is it true that a show needs to develop its story through season 4? Does the opening episode need something exciting to happen within the first few minutes to attract viewers?
“No one knows what’s going to happen in Season 4,” she said. “It’s trying to understand that you know what the show is about, that you’re actually participating in this pitch conversation and presentation and getting us excited and giving us a glimpse of how viewers should feel watching your show.
“Some people in the audience prefer a slower pace,” she added. “They like that it takes a little bit longer to get into the episodes. Prestige viewers might be expecting a little bit of immersion into the world before the plot really unfolds, but I think some big openings or a cold, open teaser at the beginning will pique people’s interest, but there’s no formula as to how to get an audience. It’s very bespoke to who you’re talking to. So that’s never what we’re looking for.”
Coincidentally, Howe’s conversation in Banff took place just as the box office success of the films “Backrooms” and “Obsession” started conversations about a new generation of young filmmakers targeting Gen Z audiences.
“I think it’s really exciting,” Howe said. “I think in the history of art and the history of content creation in any form, there’s always new people coming in and talent coming out of it. So I feel like this is another avenue. We’re really interested in what people are interested in culturally and what’s resonating, so we’re refocusing.”
What does she consider a hit with Netflix’s scripted series? “I think, like everyone else, we look at viewership versus cost,” she said. “But depending on when they talk about the audience and say they want to make every audience’s favorite show happen, obviously I think ‘Stranger Things’ is a phenomenon in itself. So you can’t stack everything against one type of show, one type of audience. So, We strive to make sure that our target audience is satisfied and served, no matter how big or small they are. And while it doesn’t always align the same way, in general, every show we launch is an event for someone, and Netflix. We believe it should feel like a best-in-class version that you can only find at Amazon.
Meanwhile, Mr. Howe was in Canada and had the opportunity to promote the Canadian team, which is busy launching and greenlighting projects such as “The North” and “Wayward.” (Next up is “Below,” a thriller from Josh Hartnett, Charlie Heaton, and Mackenzie Davis.)
“Last year, the Canadian team unveiled their first slate and it was truly incredible,” she said. “We recently won 13 Canadian Screen Awards, which we’re very proud of. I think this is a really thoughtful and passionate team of leaders who are very focused on putting Canada first in terms of programming.”
Mr. Howe, who joined Netflix in 2018, coined the now-ubiquitous phrase “gourmet cheeseburger” to describe Netflix’s programming strategy of having broad appeal, but with the highest production and quality.
“I’m very proud that this word has actually entered the culture in some way,” she said. “It’s really weird, but it’s really cool, and anyone who knows me well knows that I tend to talk in food metaphors and metaphors. I talk about the cake not rising. I talk about the temperature and the cake not being fully cooked. It’s just the way I talk.”
