Speaker 1: Welcome to Strictly Business, Variety's weekly podcast featuring conversations with
Speaker 1: industry leaders about the business of media and entertainment. I'm
Speaker 1: Cynthia Lyttleton, co editor in chief of Variety Today. My
Speaker 1: guests are Darryl Frank and Justin Falvey, head of Amlin Television.
Speaker 1: Darryl and Justin are rare birds. Indeed, they've been running
Speaker 1: Steven Spielberg's TV company for nearly thirty years. They've set
Speaker 1: the standard for a busy boutique with great shows like
Speaker 1: The Americans, Under the Dome Bowl, Falling Skies, Rescue Me,
Speaker 1: and Going All the Way Back to Spin City. Now,
Speaker 1: the company has moved into documentary and unscripted production in
Speaker 1: a big way. In October, they sent a nature documentary
Speaker 1: to the top of the Netflix charts with the launch
Speaker 1: of the Life on Our Planet series. Upcoming projects include
Speaker 1: Big Vape, The Rise and Fall of Jewel, and other
Speaker 1: documentary features and series that probe very interesting and distinct
Speaker 1: new worlds. As we will hear in our conversation, Daryl
Speaker 1: and Justin also lay out exactly why the company moved
Speaker 1: into premium unscripted, and it's very similar to the changes
Speaker 1: that affected writers to such a degree that they went
Speaker 1: on strike for nearly five months this year. It's all
Speaker 1: about piecing together a portfolio of shows at a time
Speaker 1: when the world of twenty two episode seasons are no
Speaker 1: longer the norm. Darryl and Justin have the confidence to
Speaker 1: be candid about where they see the business heading, where
Speaker 1: some of the problem areas are, and hopefully where some
Speaker 1: of the solutions are.
Speaker 2: Coming in twenty twenty four.
Speaker 1: That's all coming up after this break, and we're back
Speaker 1: with an interview with one television heads, Darryl Frank and
Speaker 1: Justin Falvey. Darryl Frank and Justin Falvey, thank you so
Speaker 1: much for joining me today when we were talking about,
Speaker 1: you know, what's new and interesting at Amblin Partners. Of course,
Speaker 1: I know the unscripted has been a real priority for
Speaker 1: you for a while. To break into that in a
Speaker 1: big way. You certainly have with Life on Our Planet,
Speaker 1: which you know, Rock literally rocketed to the top of
Speaker 1: Netflix in its first week in review, first week in release,
Speaker 1: which is a pretty impressive thing for a natural history documentary.
Speaker 2: But let's step back.
Speaker 1: A little bit from the specific titles, and first i'd
Speaker 1: love to hear from both of you why was it important?
Speaker 1: What motivated you to get to Amblin to bring Amblin
Speaker 1: Television into the business of high end, very well produced
Speaker 1: documentary and unscripted content as a compliment to your very
Speaker 1: you know, long and robust business that you have on
Speaker 1: the scripted scripted contents. What what drove you into the
Speaker 1: what what motivated you to get into the unscripted and
Speaker 1: documentary arena?
Speaker 3: Well, well thanks for having us. First of all, it
Speaker 3: really was twofold one was we have a real passion
Speaker 3: for documentaries. Is this is sort of what we both
Speaker 3: watch on sort of weekends. You know, having been in
Speaker 3: the scripted world for so long, it's sort of a
Speaker 3: lot easier to go home and relax watching a doc
Speaker 3: than it is watching a scripted show when you're looking
Speaker 3: at every who directed this, who wrote it, who was
Speaker 3: the production signer, who was the cinematographer. It's it's easier
Speaker 3: to sort of tune out a little bit on those.
Speaker 3: But you know, the you know what a lot of
Speaker 3: the platforms have done over the last few years in
Speaker 3: documentary has just been incredible, and so it started with
Speaker 3: the passion, but it also was a real important business
Speaker 3: move for us. You know, as episodes episodic orders got shorter.
