WEBVTT - 'Peaky Blinders' Is Over. But It's Really Just Begun

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<v Speaker 1>Welcome to another episode of Strictly Business, the podcast where

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<v Speaker 1>we speak with some of the brightest minds working in

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<v Speaker 1>the media business today. I'm Andrew Wallenstein with variety. Peaky

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<v Speaker 1>Blinders just kicked off its final season on Netflix in

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<v Speaker 1>the US, but fear not, fans, this show is going

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<v Speaker 1>to live on via brand extensions far beyond the usual merch.

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<v Speaker 1>We're talking stage production, virtual reality, even a ballet. That's

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<v Speaker 1>just the beginning of the unusual business model employed by

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<v Speaker 1>my guest today producer Karen Mandebach. More with her in

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<v Speaker 1>just a moment. My guest today is Karen Mandebach, one

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<v Speaker 1>of the executive producers of Peaky Blinders and so much more.

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<v Speaker 1>Her name is well known to any student of TV history,

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<v Speaker 1>with credits including TV mega hits like The Cosby Show, Roseanne,

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<v Speaker 1>That Seventies Show, just to name a few of what

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<v Speaker 1>she's produced with former partners Marcy Carcy and Tom Warner.

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<v Speaker 1>Thanks for joining us, Karen, Hey, Thanks Andy, Thanks for

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<v Speaker 1>having me great So let's I want to start with

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<v Speaker 1>the basics, because you are unique in the TV landscape

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<v Speaker 1>as a true independent, but I want to make sure

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<v Speaker 1>people understand what exactly that means. So walk us through

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<v Speaker 1>your arrangement. All right, Well, I started in the business

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<v Speaker 1>with Marcy actually, who hired me, having left ABC a

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<v Speaker 1>long before Dirt a long time ago, and she was

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<v Speaker 1>going to be an independent She's I was the first

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<v Speaker 1>person she hired because I was already a producer, which

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<v Speaker 1>was weird of course, because I was a woman and

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<v Speaker 1>young at that time. She then wanted Tom to join her,

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<v Speaker 1>so I was actually hired before Tom. But that was

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<v Speaker 1>the India of all indies, you know. We ended up

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<v Speaker 1>being so fortunate that it was the right time, but

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<v Speaker 1>also we were good And Marcio used to say that Eisner,

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<v Speaker 1>who was earlier than her boss, just wanted one hitti

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<v Speaker 1>or just give me one hittie or and it's not there,

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<v Speaker 1>find it? What is it? It's missing? It should be there.

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<v Speaker 1>So that was the training is to be independent. And

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<v Speaker 1>then we saw the writing on the wall in UH

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<v Speaker 1>after the finn Sin ruling. For all the kids out

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<v Speaker 1>there who don't know what that is, a long long

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<v Speaker 1>time ago, the network the networks, having no experience in

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<v Speaker 1>producing things themselves, decided what a good idea, will take

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<v Speaker 1>a chance at it. This is around the time that

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<v Speaker 1>we were doing Third Rock from the Sun, and I

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<v Speaker 1>actually have a T shirt that says I survived fourteen

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<v Speaker 1>time Slot moves Third Rock from the Sun because because

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<v Speaker 1>they used us to build up their nascent offerings, fourteen

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<v Speaker 1>of which didn't work. So we were used to being

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<v Speaker 1>uh kind of an independent and then used where the

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<v Speaker 1>networks themselves to buttress their own efforts. Having had that,

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<v Speaker 1>Marcy went her way, Tom with his I left him.

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<v Speaker 1>I did Nurse Jackie as an independent. I had a

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<v Speaker 1>deal with lions Gate, which six weeks later God nursed

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<v Speaker 1>Jackie just popped right out. It was great, Bob, it

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<v Speaker 1>was wonderful. And then uh, I took that sort of

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<v Speaker 1>idea of the business model. It was my I p

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<v Speaker 1>Actually the real nurse Jackie was my god daughter who cared.

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<v Speaker 1>But true story, and um, yeah, so I saw the

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<v Speaker 1>I piqued to them. They were great lions game. It

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<v Speaker 1>was great. And then I thought, what a good idea.

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<v Speaker 1>I'll just move to England because they'll let me. I've

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<v Speaker 1>gone to school here, I have friends here, and they'll

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<v Speaker 1>let me. You know, they'll let me be an independent

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<v Speaker 1>because we were sort of oh you know, they'd say

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<v Speaker 1>they wanted Sony or or somebody to be one of

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<v Speaker 1>their arms dealers as it is. No, they really didn't.

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<v Speaker 1>It was like my show, your show, my show, your show.

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<v Speaker 1>Well your show is better, but it is my show.

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<v Speaker 1>There were no indies. Within a minute we were run

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<v Speaker 1>out of so here in England they were extremely open

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<v Speaker 1>to it. It was the business model it still is

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<v Speaker 1>and it's a very healthy ecosystem. So how that works.

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<v Speaker 1>As you invest your own money, you go to the bank,

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<v Speaker 1>much as I remember Marcy had to mortgage your house

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<v Speaker 1>to set up the Cosby Show in um in New York.

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<v Speaker 1>So I did the same. I didn't mortage my house,

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<v Speaker 1>but I moved and then got lucky. That's the second thing.

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<v Speaker 1>I gotta get lucky. Invest your own money, then get lucky.

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<v Speaker 1>And I guess you got lucky stumbling upon Peaky Blinders. Uh,

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<v Speaker 1>talk about how that came to light? How you how

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<v Speaker 1>did you get that show going? Well, it wasn't it

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<v Speaker 1>wasn't anything you know, complicated, Steve Knight. I guess looked

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<v Speaker 1>at our background, having once been a comedy producer himself,

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<v Speaker 1>and decided to that myself and the guy who actually

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<v Speaker 1>does the work, Jamie glazebrook Um We're perfectly good for

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<v Speaker 1>this project. He pitched. Actually two projects we went to

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<v Speaker 1>and Mensa, who is a buyer now at net like

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<v Speaker 1>she was at the BBC at the time. She said

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<v Speaker 1>to Steve, which one you want to do first? He said,

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<v Speaker 1>I want to do Peeky Blondess first. She said great,

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<v Speaker 1>She commissioned it and then she left to go to

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<v Speaker 1>Sky the next day on Southern you have it. And

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<v Speaker 1>then six months later, um, you know we got a

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<v Speaker 1>green light. Now what was it about a show about

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<v Speaker 1>turn of the century gangsters that was to use something

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<v Speaker 1>to bet on? What? What was it about this intellectual

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<v Speaker 1>property that you had such faith in. I believe that

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<v Speaker 1>the outsider is the person that we should talk about most,

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<v Speaker 1>the person who wants something that and is not currently represented.

