1 00:00:08,400 --> 00:00:12,920 Speaker 1: Welcome to Strictly Business Varieties, weekly podcast featuring conversations with 2 00:00:12,960 --> 00:00:16,599 Speaker 1: industry leaders about the business of media and entertainment. I'm 3 00:00:16,640 --> 00:00:20,840 Speaker 1: Cynthia Littleton, business editor of Variety Today. My guest is 4 00:00:20,880 --> 00:00:25,320 Speaker 1: Craig Hunnig's, President of Disney Television Studios. After a twenty 5 00:00:25,400 --> 00:00:28,560 Speaker 1: year career at Warner Brothers, Hunnig's was tapped to lead 6 00:00:28,600 --> 00:00:32,440 Speaker 1: the largest TV production operation in Hollywood after the merger 7 00:00:32,520 --> 00:00:36,000 Speaker 1: last year of Disney and twenty century Fox. In our 8 00:00:36,080 --> 00:00:40,240 Speaker 1: wide ranging conversation, Huniggs details the thinking that went into 9 00:00:40,320 --> 00:00:43,479 Speaker 1: the decision to keep three separate imprints under the Disney 10 00:00:43,479 --> 00:00:50,080 Speaker 1: TV umbrella, twenty Television, ABC Signature and Touchstone Television. Hunnigs 11 00:00:50,120 --> 00:00:53,199 Speaker 1: is a respected dealmaker who leaned on his goodwill and 12 00:00:53,240 --> 00:00:57,040 Speaker 1: the talent representation community to navigate big changes in the 13 00:00:57,040 --> 00:01:00,560 Speaker 1: way Disney pays its creative talent. It's been a process 14 00:01:00,600 --> 00:01:04,520 Speaker 1: of moving people from profit participation deals that are often 15 00:01:04,520 --> 00:01:08,640 Speaker 1: fraught with conflict to success bonuses based on hard numbers. 16 00:01:08,880 --> 00:01:15,760 Speaker 1: As Craig explains it here. Greg Huntings, President of Disney 17 00:01:15,760 --> 00:01:20,480 Speaker 1: Television Studios, thank you so much for joining us today. Hi, Cynthia, 18 00:01:20,959 --> 00:01:23,360 Speaker 1: thank you for having me it's good to see you. 19 00:01:23,360 --> 00:01:29,840 Speaker 1: You oversee the production units of the industry's largest portfolio 20 00:01:29,959 --> 00:01:34,319 Speaker 1: of television series, I think by a wide margin, um. 21 00:01:34,360 --> 00:01:37,000 Speaker 1: And that is a familiar position for you because for 22 00:01:37,080 --> 00:01:39,480 Speaker 1: many years, for for twenty years, you were with Warner 23 00:01:39,520 --> 00:01:42,840 Speaker 1: Brothers Television Group, a senior executive rose through the ranks 24 00:01:42,840 --> 00:01:47,120 Speaker 1: there when Warners was the undisputed, uh, you know, largest 25 00:01:47,200 --> 00:01:50,920 Speaker 1: provider of television. Obviously, in the last couple of years 26 00:01:50,920 --> 00:01:53,720 Speaker 1: a lot has changed in the industry. Disney acquired Box. 27 00:01:53,800 --> 00:01:57,160 Speaker 1: Putting those two companies together has created it's an it's 28 00:01:57,160 --> 00:02:00,520 Speaker 1: an understatement to call it a television powerhouse. And you, 29 00:02:00,760 --> 00:02:06,280 Speaker 1: working with Dana Walden and Peter Rice, are the lynchpind 30 00:02:06,480 --> 00:02:08,440 Speaker 1: to really making sure that all of these all of 31 00:02:08,480 --> 00:02:12,560 Speaker 1: these companies run and run effectively and communicate with one 32 00:02:12,600 --> 00:02:16,160 Speaker 1: another for the betterment of of television and for and 33 00:02:16,240 --> 00:02:20,240 Speaker 1: for the Walt Disney Company. You came in right around 34 00:02:20,320 --> 00:02:23,080 Speaker 1: March of twenty nineteen, just as the deal was closing, 35 00:02:23,600 --> 00:02:26,120 Speaker 1: just as the as the Disney Fox deal was closing. 36 00:02:26,880 --> 00:02:31,200 Speaker 1: What did you find most challenging or most time consuming 37 00:02:31,240 --> 00:02:36,120 Speaker 1: about the process of just bringing three large television companies 38 00:02:37,080 --> 00:02:42,600 Speaker 1: ABC Studios twentieth Century Fox TV and Fox One Television studios. 39 00:02:42,760 --> 00:02:45,400 Speaker 1: What was the biggest challenge of bringing those under one 40 00:02:45,480 --> 00:02:48,720 Speaker 1: route and and coming up with strategy for managing the 41 00:02:48,919 --> 00:02:52,600 Speaker 1: incredible volume of production that you now have. Data and 42 00:02:52,639 --> 00:02:56,519 Speaker 1: I talked quite a bit before the merger about how 43 00:02:56,560 --> 00:02:59,600 Speaker 1: we wanted to run the three companies, and we were 44 00:02:59,760 --> 00:03:03,760 Speaker 1: very very clear, both of us independently and together, that 45 00:03:03,880 --> 00:03:07,200 Speaker 1: we wanted to have three studios. We felt like coming 46 00:03:07,240 --> 00:03:10,120 Speaker 1: into this new to the new Disney, the new combined 47 00:03:10,120 --> 00:03:16,840 Speaker 1: Disney and Fox, where we had four meaningful networks ABC FX, 48 00:03:17,040 --> 00:03:22,639 Speaker 1: free Form, nat Gio plus one large streaming service Hulu 49 00:03:22,720 --> 00:03:26,080 Speaker 1: and another one on the way Disney plus that to 50 00:03:26,240 --> 00:03:30,360 Speaker 1: service the needs of those networks, we were going to 51 00:03:30,400 --> 00:03:34,760 Speaker 1: be best served to have three studios, three creative teams, 52 00:03:34,880 --> 00:03:38,800 Speaker 1: each with their own set of talent relationships, each with 53 00:03:38,840 --> 00:03:41,960 Speaker 1: their own talent rosters, each with their own relationships with 54 00:03:42,600 --> 00:03:47,600 Speaker 1: agents and representative, each with their own taste and creative filter. 55 00:03:48,160 --> 00:03:51,800 Speaker 1: We felt like we would get the best product that way. 56 00:03:51,920 --> 00:03:54,960 Speaker 1: And what we didn't want to do with what we 57 00:03:55,040 --> 00:03:58,120 Speaker 1: anticipated to be the need to grow to as many 58 00:03:58,120 --> 00:04:01,800 Speaker 1: as a hundred series any given time, we didn't want 59 00:04:01,800 --> 00:04:04,920 Speaker 1: to turn into an assembly line. We wanted to keep 60 00:04:05,040 --> 00:04:08,720 Speaker 1: what we believed where the virtues of studios like Fox 61 00:04:09,480 --> 00:04:14,680 Speaker 1: and Warner Brothers, where everything felt handcrafted, where the teams 62 00:04:15,160 --> 00:04:19,360 Speaker 1: had a manageable number of projects and talent that they 63 00:04:19,360 --> 00:04:22,720 Speaker 1: were working with, so that they could stay close and 64 00:04:22,760 --> 00:04:26,880 Speaker 1: supportive of all of them. Um and and and so. 65 00:04:27,040 --> 00:04:30,960 Speaker 1: To fit the three studios together and have them feel 66 00:04:31,080 --> 00:04:36,839 Speaker 1: both collaborative and and like they were all part of 67 00:04:36,880 --> 00:04:39,839 Speaker 1: the same team while still maintaining their own identities was 68 00:04:39,920 --> 00:04:43,919 Speaker 1: probably the challenge. That was the biggest challenge coming in. 69 00:04:45,120 --> 00:04:47,839 Speaker 1: I didn't have a relationship with most of the people 70 00:04:47,920 --> 00:04:50,640 Speaker 1: at the studios. I I had grown up at a studio. 71 00:04:50,720 --> 00:04:55,200 Speaker 1: My relationships coming into this new into the New Disney. 