Wollte ich vorhin auch posten, aber dann ist mir der Browser abgestürzt. :evil: :lol:
Sieht sehr hochwertig aus. Fraglos die bis dato teuerste Netflix Produktion, aber die 90 Mio Staffelbudget (also durchschnittlich 9 Mio pro Folge), die durchs Netz schwirren, halte ich für zweifelhaft.
Solche Budgetangaben schwanken bei Serien zwar von Quelle zu Quelle stark und die jeweiligen Steuererleichterungen spielen eine schwer nachzuvollziehende Rolle, aber ich kann mir nicht vorstellen, dass Netflix hier in Staffel 1 mehr raushaut als HBO für Game of Thrones (wo das letzte Staffelbudget meist irgendwo zwischen 60-90 Mio geschätzt wird). Es wurde ja nicht mal ein klassischer Pilot gedreht, der ein vielfaches einer normalen Folge verschlingt. Teurer als DaVinci's Demons sieht es aber auf jeden Fall aus und selbst die Show hat schon ein vergleichsweise recht hohes Budget.
btw. Budget
Auch SyFy hat mehr Spielgeld zur Verfügung.
http://insidetv.ew.com/2014/10/28/syfy/#more-186330
The cable network’s top executives won’t say this in such blunt language, but they acknowledge that somewhere along the line, the network missed an opportunity to have more great scripted dramas. It happened sometime after the name change from Sci Fi Channel to Syfy and the conclusion of Battlestar Galactica—the acclaimed series that was once mentioned by critics alongside titles like Mad Men and The Sopranos as representing TV’s top-tier of storytelling. Once the weary Battlestar crew decided to settle on Earth in the show’s 2009 series finale, Syfy did much the same thing by launching terrestrial-based dramas like Warehouse 13, Sanctuary, Haven, and Eureka.
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What was the sort of change point where you guys said, “Okay, we need to be embracing this stuff again?”
For a lot of the time you’re talking about I wasn’t there. I do think the thrust toward imagination was about broadening the programming. When you look at a show like Face Off, I think that that plays to the imagination and the rebrand in a way that does not alienate the hardcore sci-fi viewers. I do think there are instances where you have your cake and eat it too. But in terms of this new direction, I think when you look at the marketplace and you look at how passionate people are getting about shows—serialized shows specifically—the bar has been raised for the entire industry in terms of how well you have to execute your content to get that passionate core fan base that really acts as its own marketing in terms of word of mouth. And it’s not just genre—I do think you see certain similarities in Game of Thrones and Breaking Bad when you talk about really high-end, serious, modern cable TV execution. That’s where we’re going to try to play with the shows that we have coming up.
When you say “high-end,” I think of a larger budget. Are Syfy shows being given that larger budget to have that look-feel of those shows? I think one description of the previous Syfy shows is that they’re very “Canadian looking.”
When I was at USA we used to always have this phrase: “USA Network: Made in Canada,” because we shot a lot of stuff up there. A lot of people shoot up there. I know what you’re saying and the answer is Yes. We have bigger budgets now. We have budgets that could compete with anybody else in basic cable. Premium cable is a different story, obviously. The budget that HBO has—they’re playing a different game. But when you look at The Walking Dead or Breaking Bad or anything that I worked on at USA, we are at least at that level, if not above. We are trying to bring in directors, producers, you name it, that can execute. I certainly think our shows are already looking better than they have in the past because the corporation supporting us [Comcast], and the corporation understands that we should be investing in genre right now. That’s been the biggest pleasant surprise I’ve had since I’ve arrived — the amount of resources Comcast is providing and kind of everybody up the food chain is recognizing that to pull off sci-fi in the way that we really want to pull it off, you do have to spend. You don’t have to be a reckless drunken sailor, but you do have to sometimes even outspend basic cable competitors for the shows to look the way they will.
You talked about having more serious content. So if The Walking Dead wasn’t on AMC, could you make that show the way they made it? Although you’ve progressed to some extent, a show opening with a cop shooting a little zombie girl in bunny slippers—that was a very shocking scene in basic cable network when that premiered. In terms of the support you have, internally and from Comcast, how much creative leeway do you have?
We could absolutely do that. I think if you really looked at Defiance, Dominion and some of the content we’ve already done, there’s some pretty rough stuff in those shows. I think sci-fi can be more provocative than any other genre. We will push it wherever we think is appropriate. We don’t want to just do it to do it, to just show that, hey, we can kill a baby, or shoot a dog. If the content points you in that direction, you have to be true to the direction of the story. We’re not looking to shock people just to shock them, but when those moments arrive, I don’t feel any pressure to water it down.
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Though to get back on track, to me it’s amazing that there hasn’t been new hit space opera since Battlestar, all these other seemingly tough-to-crack geeky genres from horror to zombies to fantasy have all been sort of revitalized. How important is it for you guys to sort of claim that area back before somebody else does?
It’s incredibly important. It really is. It’s a staple of science fiction programming. Maybe other networks are just sort of afraid of it. We’re not. I’m almost reluctant to talk about this too much in interviews because I’d like it to just be us doing this because I think we know how to do it. I think we’ve got some incredible material coming. I’m think specifically about The Expanse. It’s a space opera the likes of which I don’t think anyone has seen yet. And we’ve got a great cast that’s starting to be assembled, really smart writers. It’s a huge priority for us and we’re already on the runway.
And Ascension. It’s billed as a miniseries, but so was Battlestar at first. What do you think the odds are, from what you’ve seen so far, of that being upped to series?
Truly, it’s too early to tell. The set is spectacular. You’ll see the way this show looks. It’s going to speak to a lot of your first questions about the budgets.
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Syfy’s battle plan to get you back: The cable network has projects adapted from beloved sci-fi novels (a series based on Lev Grossman’s novel The Magicians, a miniseries adaptation of Arthur C. Clarke’s Childhood’s End starring Thrones’ actor Charles Dance), with talented writer-producer (like Oscar-winner Akiva Goldsman) and bigger budgets (the upcoming series The Expanse is the network’s most expensive show ever). Here are the five most promising that have been greenlit to air:
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So viel Hoffnung sie in The Expanse setzen, so wenig anscheinend in Ascension. Schon die Programmierung so kurz vor Weihnachten erinnert an die Weise wie TNT Mob City als Miniserie versendet hat und das Interview verfestigt den Eindruck, dass SyFy keine Hoffnung hat, dass das beim Publikum genug zündet. Hoffentlich taugt das Ende halbwegs als Abschluss. Ich befürchte aber eine lupenreinen Cliffhanger.