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<v Speaker 1>That's whether that's a middle class black man or an

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<v Speaker 1>overweight white working class lady. Neither of those people or

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<v Speaker 1>those images that are appeared on television or in a

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<v Speaker 1>funny way that seventy shows representative it. You know who's

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<v Speaker 1>I remember the distribution guy saying to me, well, Fox

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<v Speaker 1>just got baseball, you better do eighteen to forty nine

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<v Speaker 1>year old men, And I said, well, there's no such

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<v Speaker 1>is eighteen to forty nine year old men. You know,

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<v Speaker 1>there's only like eighteen year old men and forty nine

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<v Speaker 1>year old event So I did the math and that's

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<v Speaker 1>how the seventy shows. But they weren't represented at the time.

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<v Speaker 1>That kind of kids today, So whatever generally isn't on

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<v Speaker 1>And if they're outsiders, no one cares about them. It's

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<v Speaker 1>the people who aren't there, and certainly the men who

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<v Speaker 1>have been um so traumatized by the war. And that's

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<v Speaker 1>how that continues through time. You know, my dad bought

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<v Speaker 1>in World War two and he still hung his thing up,

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<v Speaker 1>but he wouldn't talk about it. So's it's every outsider

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<v Speaker 1>recognizes every other outsider. So that's the trick, Peaky and

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<v Speaker 1>also to Steve's having written the most extraordinary, dirty Pretty

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<v Speaker 1>Things in Eastern Promises. You know, you'd have to be

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<v Speaker 1>an idiot not to note how radis. Yes, that great,

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<v Speaker 1>that was David Cronenberg. That who did that movie. Um So,

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<v Speaker 1>talking about outsiders, you were a real outsider in the

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<v Speaker 1>UK despite all your success in the US. What how

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<v Speaker 1>on earth were you able to get traction in the

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<v Speaker 1>UK business being a relative unknown? Again, Uh, the intellectual

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<v Speaker 1>environment and the ecosystem was open two people like me.

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<v Speaker 1>I was. I wasn't brit to the extent I needed

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<v Speaker 1>to be, and Um later I actually did, you know,

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<v Speaker 1>past the citizenship test and stuff. But in a in

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<v Speaker 1>a way, I hung out in Britain for so long.

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<v Speaker 1>I'd always bought the rights well before everyone to various

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<v Speaker 1>television shows that were British because I went to school

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<v Speaker 1>here and I felt, especially in comedy, I felt comfortable

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<v Speaker 1>with the language of it. I don't know, I was

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<v Speaker 1>just lucky again, and I think they did respect the

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<v Speaker 1>job of producer. Um, wherever you came from got it.

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<v Speaker 1>So getting back to being an independent, it's safe to

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<v Speaker 1>say that there is no way you could have done

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<v Speaker 1>what you did in the UK here in the US.

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<v Speaker 1>Why is that the So I want you to sort

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<v Speaker 1>of break that down and how the UK has been

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<v Speaker 1>able to sustain uh the independent role well in the

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<v Speaker 1>first place. I believe that the Finnson rule long ago

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<v Speaker 1>was something that the corporations needed because though they had

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<v Speaker 1>technically they didn't do anything. They had. They had one

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<v Speaker 1>show I think I can't remember, maybe it was that

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<v Speaker 1>Civil Shepherd one with Bruce willis that that they actually

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<v Speaker 1>owned and that they actually produced. They didn't have the

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<v Speaker 1>skill set. They were just distributors. So Marci long Ago

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<v Speaker 1>empowered people to be indies. So there was Aaron's belly.

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<v Speaker 1>She empowered those people. She empowered Susan to do Golden Girls.

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<v Speaker 1>This was these were not production companies. So then conceptually

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<v Speaker 1>production companies indies became really popular because they did the work.

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<v Speaker 1>They really did all the work. Everyone well, my ageny

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<v Speaker 1>will will remember corporations into the work less moonvest Ran

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<v Speaker 1>Warners at the time, and he had eleven shows on

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<v Speaker 1>and only one in the top ten. I had three

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<v Speaker 1>shows on and they were one, two and three. You know,

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<v Speaker 1>sure for a long time because you're focusing on the

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<v Speaker 1>one thing, which is the work. You know. And as

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<v Speaker 1>much as you admire corporations now in the UK, there

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<v Speaker 1>was always a culture because don't forget it's there, money

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<v Speaker 1>making corporation. They're just there. You signed a check if

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<v Speaker 1>you want to be part of the the ecosystem that

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<v Speaker 1>gets so much money, so much um benefit for their money.

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<v Speaker 1>I personally would pay for BBC just for Radio four.

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<v Speaker 1>You know, you get radio, you get TV, you get supports,

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<v Speaker 1>you get everything from the BBC for just so it's

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<v Speaker 1>government run and people really really feel strongly it's the

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<v Speaker 1>best brand. You know, people feel super strongly about it.

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<v Speaker 1>Whereas do you really care which corporation does well in

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<v Speaker 1>the over nights? So what about this age that we're

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<v Speaker 1>in now with global streaming services like Netflix where Peaky

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<v Speaker 1>Blinders plays in the US and so many other markets.

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<v Speaker 1>Is the independent any more or less advantaged? Uh? In

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<v Speaker 1>this world where you're you're you're playing with companies that

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<v Speaker 1>make the A b c s in the US from

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<v Speaker 1>twenty years ago look like mosquitoes. Yeah, um, I think

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<v Speaker 1>you're I think everyone is struggling to figure out how

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<v Speaker 1>to deal with them and their behemoths, and theyre going

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<v Speaker 1>to give you money and you're grateful on the one hand.

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<v Speaker 1>On the other hand, it's very difficult if you're a

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<v Speaker 1>corporation like Disney is having a problem. Now you know

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<v Speaker 1>everyone's having a problem, So it's difficult, no matter how

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<v Speaker 1>you look at it, um to interface with these behemoths.

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<v Speaker 1>But I'm just I'm just so lucky. It's just astonishing.

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<v Speaker 1>You can't even believe how lucky you work with a distributor.

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<v Speaker 1>I believe Tiger aspect, no Tiger Aspect is not a distributor.