72 00:04:55,400 --> 00:04:58,800 Speaker 1: We're with the network heads. Carry Burke and I've known 73 00:04:58,839 --> 00:05:02,919 Speaker 1: each other from many many years. John Landgraft similarly, Craig 74 00:05:03,040 --> 00:05:07,240 Speaker 1: Erwick and I had worked together. Tom Asheim and I 75 00:05:07,279 --> 00:05:10,520 Speaker 1: went back a long way. Now Ter has arrived, and 76 00:05:10,680 --> 00:05:12,960 Speaker 1: you know, that's been a fantastic new addition to the 77 00:05:13,000 --> 00:05:18,200 Speaker 1: team also. Um So I had to get to know 78 00:05:18,279 --> 00:05:22,279 Speaker 1: those teams. I had to encourage them to have feel 79 00:05:22,520 --> 00:05:25,600 Speaker 1: like we were all part of the same, the same 80 00:05:25,640 --> 00:05:30,240 Speaker 1: the same team and at the same time, I wanted 81 00:05:30,279 --> 00:05:33,599 Speaker 1: them to each have their own sense of independence and 82 00:05:33,720 --> 00:05:37,960 Speaker 1: so to find that balance, I would say, was the challenge. 83 00:05:38,360 --> 00:05:43,720 Speaker 1: Um and the most important thing at any studio is 84 00:05:43,880 --> 00:05:49,880 Speaker 1: for the talent to feel supported, nurtured, cared for, because 85 00:05:49,960 --> 00:05:53,200 Speaker 1: ultimately the lifeline of a studio is the talent that 86 00:05:53,240 --> 00:05:56,680 Speaker 1: we attract, and so we need we needed to do. 87 00:05:57,480 --> 00:06:01,479 Speaker 1: We needed to get connected among the three studios. But 88 00:06:01,560 --> 00:06:06,320 Speaker 1: again without this, without the talent losing the sense of 89 00:06:06,400 --> 00:06:09,279 Speaker 1: connection that they had with their own team. And I 90 00:06:09,320 --> 00:06:12,839 Speaker 1: think what we've achieved is it feels like a big 91 00:06:12,880 --> 00:06:15,920 Speaker 1: playground with if you come to Disney, if you come 92 00:06:15,960 --> 00:06:20,680 Speaker 1: to Disney Television Studios, you are whether you're at Fox 93 00:06:21,160 --> 00:06:26,680 Speaker 1: one or twenty Century Fox Television or ABC Studios, you 94 00:06:26,800 --> 00:06:30,919 Speaker 1: are a home studio to those foreign networks, to those 95 00:06:30,960 --> 00:06:36,840 Speaker 1: two streaming services. And we've made it possible and we've 96 00:06:37,000 --> 00:06:40,880 Speaker 1: encouraged people, frankly, to work across studio. So we have many, 97 00:06:40,920 --> 00:06:45,480 Speaker 1: many projects where we have writers at ABC and they're 98 00:06:45,480 --> 00:06:48,719 Speaker 1: working with producers and writers at Fox On. So we 99 00:06:49,279 --> 00:06:52,360 Speaker 1: I believe we've created the best of all of all 100 00:06:52,440 --> 00:06:55,360 Speaker 1: possible worlds. You know, the benefit that I came into 101 00:06:55,640 --> 00:06:58,960 Speaker 1: was you know, when I came into the company, is 102 00:06:59,279 --> 00:07:02,680 Speaker 1: I you know, I was working with and for Peter 103 00:07:02,839 --> 00:07:07,240 Speaker 1: Rice and Dana Walden. There are no better television executives 104 00:07:07,240 --> 00:07:09,000 Speaker 1: than the two of them. And I've worked for many 105 00:07:09,040 --> 00:07:13,960 Speaker 1: and with many. Um we had strong, strong studio teams 106 00:07:14,000 --> 00:07:19,440 Speaker 1: creatively in production and business affairs and as importantly as anything, 107 00:07:19,480 --> 00:07:24,160 Speaker 1: more importantly than anything, they all three studios had really 108 00:07:24,200 --> 00:07:27,680 Speaker 1: strong talent rosters, and we supplemented them and we've added 109 00:07:27,720 --> 00:07:31,200 Speaker 1: to them, and frankly some people have left. But I, 110 00:07:30,840 --> 00:07:36,280 Speaker 1: I really, I feel, I feel incredibly fortunate that I 111 00:07:36,360 --> 00:07:41,240 Speaker 1: walked into such a you know, such a strong situation 112 00:07:41,320 --> 00:07:44,120 Speaker 1: with so many people that I've come to know and 113 00:07:44,200 --> 00:07:49,559 Speaker 1: admire on all levels creatively, as business folks, as producers. UM, 114 00:07:49,600 --> 00:07:52,680 Speaker 1: you know, it's just it's, you know, from uh, you know, 115 00:07:52,760 --> 00:07:57,600 Speaker 1: from my perspective, has been pretty easy. Honestly, you kind 116 00:07:57,600 --> 00:07:59,760 Speaker 1: of you kind of got to my next question, which 117 00:07:59,840 --> 00:08:04,800 Speaker 1: is it is it possible for the companies to share resources? 118 00:08:04,880 --> 00:08:08,040 Speaker 1: And you know, do you do you prize kind of 119 00:08:08,080 --> 00:08:11,040 Speaker 1: communication among the teams so that people know what the 120 00:08:11,080 --> 00:08:13,720 Speaker 1: other is working on, or do they operate a little 121 00:08:13,720 --> 00:08:18,400 Speaker 1: bit more competitively? No, every all three studios know what's 122 00:08:18,440 --> 00:08:21,760 Speaker 1: going on at each of the other studios. For each 123 00:08:21,760 --> 00:08:24,240 Speaker 1: studio knows what's going on at the other two studios. 124 00:08:24,320 --> 00:08:28,120 Speaker 1: It's we're an open book. And that's an important value 125 00:08:28,280 --> 00:08:31,480 Speaker 1: that I have and I know Dana shares it. UM. 126 00:08:31,520 --> 00:08:34,079 Speaker 1: One of the strengths that I discovered about twenty of 127 00:08:34,200 --> 00:08:38,160 Speaker 1: television is that there is exactly that sense of openness 128 00:08:38,240 --> 00:08:43,600 Speaker 1: at the studio and UM, people feel emboldened and free 129 00:08:43,640 --> 00:08:50,520 Speaker 1: to speak their minds. There are no repercussions for speaking up. 130 00:08:50,520 --> 00:08:54,520 Speaker 1: In fact, it's the opposite. It's encouraged. And I what 131 00:08:54,559 --> 00:08:56,720 Speaker 1: I what I wanted to do was to spread that 132 00:08:56,840 --> 00:08:59,880 Speaker 1: ethos across all three studios and make it the culture 133 00:09:00,559 --> 00:09:03,560 Speaker 1: of Disney Television studios. And I think we've been successful 134 00:09:03,600 --> 00:09:06,160 Speaker 1: at that. And part of that, again is for the 135 00:09:06,160 --> 00:09:09,920 Speaker 1: three studios to share with each other also, UM, and 136 00:09:09,960 --> 00:09:14,640 Speaker 1: it's it was, you know, something that had to be learned, 137 00:09:14,840 --> 00:09:17,439 Speaker 1: but the muscle memory is there now and we've got 138 00:09:17,920 --> 00:09:20,720 Speaker 1: we've got them all working. You know, all three students 139 00:09:20,720 --> 00:09:23,480 Speaker 1: are working really really closely together. I I have to 140 00:09:23,520 --> 00:09:27,040 Speaker 1: believe that John and Burt and Caroline talked to each 141 00:09:27,080 --> 00:09:30,160 Speaker 1: other every day. They talked to that they talked to 142 00:09:30,200 --> 00:09:33,599 Speaker 1: each other as much as they talked to the networks 143 00:09:33,640 --> 00:09:36,520 Speaker 1: that they're selling to. In the agents that were you 144 00:09:36,559 --> 00:09:41,000 Speaker 1: know that that we're that we're UM sourcing talent from, 145 00:09:41,040 --> 00:09:44,839 Speaker 1: and that alone, like that level of communication and information 146 00:09:45,240 --> 00:09:49,400 Speaker 1: it gives you guys, you know, a level of understanding 147 00:09:49,480 --> 00:09:52,360 Speaker 1: and probably kind of foresight into what's coming in the 148 00:09:52,400 --> 00:09:56,360 Speaker 1: marketplace that is probably you know, really invaluable in terms 149 00:09:56,400 --> 00:09:58,960 Speaker 1: of having just that level of intel and in an 150 00:09:59,120 --> 00:10:02,559 Speaker 1: environment that in courage is sharing, yes, and we're trying 151 00:10:02,559 --> 00:10:05,000 Speaker 1: to and we're trying to have that same sort of 152 00:10:05,040 --> 00:10:11,400 Speaker 1: open communication with the Disney networks and platforms also UM 153 00:10:11,480 --> 00:10:16,800 Speaker 1: there there there's nothing that's sacred. It's not it's not 154 00:10:17,080 --> 00:10:20,600 Speaker 1: the sort of classic relationship between a studio and a network. 