Executives who created ‘Delhi Crime’ say Hollywood is no longer epicenter of creativity
The two co-CEOs of SK Entertainment, Charlie Corwin and John Penotti, presented at a Milken Institute conference on Monday.
The duo, who are behind films such as Crazy Rich Asians and Delhi Crime, discussed how the future of entertainment is changing, levelling the playing field and allowing underrepresented tales to emerge.
Penotti claims that the media landscape has fundamentally transformed as a result of the popularity of streaming platforms like Netflix and Amazon Prime Video, using Squid Games as an example.
He sings the glories of Netflix’s overdub algorithm, claiming that it allows consumers to enjoy foreign language content without sacrificing conversation quality.
Penotti also claims that Hollywood is no longer the epicentre of creativity, claiming that Hollywood budgets are increasingly being directed to smaller studios in emerging markets, allowing filmmakers to convey their stories on a worldwide scale.
The couple, who are planning a TV show based on the famous Thailand cave rescue, are no strangers to foreign language films. Penotti explains the success of Delhi Crime by saying that people all over the world want to hear stories that they can relate to while being transported to a fresh and unknown location.
According to him, global viewers were able to identify with the treatment of women represented in Delhi Crime and so share “commonalities of various situations.” At the same time, like Crazy Rich Asians, Delhi Crime was culturally distinct.
According to Corwin, people like to “watch common emotions play out in diverse circumstances,” which is why novels like Parasite, which focus on class contrasts against a specific cultural backdrop, have been particularly successful.
Corwin also mentions emerging markets’ financial soundness.
He claims that in nations such as the United States, the majority of the population already subscribes to streaming services, thus if value is defined by the number of new members, countries such as India and South Korea are where the money is to be earned.
Shows must feature their opinions in order to appeal to those populations.
“You don’t see advertisements for Netflix and Amazon. “You see adverts for series like Delhi Crime that require a subscription to a streaming service to watch,” Corwin claims.
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