How and when did you start collaborating with Netflix?
Kim Magnusson: As independent producer, I have been in contact with Netflix over the years for my International projects, and then when Netflix began to expand worldwide it was a natural fit to begin to talk about local content for the Nordic region, which then eventually led to making this deal.

Will Netflix then finance at 100% your feature projects?
KM: Yes. Basically, instead of going to the different local film institutes, local TV stations and 4-5 different places to raise the financing, I will just have to go to one place stop shop, Netflix who will own rights outright. If they like my projects, we will decide on the budgets. The films will then be promoted as Netflix Originals and as such, will be shown exclusively on the streaming service around the world. If the films have a strong artistic value, they will get a chance to be platformed at film festivals.

Do you see this as an alternative financing model to the traditional public-supported model in Scandinavia?
KM: I’d like to emphasise that this will be an add-on to the existing financing options available across the Nordics, certainly not something against the all-important public subsidy system and traditional funding. People should be thrilled that this is happening. It means that more talent in the Nordic region will get a chance to get their project made.

Still, film is best watched on the silver screen. How do you feel as film producer to bypass the cinema release and go directly to digital distribution? KM: Yes, the cinema is a fantastic place to watch a film, and I will always love going to the cinemas. But we have to accept that today, there is a shift in film consumption and people have big home cinema TV screens to watch films. Netflix brings an alternative way to have films made and watched and people just love watching whatever they want, wherever and whenever they want.

What types of projects/genres will you look for? Ian Bricke, Netflix’s Director Content Acquisition mentions ‘great local projects for global audiences’. I guess that means story-driven content, preferably with recognisable names? KM: I want to find the best projects in the Nordic region, be it with proven or new talent. Ideally, we will offer both. I don’t have a list of specific genres, although I do like genre-oriented drama. I will look for local projects that are both entertaining and bring food for thought, films that can be discussed and stay with you.

Who will you report to at Netflix?
KM: I will report to Ian Bricke for the time being.

You’re in charge of producing Nordic films as Netflix Originals. How do you intend to look for attractive projects in Danish, Swedish, Norwegian, Finnish and Icelandic language? Will you hire people or team up with local producers? KM: I’ve already spoke to three Icelandic producers yesterday and have been receiving emails from many people. I’m investigating the Danish market right now. I will next travel to Stockholm, Oslo and Helsinki to meet with local producers and discuss new material to then draw a plan of action. The idea is to team-up with local producers who would act as co-producers.

Is there a timeline and set number of films you will produce for Netflix? KM: No. There is no timeline, no set number of films or type of budget. It’s a multi-year first-look deal, like some producers have with SF Studios or Nordisk Film.

Do you already have a project in mind? What about the biopic about the Danish/American comedian and pianist Victor Borge that you’ve been working on for a while?
KM: No, this project is planned to be shot in English, so it will not be among the local language Netflix Originals. I do have many projects in development, but I want first to talk to other Nordic producers to find the best possible film projects for Netflix.

You must be the hottest producer in the Nordics right now… KM: (laughing) I don’t see myself as the hottest producer, but if my email inbox is a sign of popularity, then you could be absolutely right!