155 00:10:20,679 --> 00:10:25,840 Speaker 1: It's very much a partnership. And that was one of 156 00:10:25,880 --> 00:10:30,360 Speaker 1: the important things that Dana and I talked about coming in. 157 00:10:30,960 --> 00:10:34,920 Speaker 1: You know, she she oversees networks and studios, and we 158 00:10:35,080 --> 00:10:39,200 Speaker 1: wanted those relationships to feel like partnerships. I talked with 159 00:10:39,280 --> 00:10:42,600 Speaker 1: John Landgraf at length about that when I arrived, and 160 00:10:42,640 --> 00:10:45,200 Speaker 1: he and I agreed on the same thing between effects 161 00:10:45,200 --> 00:10:48,920 Speaker 1: and our studios. Ricky has been the same way with Disney. 162 00:10:48,920 --> 00:10:51,880 Speaker 1: Plus Craig Erwick and I have you know, he and 163 00:10:51,920 --> 00:10:53,959 Speaker 1: I talk every day. I talked to the heads of 164 00:10:54,000 --> 00:10:56,160 Speaker 1: all the Disney networks every day, and they know everything 165 00:10:56,200 --> 00:11:01,360 Speaker 1: that's going on, and they're very open sharing with me. UM. 166 00:11:01,400 --> 00:11:03,559 Speaker 1: You know, not just and it's not just what they 167 00:11:03,559 --> 00:11:05,680 Speaker 1: have in development and what they have in production, but 168 00:11:05,760 --> 00:11:09,040 Speaker 1: I know, I feel like we get insight into what's 169 00:11:09,080 --> 00:11:12,000 Speaker 1: working for them and what's coming next, and what talent 170 00:11:12,040 --> 00:11:13,800 Speaker 1: do they want to work with, and who's on our 171 00:11:13,920 --> 00:11:16,840 Speaker 1: roster that's most important to them, or who's not on 172 00:11:16,880 --> 00:11:19,640 Speaker 1: our roster that they like us to go out and 173 00:11:19,679 --> 00:11:23,720 Speaker 1: bring into the company. So it's it's really, it's really 174 00:11:23,760 --> 00:11:27,840 Speaker 1: kind of remarkably harmonious. It's there's a strong sense of 175 00:11:27,880 --> 00:11:33,360 Speaker 1: partnership and collaboration across our studios and with our studios 176 00:11:33,360 --> 00:11:37,080 Speaker 1: and the Disney Networks. And at the same time, we 177 00:11:37,160 --> 00:11:41,599 Speaker 1: are selling, you know, pretty aggressively outside the company to 178 00:11:42,360 --> 00:11:46,760 Speaker 1: UM We have we have development at four shows on 179 00:11:46,800 --> 00:11:54,000 Speaker 1: the air at Amazon, Apple, HBO, Max, USA, TVs, NBC, 180 00:11:55,120 --> 00:11:57,640 Speaker 1: UM Fox. We have many shows at Fox. They are 181 00:11:57,800 --> 00:12:01,720 Speaker 1: very very important partner to us um CPS. I mean, 182 00:12:01,880 --> 00:12:05,760 Speaker 1: we're in business with just about everybody and and you 183 00:12:05,800 --> 00:12:08,920 Speaker 1: know that's important to us as well, because we want 184 00:12:08,960 --> 00:12:11,440 Speaker 1: our talent to feel like if there isn't a home 185 00:12:11,480 --> 00:12:15,160 Speaker 1: for what they want to develop at Disney, that we 186 00:12:15,320 --> 00:12:19,160 Speaker 1: are an equal opportunity supplier to every other network and 187 00:12:19,160 --> 00:12:22,600 Speaker 1: streaming service. Do you, of course we're talking about all 188 00:12:22,600 --> 00:12:25,480 Speaker 1: this production right now. There's not a ton of stuff 189 00:12:25,559 --> 00:12:30,160 Speaker 1: actually before cameras, has there been anything about the downtime 190 00:12:30,480 --> 00:12:34,800 Speaker 1: of the coronavirus or the pandemic conditions, anything about working 191 00:12:34,880 --> 00:12:38,640 Speaker 1: remotely that that you think that you've learned and that 192 00:12:38,720 --> 00:12:42,320 Speaker 1: will that will like continue on long term in terms 193 00:12:42,360 --> 00:12:44,959 Speaker 1: of the way you work, you know, whether it's most 194 00:12:44,960 --> 00:12:47,360 Speaker 1: production or the way your executives work. Do you think 195 00:12:47,440 --> 00:12:51,560 Speaker 1: like that this period is going to change, like fundamentally 196 00:12:51,640 --> 00:12:56,880 Speaker 1: change the way people work for the long term? Um? 197 00:12:56,920 --> 00:12:59,160 Speaker 1: I think it remains to be seen. We've all learned 198 00:12:59,160 --> 00:13:01,920 Speaker 1: that we can work home and be effective. We've all 199 00:13:02,040 --> 00:13:05,000 Speaker 1: learned that we can stay connected to our teams and 200 00:13:05,080 --> 00:13:10,720 Speaker 1: to talent and to the networks remotely. UM I think 201 00:13:10,760 --> 00:13:13,360 Speaker 1: we've all we're all working as hard as we ever 202 00:13:13,440 --> 00:13:21,400 Speaker 1: have and at the same time we've become more efficient. Um. 203 00:13:21,440 --> 00:13:25,240 Speaker 1: You know, we've We've put into development dozens and dozens 204 00:13:25,240 --> 00:13:30,520 Speaker 1: of new series. We've signed many new writers to overall deals. 205 00:13:30,760 --> 00:13:34,840 Speaker 1: We have kept writers rooms going on many shows. And 206 00:13:34,880 --> 00:13:37,640 Speaker 1: you know, the great success story for our studios during 207 00:13:37,640 --> 00:13:41,640 Speaker 1: this period has been animation. You know, we have I 208 00:13:41,679 --> 00:13:45,800 Speaker 1: believe it's ten series now, ten animated series in production 209 00:13:45,920 --> 00:13:48,440 Speaker 1: and those haven't missed a beat. I mean, there's nothing 210 00:13:48,480 --> 00:13:52,400 Speaker 1: about a pandemic that keeps us from creating animation. We 211 00:13:52,440 --> 00:13:54,200 Speaker 1: had to learn how to do it a little bit differently. 