Horanyi has directed half-a dozen documentaries including the acclaimed Motley’s Law (2015) and The Stranger (2017), both produced by Made in Copenhagen.

Her most recent production - the English/German language true crime series Natascha Kampusch-A Lifetime in Prison - was commissioned by Viaplay.

The Nordic streamer’s most recent Doc Original is the three-part series Liv Ullmann: The Road Less Travelled directed by Dheeraj Akolkar for Teddy TV, due to premiere exclusively on Viaplay in 2022.

We spoke to Nicole Nielsen Horanyi.

What convinced you to move to the other side of the decision-making table and was it while making the series Natasha Kampusch-a Lifetime in Prison that you started discussing your new position with Viaplay?
Nicole Horanyi: There were many reasons why I was attracted to this job. Having made films for several years, and worked as a consultant for doc filmmakers, I knew how to evaluate projects. I was curious to sit in the decision-making chair and use my experience. I had actually been thinking about this type of job for quite some time, but it’s never the right time; you’re always in production. Then, I started to talk about this job with Viaplay and I felt I could really contribute to developing their documentary profile. It was a great opportunity that I grabbed. My collaboration with Viaplay on Natasha Kampusch-a Lifetime in Prison definitely convinced me to work with them. They are very open and supportive.

How is your Original Docs department structured?
NH: I’m based in Copenhagen and have exec producers in each country. They pull in projects and present them to me. We are in the process of establishing great relationships with all the really great directors and producers out there, not to miss out on anything, inviting people to get to know us and pitch for us. We are right now working on a doc brief to align everyone in terms of editorial strategy. I am trying to grasp the reality in each country, the type of projects we can get. Each country will look into projects with a local relevance. It’s very important to localise stories. At the same time, we’ll be looking for event projects for the international market.

What is your vision for Viaplay’s editorial strategy? Will you work across all formats and genres?
NH: Of course, true crime is already in the Viaplay DNA. It will remain a cornerstone of our editorial strategy as it’s a popular genre, but going forward, I will bring additional genres to the Viaplay doc slate, always prioritising quality over quantity. Regarding formats, nothing is set in stone. Right now, we do feature length, series and in the serialised arena, we’re focusing more and more on fewer episodes -3 or 4, again to get the best quality possible. Regarding feature length docs, we are looking at projects with high artistic value and festival potential, that could benefit from a short theatrical window. It all depends on the project. Anything is possible and we are totally flexible.

What type of overall budget do you have for Originals?
NH: I can’t divulge that information, but let’s say that the budget is in proportion to our ambitions.

In terms of volume, ideally how many projects would you like to commission each year?
NH: Right now, we are commissioning about 40 documentaries - including true crime, and we will continue to ramp up our output in the next couple of years.

What will be the share of Nordic content in this impressive volume?
NH: I would say 90% will be originated in the Nordics. It’s still early days for our new territories such as Poland or the Netherlands. But we are slowly establishing docu teams in each Viaplay territory.

At a time when pubcasters are more cautious, is Viaplay’s strategy to fill the gap in the non-scripted space, and perhaps also support indie producers in the development stage, which is where funds are really lacking these days?
NH: Absolutely. We also provide development money. We go into production of films and series in different stages. What we offer is full commissioning, co-productions, fast-decision-making and direct access to audiences across 11 territories - and more to come. So instead of waiting years or dragging a project in development for a long time, filmmakers can start pretty quickly. It’s a huge plus.

Regarding co-productions. What is your goal?
NH: We’re not present in all markets, so for big productions it’s a great solution to coproduce and share rights.

Viaplay is a partner to Nordisk Film & TV Fond. How important is this for you?
NH: As a filmmaker I have been supported by the Fund and know its importance. I’m proud that Viaplay is a partner to Nordisk Film & TV Fond.

Can you mention projects that you’re working on?
NH: It’s only two months since I started at Viaplay. It’s too early to mention anything.

What tips do you have for filmmakers and producers who will knock at your door?
NH: I want to tell them: come to us-as a streamer, we are opening up new opportunities for you, besides the traditional public service model. Let’s get to know each other, learn to trust each other to make fantastic projects together. We are the future.