THE PRODUCTION PULSE - September 2025
Keep up the momentum! Our September 2025 news and insights provide a curated look into the latest production trends and stories shaping the film and commercial production industries. We’ve distilled the most vital information for you to help forward-thinkers to plan ahead in an ever-evolving mediascape.
In this edition, you’ll find how the shifting political and economic landscapes are impacting production. Take a critical look at the role of AI in film and commercial production. Discover the current state of global content and audience preferences and gain insights as to how production companies and brands are responding to these trends. Let’s convert this knowledge into opportunities. We’re your global shoot partner for live action filming on location.
OSCARS
In this final stretch of 2025, we’re here to execute more award-worthy work with you in film hubs worldwide. We salute Ireland’s choice for Oscar entry, Sanatorium, a co-production with our PSN Partner in Ukraine.
“This was a film that set out to show the power of healing, the resilience of community, and above all the strength of the Ukrainian spirit in the face of such traumatic times.” Read more in Variety. Click to watch the trailer.
OUTSTANDING LOCATIONS
We’re also excited to see our PSN Turkey Partner’s win Outstanding Locations in a Commercial at the Location Managers Guild International Awards also honoring makers of The Studio, 1923, and The Penguin.
“Awards were given out to spotlight international features, television, and commercials in which the creative use of filming locations enhanced the tone, character, and narrative of the story.” Read more in Variety. Click to watch their winning commercial for Orient Express.
RED CARPET PREMIERE
The Edinburgh Film Festival rolled out the red carpet for our PSN UK team at LS Productions. A gripping and revealing deep dive into the mind of controversial Trainspotting author Irvine Welsh is their first feature documentary, Reality Is Not Enough.
Read more in Deadline. The film will hit cinema screens in the UK and Ireland this Friday.
The craft behind each production is the “mojo” that makes them worthy of celebration. We’re honoured to present a distilled version of our own production know-how in an upcoming Masterclass hosted by our friends at the Production Guild of Great Britain.
Can’t wait? Contact us about your upcoming production. Let’s continue this winning streak together. And read on for my curated selection of our new work as well as recent news and insights shaping our ever-evolving industry.
FILM AND TELEVISION
Marvel Hops The Pond From US To UK
“Rising labor costs in Georgia tipped the scales. In the UK, crews are paid less and studios aren’t saddled with health insurance expenses, making it cheaper to shoot overseas. The result has been devastating. Georgia’s film and TV spending has plunged nearly 50% in three years.” (NY Post)
Trump Turbulence Troubles TIFF
“’A weakened U.S. greenback, combined with Trump’s trade-war uncertainty, has sparked a massive ripple effect of destabilization across the industry.’ ‘The risk is real. When projects rely on U.S. financing or need to sell into that market, pressure can creep in to soften or sideline DEI principles.’” (THR)
Talking Points from 50th Toronto International Film Festival
“TIFF has fallen behind rival festivals in awards launchpad bragging rights. And therein lies the ongoing opportunity for TIFF: through its vast selection, the festival continues to mine awards season relevance as an endorser, an amplifier of exciting prospects that debuted elsewhere.” (Screen Daily)
The Ellison Drive To Acquire Warner Bros. Discovery
“The idea would be ‘to consolidate media assets during a period of industry-wide instability and build a conglomerate with a streaming-first focus wrapped with TV and film studios and potentially a larger linear television portfolio.'” (Variety)
Bullish Stock Market Debut for Angel Studios
“We see this as for people who think Hollywood gatekeepers are out of touch,” Harmon said. “We don’t have any problem with what’s being made. We are doing what is not being made.” (Variety)
Surprises And Snubs At The Emmys
“While ‘Severance’ and ‘The White Lotus’ tied for major nominations going into the evening with 10 each, there were plenty of snubs and surprises during the Nate Bargatze-hosted evening.” (Variety)
Global Expansion Of Micro-dramas Expected To Repeat Success In China
“This year, micro-drama revenues will surpass China’s domestic box office. Advertising will account for 56 percent of revenues by 2030, with subscriptions at 39 percent and commerce at 5 percent. Marking a new stage in micro-dramas’ growth, budgets are on the rise in China, with premium titles budgeted at between $400,000 and $600,000.” (World Screen)
Japan Rides Wave Of Audience Preference For International Content
