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Netflix Continue De Se Renforcer Dans Les Productions Originales

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Netflix Continue De Se Renforcer Dans Les Productions Originales Netflix continue de se renforcer dans les productions originales Le volume de productions de programmes originaux de Netflix va passer de 16 en 2015 à 31 en 2017. Pour le service OTT, l’enjeu est d’imposer définitivement son service comme la chaîne TV premium délinéarisée de taille mondiale de référence. La qualité à tout prix Fort de 34 nominations aux Emmy Awards l’an passé et de 8 nominations aux Golden Globes cette année (contre 7 nominations pour HBO), Netflix est désormais un acteur crédible du monde de la TV premium. Pour conforter sa position de producteur de programmes de qualité, Netflix investira l’année prochaine encore sur des célébrités (Brad Pitt et Gérard Depardieu pour les comédiens, Angelina Jolie, Judd Apatow et Baz Luhrmann pour les réalisateurs), des franchises (Lego, Marvel, Degrassi, Black Mirror etc) et des programmes d’auteurs audacieux (la série brésilienne 3%). Ces choix qualitatifs ont un prix, le film War Machine avec Brad Pitt est par exemple estimé a plus de 60 millions de dollars. La conquête des marchés étrangers continue Après son arrivée en 2015 en Italie, en Espagne, au Portugal et au Japon, Netflix va continuer son expansion internationale en 2016 avec l’objectif d’ « achever son développement à travers le monde d’ici la fin de l’année ». Début 2016, le service s’implantera à Hong-Kong (prémices d’une ouverture sur la Chine continentale), Singapour, Taïwan et en Corée du Sud. Pour séduire des abonnés désormais disséminés aux 4 coins du monde, Netflix, en plus de réaliser des acquisitions spécifiques aux marchés locaux, va accélérer ses productions locales avec 3 priorités : séduire l’Asie à l’aide de production comme Marco Polo (Saison 2) qui se déroule en Mongolie, la suite du film Tigre et Dragon qui se déroule en Chine ou le nouveau film d’Angelina Jolie qui raconte une histoire se déroulant au Cambodge. séduire l’Amérique latine en continuant à produire Narcos (Saison 2, dont une partie de la série est tournée en espagnol) et Club de Cuervos (Saison 2, à destination du Mexique), ainsi qu’en lançant la série mexicaine Ingobernable et la série brésilienne 3%. séduire l’Europe en produisant sa première série française Marseille (avec Gérard Depardieu), sa première série italienne Suburra et ses premières séries britanniques avec The Crown (sur la vie d’Elisabeth II) et la suite de Black Mirror (saison 3). La production d’une série en langue allemande serait également en projet. Des programmes diversifiés La typologie variée des productions originales Netflix ne se démarque pas sur un genre, un style ou une famille de production, même si on observe un goût certain pour les intrigues politiques évoluant en milieu troubles (Suburra, Marseille, War Machine, Marco Polo, The Crown) et se déroulant dans des décors nationaux stéréotypés. La saison 2016 des productions originales Netflix comptera donc à la fois des comédies (Love de Judd Apatow, War Machine avec Brad Pitt, série Flaked), des séries musicales (The Get Down de Baz Luhrmann), des thrillers politiques (Marseille), des séries fantastiques (Montauk, 3%, nouvelles séries déclinées de l’univers Marvel), des drames (First They Killed My Father réalisé par Angelina Jolie) et de nombreux programmes destinés aux enfants (série d’animation Lego, série tirée du roman Les Désastreuses Aventures des orphelins Baudelaire, suite de la série Degrassi…). Grâce à ce prestigieux line-up, Netflix devrait donc continuer, en 2016, à faire parler de lui. Pour assouvir des ambitions toujours plus grandes, le service devra toutefois assurer une qualité de production homogène (ce qui n’a pas toujours été le cas en 2015), ne pas décevoir sur ses nouveautés (notamment dans les domaines de la production locale et de la production cinéma), s’adapter avec succès aux marchés locaux et ne pas déséquilibrer son offre en minimisant l’importance des acquisitions. Le plus grand risque pour Netflix reste toutefois son modèle économique : alors les studios réfléchissent à ne plus vendre de contenus à Netflix, le service va doit montrer à ses nouveaux abonnés (en particulier à l’international) qu’il est capable de produire des contenus propres attractifs, tant au niveau local qu’au niveau global..
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