Allan Sperling on Navigating the South African Content Landscape

As someone who has been deeply immersed in the world of film and television for quite some time now, I can confidently say that the metrics that hold the most value in determining the success of a series or film are those that speak to audience engagement and satisfaction. The total number of views is a crucial indicator, as it suggests that our marketing, curation, and PR efforts have been effective in making people aware of the show’s existence. However, it’s the completion rate and total time spent that truly reveal the quality of the content. If viewers are not finishing our shows, it means they didn’t find it compelling enough to invest their precious time in it.

Experienced in steering through the ever-changing terrain of traditional broadcasting and online streaming services, Allan Sperling plays a crucial role in orchestrating international collaborations, production, and funding for movies from various regions, both domestic and foreign.

With experience refined at Viacom (now Paramount) in both London and Amsterdam, and within the dynamic Danish film industry, Sperling boasts a rich global background. More recently, he held the position of Executive Head of Content for Comcast and Multichoice-owned streamer Showmax, placing him at the cutting edge of the streaming media evolution.

We had a discussion with a renowned figure in the TV and movie sector, aiming to gather priceless knowledge about the changing landscape of these industries.

How would you say the landscape of film and television has evolved over the past 20 years in terms of consumer preferences, distribution channels and content creation?

I understand your query is quite extensive, but I’ll do my best to break it down into key aspects relevant to the field. Let’s proceed!

Twenty years ago, the internet was already in existence, yet what truly mattered was the rapid pace of internet connectivity. This significant speed shift transformed the way media was distributed. Instead of networks and channels hand-picking content offerings through cable or satellite, consumers began to access media on their own terms, akin to an ‘On Demand’ style consumption via the internet.

People initially began shifting away from scheduled television viewing towards on-demand viewing with the advent of VCRs, allowing them to record their preferred shows rather than waiting for reruns. The evolution continued by offering viewers not only the flexibility of when to watch, but also the freedom to choose what they wanted to watch, beyond channel surfing.

As a film enthusiast, I can’t help but marvel at the game-changing impact of streaming platforms. Now, entire seasons are at my fingertips, eliminating the agonizing wait for the next episode. Concepts like binge-watching and completion rates have become part of our vernacular. This shift has also reshaped the way series are created. Gone are the days of cliffhangers designed to keep us hooked week after week, or even those mini-cliffhangers used to lure viewers back post-commercial break. Instead, we’re witnessing a new era of storytelling, one that prioritizes satisfying conclusions over prolonging suspense.

I don’t think we have seen the final form yet. I think it’s a hybrid between binge-watching and weekly releases that will work. Imagine a competition show like The Voice being released in one go – how many minutes will that experience remain unspoiled on social media?

What inspired you to get into the arena of content – did it happen organically or was it more intentional?

As a child, I found myself quite hooked on watching television. My mother had to establish limitations on my screen time compared to my reading hours. The more books I read, the longer I could stay glued to the TV. This natural inclination led me to read extensively, and the magic of storytelling left a profound impact on me.

In high school and during my college years, I penned my initial play, a humorous musical production. Meanwhile, I also began collaborating with local television stations out of simple curiosity. Eventually, I discovered that not only was this endeavor enjoyable, but I excelled at it and could potentially make a career out of it – a passion that the Japanese refer to as Ikigai.

Could you share your career journey in coming to South Africa, and how you transitioned into the role of Head of Content at Showmax?

At that moment, we resided in London, specifically Camden, while working for Viacom International Media Networks (now Paramount). One headhunter spotted me on LinkedIn, initially assuming they were seeking recommendations for someone to fill a job position in South Africa. However, fortunately, they clarified their question and asked if I myself would be interested, which I was!

The objective was to elevate our productions to a standard suitable for international sales, and to collaborate with foreign networks on co-productions. Our initial collaboration was “Trackers” with HBO, followed by “Reyka” with Fremantle which earned two Emmy nominations (the first for Africa in the drama category). Over time, we produced several more, including “Shaka Ilembe”, “Catch Me A Killer”, “White Lies”, and “Spinners”. These productions competed in Cannes, another first for African productions. In summary, these efforts have been successful, demonstrating that the quality of South African productions has significantly improved compared to five years ago.

With our investment in Showmax increasing threefold, there came a necessity to establish a solid content plan. That’s when they entrusted me with leading Showmax’s content creation, and let me tell you, it was quite the exciting assignment!

Which of your film or television projects are you most proud of and which would you say were underrated in their time?

As a cinephile, I take great pride in almost every project I’ve been involved with. Over the past few years, there are a handful of films that, in my opinion, have flown under the radar but deserve more recognition. One such gem is “Down So Low“, a modest production filmed in a township setting. The cast, many of whom were amateurs, deliver raw and hilarious performances that make this movie an unforgettable experience.