Speaker 3: You know, we justin and I have been around for
Speaker 3: a long time and been doing this, uh you know,
Speaker 3: uh since the deficit financing days, and you know, when
Speaker 3: we would do twenty four episodes of a scripted show
Speaker 3: for network, and it went from twenty four episodes of
Speaker 3: a scripted show for network to thirteen episodes for Basic Cable,
Speaker 3: to ten episodes at streaming, and then nine episodes, and
Speaker 3: then eight episodes, and now certain people are doing six
Speaker 3: episodes and with back ends disappearing completely given that there's
Speaker 3: no syndication market and the sort of back end buyouts.
Speaker 3: It really sort of we looked at our business and
Speaker 3: we said, wow, we're really turning into a business where
Speaker 3: episodic fees are really driving everything. And when we used
Speaker 3: to do twenty four episodes and now we're doing eight,
Speaker 3: we have to do three times as many scripted shows
Speaker 3: to make the same amount of money. So for us,
Speaker 3: it was twofold one creative. We feel like there's you know,
Speaker 3: it's a great expansion of our business and we love
Speaker 3: telling these stories. To us, they are just nonscripted dramas.
Speaker 3: That's how we look at them. We don't really do
Speaker 3: reality game, but we really do you know, premium documentary
Speaker 3: narrative stories. But it really sort of came from, you know,
Speaker 3: both the creative but then also the business aspect of
Speaker 3: like where do we make up the revenue if we're
Speaker 3: if we're doing eight episodes on scripted series.
Speaker 2: It's a math.
Speaker 4: Yeah, just I.
Speaker 1: Have one job as moderator when I have two guests,
Speaker 1: and that's to identify the guests. That who was just
Speaker 1: speaking was Darryl Frank. Forgive me, I'm going to say this.
Speaker 1: I'm going to really sound ancient, but Darryl, you look
Speaker 1: more and more like your dad.
Speaker 2: All the time.
Speaker 1: Thank you, Rich as one of the very very senior
Speaker 1: folks in the business when I first started and learned
Speaker 1: a lot from him. Justin please, I would love your
Speaker 1: perspective on what Daryl just has.
Speaker 4: I'm looking a lot more like my dad.
Speaker 5: He's a retired dentists as much chair.
Speaker 4: Maybe it's more here than I do.
Speaker 2: He has changed lives and teeth.
Speaker 4: That's right, that's right, yes, look at it.
Speaker 5: It's it was creating a new revenue stream, you know,
Speaker 5: on a purely financial basis. But the Darryl, you know,
Speaker 5: nailed it, and that's saying it's a perfect confluence.
Speaker 4: Of passion and business.
Speaker 5: And you know, we are twenty eight years at this company,
Speaker 5: the two of us this month, if you can believe that.
Speaker 5: And as people say, you should stop telling people that
Speaker 5: because you're basically just saying how old you are. However,
Speaker 5: I think it's what's it's interesting because in that time,
Speaker 5: it's as though we've been at five different companies. We've
Speaker 5: had the ability because of our size, that we've been
Speaker 5: able to change and be nibole and adjust to the
Speaker 5: to the changing marketplace. And and yes, in this last
Speaker 5: you know year has been a seismic shift.
Speaker 4: No question about it.
Speaker 5: We were you know, it was interesting because the pandemic
Speaker 5: really kind of forced us to scale up the nonscriptive
Speaker 5: business as all the scripted stuff really came to you know,
Speaker 5: came to an end for some time there, and then
Speaker 5: we were very well positioned in this last year to
Speaker 5: just continue further and continue to scale up and hit
Speaker 5: the ground running when I think a lot of companies
Speaker 5: were trying to pivot and shift into the nonscripted space
Speaker 5: who didn't have that experience, so you know, not that
Speaker 5: there was a silver lining of the pandemic for anybody.
Speaker 5: But I think that runway really gave us an opportunity
Speaker 5: to really focus on it in the last in the.
