‘The Good Nurse’ Producer, Netflix EMEA Director Talk Crew Shortages –

The Good Nurse

The wheel And good nurse Producer Scott Franklin on Saturday (Sept. 24) spoke positively about the top-down and bottom-up staff cuts affecting production on both sides of the Atlantic at a panel at the Zurich Summit on Saturday (Sept. 24).

A longtime associate of Darren Aronofsky, who works under the director’s Protozoa Pictures banner, said there are fresh opportunities behind the staffing crunch.


“There’s a two-way conversation in America. First and foremost, we’ve all been complaining for years about how hard it is to set up our shows, and now we have the problem of too much demand for stuff. Is.” “Demand for content is good news. It’s a high-level problem.”

“We’re expanding our artisans down the line within the industry. It’s going to take some time to catch up, but it’s also an opportunity we’re creating,” he said.

Franklin suggested that problems around staffing were nothing new. He recalled shooting a movie in Cleveland in the early days of the local Ohio motion picture tax.

“Ohio had just started production and there was no local crew base. What we did for this film was bring in out-of-town crews from New York, L.A. and Georgia, and we had a whole local cast. “We did the same for the next film and before you knew it we had a crew base in Cleveland.”


He had to use similar tactics for the Connecticut shoot. good nurse In spring 2021, with Danish director Tobias Lindholm.

“Coming out of the pandemic, I had. The wheel And good nurse Shooting at the same time. I couldn’t find the staff good nurse. Obviously, Darren’s crew was loyal and were going to film him if available. Many of the other crew members were booked on two-year TV gigs, which were a little more palatable than doing a low-budget independent film in Connecticut,” Franklin said.

“I turned to a New York crew that I would never normally work with. So, it was a new crew and a Danish director, who they didn’t know, even if they knew his work. It’s not like We had some experience working with these people. We had new department heads, all A-list craftsmen, with trained people in all departments,” he continued.

Franklin also addresses the writer shortage, suggesting it’s a chicken-and-egg problem with emerging writers struggling to gain representation with literary agents until they have experience. No, but they can’t get experience unless they represent.


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

Agencies also need to launch a training campaign, he suggested, adding more staff to “sell deals, films”. and spend more time looking at top talent”, which will result in more work for bottom talent.

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

Kim Magnussen, a producer and head of Creative Scandinavian Film Distribution, said a recent study suggested Denmark needed an additional 1,900 trained staff by 2025 to meet planned production commitments.

“In a small country, a small industry, it’s crazy. Projects aren’t getting built because we can’t get them signed off. It’s very difficult to get staff together, and when you do, there’s a level of craftsmanship. “There is a lack,” he said.


Munich-based Netflix executive Sascha Buehler, director of EMEA film, said the platform is investing heavily in training and upskilling to bring staff online, noting its Grow Creative program that Cairo From LA to Berlin runs events around the world.

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

The panel was one of the final discussions at the Zurich Film Festival’s day-long Zurich Summit industry event on Saturday, which brought together nearly 100 top film executives to discuss key issues affecting the independent international film industry. It can be assumed.

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