ABSTRACT
TV and film production have now become, through streaming, a single, multifaceted scripted production sector. In scripted, production companies, actors, directors, and even franchises move seamlessly between platforms. This chapter covers scripted through the producer’s lens – a global production industry with streamers, studios, producers, distributors and content brands all investing for world audiences. But it also has regional dimensions, with thousands of films and TV dramas produced in countries such as India, China and Nigeria annually. Scripted is approached through the media value creation model: Development, Production, Distribution and Monetisation. Development for Scripted titles requires market analysis and positioning for both the production company/studio and the content project itself, plus both investment and reputation management, including of stars. Production demands cash flow and fiscal discipline. Rights retention is vital, except where a substantial premium is paid (by streamers). Distribution is when value is created, as titles acquire investment and traction with end users. Streamers, broadcasters and cinemas offer different advantages to producers and studios. Blockbuster films still make more money at the cinema than on streaming. The optimal scripted distribution solution may be a hybrid ‘windowing’ strategy. Chapters on streamers and broadcasters follow. Cinema is covered in a section at the end of this chapter. Finally, monetisation takes place in advance of the production phase for streamed and broadcast shows, and throughout the value creation process for cinema releases. AI technologies are used in scriptwriting and selection, interactive storytelling, post-production tools, virtual actors, special effects, voice synthesis, simultaneous translation and facial muscle adjustment, and metahumans.