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<v Speaker 1>It's called Bantaja the company h and so they distribute

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<v Speaker 1>the product. But what is distribution? Basically calling up Netflix

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<v Speaker 1>and saying would you like this show? You know, this

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<v Speaker 1>was back in two thousan twelve. Okay, okay. So in

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<v Speaker 1>terms of this new world and the streaming giants that

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<v Speaker 1>run it, there's been increasing talk or frustration with the

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<v Speaker 1>so called cost plus model, getting paid up front not

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<v Speaker 1>getting any back end. How does that sit with you? Not? Well,

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<v Speaker 1>it doesn't sit well with the Jeff Siganski, doesn't sit

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<v Speaker 1>well with Peter Turner, it doesn't sit doesn't kids that

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<v Speaker 1>I grew up. But you know, it's not um. It's

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<v Speaker 1>not easy because you're not incentivized, but it is what

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<v Speaker 1>you've got. And I really truly believe that being an

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<v Speaker 1>indie is the best thing you could possibly be. Right now,

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<v Speaker 1>I think there's a lot of energy. I'm sure there's

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<v Speaker 1>trouble that there's so much energy coming from the into

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<v Speaker 1>what remains of the independent sector everywhere. And obviously I

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<v Speaker 1>live in Europe, so an hour and a half from now,

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<v Speaker 1>I'm in Amsterdam, you know, in an hour and a

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<v Speaker 1>half from now, you know, you're in Reno, but you

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<v Speaker 1>know it's a it's a larger I mean, apart from Brexit,

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<v Speaker 1>it's a larger community of a lot of independent, brilliant people.

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<v Speaker 1>So back in the day, Roger Corman, you know, it's

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<v Speaker 1>never it's never gonna end being the indeed, so we'll

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<v Speaker 1>face whatever problems we've got in terms of distribution, and

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<v Speaker 1>we'll do it. If we have a hit, we're gonna

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<v Speaker 1>have a hit. Well to that point, I guess my

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<v Speaker 1>question is, how do you know whether you have a

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<v Speaker 1>hit in a world where the streaming services don't necessarily

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<v Speaker 1>give you much of any relevant data to the performance

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<v Speaker 1>of your show. It's just initially, because this all happened

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<v Speaker 1>to me at the time it was happening to everybody,

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<v Speaker 1>my timing was great, you know, and lucky as ever,

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<v Speaker 1>how do I know, I think you're you're looking at

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<v Speaker 1>ratings here initially, but then luckily, social media happened at

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<v Speaker 1>the exact same time when Peaky was beginning. So, I mean,

0:13:12.040 --> 0:13:14.600
<v Speaker 1>we have amazing social media stats. We have six million

0:13:14.640 --> 0:13:17.880
<v Speaker 1>Instagram followers we've got and all over the world. Got

0:13:17.880 --> 0:13:21.480
<v Speaker 1>the report from Parade Analytics. It is a stunning example

0:13:21.559 --> 0:13:25.280
<v Speaker 1>of how popular, how much we've affected people and how

0:13:25.320 --> 0:13:29.560
<v Speaker 1>did we know? We got um so much feedback from

0:13:29.640 --> 0:13:34.560
<v Speaker 1>so many important especially artists called us talk to us

0:13:34.600 --> 0:13:37.760
<v Speaker 1>from odd places, you know, really strange. The artists will

0:13:37.840 --> 0:13:39.680
<v Speaker 1>do it for less money than they It was all.

0:13:39.720 --> 0:13:42.440
<v Speaker 1>It all came from the generosity of the spirit of

0:13:42.480 --> 0:13:44.200
<v Speaker 1>the folks that we worked with, and we're lucky to

0:13:44.200 --> 0:13:47.439
<v Speaker 1>work with. All of our villains are unbelievable. They didn't

0:13:47.480 --> 0:13:49.319
<v Speaker 1>have to you know, do Peaky Bondies. How about the

0:13:49.400 --> 0:13:52.480
<v Speaker 1>music itself, the essence of rock and roll, All those

0:13:52.559 --> 0:13:55.560
<v Speaker 1>deals that we made, No one got paid what they

0:13:55.600 --> 0:13:58.679
<v Speaker 1>should have gotten paid. It was for love and it

0:13:58.720 --> 0:14:00.920
<v Speaker 1>was for It was so that the answer to the question,

0:14:00.920 --> 0:14:02.600
<v Speaker 1>you do good work and a lot of people want

0:14:02.600 --> 0:14:08.199
<v Speaker 1>to be associated with you. We'll be back in just

0:14:08.280 --> 0:14:17.800
<v Speaker 1>a minute with more with Karen Mandebak. We're back with

0:14:17.880 --> 0:14:21.239
<v Speaker 1>Karen Mandebak, who was talking to us about this sensation

0:14:21.320 --> 0:14:25.040
<v Speaker 1>that you produced known as Peaky Blinders. Karen, I want

0:14:25.040 --> 0:14:28.920
<v Speaker 1>to talk now about this. I hope you're not offended

0:14:28.920 --> 0:14:32.640
<v Speaker 1>if I call it an aggressive brand extension strategy for

0:14:32.680 --> 0:14:37.880
<v Speaker 1>Peaky Uh. Talk walk us through what your strategy is,

0:14:38.000 --> 0:14:44.360
<v Speaker 1>because it's it's quite interesting. Well, if you were not

0:14:44.480 --> 0:14:47.520
<v Speaker 1>to compare myself in any way to George Lucas, but

0:14:47.560 --> 0:14:50.360
<v Speaker 1>if you if you did create an family at the

0:14:50.400 --> 0:14:52.840
<v Speaker 1>center of what we're talking about, if you did a

0:14:52.880 --> 0:14:56.000
<v Speaker 1>great hit, you didn't. You don't know the manifestations. You

0:14:56.000 --> 0:14:57.920
<v Speaker 1>don't know that there'll be DVDs. You don't know that

0:14:57.960 --> 0:15:00.400
<v Speaker 1>there'll be laser choices. You really you know you don't know,

0:15:00.720 --> 0:15:03.880
<v Speaker 1>but you ask questions. So I just asked everybody, what

0:15:03.920 --> 0:15:07.040
<v Speaker 1>do you think? Because people here in England go to

0:15:07.080 --> 0:15:09.760
<v Speaker 1>Abram Mitzvah dressed up as as a peaky blinder. There

0:15:09.760 --> 0:15:13.160
<v Speaker 1>are weddings right around my neighborhood, all peaky blinder themed.