“Japanese content has become a mainstream draw for audiences in both the US and Canada, with Japan now the top non-US franchise production country in Netflix’s North American catalogue. As non-English titles gain popularity, UK formats and franchises, once among the most dominant non-US offerings, are seeing a drop in representation on the platform.” (Ampere Analysis)
Impact Of Netflix 200M Investment In Local Thailand Production
“Netflix has been focusing on authentic Thai content. International audiences are watching the programming. More than 15 Thai originals have landed in the streamer’s Global Top 10 Non-English list.” (Variety)
South Korea Commissions Plummet Despite Increased Audience Demand
“While global audiences are watching more South Korean content than ever, both international streaming platforms are producing fewer new TV titles in the country. Local commissioners are battling rising production costs and the high expectations of a global audience against the backdrop of worldwide inflationary pressures.” (Ampere Analysis)
Korean Entertainment Powerhouse Partners With Amazon MX To Reach Indian Audience
“The demand for global content, especially Korean dramas, has grown exponentially in India. The move represents a significant expansion of CJ ENM’s global distribution strategy, which has seen Korean content gain massive international traction in recent years.” (Variety)
“The world is changing fast and I’m going to make sure we’re evolving with it. What we are going to do on YouTube is really important to me.” (The Knowledge)
Tubi Creator Content Surpasses 5,000 Episodes And Counting
“We’re committed to building a bridge to Hollywood for creators to help them reach new audiences. Tubi is a platform for bold, breakthrough work. Tubi reports reaching over 100 million monthly active users, with a content library of nearly 300,000 movies and TV episodes.” (Net Influencer)
Industry Names Pledge To Not Work with Israeli Institutions
“As a Jewish American citizen whose tax dollars directly fund Israel’s assault on Gaza, I feel we must do everything in our power to end the genocide. At this pivotal moment, given the failure of our leaders, artists have to step up and refuse complicity.” (Variety)
Boycott is Counterproductive Say Israeli Filmmakers
“Filmmakers in Israel are already facing limitations” and threats of censorship “because the funding is public. And then, on top of that, industries abroad are boycotting Israeli creators. Art is meant to open a conversation. It’s a way to bridge and to look for solutions to crises, not to make them worse.” (Variety)
Israeli Film Boycott Condemned At Paramount
“We do not agree with recent efforts to boycott Israeli filmmakers. Silencing individual creative artists based on their nationality does not promote better understanding or advance the cause of peace. We need more engagement and communication — not less.” (Variety)
Surge In US Sports Rights Spend
“Investment in sports rights has grown five times faster than the broader market. In clear contrast to the US, overall TV revenue growth between 2019 and 2025 across all of Europe’s “big five” markets outpaced sports rights spend.” (Ampere Analysis)
AI Data To Drive Talent Negotiations
“’You can really see where the cultural heat is building, and it gives you that data really fast.’ And that can only be seen as a major tool when it comes time to hammer out the next talent deal.” (Variety)
Robert Redford’s Life Of Iconic Moments
“The golden boy actor who later won an Oscar for directing and became a beacon of indie cinema by founding the Sundance Film Institute, died on Tuesday at the age of 89. To honor his legacy, Variety is looking back on his most iconic roles and moments, from breaking hearts alongside Barbara Streisand in 1973’s “The Way We Were” to winning an Academy Award for his first directorial effort “Ordinary People” (1980) and even joining the Marvel Cinematic Universe in the 2010s.” (Variety)
INCENTIVES
Revamped Jordan Rebate Reaches 45%
“Arab cinema gains ground at the Toronto International Film Festival and beyond. ‘Every 25 miles, you have a totally different landscape,” Villeneuve told THR in 2021. “You have all different kinds of deserts here. I remember thinking, if I ever do a sci-fi movie like Dune, this will be the place.” Contact PSN Jordan for details.
Venice Film Festival Shines Spotlight On Italy Film Incentive
“This year’s festival has seen significant numbers of stars walk the red carpet, including George Clooney, Julia Roberts, Emma Stone, and Jude Law. Italy is gearing up to host a number of international productions with ‘high budgets’. We continue to be extremely attractive for international productions, despite the tough competition from other countries.” (Screen Global Production) Contact PSN Italy for details.
Austria Reopens Film Incentive From Sept. 1
“Prior to the fund closing early in 2025, productions to receive support include HBO’s The Regime starring Kate Winslet, Guy Ritchie’s Fountain of Youth for Apple TV+, and Jaume Collet-Serra’s Cliffhanger sequel for StudioCanal.” (Screen Global Production) Contact PSN Austria for details.