Speaker 4: Last twelve months.
Speaker 5: And and also, you know, Strikes Aside twenty three right
Speaker 5: out of the game was proving to be a huge
Speaker 5: challenge in terms of the marketplace and selling. You know,
Speaker 5: a lot of these companies just didn't have the money
Speaker 5: and they were being incredibly selective and fickle. And that
Speaker 5: is certainly the case now as we're coming out of this,
Speaker 5: and we'll continue on into until twenty four and you know,
Speaker 5: hopefully we'll get back to a much healthier place. But
Speaker 5: it feels like, you know, it's going to be a long,
Speaker 5: a long recovery, and now we have to think forward
Speaker 5: in terms of finding that balance once again with scripted
Speaker 5: and nonscripted.
Speaker 4: So interesting times.
Speaker 1: You guys have very you know, quickly distinguished yourself with
Speaker 1: some very high end production life on our planet. A
Speaker 1: project of that scale and caliber that does not come
Speaker 1: together in six months. There's nothing, you know, there's nothing
Speaker 1: like low budget about just looking at the scope of
Speaker 1: what you've got on the screen there. How are you
Speaker 1: making how are you making how do you make the
Speaker 1: economics of documentary and unscripted work for you in this environment,
Speaker 1: in this environment right now?
Speaker 3: Well, each each project's different. I mean that Life on
Speaker 3: Our Planet actually came to us from Netflix, and you know,
Speaker 3: I think a couple of things that people bring things
Speaker 3: to us for is one is sort of access and
Speaker 3: another is expertise. On that one they were looking for,
Speaker 3: how do you sort of transport people to prehistoric times
Speaker 3: and then recreate these animals that were extinct. So obviously
Speaker 3: Silverback is the best in class at sort of natural history.
Speaker 3: They do it better than anyone, but they hadn't done
Speaker 3: visual effects before, and Justin and I have done that
Speaker 3: for two decades working for Steven and learning how to
Speaker 3: do that. So they came to us on that and
Speaker 3: it became just a great sort of collaboration. That's what
Speaker 3: we've been looking for in sort of all of our shows.
Speaker 2: We sort of we.
Speaker 3: Used our scripted playbook in the nonscripted landscape in terms
Speaker 3: of let's partner with the best in each genre, you know,
Speaker 3: whether it was Alex Gibney does a certain thing, so
Speaker 3: we do a lot of shows with him.
Speaker 2: R J.
Speaker 3: Cutler does a certain thing, Frank Marshall imagine, So we
Speaker 3: tried to sort of find a way to combine forces
Speaker 3: with the best in the business. And sometimes it's us
Speaker 3: bringing the idea to somebody and other times it's people
Speaker 3: bringing the idea to us.
Speaker 1: You know.
Speaker 3: Good Night API is another example of access. You know,
Speaker 3: NASA has a lot of people knocking at its door,
Speaker 3: and to have the Ambulance brand, there's sort of a
Speaker 3: guarantee that the show is going to be done in
Speaker 3: a certain way and at a certain level. And so
Speaker 3: that was one another one where somebody brought us the idea.
Speaker 3: So we really sort of do you know what we
Speaker 3: do inscripted as we source great material and then we
Speaker 3: partner with the best of the best, and then we
Speaker 3: try and as Steven says, he calls us his block
Speaker 3: and tackle is like we try and block and tackle
Speaker 3: and allow them, you know, the creative people to do
Speaker 3: you know, their best work, and then bring bring something
Speaker 3: to it from our end as well, whether that's storytelling,
Speaker 3: whether that's packaging, whether that's you know, chasing talent, you know,
Speaker 3: getting Morgan Freeman to be the narrator in life on
Speaker 3: our planet, we have Lessie Feldman, who runs casting for us,
Speaker 3: and we call her our secret weapon, and she was
Speaker 3: able to get Angela Bassett to do the vo for
Speaker 3: good Night Appia as well. So we kind of use
Speaker 3: all of our all of our tools that we use
Speaker 3: in the scripted world we use in the non scripted
Speaker 3: world as well.
