As the streaming industry undergoes significant shifts, Mark Duplass is turning inward, investing in his own productions, and encouraging other creators to adopt a similar mindset. The Golden Globe-nominated filmmaker, alongside his brother Jay Duplass, is adapting to the evolving entertainment landscape by building a sustainable model for independent television.
In a recent interview with Vulture, Duplass reflected on the declining effectiveness of traditional streamer financing. “The system isn’t working as well as it did five years ago,” he noted. “We’re trying to build an indie TV ecosystem similar to the one that sustained indie film from the late ’90s through the 2010s.”
Duplass emphasized the potential of TV festivals like SeriesFest (Denver) and ATX Fest (Austin) as emerging marketplaces where networks and executives might compete for rights. “If buyers don’t act quickly at these events, they risk missing out on promising shows,” he said.
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Building a Cost-Effective Creative Model
Duplass highlighted the economics behind the Duplass Brothers’ production model, stating: “Companies usually pay X for content. We deliver it at 0.5X. I can make it for 0.25X — and everyone benefits.” This lean approach allows them to maintain creative control while operating below standard industry costs.
Referencing the Cassavetes-style model — working on commercial projects like The Morning Show to fund independent ventures — Duplass acknowledged, “It’s worked for us historically.” However, with the current landscape, he admits that creators now face major challenges in self-financing and recouping investments.
Embracing a Hybrid Distribution Strategy
Through a hybrid model of self-distribution and licensing, Duplass is rethinking how to maintain ownership while reaching audiences. With recent projects like Penelope, The Creep Tapes, and The Long Long Night, his focus is on accumulating a catalog of titles. “The more we own, the more value we build long-term,” he explained.
While Duplass refrains from offering broad advice during what he calls “a tough moment for the indie community,” he remains optimistic: “If you can avoid major losses and keep building your title bank, you’ll likely create content that generates future licensing revenue.”
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Future of Duplass Brothers Productions
Duplass shared insights into recent deals:
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Penelope has been licensed to Netflix for U.S. streaming and Fremantle for global distribution.
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The Creep Tapes is currently available on Shudder.
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The Long Long Night is being self-distributed via Kinema and Seed&Spark.
Reflecting on the industry’s transition, Duplass concluded, “Five years ago, I depended on the streamer ecosystem — it worked then. But now, I’m exploring a new path. If I can make indie TV with full creative freedom and consistently return even modest profits, that’s a win. It might even be the best phase of my career.”