212 00:13:54,360 --> 00:13:58,000 Speaker 1: Everyone's working for Home from home and our recording sessions 213 00:13:58,040 --> 00:14:01,520 Speaker 1: are different, um, but it all working. I mean, I 214 00:14:01,679 --> 00:14:05,800 Speaker 1: that that was that's that's something that that I really 215 00:14:06,320 --> 00:14:09,040 Speaker 1: loved when I came to, when I came to Disney, 216 00:14:09,120 --> 00:14:13,520 Speaker 1: or when I came to was just the incredible animation 217 00:14:14,240 --> 00:14:17,760 Speaker 1: company that they have. You know, that started with Simpsons, 218 00:14:17,880 --> 00:14:21,320 Speaker 1: that moved on to Bob's and Family Guy, and that 219 00:14:21,480 --> 00:14:25,160 Speaker 1: now includes Solar Opposites in Central Park and the Great 220 00:14:25,240 --> 00:14:29,280 Speaker 1: North and Bless the Hearts and many many more shows 221 00:14:29,360 --> 00:14:33,960 Speaker 1: coming up. I I just I feel it's programming that 222 00:14:34,040 --> 00:14:38,480 Speaker 1: I personally loved and to get to know that team 223 00:14:38,520 --> 00:14:42,680 Speaker 1: and our creators across all of our animated series and 224 00:14:42,760 --> 00:14:46,480 Speaker 1: to watch it continue to grow both in volume and 225 00:14:46,480 --> 00:14:49,520 Speaker 1: in success and in quality during the last eighteen months 226 00:14:50,160 --> 00:14:53,400 Speaker 1: has been truly one of the most exciting parts of 227 00:14:53,440 --> 00:14:57,040 Speaker 1: doing this job. And um, you know, Dana and Peter 228 00:14:57,120 --> 00:15:01,200 Speaker 1: have been enormously supportive of it, as as has been Disney. 229 00:15:01,240 --> 00:15:04,680 Speaker 1: You know, they're big believers in animation, needless to say, 230 00:15:04,760 --> 00:15:06,920 Speaker 1: and I think they I think they love the fact 231 00:15:06,960 --> 00:15:10,080 Speaker 1: that we're now bringing you know, the right kind of 232 00:15:10,120 --> 00:15:14,640 Speaker 1: adult animation into the company. And it's been really really exciting. 233 00:15:14,760 --> 00:15:21,520 Speaker 1: Credit to Marcy Prieto for building a really dynamic animation business. 234 00:15:21,600 --> 00:15:23,840 Speaker 1: I think we have eleven series now. You have been 235 00:15:25,120 --> 00:15:28,560 Speaker 1: very much a leader in an effort to have a 236 00:15:28,600 --> 00:15:31,560 Speaker 1: true summit and you know, maybe perhaps as hard as 237 00:15:31,640 --> 00:15:34,000 Speaker 1: Piece in the Middle East, but you know, trying to 238 00:15:34,160 --> 00:15:37,640 Speaker 1: come together with representatives for talent, the you know, of 239 00:15:37,680 --> 00:15:39,880 Speaker 1: the many of the top talent that are that are 240 00:15:40,640 --> 00:15:44,840 Speaker 1: under the Disney umbrella now and talk in a really 241 00:15:45,480 --> 00:15:49,880 Speaker 1: holistic way about a new way, new ways of compensating 242 00:15:49,920 --> 00:15:54,480 Speaker 1: creative talent that acknowledge the many changes that the industry 243 00:15:54,560 --> 00:15:57,480 Speaker 1: has gone through and the fact that it's no longer 244 00:15:57,800 --> 00:15:59,840 Speaker 1: you know, so much of television is no longer a 245 00:16:00,000 --> 00:16:03,000 Speaker 1: September to May two episode world. That is that is 246 00:16:03,040 --> 00:16:05,400 Speaker 1: not new news. That is old news. But the pay 247 00:16:05,480 --> 00:16:09,440 Speaker 1: structures from the three inch thick Writer's Guild of America 248 00:16:09,520 --> 00:16:15,040 Speaker 1: master contract to the traditions that have governed compensation formulas 249 00:16:15,320 --> 00:16:17,720 Speaker 1: in what is You know, a very can be a 250 00:16:17,840 --> 00:16:21,720 Speaker 1: very lucrative industry for creative talent. Those formulas have not 251 00:16:21,840 --> 00:16:25,000 Speaker 1: changed in decades. Of course, anytime you're talking to people 252 00:16:25,040 --> 00:16:29,040 Speaker 1: about money, that's going to be a touchy conversation. I 253 00:16:29,080 --> 00:16:32,280 Speaker 1: know you can't talk specifics, but in the broad strokes, 254 00:16:32,320 --> 00:16:36,640 Speaker 1: would you say, how have those conversations been received? And 255 00:16:36,680 --> 00:16:40,680 Speaker 1: do you think that there is anything like a conventional 256 00:16:40,720 --> 00:16:44,400 Speaker 1: wisdom coming up about You know, the old ways are 257 00:16:44,480 --> 00:16:47,560 Speaker 1: changing in ways that are in ways that are that 258 00:16:48,000 --> 00:16:51,840 Speaker 1: are making sort of these compensation formulas almost obsolete in 259 00:16:51,880 --> 00:16:54,280 Speaker 1: many cases because of the way shows are produced. Are 260 00:16:54,320 --> 00:16:59,760 Speaker 1: people Are people willing to have that conversation with you? Oh? Yes, yes, 261 00:17:00,120 --> 00:17:05,960 Speaker 1: we're approaching it. We're looking for a way to create 262 00:17:06,240 --> 00:17:10,240 Speaker 1: winning formulas all around. Um, we want our creative talent 263 00:17:10,280 --> 00:17:16,199 Speaker 1: and success to be compensated as lucratively as they have 264 00:17:16,320 --> 00:17:21,200 Speaker 1: been in the past, and UM, i'd say that we're there. 265 00:17:21,359 --> 00:17:25,119 Speaker 1: It's not just that the conversations have taken place, but 266 00:17:25,320 --> 00:17:28,240 Speaker 1: we've introduced a new way of sharing and success that 267 00:17:28,400 --> 00:17:34,919 Speaker 1: has been accepted across the industry. UM. It is a 268 00:17:35,040 --> 00:17:38,359 Speaker 1: part of every deal that we enter into now and 269 00:17:38,680 --> 00:17:41,919 Speaker 1: that's been true for the last six nine months, So 270 00:17:42,680 --> 00:17:45,560 Speaker 1: you know, we've made the transition. You know, if you 271 00:17:45,600 --> 00:17:50,840 Speaker 1: think about a TV production, is really about creating. It's 272 00:17:50,880 --> 00:17:56,520 Speaker 1: always been about creating, brand defining hits for networks, driving viewership, 273 00:17:57,880 --> 00:18:01,480 Speaker 1: allowing the networks to earn ad rep new and more 274 00:18:01,560 --> 00:18:09,120 Speaker 1: recently bringing in subscribers. And what's changed is that net 275 00:18:09,160 --> 00:18:13,639 Speaker 1: whether it's Netflix or Amazon or HBO Max or Peacock 276 00:18:14,080 --> 00:18:17,560 Speaker 1: or even just the large entertainment companies that have multiple 277 00:18:17,640 --> 00:18:22,080 Speaker 1: networks and streaming services like Disney. UM, the way we 278 00:18:22,200 --> 00:18:25,920 Speaker 1: distribute our content has changed, and it tends to be 279 00:18:26,680 --> 00:18:32,600 Speaker 1: that we're distributing it across our own networks and platforms routinely, 280 00:18:33,320 --> 00:18:38,600 Speaker 1: globally and for very very long periods of time, and 281 00:18:39,480 --> 00:18:43,600 Speaker 1: to create flexibility around that and not find ourselves in 282 00:18:43,760 --> 00:18:46,600 Speaker 1: endless disputes with talent and reps, which is the last 283 00:18:46,640 --> 00:18:49,400 Speaker 1: thing we want. And frankly, the last thing I think 284 00:18:49,440 --> 00:18:52,200 Speaker 1: they want. We had to come up with a different 285 00:18:52,200 --> 00:18:56,480 Speaker 1: way to share in success um and to account to 286 00:18:56,560 --> 00:19:00,560 Speaker 1: them for success. And we've we've achieved that. It's it's 287 00:19:00,720 --> 00:19:05,560 Speaker 1: you know, we talk about profit participations and now we're 288 00:19:05,560 --> 00:19:11,119 Speaker 1: talking more about success bonuses. And there are and