0:15:13.640 --> 0:15:18.280
<v Speaker 1>They embody the feeling of the peaky blinders so deeply

0:15:18.800 --> 0:15:21.440
<v Speaker 1>the haircuts that you know that. I went to Paris

0:15:21.440 --> 0:15:23.840
<v Speaker 1>the other day and some waiter said to me something

0:15:23.880 --> 0:15:25.080
<v Speaker 1>and I just looked at and said, I bet your

0:15:25.120 --> 0:15:27.680
<v Speaker 1>a peaky blinder. He said, yeah, I am, And he said,

0:15:27.720 --> 0:15:30.520
<v Speaker 1>but if my father ever knew I was talking to you,

0:15:30.800 --> 0:15:32.440
<v Speaker 1>and I said, tell me more. He said, my father

0:15:32.480 --> 0:15:35.440
<v Speaker 1>and I don't speak except for we talked about peaky blinders.

0:15:35.480 --> 0:15:39.080
<v Speaker 1>So so the depth of the appreciation, I mean, the

0:15:39.160 --> 0:15:43.480
<v Speaker 1>social media. UM demands that we've been given by parad

0:15:43.520 --> 0:15:46.760
<v Speaker 1>Analytics are off the charts. They feel it. So what

0:15:46.840 --> 0:15:48.600
<v Speaker 1>does that mean? I don't know. It's a it's a

0:15:48.600 --> 0:15:52.000
<v Speaker 1>great adult not child brand, so we don't aren't going

0:15:52.040 --> 0:15:55.880
<v Speaker 1>to do toys or obviously razor blades. But there there's

0:15:56.320 --> 0:15:59.560
<v Speaker 1>a media. Could be animation, you know, it could it

0:15:59.560 --> 0:16:01.680
<v Speaker 1>could be virtual reality, don't know. Right now, we have

0:16:01.720 --> 0:16:04.840
<v Speaker 1>immersive theater opening in Camden. I think it's gonna be

0:16:04.880 --> 0:16:08.000
<v Speaker 1>a big hit in UM in July. You know what

0:16:08.080 --> 0:16:11.640
<v Speaker 1>I mean by mercive theater sort of interacted? Explain a bit.

0:16:12.480 --> 0:16:18.120
<v Speaker 1>Is UM the the improvisational acting community which I was

0:16:18.160 --> 0:16:21.160
<v Speaker 1>a part long, long, long time ago. UH invites you

0:16:21.240 --> 0:16:26.200
<v Speaker 1>to this. This is Encampden. It's a giant former horse

0:16:26.280 --> 0:16:29.920
<v Speaker 1>stable UH grade two listed, so you know, don't take

0:16:29.960 --> 0:16:32.560
<v Speaker 1>it down. UH. And you come and you give us

0:16:32.600 --> 0:16:35.320
<v Speaker 1>your money, and then actors invite you in and then

0:16:35.360 --> 0:16:37.440
<v Speaker 1>you don't know what's happening to you. But you're improvising

0:16:37.440 --> 0:16:39.480
<v Speaker 1>with actors and they're going to take you through a

0:16:39.520 --> 0:16:43.520
<v Speaker 1>peaky blinders experience. And more than that, you needn't know

0:16:43.600 --> 0:16:46.240
<v Speaker 1>because if we're not telling our secrets. But fans of

0:16:46.240 --> 0:16:47.760
<v Speaker 1>the show will be it's kind of like going to

0:16:47.760 --> 0:16:51.480
<v Speaker 1>Disneyland and being a pirate. Wow. I mean, but where

0:16:51.520 --> 0:16:54.480
<v Speaker 1>does an idea like that even come from to do that?

0:16:54.680 --> 0:16:58.440
<v Speaker 1>The theater community and uh, you know, also where does

0:16:58.480 --> 0:17:01.800
<v Speaker 1>the idea we're doing the ball around? Their dance company

0:17:02.120 --> 0:17:06.119
<v Speaker 1>is doing a Peaky Blinders dance. Uh, and you know,

0:17:06.920 --> 0:17:09.240
<v Speaker 1>we can't call it bale. It's a dance performance all

0:17:09.280 --> 0:17:12.679
<v Speaker 1>over England and starting in Birmingham and then hopefully all

0:17:12.680 --> 0:17:15.399
<v Speaker 1>over the world, so that in that case it doesn't

0:17:15.440 --> 0:17:19.280
<v Speaker 1>sound like it's the execution on that particular I P.

0:17:19.520 --> 0:17:22.040
<v Speaker 1>Does that not originate with you? Do? They come to

0:17:22.119 --> 0:17:25.159
<v Speaker 1>you and you license, and they come to us and

0:17:25.200 --> 0:17:27.399
<v Speaker 1>we say it should go a little like this, and

0:17:27.400 --> 0:17:30.000
<v Speaker 1>then we look at their work and we just thank them.

0:17:30.080 --> 0:17:32.359
<v Speaker 1>If there are so many talented people that want some

0:17:32.480 --> 0:17:35.760
<v Speaker 1>kind of don't forget it's it's like a four quad thing.

0:17:35.960 --> 0:17:40.919
<v Speaker 1>Everyone likes it, men, women, young, old, you know, everyone

0:17:41.000 --> 0:17:44.879
<v Speaker 1>who's got Netflix basically and BBC I Player here. So

0:17:44.960 --> 0:17:48.720
<v Speaker 1>it's an incredibly deep experience. They really feel in it.

0:17:49.480 --> 0:17:51.560
<v Speaker 1>I don't know how to explain it. I really wish

0:17:51.560 --> 0:17:54.359
<v Speaker 1>because it's like magical thinking to a certain extent, I

0:17:54.400 --> 0:17:57.399
<v Speaker 1>want to feel like they feel they really feel it

0:17:57.440 --> 0:18:00.520
<v Speaker 1>deeply if you read, you know, just this districts on

0:18:00.560 --> 0:18:03.639
<v Speaker 1>the on the data about how people are experienced it.

0:18:03.720 --> 0:18:06.600
<v Speaker 1>They love it, and it's because they want to. They

0:18:06.600 --> 0:18:10.760
<v Speaker 1>want to embody the difficulty and the and the joy

0:18:10.800 --> 0:18:14.880
<v Speaker 1>of trying to be aspirational in today's society. So are

0:18:14.920 --> 0:18:19.920
<v Speaker 1>all these extensions of people coming into you and saying, hey,

0:18:20.000 --> 0:18:22.320
<v Speaker 1>we want to do X or does it ever flow

0:18:22.359 --> 0:18:24.639
<v Speaker 1>the other way where you guys say, hey, we have

0:18:24.680 --> 0:18:27.320
<v Speaker 1>an idea for this, let's go find someone to execute.

