Chris Oliver-Taylor.

Fremantle Asia Pacific CEO Chris Oliver-Taylor is set to join Netflix ANZ as head of physical production.

In the newly-created role, he will be responsible for overseeing production management, post-production, visual effects, studio strategy, and resourcing for Netflix titles produced in the region, while also contributing strategy to the streamer’s Asia Pacific physical production team, led by Anna Mallet.

The move comes after more than three years in the top job at Fremantle, during which time the highly regarded exec helped the company win commissions for multiple series of Australia’s Got Talent, Indian Idol, X-Factor Indonesia, and The Farmer Wants A Wife. Drama commissions included Netflix’s Heartbreak High, as well as multiple series across ViacomCBS, Foxtel, ABC, Sundance, and Stan.

Oliver-Taylor said it was a honour to be selected for the new position.

“I am absolutely delighted to be joining Netflix at a time of significant local investment, and working with some of our most talented creators in taking Australian and New Zealand content to the world,” he said.

“Working at Fremantle has given me the privilege of leading one of the biggest and best production companies across Asia Pacific and I will be forever thankful to Jen Mullin and the global board of Fremantle for that opportunity.”

Oliver-Taylor started his career at the BBC in London, before emigrating to Australia in 2000. He worked in various senior production roles at ABC TV before becoming head of production in 2005 and then head of business and operations in 2008. In 2011, he moved to the independent production sector as managing director of Matchbox Pictures.

Prior to joining Fremantle he was executive producer on The Slap, The Heights, Glitch and Wanted and was also the lead executive in Australia for US-commissioned series, Camp and Hunters. More recently, he has EP’d The PM’S Daughter, Barons, Bay of Fires, Lie With Me, Significant Others, Rock Island Mysteries, and Heartbreak High.

Mallet expects his time in the industry to be an asset for the company going forward.

“He brings a wealth of production experience, and I’m excited to work with him as we continue to position Netflix for its next stage of growth and success in the region,” she said.

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