there 289 00:19:11,119 --> 00:19:14,840 Speaker 1: are many metrics that we're using to measure success, from 290 00:19:15,000 --> 00:19:18,720 Speaker 1: the longevity of the show, to the viewership on the show, 291 00:19:19,359 --> 00:19:22,239 Speaker 1: to whether or not the show is winning awards. So 292 00:19:22,320 --> 00:19:26,679 Speaker 1: it's fairly nuanced and show specific. Uh. And at the 293 00:19:26,720 --> 00:19:30,520 Speaker 1: same time, it's not tied to this you know what 294 00:19:30,720 --> 00:19:36,720 Speaker 1: is become an increasingly ephemeral notion of profits. Hard it's 295 00:19:36,800 --> 00:19:39,080 Speaker 1: just hard to define what that means on a show 296 00:19:39,640 --> 00:19:42,800 Speaker 1: when a show is living within an ecosystem like Netflix 297 00:19:43,359 --> 00:19:48,520 Speaker 1: or Amazon or across the Disney platforms and networks for long, 298 00:19:48,600 --> 00:19:53,119 Speaker 1: long periods of time globally um and and and so 299 00:19:53,240 --> 00:19:56,960 Speaker 1: we've made we've made that transition. We still have partners 300 00:19:57,000 --> 00:20:00,919 Speaker 1: who are buying our shows in second windows. Domestically, we 301 00:20:01,000 --> 00:20:04,880 Speaker 1: still sell a lot of our programming to international networks 302 00:20:04,880 --> 00:20:10,120 Speaker 1: around the world, UM, but increasingly it's becoming more about 303 00:20:10,760 --> 00:20:15,320 Speaker 1: the Disney networks and the Disney platforms again, it's it's 304 00:20:15,359 --> 00:20:20,960 Speaker 1: no different than than what the tech companies like Netflix 305 00:20:20,960 --> 00:20:24,600 Speaker 1: and Apple and Amazon are doing. It's the same, it's 306 00:20:24,640 --> 00:20:28,240 Speaker 1: a version of the same thing. Would you say again, 307 00:20:28,280 --> 00:20:32,040 Speaker 1: I wouldn't ask you specifically who, but was there one 308 00:20:32,119 --> 00:20:36,520 Speaker 1: deal or one deal maker on the artist representation side 309 00:20:36,920 --> 00:20:40,040 Speaker 1: that that that one deal that you made that kind 310 00:20:40,040 --> 00:20:43,280 Speaker 1: of became a shining light for others? Or was it 311 00:20:43,680 --> 00:20:46,000 Speaker 1: not that You're gonna give me into trouble. I'm not 312 00:20:46,080 --> 00:20:49,160 Speaker 1: going down now. We talked to we talked to all 313 00:20:49,240 --> 00:20:52,880 Speaker 1: of the big lawyer all the big law firms, prominent 314 00:20:52,960 --> 00:20:56,879 Speaker 1: lawyers and agents in town, and um, you know, it 315 00:20:56,920 --> 00:20:58,879 Speaker 1: would have been easier if we had just talked to 316 00:20:58,960 --> 00:21:01,040 Speaker 1: one and tried to work out a deal that then 317 00:21:01,080 --> 00:21:04,560 Speaker 1: spread across the industry. But there's a lot of strong 318 00:21:05,200 --> 00:21:08,840 Speaker 1: there's a lot of smart, strong wills, highly opinionated people 319 00:21:08,840 --> 00:21:10,760 Speaker 1: in our industry. So we had to work with all 320 00:21:10,800 --> 00:21:13,520 Speaker 1: of them and we got there. I I think they 321 00:21:13,560 --> 00:21:16,160 Speaker 1: all know that. I think they all feel that this 322 00:21:16,240 --> 00:21:20,280 Speaker 1: is a this is a fair outcome. Um. And some 323 00:21:20,359 --> 00:21:25,080 Speaker 1: of the older deals that we have where folks still 324 00:21:25,200 --> 00:21:30,480 Speaker 1: have profit participations, are now asking us to transition over 325 00:21:30,520 --> 00:21:36,800 Speaker 1: to the bonus formula. It's more predictable. It's more it's 326 00:21:37,520 --> 00:21:39,919 Speaker 1: you get paid more quickly and you know what you're 327 00:21:39,960 --> 00:21:42,119 Speaker 1: going to get paid in success and people find that 328 00:21:42,359 --> 00:21:46,720 Speaker 1: and many of our creators find that very appealing. I 329 00:21:46,760 --> 00:21:49,719 Speaker 1: think it's a testament to you and your approach that 330 00:21:50,119 --> 00:21:53,920 Speaker 1: my phone did not blow up with screaming lawyers, because, 331 00:21:53,960 --> 00:21:58,200 Speaker 1: believe me, on things that were less sort of seismic 332 00:21:58,240 --> 00:22:01,200 Speaker 1: shifts for the industry, there has there. You know, they're 333 00:22:01,320 --> 00:22:05,720 Speaker 1: definitely not shy about hearing complaints from talent reps about 334 00:22:05,720 --> 00:22:08,920 Speaker 1: the big bad studios. So again, to your credit, let 335 00:22:08,920 --> 00:22:11,560 Speaker 1: me ask you, well, I think I just you know, 336 00:22:12,000 --> 00:22:14,679 Speaker 1: it was important to all of us and and you know, 337 00:22:14,760 --> 00:22:18,800 Speaker 1: this was really within our company something that Peter and 338 00:22:18,920 --> 00:22:22,720 Speaker 1: Dana and John Landgraf and Eric Tryer and i um 339 00:22:22,760 --> 00:22:27,080 Speaker 1: spent a lot of time on, and we went into 340 00:22:27,119 --> 00:22:31,840 Speaker 1: it feeling like to make this happen and to stay 341 00:22:31,920 --> 00:22:36,320 Speaker 1: talent friendly, we needed to be generous. And you know 342 00:22:36,480 --> 00:22:40,240 Speaker 1: that is to do what we're trying to do, we 343 00:22:40,320 --> 00:22:44,879 Speaker 1: have to have close and trusting relationships with writers. What 344 00:22:45,040 --> 00:22:47,840 Speaker 1: people want obviously people we need to have people want 345 00:22:47,840 --> 00:22:52,960 Speaker 1: to work with us. So we crafted are we crafted 346 00:22:52,960 --> 00:22:56,639 Speaker 1: the way we came at this with that front and center, 347 00:22:56,880 --> 00:22:59,560 Speaker 1: that was always front and center. Does this feel right? 348 00:23:00,040 --> 00:23:05,960 Speaker 1: Does this feel fair? And I guess maybe that's why 349 00:23:06,200 --> 00:23:10,520 Speaker 1: your phone didn't blow up, Cynthia. That those those are 350 00:23:10,880 --> 00:23:14,199 Speaker 1: as guiding principles. Those are pretty good for for you know, 351 00:23:14,280 --> 00:23:16,560 Speaker 1: for any kind of a deal making. Let me ask 352 00:23:16,600 --> 00:23:20,280 Speaker 1: you the sort of the question related to that, which 353 00:23:20,320 --> 00:23:24,639 Speaker 1: is also you know, become an industry wide sort of concern, 354 00:23:25,440 --> 00:23:28,400 Speaker 1: is how in the in a world where content more 355 00:23:28,440 --> 00:23:32,760 Speaker 1: content is living for longer periods on Disney platforms or 356 00:23:33,040 --> 00:23:35,879 Speaker 1: platforms like a Netflix or an Amazon, where again you 357 00:23:35,920 --> 00:23:39,600 Speaker 1: have long license terms and you don't have the opportunity 358 00:23:39,600 --> 00:23:42,840 Speaker 1: for off network syndication that used to be the primary 359 00:23:42,880 --> 00:23:47,040 Speaker 1: source of of certainly a primary source of studio profits. 