0:18:27.800 --> 0:18:32.240
<v Speaker 1>It's mostly the former, um because because it's really difficult

0:18:32.280 --> 0:18:37.919
<v Speaker 1>to get your brand extended in any meaningful way. And

0:18:37.960 --> 0:18:41.080
<v Speaker 1>so yeah, we we go to well, obviously do the

0:18:41.119 --> 0:18:45.400
<v Speaker 1>movie and TV stenofs, that's us, but it's the that's

0:18:45.720 --> 0:18:48.360
<v Speaker 1>what you'd expect. But the other stuff is so um

0:18:49.480 --> 0:18:52.680
<v Speaker 1>important because people really feel it, and you've got to

0:18:52.680 --> 0:18:57.600
<v Speaker 1>honor that. It's a two way thing. Now, virtual reality

0:18:57.640 --> 0:19:00.399
<v Speaker 1>and peaky Blinders. How do these two come together? I

0:19:00.400 --> 0:19:03.119
<v Speaker 1>can't even I don't know, I don't know. We're just

0:19:03.160 --> 0:19:05.800
<v Speaker 1>at the beginning stages. Who knows. Do you even understand it?

0:19:05.840 --> 0:19:08.280
<v Speaker 1>I mean, you know, I talked to Matthew Bob. He

0:19:08.400 --> 0:19:10.000
<v Speaker 1>speaks to me, and I'm like, I don't what is

0:19:10.040 --> 0:19:13.320
<v Speaker 1>he saying? But I do vaguely understand the concept. And

0:19:13.520 --> 0:19:16.560
<v Speaker 1>it's the universe. You want to embody, you're playing a role,

0:19:17.160 --> 0:19:20.560
<v Speaker 1>and it's um. I'm not saying it's biblical, like you know,

0:19:21.040 --> 0:19:25.200
<v Speaker 1>the Magi Christmas Pageant, but it does have it has

0:19:25.240 --> 0:19:29.119
<v Speaker 1>a deeper meaning too. Well. Everybody fits into the universe

0:19:29.160 --> 0:19:31.320
<v Speaker 1>in a way. I know. I'm at Polly for sure.

0:19:32.840 --> 0:19:36.920
<v Speaker 1>So from a business model perspective, it doesn't sound as

0:19:36.920 --> 0:19:39.960
<v Speaker 1>if all these extensions are sort of, you know, critical

0:19:40.119 --> 0:19:44.160
<v Speaker 1>to making the best profit you can off the show.

0:19:44.200 --> 0:19:47.399
<v Speaker 1>It almost sounds more like it's gravy, like it's happenstance.

0:19:47.880 --> 0:19:52.040
<v Speaker 1>Is that fair to say? I don't know. I don't know. Again,

0:19:52.080 --> 0:19:55.399
<v Speaker 1>as George Lucas worked up for him, but in the

0:19:56.160 --> 0:19:59.040
<v Speaker 1>because you know, he borrowed money from his friend Franciscopola

0:19:59.040 --> 0:20:02.200
<v Speaker 1>in order to do movie too, So I really don't.

0:20:02.560 --> 0:20:03.840
<v Speaker 1>I don't know how it's going to turn out. We

0:20:04.000 --> 0:20:07.160
<v Speaker 1>all are in on chartered Waters, aren't we, all of us. Well,

0:20:07.280 --> 0:20:09.080
<v Speaker 1>let let me put it this way. It's not as

0:20:09.080 --> 0:20:13.399
<v Speaker 1>if when Peaky Blinders first started, you said, okay, okay,

0:20:13.400 --> 0:20:15.640
<v Speaker 1>so this is something that just sort of it happened,

0:20:15.680 --> 0:20:20.480
<v Speaker 1>and it's like, okay, you know, we're just responding to

0:20:20.520 --> 0:20:23.360
<v Speaker 1>whatever is happening on earth right now. We just are

0:20:23.480 --> 0:20:26.399
<v Speaker 1>very lucky that I own the I P. And there's

0:20:26.480 --> 0:20:31.640
<v Speaker 1>I mean there's more. There's jewelry, clothing themed barber shops

0:20:31.680 --> 0:20:36.560
<v Speaker 1>and pubs. Well, now, the Bushmills one is interesting because

0:20:36.560 --> 0:20:39.359
<v Speaker 1>there was some legal action around that. You know, you

0:20:39.480 --> 0:20:43.560
<v Speaker 1>had other beverage producers that went of their own accord

0:20:43.680 --> 0:20:48.159
<v Speaker 1>to make well were they naughty? I want you to

0:20:48.200 --> 0:20:51.040
<v Speaker 1>walk through the legal issues here because I think to

0:20:51.280 --> 0:20:55.320
<v Speaker 1>them they didn't feel as if, because Peaky Blinders is

0:20:55.359 --> 0:20:58.399
<v Speaker 1>sort of a piece of UK history, that they felt

0:20:58.440 --> 0:21:02.600
<v Speaker 1>they needed to even get your permission to do that.

0:21:02.680 --> 0:21:06.520
<v Speaker 1>And I gather you disagree, Yeah we did and we won.

0:21:06.720 --> 0:21:09.760
<v Speaker 1>But um, I don't know. The legal technicalities are everywhere.

0:21:09.840 --> 0:21:12.600
<v Speaker 1>If you walk around in London, there's a place called

0:21:12.640 --> 0:21:15.840
<v Speaker 1>Perky Blenders, you know, the coffee place. So it's it's

0:21:15.840 --> 0:21:19.480
<v Speaker 1>being it's being usurped in every possible way. The specifics

0:21:19.480 --> 0:21:20.879
<v Speaker 1>of the bush miose things I don't know. All I

0:21:20.960 --> 0:21:24.000
<v Speaker 1>know is, uh, you can get some Irish whiskey because

0:21:24.200 --> 0:21:29.360
<v Speaker 1>that's what Tommy Shelby drank. Okay um, I mean, let's

0:21:29.359 --> 0:21:32.960
<v Speaker 1>put it this way. Do you have people accountants whispering

0:21:32.960 --> 0:21:35.639
<v Speaker 1>in your ear that you know, if all these brand

0:21:35.680 --> 0:21:39.639
<v Speaker 1>extensions go, well, this could be you know, like the