Speaker 4: And Life on Our Planet that was a five year endeavor.
Speaker 5: It was a long time from the original development to screen,
Speaker 5: as by the way, many of our scripted shows have been.
Speaker 5: And you know, we always joke with folks we're developing
Speaker 5: with if the time in place is not right today.
Speaker 4: You know, we've been at this company, as I said,
Speaker 4: for twenty eight years.
Speaker 5: It will find its time and place, and that's proven
Speaker 5: to be true, I think, without a question. But to
Speaker 5: answer your question, yeah, I think there are things like
Speaker 5: Life and Our Planet that take a lot longer. And
Speaker 5: then we had two other Netflix documentaries premiere within the
Speaker 5: last six weeks, Encounters which was four hours.
Speaker 4: In Big Vape, which was four hours.
Speaker 5: Both premiere to number one, and that's a much shorter
Speaker 5: production period.
Speaker 1: You know.
Speaker 6: And as always as a case, let me just ask you, yeah,
Speaker 6: excuse me, let me just ask you justin so like
Speaker 6: interesting the Jewel story, which is definitely on my list
Speaker 6: I want to catch up with because that just story
Speaker 6: just seems like how that, how that was allowed to
Speaker 6: happen and like you know, ruin the lungs of a
Speaker 6: generation of teenagers and twenty some things that you know,
Speaker 6: we're marketed to aggressively something like that.
Speaker 1: That's a little more topical kind of off the news
Speaker 1: off of litigation that's going on, is that that obviously
Speaker 1: is going to be a different process than a five
Speaker 1: year natural history documentary with with animation and special effects
Speaker 1: and that kind of thing. So I'm guessing it's like
Speaker 1: you have a portfolio of things. You have your things
Speaker 1: that you know are going to take a couple of years,
Speaker 1: things that you can turn around a little quickly, historical documentaries,
Speaker 1: just looking at your slate.
Speaker 5: Yeah, yeah, that's correct, And you don't often control you know,
Speaker 5: we were fortuitives at the end of this year that
Speaker 5: we had three you know, very high profile docs between
Speaker 5: the counters Vent Life on Our Planet premiering, but the
Speaker 5: timing of that was not something that we necessarily control,
Speaker 5: and is the case with many things going forward, and
Speaker 5: we have you know, fifteen other you know docs in
Speaker 5: the in the pipeline and you try to spread them out.
Speaker 4: You can't get guarantee that.
Speaker 5: So it's it's just an ongoing conversation with these platforms
Speaker 5: and when they're you know, when they need something and
Speaker 5: when they can't anticipate eating something.
Speaker 3: So but that is the advantage of you know, one
Speaker 3: of the big advantages of nonscript is you can get
Speaker 3: things going much more quickly other than you know, the
Speaker 3: outliers like Life on Our Planet that took five years
Speaker 3: and we were on you know, visual effects reviews every
Speaker 3: Monday for four years. You know, we have we have
Speaker 3: stuff like that in the scripted world too. We have
Speaker 3: you know, Masters of the Air that's coming out and
Speaker 3: you know at the Top of the Ear for Apple
Speaker 3: that was literally a ten year journey, or Halo that
Speaker 3: took us eight years. And so it's similar in that,
Speaker 3: you know, we have the advantage just night being at
Speaker 3: the company for so long that we're you know, there's
Speaker 3: things that we've worked on that we could stick with
Speaker 3: and deliver on and not have to worry. Okay, well
Speaker 3: if we're leaving, you know, they're not going to keep going, right,
Speaker 3: But that is an advantage in nonscripted is that you
Speaker 3: can really get things going much more quickly. It's a
Speaker 3: little easier to sell them in terms of the economics
Speaker 3: of them, some of them. You know, it's like anything.