360 00:23:47,080 --> 00:23:50,000 Speaker 1: How do you value content these days? How do you 361 00:23:50,000 --> 00:23:53,959 Speaker 1: how do you determine the value of a MRS America 362 00:23:54,320 --> 00:23:57,520 Speaker 1: or or a show that you produced for a third 363 00:23:57,520 --> 00:24:01,040 Speaker 1: party platform that may be on their in their ecosystem 364 00:24:01,119 --> 00:24:04,159 Speaker 1: for ten fifteen years. How do how do you how 365 00:24:04,160 --> 00:24:09,160 Speaker 1: do you make those calculations these days in this changing market? Yeah, 366 00:24:09,240 --> 00:24:12,639 Speaker 1: it's very different. And I you know, when we're producing 367 00:24:12,680 --> 00:24:18,360 Speaker 1: inside the Disney Company. Our focuses are we are we 368 00:24:18,440 --> 00:24:21,399 Speaker 1: making programming that brings an audience to one of the 369 00:24:21,480 --> 00:24:26,080 Speaker 1: Disney networks, that brings and with that audience, subscriber fees 370 00:24:26,240 --> 00:24:29,959 Speaker 1: and advertising revenue. You know, it's it's and and in 371 00:24:30,000 --> 00:24:34,639 Speaker 1: the best case, we're creating shows that helped define those networks. 372 00:24:35,160 --> 00:24:38,439 Speaker 1: And when we reach outside the company, we're trying to 373 00:24:38,480 --> 00:24:42,640 Speaker 1: do the same thing. Um. The business terms just need 374 00:24:42,720 --> 00:24:45,000 Speaker 1: to be thought through a little bit more carefully. You know, 375 00:24:45,040 --> 00:24:49,760 Speaker 1: when we're working with Apple and they and and and 376 00:24:50,720 --> 00:24:52,560 Speaker 1: a show that we create for them is going to 377 00:24:52,680 --> 00:24:58,480 Speaker 1: live globally on the Apple service around the world, then 378 00:24:58,560 --> 00:25:01,800 Speaker 1: we need to make sure that we get paid upfront 379 00:25:01,840 --> 00:25:06,720 Speaker 1: and success. And they've been They've been great partners. Amazon 380 00:25:06,760 --> 00:25:10,920 Speaker 1: has been a great partner. Um. You know, working with 381 00:25:11,160 --> 00:25:16,600 Speaker 1: the broadcast networks and cable networks around town in some 382 00:25:16,680 --> 00:25:20,760 Speaker 1: ways financially gets a little bit more challenging because the 383 00:25:20,800 --> 00:25:23,480 Speaker 1: revenue streams that we counted on to make up our 384 00:25:23,520 --> 00:25:28,400 Speaker 1: deficits and turn us into profits, um are not as 385 00:25:28,440 --> 00:25:30,960 Speaker 1: consistent as they've been. You can still knock it out 386 00:25:30,960 --> 00:25:33,200 Speaker 1: of the park, but it's just there isn't the consistent 387 00:25:33,240 --> 00:25:38,399 Speaker 1: baseline that there used to be, and and so we are, 388 00:25:39,000 --> 00:25:42,960 Speaker 1: you know, we're just we're we're we're adapting the way 389 00:25:43,000 --> 00:25:45,320 Speaker 1: we think about those parts of our business. We're not 390 00:25:45,359 --> 00:25:50,320 Speaker 1: shying away from it. We're just cognizant that it's increasingly 391 00:25:50,359 --> 00:25:54,320 Speaker 1: a hit driven business. And in the past, where even 392 00:25:54,359 --> 00:25:59,400 Speaker 1: shows that didn't succeed long term might have carried um 393 00:25:59,640 --> 00:26:04,040 Speaker 1: really satively minimal risk, they carry more risk now. So 394 00:26:04,119 --> 00:26:06,360 Speaker 1: when you're you know, we tend to look at and 395 00:26:06,520 --> 00:26:09,119 Speaker 1: it was the same ten years ago when I was 396 00:26:09,160 --> 00:26:11,359 Speaker 1: at Warner Brothers. You look at what you're doing on 397 00:26:11,400 --> 00:26:14,120 Speaker 1: a portfolio basis, You look at all the shows you're 398 00:26:14,200 --> 00:26:17,800 Speaker 1: developing and producing, the overhead you're carrying, the amount of 399 00:26:17,840 --> 00:26:21,960 Speaker 1: money you're spending on development, and then project what you 400 00:26:22,000 --> 00:26:28,480 Speaker 1: think ultimately based on history and you know, and and 401 00:26:28,680 --> 00:26:31,640 Speaker 1: and the kinds of success rates you've had in the past, 402 00:26:32,600 --> 00:26:35,719 Speaker 1: you know, calculate, you know what you think what you 403 00:26:35,760 --> 00:26:38,480 Speaker 1: think you can turn as a profit every year now 404 00:26:38,520 --> 00:26:42,920 Speaker 1: and into the future. M hm hm. That was I'm 405 00:26:42,920 --> 00:26:45,280 Speaker 1: sure that's always been an art, more of an art 406 00:26:45,280 --> 00:26:48,480 Speaker 1: than a science, but it's a little bit of both. 407 00:26:49,200 --> 00:26:53,119 Speaker 1: You would you say, do you find that you know 408 00:26:53,880 --> 00:26:56,639 Speaker 1: that the metrics that you use internally for Disney and 409 00:26:56,680 --> 00:27:00,520 Speaker 1: Disney product Do you find are there commonality with how 410 00:27:00,600 --> 00:27:05,000 Speaker 1: you would negotiate, you know, value proposition or a bonus 411 00:27:05,119 --> 00:27:08,960 Speaker 1: with an Amazon or a Netflix. Are people looking kind 412 00:27:08,960 --> 00:27:11,199 Speaker 1: of at the same metrics or is it very different 413 00:27:11,240 --> 00:27:15,920 Speaker 1: depending on where you're doing business. Um, I think we're 414 00:27:16,240 --> 00:27:22,119 Speaker 1: we're when we're working outside the company. As of course 415 00:27:22,160 --> 00:27:25,320 Speaker 1: this would be true when we're working outside the company. Um, 416 00:27:25,359 --> 00:27:28,600 Speaker 1: there's more of a focus from our corporate management on 417 00:27:28,880 --> 00:27:31,320 Speaker 1: when and how and if we can turn a profit 418 00:27:31,400 --> 00:27:35,800 Speaker 1: on the shows. When we're working inside the company, if 419 00:27:35,840 --> 00:27:38,000 Speaker 1: we can create a hit show for Hulu or Disney 420 00:27:38,040 --> 00:27:44,040 Speaker 1: Plus or ABC much as forgiven. Um, So that doesn't 421 00:27:44,080 --> 00:27:47,520 Speaker 1: mean that we're profligate. In fact, you know, the one 422 00:27:47,520 --> 00:27:49,800 Speaker 1: of the one of the arts of all of this 423 00:27:49,880 --> 00:27:53,200 Speaker 1: is when you're working inside a company and the value 424 00:27:53,200 --> 00:27:57,760 Speaker 1: of creating a hit for a sister platform is so outsized. Um. 425 00:27:57,800 --> 00:28:00,520 Speaker 1: You know, there's a tendency or a temptation to uh 426 00:28:00,840 --> 00:28:03,399 Speaker 1: spend whatever it takes. And you know what Peter and 427 00:28:03,480 --> 00:28:05,600 Speaker 1: Dana look for us to do is to not let 428 00:28:05,680 --> 00:28:08,479 Speaker 1: that happen. To make sure that we're managing those shows 429 00:28:08,560 --> 00:28:12,320 Speaker 1: just as we would otherwise, but again on the revenue side, 430 00:28:12,359 --> 00:28:16,359 Speaker 1: on the sort of profitability side, if you're creating a 431 00:28:16,400 --> 00:28:19,520 Speaker 1: hit show for a sister network, that kind of takes 432 00:28:19,560 --> 00:28:21,720 Speaker 1: care of itself. You know, I've got a pian L, 433 00:28:21,960 --> 00:28:24,879 Speaker 1: Johnny Carolin, Burt and I I'll have a p and L. 434 00:28:24,960 --> 00:28:26,600 Speaker 1: We have to get so I don't want it to 435 00:28:26,680 --> 00:28:30,679 Speaker 1: sound like, um, you know, it's all kumbaya. You know, 436 00:28:30,760 --> 