0:21:40.080 --> 0:21:44.479
<v Speaker 1>like the syndication money train of old or hey, this

0:21:44.560 --> 0:21:48.720
<v Speaker 1>is just a little incremental profits and enjoy it. Like gosh,

0:21:48.760 --> 0:21:52.240
<v Speaker 1>I wish I knew, But we feel so passionately about

0:21:52.280 --> 0:21:55.679
<v Speaker 1>honoring Steve's vision. It really is an important thing. And

0:21:55.720 --> 0:21:57.200
<v Speaker 1>you know, we get a call at the very beginning,

0:21:57.200 --> 0:21:59.320
<v Speaker 1>we got a call from Snoop Dogg who said he

0:21:59.400 --> 0:22:01.800
<v Speaker 1>just really respond to it, like really right. You know,

0:22:02.080 --> 0:22:04.080
<v Speaker 1>then you start to understand it does have meaning to

0:22:04.680 --> 0:22:07.320
<v Speaker 1>everybody who feels that there or Lebron you know, there's

0:22:07.400 --> 0:22:10.960
<v Speaker 1>there's an odd um kind of it's the number one

0:22:11.000 --> 0:22:15.040
<v Speaker 1>showing Brazil, you know. Yeah, so you get you get

0:22:15.080 --> 0:22:17.800
<v Speaker 1>a sense of how meaningful it is to people, and

0:22:17.840 --> 0:22:20.000
<v Speaker 1>you honor that and whether or not it's remunerative. To

0:22:20.000 --> 0:22:22.120
<v Speaker 1>be honest, it never happened to me before. I have

0:22:22.160 --> 0:22:27.400
<v Speaker 1>no idea. Now I'm surprised that whether it's Netflix or BBC,

0:22:27.640 --> 0:22:30.240
<v Speaker 1>that they're not trying to sort of dick wolf this

0:22:30.359 --> 0:22:34.120
<v Speaker 1>concept and do you know Peaky two and Peaky Los

0:22:34.200 --> 0:22:41.960
<v Speaker 1>Angeles or I mean any of that brewing? No, okay,

0:22:42.000 --> 0:22:48.160
<v Speaker 1>but why dude? I think it's because the the truth

0:22:48.200 --> 0:22:51.240
<v Speaker 1>of it comes from uh people like us who who

0:22:51.240 --> 0:22:54.040
<v Speaker 1>have done the work, and they're just looking at it

0:22:54.080 --> 0:22:57.480
<v Speaker 1>like a corporate decision. You know, we're we're very interested

0:22:57.520 --> 0:23:00.919
<v Speaker 1>in maximizing every bit of profit of is like, but

0:23:01.680 --> 0:23:03.159
<v Speaker 1>we have to do it because we feel it. We

0:23:03.200 --> 0:23:04.520
<v Speaker 1>have to do because it's the right thing in the

0:23:04.600 --> 0:23:06.760
<v Speaker 1>right time, in the right place and the right era

0:23:06.960 --> 0:23:08.760
<v Speaker 1>and the right Is it Boston or if we do

0:23:08.960 --> 0:23:11.560
<v Speaker 1>did it in America, would it be I don't know

0:23:11.760 --> 0:23:15.080
<v Speaker 1>where the gypsies and what's the all another the creative

0:23:15.119 --> 0:23:19.720
<v Speaker 1>leads of business? Okay, but you know when you mentioned

0:23:19.760 --> 0:23:23.399
<v Speaker 1>something like it's number one in Brazil? Could we see

0:23:24.040 --> 0:23:26.480
<v Speaker 1>you know, I'm I'm sure some of your hit shows

0:23:26.800 --> 0:23:30.320
<v Speaker 1>from back in the day have been recreated in a

0:23:30.480 --> 0:23:36.200
<v Speaker 1>you know, localized kind of way. No they haven't. They haven't, Okay,

0:23:36.280 --> 0:23:39.199
<v Speaker 1>but but you know what I mean, other sitcoms certainly have.

0:23:40.280 --> 0:23:44.000
<v Speaker 1>Could we see a you know, I don't know Brazilian,

0:23:44.200 --> 0:23:48.440
<v Speaker 1>but Portuguese Peaky Blind. I mean I could, I could

0:23:48.440 --> 0:23:52.240
<v Speaker 1>give them the rights, Yes, I could. I know. Uh Turkey,

0:23:52.280 --> 0:23:53.720
<v Speaker 1>as a matter of fact, it asked for the rights

0:23:53.720 --> 0:23:55.960
<v Speaker 1>at one point. But I would have to also work

0:23:56.000 --> 0:24:00.320
<v Speaker 1>with the suppliers myself too, because we have to honor

0:24:00.359 --> 0:24:02.320
<v Speaker 1>the essence of the brand. It's very difficult. You know,

0:24:02.359 --> 0:24:05.280
<v Speaker 1>comedy doesn't travel. I'm sure you know that. But they

0:24:05.359 --> 0:24:08.040
<v Speaker 1>laugh out in Spain. Uh, they don't laugh in Italy.

0:24:08.720 --> 0:24:11.479
<v Speaker 1>But in that's why comedy it's a shame because everybody

0:24:11.520 --> 0:24:13.480
<v Speaker 1>is trying to cost cut, and comedy would have been

0:24:13.480 --> 0:24:15.560
<v Speaker 1>a good way to cost cut, you know, because it

0:24:15.600 --> 0:24:18.080
<v Speaker 1>doesn't cost that much. But to make sure you've got

0:24:18.080 --> 0:24:20.439
<v Speaker 1>the essence of peaking in the language whatever it's going

0:24:20.440 --> 0:24:24.159
<v Speaker 1>to be, and in the the cultural referencing is really important,

0:24:24.200 --> 0:24:27.159
<v Speaker 1>because I don't forget it was also in the context

0:24:27.320 --> 0:24:32.000
<v Speaker 1>was very important Peaky between the wars. Sure, now you

0:24:32.040 --> 0:24:34.639
<v Speaker 1>guys are going to be doing a movie, right the

0:24:34.680 --> 0:24:39.880
<v Speaker 1>other ware negotiations? Yeah, okay, So again you're this independent

0:24:40.160 --> 0:24:43.200
<v Speaker 1>and you've explained how that's worked in the TV world.

0:24:43.920 --> 0:24:46.639
<v Speaker 1>Is it a different set of challenges in the film world,

0:24:47.240 --> 0:24:49.560
<v Speaker 1>it's pretty much the same. It's pretty much the same.