Speaker 3: It's like the scriptor world too. If you get a
Speaker 3: bidding war going, you're going to have better economics, and
Speaker 3: you're going to have a bigger piece of the back
Speaker 3: end because the back end will be bigger and other
Speaker 3: ones the margins are smaller, and and you're splitting. You know,
Speaker 3: a lot of times we're splitting with partners. We don't
Speaker 3: mind splitting with partners as long as everyone's bringing something
Speaker 3: to the party. To us, we'd rather have, you know,
Speaker 3: fifty percent of something than one hundred percent of nothing.
Speaker 4: So we just.
Speaker 3: Find the best people and we watch all of the
Speaker 3: docs and we oh, I would love to work with
Speaker 3: that person. And we has been great about they represent
Speaker 3: us in TV. They've been great about, you know, introducing
Speaker 3: us to people that they're in business with, whether it's
Speaker 3: at their own company or other people that they don't
Speaker 3: wrap in just trying to make marriages, you know, because
Speaker 3: it's such a collaboration mm hmm.
Speaker 5: And then and some of these sorry, some of the
Speaker 5: some of these ideas that we're developing it documentaries warrant
Speaker 5: you know, a scripted conversation, and they're a handful that
Speaker 5: we're developing simultaneously.
Speaker 4: As scripted and nonscripted.
Speaker 5: The upside of the nonscripted and the documentary being able
Speaker 5: to move on that quicker is that we could use
Speaker 5: that almost as a platform to help launch the scripted shows.
Speaker 5: And we have a few things to that end that
Speaker 5: we're working on. We're working on right now, or as
Speaker 5: you know, I think Netflix has done successfully, you can
Speaker 5: have you know, a nonscripted doc that is simultaneously launching
Speaker 5: when you're scripted show that's maybe in the same area
Speaker 5: or arena, and connect those dots.
Speaker 4: So that's always something interesting look at.
Speaker 5: And we also constantly talk with our creative team about
Speaker 5: finding inspiration in you know, in docks that aren't necessarily
Speaker 5: that are not our docs. But as you know, as
Speaker 5: we know that, you know, the truth is stranger in fiction,
Speaker 5: and you'll often find a backdrop or a world or
Speaker 5: a character or something that could inspire something on the
Speaker 5: scripted side as well.
Speaker 1: Don't go anywhere. We'll be right back with more from
Speaker 1: Amblin Television Heads Darryl Frank and Justin Falvey, and we're
Speaker 1: back with more from Amblin Television chiefs Darryl Frank and
Speaker 1: Justin Falvey. Would you say, I mean, it's it seems evident,
Speaker 1: but would you say that, like star, the cost of
Speaker 1: starting up a unscripted if you have a documentary idea,
Speaker 1: the startup costs are much less.
Speaker 2: Than if you say, I have an idea for a sitcom.
Speaker 3: Yeah, or of course yeah, because you don't obviously don't
Speaker 3: have a script, and you you know, it's really a
Speaker 3: sizzle and a deck. It's sort of what we go
Speaker 3: out with a sizzle, a deck and a great pitch
Speaker 3: and then some access. So you can have a lot
Speaker 3: more of those going for what it would cost you to,
Speaker 3: you know, do a pilot script if you will, or
Speaker 3: do a pilot.
Speaker 2: My mom, And would you say that?
Speaker 1: I've also been hearing from people that the especially in
Speaker 1: unscripted reality documentary, that some of the even at Netflix,
Speaker 1: like some of the terms are loosening a little bit.
Speaker 1: It's not like okay, blanket, we're buying you out for
Speaker 1: ten years, fifteen years, but that there's a little more
Speaker 1: wiggle room, especially to get like territories outside the US
Speaker 1: and Canada. Okay, well maybe we don't need this documentary
Speaker 1: for eight years in this part of Western Europe.
