We know that we will lose things that we deeply admire - like Master of None - that way. LANDGRAF I do - because ultimately that’s being a heat-seeking missile. So, while I’d love it if we could just have $100 million we could throw down at will, I think that would cause us to lose our focus on some level, too.
We’ve been a place that was really about the person and about the idea. LANDGRAF It absolutely happens, but we’ve just never been a bank that’s going out and trying to buy hits and buy Emmys. How often do you miss out on projects as a result? There will be good shows that come out of that, but we just don’t believe in that model. It’s the commitment: Jumping into two seasons on the air just doesn’t make sense.
So, where we compete is if you have a successful show on FX, you can actually make more money than having a successful show on Netflix, for example.ĮRIC SCHRIER We look at everything, and I don’t think it’s actually the production costs that stand in our way because if there is the right property, we can figure it out. LANDGRAF First of all, we can pay people as much or more in success. How do you persuade people to come to FX? So you can’t compete on the amount of money you’re willing to pay talent up front. If enough of them decide they want to take over this business and they’re willing to lose money to do it, they can just make as many shows as they want. JOHN LANDGRAF What’s unknown is: Where’s YouTube going to go? Where’s Apple going to go? Silicon Valley has infinite access to capital and can lose money indefinitely. You coined the term “peak TV” to describe the boom in scripted originals.
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Landgraf - a 13-year FX veteran with 250 employees under his direction (not including ad sales and affiliate sales) and THR’s TV Executive of the Year - was joined by original programming presidents Nick Grad and Eric Schrier in their offices on the Fox lot for a candid conversation about the frothy market, the future of Louie and the upside of not having pockets as deep as Netflix. This, not profit or ratings, is what drives him.” “He believes these truths can be discovered through the stories we tell. “John understands theme and character and cinema - not because he read about them in a book or took a seminar but because he is a searcher who cares deeply about finding answers to life’s important questions,” says the Fargo and Legion showrunner. That’s certainly been the case for Noah Hawley, who dabbled unsuccessfully in network TV before making his way to FX. And they’re keeping them all now, but reason would say, at some point you keep the bluefin tuna and throw the others back.”įor FX’s roster of producers, working with Landgraf is a significant draw. “They’re scooping every organism off the bottom of the ocean. “If you look at the difference between what Netflix is doing right now and what we’re doing, we’re spearfishing and they’re drift-net fishing,” he says, pointedly. Viewership followed: FX and younger-skewing sibling FXX rounded out the year with two of cable’s top five scripted dramas ( O.J., American Horror Story: Roanoke) and three of its top five comedies ( It’s Always Sunny in Philadelphia, Archer and Atlanta).įX’s success becomes all the more impressive when one considers that Landgraf, a married father of three whom GQ recently dubbed “the quiet genius inside your TV,” is working with a $1 billion budget - about one-third of what HBO reportedly spends and just one-fifth of Netflix’s 2016 content budget (the streamer is expected to lay out $6 billion in 2017). Thanks in large part to American Crime Story and Fargo, FX took home 18 statuettes, the most in the network’s 23-year history and a sum second only to HBO’s. Had the Super Bowl spot run longer, Landgraf could have worked in the basic cable record that his network shattered at September’s Emmy Awards. In fact, three and a half weeks earlier, Landgraf, 55, stood on the Television Critics Association stage - where he once famously coined the term “peak TV” and semiannually earns the unofficial title “the mayor of television” - and rattled off those and other impressive data points, including FX’s 406 inclusions on 152 year-end best lists, the top showing of any television network. It was a bold statement about creative prowess, and one that FX Networks CEO John Landgraf had made at least once before. FX Is Ramping Up Originals: Thanks, Streaming
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