Finland Filmmakers Raise Voices Against Government Slashes To Local Industry Support
“This is an idiotic move by the cabinet. Only a moron would cut the funding of an industry that actually brings revenue into the government’s pocket. Our ruling parties show, again, that they do not understand the value of culture for a nation.” (Variety)
ADVERTISING
UK Craft Spanning 25 Years Celebrated at APA Show
“It’s proof that this industry isn’t about selling stuff, it’s about making people feel something. Production isn’t the backroom, it’s the beating heart of creativity.” (LBB)
Futurist Issues Rally Cry To Fight ‘Average-a-tising’
“If we are going to save $50,000 of production money, but we’re going to produce ads that no one really remembers, and then we’re going to spend $1 million on media because no one’s remembering it, the economics don’t really work out. AI should result in inflated ambitions, not accelerated cost cutting.’ ‘It’s not automation, it’s elevation,” and “a wonderful excuse” to “rethink what marketing can be.” (LBB)
Original Series Driven By Brands On Your Social
“If I see ads, I scroll as fast as I possibly can, because the UIs of these platforms make it very obvious [that] something’s an ad. If you can crack that nut and you can really create content people want to see and will go out of their way to watch, they’ll build a much stronger brand affinity.” (Marketing Brew)
Remakes Tap Into Nostalgia During Uncertain Times
“You can’t just put the old record on and expect everyone to dance. You need to chop it up, add a new beat, and layer in new meaning.” A remake, if done smartly, evolves “the original to meet today’s cultural and commercial realities.” (LBB)
Everyday Brands Fail To Hook Microdrama Viewers in Indonesia
“Built-in micro drama is very effective for products with a strong ‘wow’ factor. Unfortunately, the majority of fashion products, such as t-shirts, trousers, skirts, blouses, shirts, jackets, have a ‘wow’ factor that is not extraordinary. Not at a level that makes people very curious. An exception applies to haute couture as it serves a very niche segment and is used only at certain moments.” (Campaign Asia)
Raised Expectations Accompany YouTube’s Cross-Platform Takeover
“Creators, publications, and brands that rely on YouTube say increased TV viewing and the emphasis on Shorts are prompting them to continue shifting their strategies to take advantage of the different formats. But it can be harder than it looks to keep up with rising production costs and determine whether short-form or long-form content is better for business.” (Marketing Brew)
Down Under Agency Creative Perspectives On AI Implementation
“The AI ‘microwave’ is revolutionary for parts of the creative process. But a ready-meal doesn’t taste or feel the same as one that’s home-cooked, or prepared by a Michelin-starred chef. It’s frozen in the middle. It’s burnt on the ends. It’s fucking plastic and shit. Now, if you’ve been raised on that crap, that’s a meal.” (LBB)
How AI Is Changing Commercial Film Production – A Deep Dive
“Small to medium clients might find they suddenly have access to big, outlandish ideas when previously their budgets limited them to simple, domestic-scale ideas. Big clients might find their budgets might stretch to more films and assets than their big budgets would previously achieve.“ (LBB)
Potential Pitfalls of Treatment Fees and Single-Bids
“With production budgets shrinking, the funding has to come from somewhere, and, more often than not, it ends up coming out of the production budget itself, ultimately leaving less money to bring the creative vision to life.” (LBB)
CRAFT
Generating Nostalgia-Driven Creativity That Bridges Generation Gaps
“We live in a world where people can summon almost anything instantly, so when you offer something that feels physical, aged, or imperfect, it’s oddly compelling. It’s future-facing, a creative spur to refashion the present, stirring the embers of old fires into new flames, burning in the kiln of the new.” (Shots)
Filmmakers Deep Dive On Advantages Of Analog Medium
“The limits imposed by the on set availability of film stock (and the costs) create ‘a sense of preciousness when the camera rolls, since you can’t just shoot endlessly like you can with digital. That added sense of purpose can help everyone lock in, and I think that heightened focus naturally supports the rhythm of the set.” (LBB)
Lionsgate’s Empty Promise To Make AI Movies With Runway
“The deal has encountered unforeseen complications, from the limited capabilities that come from using just Runway’s AI model to copyright concerns over Lionsgate’s own library and the potential ancillary rights of actors.” (Yahoo!News-TheWrap)
Hollywood Studio Lawsuit Claims $4 Billion Against Chinese AI Company MiniMax
“Disney, NBCUniversal and Warner Bros. Discovery said in a joint statement, “We support innovation that enhances human creativity while protecting the contributions of countless creators and the entire creative industry. A responsible approach to AI innovation is critical.” (Variety)
