LA SCREENINGS: Acclaimed actor and producer Mark Duplass reveals how he aims to usher in an indie TV renaissance with an innovative new de-risked financing model – just when Hollywood needs it most.
Mark Duplass
Founded in 1996 by Mark and Jay Duplass, LA-based prodco Duplass Brothers Productions (DBP) is responsible for series such as Togetherness, Animals and Room 104, all for HBO, and Cinema Toast for Showtime.
Specialising in quirky, left-of-centre content, Mark and Jay are able to bring their experience as actors, directors, producers and writers to each project they take on. The outfit previously had a two-year overall deal with HBO, signed in 2015, and has also partnered with Netflix for a four-picture pact.
The same streamer – which has its first in-person upfront in New York earlier this month – has just picked up DBP’s new young adult series Penelope, in a unique deal that Mark Duplass claims – at a time when production finance is increasingly hard to come by – could help create a new indie TV ecosystem.
Drawing on his experiences of producing and selling indie movies, he was able to finance the production of eight-parter Penelope with the money he earns from playing Chip Black in the Apple TV+ series, The Morning Show.
This allowed DBP to retain all rights to the series, about a 16-year-old girl who runs away from home to live in the wilderness. Penelope is part of a bespoke slate of four series that the Highland Park company has financed itself and shopped at festivals such as South by Southwest and Sundance.
C21 caught up with Mark Duplass at SeriesFest in Denver, where he was the subject of an Innovation Talks panel session, to hear all about his unorthodox but de-risked deal strategy.
You’ve referred to the ‘Reaganomics of TV’. What do you mean by that?
We saw it happen in the film industry for a while and now we’re seeing it in TV. There was a big boom and lots of super exciting TV was being made across all budget levels. Executives made these wildly creative swings in the mid-budget range and that was exciting.
However, now they’ve decided: “Wait a minute. I’m not sure we can spend this much money,” so they pulled back in the middle market. By Reaganomics, I mean that now there’s the super expensive stuff and really cheap reality TV and bosses are getting more conservative even within this model. But I still believe audiences want to see mid-budget content. It’s been proven time and time again with successful shows like Baby Reindeer on Netflix and Fleabag on the BBC.
Young adult series Penelope is part of a unique deal with Netflix
Does the current state of the industry depress you?
I’m bummed that we’ve gotten to this place, but I understand it. There was a level of spending going on that was not a sustainable model. I don’t think the TV executives are evil or doing anything wrong – they have to answer to their shareholders and make themselves financially solvent. The only thing that would make me soulsick is if the industry continues in this direction and doesn’t make an attempt to satisfy the wonderful middle out there. At DBP, we’re going to try to double down on that for you.
What’s your solution to the current commissioning crisis?
So as not to pressure the studios and streamers, we are financing and producing our shows independently, then the client can buy them from us. That’s essentially what we’ve done with Penelope. It will be released for a very short time on Netflix only in the US. We haven’t broken Netflix’s bank by asking them to take a risk on the show. If it’s wildly successful, of course they’ll do it again, but it’s okay if we need to change partners for season two. We keep hold of our rights and have the chance to sell it to the rest of the world.
Presumably you’ll have more chance of securing a second season too?
Traditionally, the network or studio is in complete control about whether you get another season or not. If they buy all your rights and the show isn’t a success, they throw you aside. That’s happening more and more quickly these days. Using our model, we won’t need to experience what happens to so many producers – the unfortunate death of their special creative baby after one run.
Is this model sustainable for prodcos that aren’t run by well-paid Hollywood actors?
It depends on the prodco because everyone is funded differently, but we believe our model is sustainable if you design a show to be made at a reasonable price point. Make something within your budget range and swing the sword that’s in your hand.
It’s now six months since the SAG-AFTRA strike ended. What does the union need to keep an eye on?
It’s one of the most complicated things that our industry has been through. As a person I can see it from all sides. I can talk to the writer, actor, director, financier, the producer… There are five different versions of myself that are honestly at odds with each other. I’ve realised that in order to make independent TV right now, we’re going to have to take most of the risk ourselves. That sucks and it means that we’re not always going to be able to pay our crew members in the way they deserve in a very tough time for the industry. How do we resolve those issues? We’re constantly in conversation and trying to find the balance, but it’s really complicated right now.