I’m certainly pleased with the co-productions mentioned earlier, as they wouldn’t have come about without dedication and effort. Additionally, I take pride in the chances we provided for budding talents. Breaking into the industry is tough, so it’s rewarding to say that we made it easier by offering opportunities to first-time directors through unique initiatives.

What’s Showmax’s overall content strategy, and how does it align with the changing dynamics of the industry?

In my time at Showmax, I aimed to captivate South African viewers by releasing numerous fresh episodes each week, ensuring a steady stream of entertainment. I consistently strive to astonish and delight the subscribers by introducing new series as well as renewing popular ones.

As a passionate fan, it’s incredible to be part of a streaming platform that can cater to communities that have been historically underserved. For the Indian community, options representing their rich culture have been limited, with the Kandasamys being one of the few exceptions. However, I was ecstatic when we could provide them with an entire season of The Mummy Club, Sugar & Spice. It feels great to contribute in some small way to sharing and celebrating their culture.

How did you balance the development of Showmax Original content with the acquisition of licensed titles?

In South Africa, the television business primarily operates on a commission basis, meaning there are limited producers who finance an entire season of a program upfront before licensing it, unlike in Nigeria. Consequently, it’s essential for content creators to establish their own supply chain for local programming.

In general, both international acquisitions and local originals are significant, but when it comes to ratings, local productions tend to be victorious about nine times out of ten.

Which analytics metrics do you find most valuable in determining the success of a series or film?

The total amount of views speaks to the success of marketing, curation and PR – people will need to know that a show is there to watch. It also speaks to the subject matter, the star quality and talkability

Completion rates and total viewer hours suggest the show’s quality. If viewers aren’t completing your program, it indicates they weren’t engaged enough to continue watching it, as they have numerous other viewing options available.

Ultimately, the fresh viewer engagement figure refers to individuals who either subscribe or resubscribe to watch a program. This action indicates that you’ve tapped into a market and satisfied a need or desire that was previously unmet.

Do content executives still make decisions based on gut or instinct or are most calls based on data?

In simpler terms, data functions as a compilation of past events. It serves as a guide showing where you’ve been, similar to driving a car while focusing primarily on the rearview mirror. Although it can help determine if something might be successful with a particular group, it doesn’t have the power to foresee the future with absolute certainty.

Our gut or instinct is the sum of all our experiences. You have to take chances, and the only thing you can rely on in some cases is your gut. The shows that give you a bit of butterflies in your gut are often the runaway success nobody expects.

It came as a surprise that a fact about sex workers or a dating program featuring Nigerians and South Africans during xenophobic unrest would turn into sensational hits. There wasn’t any available information to support such a choice; it required courage.

How does Showmax create content that resonates with regional preferences without losing universal appeal?

Content tailored specifically for a particular location, ensuring its relevance and authenticity to the local audience, is what we call hyper-local content. If this content resonates with the people in the region, our goal has been achieved. Should it find favor with other regions as well, that’s simply an extra advantage.

What trends or technologies do you see as having an impact on film and television in the future?

Clearly, Artificial Intelligence (AI) is currently the most significant development, reshaping every stage of production. However, it’s essential to clarify that AI isn’t designed to replace human roles just yet. Instead, it serves as a helpful tool, enabling people to perform tasks more efficiently, quickly, and cost-effectively.

As a passionate movie enthusiast, I’m excited to share that we’re leveraging cutting-edge tech – The Volume, which are massive high-definition LED screens capable of creating immersive 3D environments. Pioneered by Homebrew Films here in South Africa, this tool is not just a trend, but a necessity I see becoming integral for series and film production in the near future.

How did Showmax differentiate itself from other streaming platforms and traditional media companies?

Storytelling focused on specific, nearby communities, offering a greater quantity of content compared to rivals and catering to underserved groups such as the recently featured drag performances.

How do you view the role of streaming platforms like Showmax in shaping popular culture and public opinion?

I’ve consistently aspired for Showmax to reflect the real world, presenting both its virtues and vices. This encompasses everything from darker themes like serial killers and cults, to uplifting tales of healing and heartwarming love stories.

Reflecting on my journey so far, what are some valuable insights I’ve picked up, and should I get another chance, what would I alter?

One key insight I gained is that a significant number of South Africans are wary or fearful of snakes, to the point where their aversion can significantly impact a show’s success. If a show starts with snakes, it can lead to a massive audience drop-off, so in hindsight, there would be at least one production I would handle differently.

During my initial years in South Africa, I dedicated myself to enhancing the industry and, in hindsight, I would have preferred to offer opportunities to more budding talents at an earlier stage. This way, I could witness their growth and guide them throughout the process.

2024-10-30 15:44