In a recent press briefing held at Netflix’s new office in Madrid, Larry Tanz, the head of Netflix’s operations in Europe, the Middle East, and Africa (EMEA), emphasized the company’s decentralized approach to content creation outside the United States. Tanz highlighted how the Los Gatos headquarters adopts a “very hands off” strategy regarding international content, reflecting a significant shift from past practices.
Tanz recounted the early days when creators like Álex Pina, the mind behind the hit series Money Heist, had to travel to Los Angeles to pitch their projects for local production. Now, creatives can pitch directly to regional content chiefs such as Diego Ávalos in their native languages. This approach is consistent across various territories including Germany and Italy.
During a tour for journalists at the Tres Cantos studio near Madrid, Tanz discussed the evolution of Netflix’s international footprint. “Years ago, our presence outside the U.S. was limited to a small office in Amsterdam. Today, we have expanded to 11 offices with teams and production capabilities across Europe,” Tanz stated. This expansion underscores Netflix’s commitment to local commissioning strategies, free from heavy oversight by U.S. executives.
The tour also included a glimpse of the virtual set for The Fallout Shelter, a new series from Money Heist creator Álex Pina and Esther Martínez Lobato. The show, focusing on a group of billionaires seeking refuge in a luxury bunker during World War III, exemplifies Netflix’s dedication to content tailored for local audiences rather than chasing global trends. Tanz contrasted this with the industry’s tendency to replicate recent hits, pointing out that Netflix prefers to carve its own path.
Ávalos echoed these sentiments, noting that while many in the industry rush to mimic the latest successes, Netflix strives to innovate and diversify its offerings. He highlighted upcoming Spanish projects like Respira, a medical drama by Elite creator Carlos Monteiro, and Manual Para Señoritas, a period comedy with a twist from showrunner Gema R. Neira.
These new projects are expected to have staying power, with second seasons already in development before their initial launches. The set for Respira, for instance, took six months to construct, reflecting Netflix’s long-term investment in its international productions.
Tanz also addressed Netflix’s broader strategic shifts, including the recent focus on profitability over subscriber growth, the introduction of ad-supported tiers, and efforts to curb password sharing. Despite these changes, Netflix’s commitment to international investment remains steadfast. This is particularly significant as rival streamers adjust their strategies amidst the turbulent U.S. market. In recent months, Netflix has announced numerous new series and movies across the EMEA region, continuing its push for diverse storytelling.
Highlighting the diversity in Netflix’s offerings, Ávalos pointed out that Netflix Spain has only recently ventured into unscripted originals and is now exploring new genres such as sports documentaries, including an all-access series about the La Liga soccer division.
From the studio where JA Bayona’s Oscar-nominated Society of the Snow was produced, Tanz reaffirmed Netflix EMEA’s dedication to both local original films and strategic partnerships with major European studios. Netflix’s model allows for flexibility, supporting original productions like All Quiet on the Western Front and collaborating with studios such as Constantin Film, Studiocanal, and SF Studios.
Tanz concluded by emphasizing Netflix’s primary focus on delivering the best films to its members, regardless of their origin. While premiering TV series on Netflix is often critical, Tanz expressed openness to acquiring films that have already enjoyed theatrical releases, reflecting a versatile approach to content distribution.