00:28:33,000 Speaker 1: we've got to we've got to repre profits and we 437 00:28:33,040 --> 00:28:36,520 Speaker 1: have to hit our numbers. Um And I think that that, 438 00:28:37,160 --> 00:28:40,080 Speaker 1: you know, that's always top of mind for me. But 439 00:28:40,840 --> 00:28:44,760 Speaker 1: I also feel, and um, I know Dana shares this 440 00:28:44,840 --> 00:28:47,600 Speaker 1: feeling that if we create great shows, if we create 441 00:28:47,640 --> 00:28:51,600 Speaker 1: great television, you know, it'll all take care of itself 442 00:28:53,640 --> 00:28:58,760 Speaker 1: for sure, for sure. Good. Yeah, yeah, So we have 443 00:28:58,800 --> 00:29:02,720 Speaker 1: a really valuable life, arey. And um, you know, I 444 00:29:03,400 --> 00:29:06,600 Speaker 1: feel really good on all by all accounts with how 445 00:29:06,640 --> 00:29:11,160 Speaker 1: we're performing uh as A as as three studios over 446 00:29:11,200 --> 00:29:14,240 Speaker 1: the course of the last year, including including against our 447 00:29:14,800 --> 00:29:17,840 Speaker 1: our p and L. I think it's a hopefully it's 448 00:29:17,880 --> 00:29:20,800 Speaker 1: a source of pride for Peter and for the Disney 449 00:29:20,800 --> 00:29:24,320 Speaker 1: Company as well. Have you had to make any adjustments 450 00:29:24,680 --> 00:29:29,520 Speaker 1: given this coronavirus moment that we're in. I mean in 451 00:29:29,600 --> 00:29:33,120 Speaker 1: terms of like long term forecasts, has it Has it 452 00:29:33,240 --> 00:29:38,840 Speaker 1: been that significant today? Yeah? We you know, certainly it's 453 00:29:38,880 --> 00:29:45,400 Speaker 1: impacted this year fiscal year. UM our results are different 454 00:29:45,520 --> 00:29:50,880 Speaker 1: because we had to shut down shows. Um, there was 455 00:29:50,920 --> 00:29:53,480 Speaker 1: a cost associated with that. There were shows that we 456 00:29:53,520 --> 00:29:57,400 Speaker 1: didn't produce. Some of them we we we we some 457 00:29:57,520 --> 00:29:59,760 Speaker 1: of those that were early in their life. We actually 458 00:29:59,760 --> 00:30:03,760 Speaker 1: say of money, some of them that were valuable. Um. 459 00:30:03,800 --> 00:30:09,040 Speaker 1: You know, by producing fewer episodes, we made less money. UM. 460 00:30:09,160 --> 00:30:13,520 Speaker 1: And uh, you know. But but it's from you know, 461 00:30:13,600 --> 00:30:19,600 Speaker 1: from a from a forecasting perspective looking out in It's hard, 462 00:30:19,840 --> 00:30:24,120 Speaker 1: it's tricky. You know. We've run many, many scenarios, all 463 00:30:24,160 --> 00:30:27,400 Speaker 1: of them based on different start dates. When are we 464 00:30:27,440 --> 00:30:30,320 Speaker 1: going to go back into pre production? Are we Are 465 00:30:30,360 --> 00:30:32,520 Speaker 1: we going to be able to produce a full complement 466 00:30:32,640 --> 00:30:34,800 Speaker 1: of episodes? Are we going to get as many new 467 00:30:34,880 --> 00:30:39,520 Speaker 1: series as we would have expected in the past? Um? 468 00:30:39,560 --> 00:30:43,560 Speaker 1: Are we going to convert as successfully from development production 469 00:30:43,640 --> 00:30:47,080 Speaker 1: as we have in the past. All of that depends 470 00:30:47,080 --> 00:30:50,920 Speaker 1: in large part on how successfully, when, and how successfully 471 00:30:50,960 --> 00:30:55,080 Speaker 1: we can get back into production. And that's that's unknown. 472 00:30:55,160 --> 00:30:59,320 Speaker 1: We're heading into pre production on ten series this week. UM. 473 00:30:59,320 --> 00:31:02,200 Speaker 1: Some of those are Countadas, some of them are in 474 00:31:02,400 --> 00:31:04,800 Speaker 1: l A. We'll be branching out to the East coast 475 00:31:04,880 --> 00:31:09,080 Speaker 1: in Chicago and starting up shows in those um parts 476 00:31:09,080 --> 00:31:13,440 Speaker 1: of the country soon. If all goes well. You know, 477 00:31:13,520 --> 00:31:15,920 Speaker 1: our hope is to be back into production on most 478 00:31:15,960 --> 00:31:18,600 Speaker 1: of our series by late fall. But you know, again, 479 00:31:18,640 --> 00:31:21,160 Speaker 1: there's just a tremendous amount that we can control. I 480 00:31:21,200 --> 00:31:25,800 Speaker 1: think we've created as our studio. We've worked really hard 481 00:31:25,840 --> 00:31:29,160 Speaker 1: over the last couple of months on safe production protocols 482 00:31:29,200 --> 00:31:32,200 Speaker 1: to make our sets and locations as safe as possible 483 00:31:33,000 --> 00:31:36,240 Speaker 1: for our actors and directors and crew members and everyone 484 00:31:36,960 --> 00:31:40,080 Speaker 1: everyone who works in You know, if you think about it, 485 00:31:40,080 --> 00:31:46,880 Speaker 1: it's a pretty tightly packed environment and and and most 486 00:31:47,000 --> 00:31:52,040 Speaker 1: everyone can wear protective equipment, but not our actors, and 487 00:31:52,120 --> 00:31:58,880 Speaker 1: so keeping everyone safe and healthy UM is no small challenge. 488 00:31:58,920 --> 00:32:02,160 Speaker 1: And we've worked really, really, really hard to figure that out. 489 00:32:02,320 --> 00:32:04,720 Speaker 1: And over the past month or so, we've been in 490 00:32:04,840 --> 00:32:07,760 Speaker 1: deep discussions and negotiations with SAG and the d g 491 00:32:08,000 --> 00:32:11,280 Speaker 1: A and the i A and teamsters to come up 492 00:32:11,360 --> 00:32:15,920 Speaker 1: with a standard set of safety protocols across the industry 493 00:32:16,040 --> 00:32:19,440 Speaker 1: and We're pretty close to getting that done now. And 494 00:32:19,520 --> 00:32:23,440 Speaker 1: I feel I'm not a medical expert, obviously, but I've 495 00:32:23,480 --> 00:32:26,120 Speaker 1: talked to many, many, many of them over the course 496 00:32:26,160 --> 00:32:29,280 Speaker 1: of the last the last couple of months, and I 497 00:32:29,320 --> 00:32:31,560 Speaker 1: feel like we've come up with as good a plan 498 00:32:31,640 --> 00:32:35,000 Speaker 1: as you possibly can. It's difficult for us to create 499 00:32:35,040 --> 00:32:39,520 Speaker 1: a bubble like the NBA has done. Um, you know, 500 00:32:39,760 --> 00:32:44,360 Speaker 1: I I think we can create a more contained environment 501 00:32:44,440 --> 00:32:48,920 Speaker 1: perhaps then some other sports leagues. Um, We're not traveling, 502 00:32:48,920 --> 00:32:51,640 Speaker 1: we're not moving in the same way that those leagues do. 503 00:32:51,840 --> 00:32:55,520 Speaker 1: But it's you know, it's it's time will tell. We're 504 00:32:55,520 --> 00:32:59,160 Speaker 1: gonna learn as we go. And the number one thing, 505 00:33:00,000 --> 00:33:03,720 Speaker 1: the number one consideration for us, and this is inherent 506 00:33:04,040 --> 00:33:07,440 Speaker 1: in the in the values of the Disney Company, is 507 00:33:07,520 --> 00:33:10,640 Speaker 1: keeping people safe. There is that is that is the 508 00:33:11,120 --> 00:33:15,320 Speaker 1: number one priority. And at the same time, all of 509 00:33:15,360 --> 00:33:20,640 Speaker 1: our crews, all or almost all of our cast members 510 00:33:20,680 --> 00:33:24,040 Speaker 