Scripted formats are enjoying increasing success in Asia. But what makes them successful varies from case to case. French producer, Harold Valentin of Mother Production (“Call My Agent”), Akehi Yuk…
“We were very surprised that [‘Call My Agent’] began travelling really after season two, because initially Netflix didn’t know what to do with the strategy. The mixture of drama and comedy had disappeared a bit in U.S. and U.K. television. They had either drama or comedy, but not the mixture of the two.
The enthusiasm that we received from our international producers was impressive. It hit a chord in them. They wanted to tell the same story, but in their own way for their own culture, to send the [same] message that child abuse is intolerable. And that you don’t have to be an actual mother to be a mother to a child who needs help.
I think consumer preferences have changed. Series that can be binge watched are in high demand. Genre wise, so too are mystery series. I’m getting a lot of inquiries for crime mystery series. I think this trend will continue. [Such shows appeal to young adult audiences who may be using social media with their friends while watching the show.]“Our ‘Mother’ was adapted in France and there was six episodes. Our original was eleven.
With ‘Ossan’s Love’ the original one had seven episodes. We had to extend it to 15 because Hong Kong audiences like to watch their dramas every night from Monday to Friday. This may be changing, because of the influence of the streaming platforms.”“Each country has its own culture of screenwriting. In the Turkish remake of ‘Call My Agent’ where we took 45 minutes, they expanded it to two and a half hours.
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