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'The Good Nurse' Producer and Netflix EMEA Director Discuss Staffing Shortage: Deadline

‘The Good Nurse’ Producer and Netflix EMEA Director Discuss Staffing Shortage: Deadline

The whale Y the good nurse Producer Scott Franklin put a positive spin on the ongoing above-and-below-the-line staffing shortages affecting production on both sides of the Atlantic in a panel at the Zurich Summit on Saturday (September 24).

Darren Aronofsky’s longtime collaborator, who works under the director’s Protozoa Pictures banner, said behind the team’s crisis were new opportunities.

“In the United States there is a two-part conversation. First of all, how many years have we been complaining about how difficult it is to put on our shows, and now we have the problem that there is too much demand for things, ”he said. “The demand for content is good news. It’s a high-class problem.”

“We are growing our artisans within the industry below the line. It will take some time to catch up, but this is also an opportunity that we are creating,” he said.

Franklin suggested that crew supply problems were nothing new. He recalled shooting a movie in Cleveland in the early days of Ohio’s local movie tax.

“Ohio had just started the incentive and there was no local staff base. What we did for that movie was we brought in a crew from out of town, from New York, Los Angeles, and Georgia, and we trained a whole local crew,” he said. “We did the same thing for the next movie and before you knew it we had built a production base in Cleveland.”

He had to apply similar tactics to the Connecticut shoot of the good nurse in the spring of 2021, with Danish director Tobias Lindholm at the helm.

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“Coming out of the pandemic, I had The whale Y the good nurse shooting at the same time. I couldn’t get crew for the good nurse. Obviously, Darren’s team was loyal and was going to make the movie for him if he was available. Many of the rest of the crew were booked for two-year television jobs, which were a little more comfortable than doing a low-budget independent film in Connecticut,” Franklin recounted.

“I turned to the New York team that I normally never work with. So, it was a new team and a Danish director, who they didn’t know, even if they knew his work. It’s not like we have any experience working with these people. We had new department heads, all top craftsmen, with apprentices in all departments,” he continued.

Franklin also addressed the shortage of writers and suggested that it was a chicken-and-egg problem with emerging writers struggling to get representation with literary agents until they had experience, but couldn’t gain experience until they had representation.

“That’s a problem for writers, which is an amazing craft and the most important craft because it all starts with the script, right,” he said.

Agencies also needed to embark on a training campaign, he suggested, to bring in more staff to make “the deals, sell the movies. and spend more time looking at talent above the line,” which would ultimately result in more work for talent below the line.

Franklin was joined by professionals based in Europe who discussed bottlenecks and initiatives to overcome them on the other side of the Atlantic.

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Kim Magnusson, producer and director of Creative Scandinavian Film Distribution, said a recent study had suggested that Denmark needed an additional 1,900 trained crew members by 2025 to meet scheduled production commitments.

“In a small country, a small industry, that’s crazy. Projects are not being done because we cannot sign them. It’s very difficult to put a team together, and when you do, there’s a level of craftsmanship missing,” he said.

Munich-based Netflix executive Sasha Bühler, EMEA film director, said the platform was investing heavily in training and education to bring the team online, highlighting its Grow Creative program that runs initiatives around the world, from The Cairo to Los Angeles and Berlin.

“We are investing in the next generation to broaden the pool of people we work with. It’s the right thing to do,” she said.

The panel was one of the final discussions at the Zurich Film Festival’s Zurich Summit industry event on Saturday, which brought together some 100 top film executives to discuss key issues affecting the international independent film industry.

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