Speaker 2: And you know, after a year you can see. I mean,
Speaker 2: I've heard.
Speaker 1: I just came back from Mipcom and I was hearing
Speaker 1: from a lot of the European producers especially that there's
Speaker 1: that suddenly there's a lot more flexibility. I don't know
Speaker 1: if you guys are feeling that at all in terms
Speaker 1: of deal deal making, particularly around the unscripted.
Speaker 3: Yeah. Again, it's it depends on how many offers you
Speaker 3: have and you know how frothy you can make the market.
Speaker 3: But they are open to licenses in certain scenarios and
Speaker 3: it has to be sort of the right group of
Speaker 3: people and you have to have multiple offers. But look,
Speaker 3: it's something that has to start happening in the scripted
Speaker 3: business too, I mean, and that's why I love what
Speaker 3: you know, Peter Chernan's doing and Evans is over there
Speaker 3: now at North Road and what they've talked about of
Speaker 3: sort of you know, you can't these buyers, the platforms
Speaker 3: can't supply everything to themselves. You know, they need independence,
Speaker 3: they need other people bringing them things. So it makes
Speaker 3: it's good business sense to say, okay, well, you know
Speaker 3: we we don't want to pay that, we won't pay
Speaker 3: the full amount. Let somebody else take a little bit
Speaker 3: of risk and then allow, you know, allow there to
Speaker 3: be some success based results, you know, where where you
Speaker 3: could actually make money off something. You know, right now,
Speaker 3: if you have a if you have Stranger Things on Netflix,
Speaker 3: or if you have the thing that's you know, number
Speaker 3: three hundred, as a producer, you get paid the same amount,
Speaker 3: you know, So we're really looking for, you know, the
Speaker 3: business to change a little bit where maybe these perpetual
Speaker 3: license fees go away, Maybe there's non exclusive licenses after
Speaker 3: a couple of years.
Speaker 6: Maybe there's.
Speaker 3: Territories that you can carve out as you know, if
Speaker 3: you put up a little of the money, and I
Speaker 3: think for the buyers, it's going to make their money go,
Speaker 3: their budgets go a lot further if they don't have
Speaker 3: to pay one hundred percent, one hundred and twenty percent,
Speaker 3: one hundred and forty percent of every show. They don't
Speaker 3: need these shows for fifteen years, you know, ninety percent
Speaker 3: of them, you know know, it's you know, people are
Speaker 3: going to watch for three or four years they're not
Speaker 3: going to watch for fifteen years, So how do you
Speaker 3: how do you change the model so that producers, independent
Speaker 3: studios could start making money again. And that's just good
Speaker 3: for the health of the business.
Speaker 5: Yeah, And it's as you said, it's mitigating it's mitigating
Speaker 5: the risk, but also allowing them to focus less on
Speaker 5: you know, a massive development spend, you know, which is
Speaker 5: a lot of them have doug a hole to that extent,
Speaker 5: and you know, and if they can be wise about
Speaker 5: the way they're spreading the well so to speak, it
Speaker 5: will go a lot further.
Speaker 4: If their goal mostly for these platforms.
Speaker 5: It's subscribers, you know, and it's balancing for them short
Speaker 5: term versus versus long term. Well, most of them are
Speaker 5: in a position now they need to get healthy quickly
Speaker 5: and they have to offset that somehow.
Speaker 4: So I think it's invariable.
Speaker 5: I think you're correct, definitely is trending that way, and
Speaker 5: that'll be great for everybody.
Speaker 2: How about for you all as a business?
Speaker 1: How you know, it's a it's a challenge right now
Speaker 1: to kind of peg a value on anything, right what's
Speaker 1: the value of a show coming off of NBC coming
Speaker 1: on that may go on to the you know, might
Speaker 1: be sold in the kind of streamer syndication market that
Speaker 1: the valuation of content. How are you guys, how do
Speaker 1: you guys kind of figure out what's your ROI what
Speaker 1: are you willing to spend? Do you do you the
Speaker 1: same kind of financial metrics that you would consider for
Speaker 1: a scripted project. Do they apply same? Is the same
Speaker 1: general principles that that that where you decide what you're
Speaker 1: going to commit to what's worth investing in in the
Speaker 1: unscripted documentary.
