The
new Netflix release, ‘Empires Rising: Ottoman’ is achieving notable new
‘firsts’ for Istanbul
and the Turkish film industry. During
the first full week of streaming, the six episode drama-documentary ranked 4th
among top trending TV shows in the United States overall, briefly 2nd
among Netflix shows, and 6th in binge viewing.
The
impact of positive media projection upon property values in a specific location
needs no explanation: the examples are evidenced far and wide. The more
important question about ‘Rise of Empires: Ottoman’ is whether
that success is repeatable. If so, then Istanbul
as a property investment location could well be on its way to assuming the
status of a top global investment location, on par with the likes of Miami, London, Hong Kong, etc. So the question remains, what potential
is there for a repeat success?
In
terms of funding and finance (issues that have plagued all sectors of economic
activity in Turkey)
the impetus derives from Netflix desire to grow its global subscriber base into
local audiences in the international market.
That condition appears a likely probability to continue.
Bridging
the gap between funding and output, was ProSieben and their Red Arrows
International production studios’ local production company Karga Seven Pictures, with
operations in Los Angeles and Istanbul. This is a combination of ‘best of
breed’ production management, and local ‘on-location’ execution capability,
combined with the creative talents spearheaded by a Turkish director having
grown and perfected his skills in the US, Emre Sahin. As co-producer,
co-writer, and director, this bundle of skills, knowledge, and experience is
the essential ingredient of success, not to be under-estimated.
How
many Emre Sahins are there, to replicate the formula? Perhaps a few, that
remains to be seen. This is the key question. Business practices in the film
industry in Turkey
have yet to out-grow the decrepit business practices of a by-gone age when
media production was a marginal low value-added economic sector. Fortunately
the nature of Netflix economics means the production was insulated from the box
office distribution wrangling that plagues the local sector. Perhaps the
success of ‘Ottomans Rising’ will hasten the adaptation of practices and
standards applied in more advanced international markets, thereby improving
production efficiencies and output quality.
This
is the key to releasing Istanbul’s
wealth of creative resources and natural, historic, & cultural treasures,
both as a location, and as a source of creative inspiration. Abundance in these categories is self
evident: if you do not know, take a look.
The
location is un-equalled for a period drama set in the era. The massive walls of
Constantinople are sufficiently challenging to
defy the best director of photography, but do provide ample choices.
Technical
production skills, crews, and equipment are in ample supply with adequate
competency: the challenge is in the management. Artistic competency has never
been in short supply in this largest metropolis, and centre of civilisation for
two millennia.
Successful
viewing rankings were ensured by strategic casting choices, with two idols
leading the cast, Tuba Büyüküstün and Damla Sönmez, once again
glowing for their grateful and growing international audiences, there was
always a high probability of stellar success.
Seeing is believing: take a look.
A
bold and inspired casting choice in the selection of a young actor to play the
very big role of near-unfathomable stature, rising star Cem Yigit Uzümoglu captured audiences with a laudable and
endearing performance, as Sultan.
For
his counterpart, the Emperor, was a performance delivered by Tommaso Basili,
with stature and grace, the only member of cast not sourced directly from the
local Istanbul
creative pool.
The supporting cast comprise a rich pageantry of talents well known locally, most debuting for international audiences, accomplished local faces thus emerge gracefully into the inernational spotlight. Reflecting the international context of Istanbul's creative vivacity by the ability to deliver international faces from the vibrant local talent pool, statistically: Eva Dedova's ratings achieved the cast's greatest increase opening week; while Ryan Ol’s emergence as a new face has clearly attracted notice of audiences. Rankings for the idols and male lead broke Turkish records, achieving international ratings commensurate with Hollywood's greatest stars.
The supporting cast comprise a rich pageantry of talents well known locally, most debuting for international audiences, accomplished local faces thus emerge gracefully into the inernational spotlight. Reflecting the international context of Istanbul's creative vivacity by the ability to deliver international faces from the vibrant local talent pool, statistically: Eva Dedova's ratings achieved the cast's greatest increase opening week; while Ryan Ol’s emergence as a new face has clearly attracted notice of audiences. Rankings for the idols and male lead broke Turkish records, achieving international ratings commensurate with Hollywood's greatest stars.
The
production is notable for its apparent success in unifying different
international audiences for Turkish productions, having grown over the last
five years through the Middle East, and then Spain, Latin & South America.
Achieving Netflix international objectives, Ottoman Rising is capturing viewing
audiences in Northern Europe and North America, extending around the world to
include India and Asia.
Successful
international audience attraction on such scale, combined with the production
cost differentials of the Istanbul
location, both above and below the line, is surely catching the attention of
production executives focused on their bottom line.
The
above ingredients, combined, produced a successful production. Can the formula
be repeated? The sequel and new productions are eagerly anticipated.