0:24:49.600 --> 0:24:51.560
<v Speaker 1>It's a different set of rights and a different set

0:24:51.600 --> 0:24:57.520
<v Speaker 1>of of protections, and it's all very but much about well,

0:24:57.560 --> 0:25:00.119
<v Speaker 1>you know, Netflix's business models, so in the case of

0:25:00.200 --> 0:25:03.919
<v Speaker 1>negotiating with Netflix, so it's an incredibly challenging time, but

0:25:04.400 --> 0:25:06.720
<v Speaker 1>so what you know, it's a lot of fun. And

0:25:06.800 --> 0:25:11.480
<v Speaker 1>since I'm an independent, there's just it's just another challenge

0:25:11.560 --> 0:25:14.280
<v Speaker 1>and it's I really do like the buying community too.

0:25:14.320 --> 0:25:17.359
<v Speaker 1>I think there's some really good operators in there. So, um,

0:25:17.400 --> 0:25:22.080
<v Speaker 1>I genuinely feel like optimistic about the build thing. Well,

0:25:22.280 --> 0:25:27.000
<v Speaker 1>I'm curious about your optimism in a world where you know,

0:25:27.040 --> 0:25:31.359
<v Speaker 1>the global economy is starting to look pretty dim and

0:25:31.400 --> 0:25:35.280
<v Speaker 1>we could see content spending that is obviously astronomical right

0:25:35.320 --> 0:25:38.600
<v Speaker 1>now start to pull back. Does any of that discourage you?

0:25:40.000 --> 0:25:42.440
<v Speaker 1>It does? But where I am to a certain extent,

0:25:42.480 --> 0:25:45.520
<v Speaker 1>you know, they still have tax credits, so whatever I

0:25:45.520 --> 0:25:49.440
<v Speaker 1>spent I back. There's there are ways around that where

0:25:49.440 --> 0:25:51.720
<v Speaker 1>you don't get hurt. If you're an indie, you don't

0:25:51.760 --> 0:25:54.320
<v Speaker 1>wake as much money, but you don't get hurt, whereas

0:25:54.320 --> 0:25:57.240
<v Speaker 1>in corporation the whole thing, I mean, you know, Disney

0:25:57.280 --> 0:26:01.199
<v Speaker 1>hasn't even announced its international straft g since they decided

0:26:01.280 --> 0:26:04.359
<v Speaker 1>is streaming, they're they're they're far more confused than I am.

0:26:04.400 --> 0:26:06.640
<v Speaker 1>I have a proposition. Do you want it? How much

0:26:06.640 --> 0:26:09.159
<v Speaker 1>do you want to pay for it? Okay? And you know,

0:26:09.200 --> 0:26:13.200
<v Speaker 1>Peaky was done pretty well in terms of the way

0:26:13.240 --> 0:26:17.000
<v Speaker 1>we spent I'm extremely proud of our production. Extremely We

0:26:17.040 --> 0:26:19.200
<v Speaker 1>didn't spend the kind of money anywhere near the kind

0:26:19.200 --> 0:26:22.080
<v Speaker 1>of money that you think we did considering its cinematic value.

0:26:22.520 --> 0:26:24.159
<v Speaker 1>Like I said, we got a lot of We've got

0:26:24.240 --> 0:26:26.600
<v Speaker 1>a lot of and love for every one of our

0:26:26.640 --> 0:26:30.800
<v Speaker 1>directors love and every one of our actors loved. So

0:26:31.240 --> 0:26:33.560
<v Speaker 1>you can you can dine out a lot on if

0:26:33.560 --> 0:26:36.119
<v Speaker 1>you have the right kind of product. You want cultural

0:26:36.119 --> 0:26:37.920
<v Speaker 1>It doesn't have to cost that much. You just want

0:26:37.960 --> 0:26:42.240
<v Speaker 1>cultural impact. So we're we're talking at a time where

0:26:42.359 --> 0:26:45.720
<v Speaker 1>Peaky is at its peak, and so I'm curious what

0:26:45.840 --> 0:26:49.199
<v Speaker 1>that means for you in terms of, you know, do

0:26:49.240 --> 0:26:52.520
<v Speaker 1>you have other shows set up out there that maybe

0:26:52.560 --> 0:26:56.879
<v Speaker 1>have nothing to do with Peaky? What's coming next for you? Sure,

0:26:56.880 --> 0:26:58.520
<v Speaker 1>We've got a ton of things in the pipeline, and

0:26:58.680 --> 0:27:01.680
<v Speaker 1>it's it's an incredibly Like I said to me, it's

0:27:01.680 --> 0:27:03.399
<v Speaker 1>a great time to be an indie. You can call

0:27:03.480 --> 0:27:08.159
<v Speaker 1>your own shots. And I feel like we don't need

0:27:08.200 --> 0:27:11.280
<v Speaker 1>to prove anything. We're great at producing. That's what we do.

0:27:11.600 --> 0:27:14.439
<v Speaker 1>That's all we do. I don't have another job. I'm

0:27:14.480 --> 0:27:16.480
<v Speaker 1>not an actor, you know. I don't have another job,

0:27:17.320 --> 0:27:20.359
<v Speaker 1>not a director. I'm I'm a long term producer, and

0:27:20.359 --> 0:27:23.399
<v Speaker 1>I know what it means. And I so respect people

0:27:23.480 --> 0:27:26.439
<v Speaker 1>in the community, whether they're in the movie business or

0:27:26.480 --> 0:27:29.359
<v Speaker 1>the television business, that have taken the road I've taken

0:27:29.680 --> 0:27:32.960
<v Speaker 1>because it's pretty nutty. It's like alchemy. It's weird. But

0:27:33.040 --> 0:27:35.480
<v Speaker 1>when you say it's a great time to be an indie,

0:27:35.760 --> 0:27:39.240
<v Speaker 1>I would imagine some people would really scratch their heads

0:27:39.280 --> 0:27:43.119
<v Speaker 1>and say, in this consolidated world, how could that be true?

0:27:44.200 --> 0:27:46.879
<v Speaker 1>Because you need a hit, and hits are going to

0:27:47.000 --> 0:27:51.440
<v Speaker 1>come not just from within walled gardens of giants. Correct.

0:27:51.680 --> 0:27:55.040
<v Speaker 1>You gotta you know, we developed to a certain extent. Uh,

0:27:55.160 --> 0:27:56.879
<v Speaker 1>you gotta get lucky. Like I said, You've got to

0:27:57.400 --> 0:28:00.520
<v Speaker 1>know it when you see it. But nobody is throwing

0:28:00.520 --> 0:28:02.600
<v Speaker 1>anything up against the wall and hoping that it sticks.