Warner Bros. Joins Copyright Battle Against Midjourney
“The studios argue that Midjourney users are creating infringing outputs — images and videos that closely resemble copyrighted characters. Both lawsuits also maintain that Midjourney could continue to offer its service with protections in place to prevent such duplication.” (Variety)
Being Human
The AI Business Model To Buy Hollywood
“AI platforms need copious amounts of content in order to train AI services to deliver human-like conversations with users. With AI, there’s suddenly a new business-use case for Big Tech to buy Hollywood companies with large libraries of movies and TV shows.” (Variety)
AI Guidelines Set By TV Academy
“The three pillars of the guidelines are ‘creative integrity,’ ‘permissions, licenses, legal and commercial viability’; and ‘accountability, transparency and sustainability.’ The need to have a filmmaking language, filmmaking understanding, and all of the [human] traits that are a part of the process – and have always been a part of the process – is crucial.” (Deadline)
Netflix GenAI Guidelines Approves Use For Ideation
“There are five “guiding principles” which include avoiding replication of unowned or copyrighted material, making sure tools don’t store information, and that generated material isn’t part of final deliverables.” (BroadcastNow)
A Voice-Cloning Expert Points To Tech Limitations
“AI is here to stay. I think it will be used more in the coming years for sure, but I don’t see how it can take over. You need people, stories and vision to understand how everything works. I don’t see AI replacing everyone anytime soon.” (TLG)
Put Aside Fears To Test Limits Of AI – A Writer’s View
“We’ll only learn what audiences want by testing the water. ‘The audience will dictate.’ Maybe we should let them choose?” (BroadcastNow)
Black Screen Office Provides Guide To Move Beyond Lip Service
“The road map includes 10 key actions for organizations in the screen, music, literature and performing arts sectors. It includes the need to commit to spotlighting Black talent and stories, build safe and inclusive workspaces and diversify decision-making.” (Toronto Star)
Just The FAQ’S
- How are shifting economic and political landscapes impacting production? This edition notes that Marvel’s move to shift production from Atlanta, Georgia to the UK demonstrates how rising labor costs in the US continue to fuel runaway production. At the same time, Trump-induced turbulence causing trade war uncertainty and a weakened US dollar may compel some projects to remain stateside.
- What role is AI playing in film and commercial production? Insights from this edition show that AI is increasingly seen as a tool for “inflated ambitions” and “elevation” rather than just cost-cutting. AI data is a gamechanger that can drive talent negotiations. And it can give both small and large clients access to explore more outlandish and numerous ideas. The use of AI is also fraught with legal pitfalls as demonstrated in the lawsuit against Chinese AI company MiniMax by Disney, NBCUniversal, and Warner Bros. Discovery over copyright infringement. There’s also the “unforeseen complications” to the deal between Lionsgate and Runway, which involved copyright concerns and the limited capabilities of a single AI model.
- What’s the current state of global content and audience preferences? Our selection of industry news highlights the growing global appeal of Japanese and South Korean content. Japan is now the top non-US franchise production country in Netflix’s North American catalog, with Japanese content becoming a mainstream draw in the US and Canada. Conversely, UK formats are seeing a drop in representation on the same platform. South Korean content is also seeing increased demand from global audiences, particularly in India. Despite this, new TV titles commissioned in South Korea are plummeting due to rising production costs and high audience expectations.
- How are production companies and brands responding to these trends? Creative use of filming locations can enhance a story’s narrative. The Location Managers Guild Awards celebrated in this newsletter demonstrated this in its awards to film, television, and commercial productions. This edition insights suggest how brands are creating original series for social media to build stronger brand affinity, as traditional ads are often scrolled past; and it also mentions that remakes are being used to tap into nostalgia during uncertain times, but must be “chopped up” and evolved to meet current cultural and commercial realities.
We’re pleased to know our monthly musings and latest take on the industry are resonating with so many. We’re looking forward to working with more of you to help film future projects abroad.
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We’re pleased to know our monthly musings and latest take on the industry are resonating with so many.
Warm wishes,
Michael
