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Thursday, February 13, 2020

Ottomans Rising: a Hit for Istanbul Productions



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 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.
 

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