0:28:03.040 --> 0:28:05.200
<v Speaker 1>You know, Everything that we do is really thought out

0:28:05.280 --> 0:28:09.280
<v Speaker 1>with the buyer in mind. Okay, And so speaking of

0:28:09.520 --> 0:28:13.199
<v Speaker 1>buyers do you have You have different irons in the

0:28:13.240 --> 0:28:15.520
<v Speaker 1>fire now, But is there any one project you could

0:28:15.520 --> 0:28:18.800
<v Speaker 1>talk about that's farthest along and development? That's I never

0:28:18.920 --> 0:28:23.320
<v Speaker 1>talked about development never really ever, I've never talked about it.

0:28:23.320 --> 0:28:26.960
<v Speaker 1>It's not on any because it's well, it's sort of bad. Luckily,

0:28:27.240 --> 0:28:29.040
<v Speaker 1>I think I just don't. I just don't like talking

0:28:29.080 --> 0:28:31.159
<v Speaker 1>about what's the point then you have to list the

0:28:31.200 --> 0:28:34.520
<v Speaker 1>twenty things you didn't succeed in, so I can respect that.

0:28:34.560 --> 0:28:37.280
<v Speaker 1>But you are saying you're doing well. There's plenty of

0:28:37.280 --> 0:28:39.720
<v Speaker 1>other things that you're developing. You're just not thoughts about

0:28:39.760 --> 0:28:43.760
<v Speaker 1>it correct And I'm curious do you at this point,

0:28:43.800 --> 0:28:47.200
<v Speaker 1>given Peaky on your resume and so so much more?

0:28:47.760 --> 0:28:50.800
<v Speaker 1>You know, why not do you have like, uh, like

0:28:50.840 --> 0:28:55.080
<v Speaker 1>a the ability to command a Shonda Rhymes Ryan Murphy

0:28:55.200 --> 0:28:57.760
<v Speaker 1>type deal at a streamer? Why why not do one

0:28:57.760 --> 0:29:00.840
<v Speaker 1>of those? I suppose I could it, but that's not

0:29:01.160 --> 0:29:04.600
<v Speaker 1>that's not fun. You know, I'm only as good. You

0:29:04.640 --> 0:29:08.120
<v Speaker 1>know that, Scott Galloway says, you know, successes in the

0:29:08.160 --> 0:29:11.160
<v Speaker 1>agency of others. I'm only as good as the people

0:29:11.200 --> 0:29:13.479
<v Speaker 1>that I work with. I'm here in the country, you know,

0:29:13.640 --> 0:29:16.120
<v Speaker 1>having every day I talked to a writer. That's all

0:29:16.160 --> 0:29:19.080
<v Speaker 1>I do pretty much, just writer, writer, writer, right, So

0:29:19.880 --> 0:29:21.680
<v Speaker 1>I'm good at that. I'm really good at that. So

0:29:21.720 --> 0:29:23.840
<v Speaker 1>I know what I'm good at, and I don't want

0:29:23.840 --> 0:29:26.600
<v Speaker 1>to have to put myself in any other position where

0:29:26.640 --> 0:29:28.880
<v Speaker 1>someone else tells me that they wanted or they don't

0:29:28.880 --> 0:29:32.240
<v Speaker 1>want it. It's not fun. This is fun, you know,

0:29:32.360 --> 0:29:35.280
<v Speaker 1>really fun, especially since I started in the theater. That's

0:29:35.280 --> 0:29:37.480
<v Speaker 1>why I'm here as I have a theater background in

0:29:37.520 --> 0:29:41.560
<v Speaker 1>England and it's an incredibly exciting time to be, uh,

0:29:41.680 --> 0:29:46.280
<v Speaker 1>someone who's you know, able to do what she wants. Well,

0:29:46.320 --> 0:29:48.640
<v Speaker 1>you know, the Shonda Rhymes way is one type of

0:29:48.640 --> 0:29:50.880
<v Speaker 1>pay day. Another thing that we're seeing right now is

0:29:50.960 --> 0:29:54.880
<v Speaker 1>production companies attracting all sorts of investment, you know, the

0:29:54.920 --> 0:29:58.680
<v Speaker 1>private equity world rolls up. Is that a place we

0:29:58.720 --> 0:30:03.840
<v Speaker 1>could see you strike it rich? Yeah? Sure, as long

0:30:03.880 --> 0:30:06.800
<v Speaker 1>as I'm extant, as long as there's there's a version

0:30:06.840 --> 0:30:10.760
<v Speaker 1>of CMP in there that is allowed to operate, wouldn't

0:30:10.760 --> 0:30:13.800
<v Speaker 1>that be wonderful? So that's what everyone all independence hope

0:30:13.840 --> 0:30:17.120
<v Speaker 1>for obviously, So it was just you're actively out there

0:30:17.200 --> 0:30:20.240
<v Speaker 1>trying to make that kind of deal. No, but I'm

0:30:20.400 --> 0:30:23.160
<v Speaker 1>I'm happy if anyone. If my phone rang, I'd be

0:30:23.360 --> 0:30:26.360
<v Speaker 1>really happy to answer it. Well, I think as long

0:30:26.400 --> 0:30:28.880
<v Speaker 1>as you continue to crank out hits like Peaky, the

0:30:28.960 --> 0:30:34.440
<v Speaker 1>phone will thank you. Ringing, Thank you, Karen, Thank you

0:30:34.560 --> 0:30:36.720
<v Speaker 1>so much for taking the time out today to talk

0:30:36.760 --> 0:30:42.000
<v Speaker 1>to me. It's my pleasure. Come and visit, will do. Thanks? Okay, bye,

0:30:42.000 --> 0:30:51.040
<v Speaker 1>bye bye. This has been another episode of Strictly Business.

0:30:51.240 --> 0:30:54.480
<v Speaker 1>Tune in next week for another helping of scintillating conversation

0:30:54.600 --> 0:30:57.160
<v Speaker 1>with media movers and shakers, and please make sure you

0:30:57.200 --> 0:31:00.680
<v Speaker 1>subscribe to the podcast to hear future episodes. Also leave

0:31:00.720 --> 0:31:03.560
<v Speaker 1>a review in Apple Podcast and let us know how

0:31:03.560 --> 0:31:08.440
<v Speaker 1>we're doing. M