Speaker 3: Yeah, I mean it's it's basically the same thing. I
Speaker 3: mean right now in scripted and nonscripted, the buyers are
Speaker 3: paying one.
Speaker 4: Hundred percent of the or more of the budget.
Speaker 3: So it's really about if if the producers want a
Speaker 3: bigger piece of the back end, they got to risk something.
Speaker 3: And I think those are the companies that are going
Speaker 3: to really change things going forward. Is okay, who's willing
Speaker 3: to who's willing to put up the deficit? But then
Speaker 3: what buyers are willing to let you do that? That's
Speaker 3: the biggest issue is that they don't.
Speaker 2: Want to let me put the money out right, and they.
Speaker 3: Want to own it. They want to own it all.
Speaker 4: They want to be the studio.
Speaker 3: They want to buy you out of being the studio.
Speaker 3: But that's what's broken the business.
Speaker 5: But it's also that's where it's our responsibility to know
Speaker 5: to know the marketplace and anticipate what is going to
Speaker 5: become a potential bidding war, and how much money are
Speaker 5: we going to put into our sizzle reel, and and
Speaker 5: what kind of presentation are we bringing out into the
Speaker 5: community that.
Speaker 4: Could create that you know, that binning war.
Speaker 5: That will ultimately hopefully result in in having some you
Speaker 5: know that our financial position.
Speaker 1: Well, my goodness, thank you for talking me through your
Speaker 1: documentary work and kind of the reasoning and the business
Speaker 1: strategy behind it. I know you too long enough to
Speaker 1: know you always have a lot of ores in the water.
Speaker 1: Are there any things anything coming up in twenty four
Speaker 1: hoping that obviously business can get back to something like
Speaker 1: the normal, the normal of Hollywood, which is always unusual,
Speaker 1: but you know, assuming business can get back to normal.
Speaker 1: Are there one or two things, whether scripted or unscripted,
Speaker 1: anything that you're excited about coming in twenty four, anything
Speaker 1: we should stay tuned for.
Speaker 5: Yeah, absolutely, I mean two things right off the bat
Speaker 5: Masters the Air, which is our third installment, and Band
Speaker 5: of Brothers and the Pacific is premier a.
Speaker 1: Little matter like that that's going to be you know, incredible,
Speaker 1: and the timing with anniversaries and World War two coming
Speaker 1: is going to be really impactful.
Speaker 5: Yeah, So that's co production again with our friends at
Speaker 5: Playtone on Apple at the end of January and B
Speaker 5: seventeen Bombers based on a Donald Miller book.
Speaker 4: It's incredibly.
Speaker 5: You know, compelling, kind of a spectacular look at it
Speaker 5: again grounded, you know, Journey of Two Gentlemen in particular,
Speaker 5: but that is something we're really excited for people to anticipate.
Speaker 5: And then Halo season two finally coming back, and that
Speaker 5: is going to be in February of twenty four and
Speaker 5: again something we worked on for eight years, developing that
Speaker 5: thing to get it up and going in.
Speaker 4: First in the first season.
Speaker 5: So obviously second season, having the ability to look at
Speaker 5: our first season, which we are really proud of, and
Speaker 5: we feel like the second season is even even stronger.
Speaker 5: And then behind that, you know, we're thrilled to finally
Speaker 5: be talking to writers again and we've got seventeen other
Speaker 5: things set up and hopefully many of those will see
Speaker 5: the light of day. So We're keeping our fingers crossed
Speaker 5: for a happy the twenty four and really excited that
Speaker 5: we can kind of get out of the gate with
Speaker 5: two really really special, unique projects.
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