1: want to go back to work. Many people desperately need 511 00:33:24,120 --> 00:33:26,560 Speaker 1: to go back to work. They have bills to pay, 512 00:33:26,600 --> 00:33:29,959 Speaker 1: they have mouths to feed, they have mortgages, they have 513 00:33:30,760 --> 00:33:34,120 Speaker 1: school tuition, they have kids in college. I mean, you know, 514 00:33:34,400 --> 00:33:37,520 Speaker 1: the list goes on and on. So we're all trying 515 00:33:37,600 --> 00:33:40,320 Speaker 1: to Yeah, exactly, So we're all trying to find the 516 00:33:40,440 --> 00:33:43,400 Speaker 1: right balance. You know, we're trying to find the right 517 00:33:43,440 --> 00:33:48,720 Speaker 1: balance between creating optimum safety and at the same time 518 00:33:48,760 --> 00:33:52,640 Speaker 1: producing television and the only way we can do it. Yes, 519 00:33:52,760 --> 00:33:58,000 Speaker 1: we will use more virtual or remote you know, production techniques, 520 00:33:58,080 --> 00:34:01,400 Speaker 1: but as an industry, not there yet. You know, we 521 00:34:01,480 --> 00:34:06,760 Speaker 1: can't produce like um, they produced the Mandalorian. You know, 522 00:34:06,800 --> 00:34:13,360 Speaker 1: we're just not there yet in technical expertise and infrastructure 523 00:34:13,400 --> 00:34:17,680 Speaker 1: and um, you know, it's too expensive to do that. 524 00:34:17,760 --> 00:34:19,560 Speaker 1: But it is one thing we're looking at and that 525 00:34:19,640 --> 00:34:23,520 Speaker 1: has been hastened by the pandemic. You know, it's it's 526 00:34:23,760 --> 00:34:27,960 Speaker 1: caused us to think a lot harder about how we 527 00:34:28,000 --> 00:34:32,279 Speaker 1: can produce differently. Yeah, a lot of a lot of 528 00:34:32,280 --> 00:34:36,600 Speaker 1: those conversations going on across town. My last question for 529 00:34:36,719 --> 00:34:40,680 Speaker 1: you here is I know that recently you have unveiled 530 00:34:40,680 --> 00:34:45,879 Speaker 1: a rebranding of the three studio imprints. Um. You talked 531 00:34:45,920 --> 00:34:51,520 Speaker 1: about the sort of philosophical decisions that guided that. Yes, Um, 532 00:34:51,640 --> 00:34:55,480 Speaker 1: we just so we we we were heading into a 533 00:34:55,560 --> 00:34:59,440 Speaker 1: new future as part of the Disney Company, and we 534 00:34:59,560 --> 00:35:02,799 Speaker 1: wanted the names of each of our studios to reflect 535 00:35:03,840 --> 00:35:12,879 Speaker 1: both the heritage of that studio, but also UM amplify 536 00:35:13,600 --> 00:35:18,359 Speaker 1: sort of the creative power and heritage of Disney. So 537 00:35:18,440 --> 00:35:21,759 Speaker 1: ABC Signature ABC Studios is now going to be called 538 00:35:21,800 --> 00:35:26,640 Speaker 1: ABC Signature. There were actually two labels within ABC Studios. 539 00:35:26,640 --> 00:35:31,840 Speaker 1: There was Studios and Signature. Signature we feel like stands 540 00:35:31,880 --> 00:35:35,400 Speaker 1: for something broader. ABC Studios felt like it was it 541 00:35:35,480 --> 00:35:40,680 Speaker 1: was a traditional studio attached to a broadcast network. In ABC, 542 00:35:41,080 --> 00:35:44,040 Speaker 1: that studio, Johnny Studio is doing so much more than 543 00:35:44,080 --> 00:35:47,680 Speaker 1: that that we transition that we that we're transitioning over 544 00:35:47,719 --> 00:35:52,040 Speaker 1: to ABC Signature as a statement of the creative community 545 00:35:52,400 --> 00:35:56,160 Speaker 1: that we are producing all across the Disney Company and 546 00:35:56,280 --> 00:36:01,960 Speaker 1: outside as well. UM three Fox. It just felt funny 547 00:36:02,000 --> 00:36:04,719 Speaker 1: to have the Fox name as part of as part 548 00:36:04,719 --> 00:36:08,440 Speaker 1: of our studio and UM and at the same time 549 00:36:08,680 --> 00:36:13,719 Speaker 1: that was that is a studio that has a tremendous, 550 00:36:13,760 --> 00:36:20,040 Speaker 1: almost unparalleled history of success and we wanted to reflect that. 551 00:36:20,160 --> 00:36:22,360 Speaker 1: So we kept the twentieth name, and most people in 552 00:36:22,400 --> 00:36:24,680 Speaker 1: town just call it twentieth anyway, So it's not a 553 00:36:24,680 --> 00:36:27,960 Speaker 1: big change. But if you think back across the wide 554 00:36:28,040 --> 00:36:30,200 Speaker 1: range of programming they've done over the years, from X 555 00:36:30,239 --> 00:36:32,680 Speaker 1: Files to lead a twenty four and The Simpsons and 556 00:36:32,760 --> 00:36:36,279 Speaker 1: Modern Family and the list goes on and on. UM, 557 00:36:36,320 --> 00:36:38,400 Speaker 1: we felt like we didn't need to make a big change. 558 00:36:38,520 --> 00:36:41,520 Speaker 1: We just decided to drop the Fox part of it 559 00:36:42,080 --> 00:36:45,280 Speaker 1: and go with what again the way most people already 560 00:36:45,280 --> 00:36:48,319 Speaker 1: talked about that studio. The one that we made a 561 00:36:48,320 --> 00:36:51,240 Speaker 1: more significant change to was Fox twenty one. We felt 562 00:36:51,239 --> 00:36:54,680 Speaker 1: like just calling it twenty one didn't mean anything. So 563 00:36:54,760 --> 00:37:01,000 Speaker 1: we looked into the history of studio tables at Disney 564 00:37:01,120 --> 00:37:06,560 Speaker 1: and plucked out Touchstone Television. And you know, that's a 565 00:37:06,680 --> 00:37:11,320 Speaker 1: powerful legacy Disney brand that existed across TV and film. 566 00:37:11,400 --> 00:37:16,600 Speaker 1: It stands for quality, um, and it also sends a 567 00:37:16,680 --> 00:37:21,239 Speaker 1: message that we're all part of Disney. You know, we're 568 00:37:21,280 --> 00:37:24,640 Speaker 1: all part of Disney now. Touchstone is an important part 569 00:37:24,640 --> 00:37:28,200 Speaker 1: of the Disney heritage, and we felt like that was 570 00:37:28,280 --> 00:37:32,440 Speaker 1: just the perfect name. And Peter and Dana, you know, 571 00:37:32,520 --> 00:37:36,640 Speaker 1: really championed that idea. They were very solicitous of our 572 00:37:36,719 --> 00:37:39,839 Speaker 1: feelings about it. But you know, they as they sort 573 00:37:39,880 --> 00:37:42,000 Speaker 1: of talked to us, talked burden me through it. We 574 00:37:42,040 --> 00:37:44,040 Speaker 1: were like, okay, yeah, that makes it feels good. That 575 00:37:44,080 --> 00:37:47,960 Speaker 1: feels really good. So so I'm really proud and Um, 576 00:37:48,560 --> 00:37:52,840 Speaker 1: we're Disney Television Studios and we have the same great 577 00:37:53,000 --> 00:37:58,600 Speaker 1: creative teams, production teams, business affairs folks. Um. Um, but 578 00:37:58,800 --> 00:38:01,720 Speaker 1: it's uh, you know, it's a it's a it's definitely 579 00:38:01,719 --> 00:38:03,400 Speaker 1: a new day, and I think the names reflect that. 580 00:38:10,200 --> 00:38:13,000 Speaker 1: Thanks for listening. Be sure to leave us a review 581 00:38:13,040 --> 00:38:16,680 Speaker 1: at Apple Podcasts. We love to hear from listeners, and 582 00:38:16,760 --> 00:38:19,240 Speaker 1: be sure to tune in next week for another episode 583 00:38:19,280 --> 00:38:20,240 Speaker 1: of Strictly Business.