Once Ceribelli was assigned to a title, he would sit down to watch it and build a report.
#The tagger shoots series
He kept a list of those titles to recommend to friends, including the 2005 Argentine film The Aura, the 2015 Spanish mystery The Beach of the Drowned and the 2017 French thriller TV series The Frozen Dead. On the flip side, there were many times Ceribelli analyzed content he loved. "I think the whole structure thing helps me as a filmmaker, as a screenwriter." Like, 'Why did they do that? Why don't I like this?' You know?" he said. "It's funny because it is good to watch things that you think are not good, because then you can spot the flaws. You're not watching just for fun."īut even being forced to slog through some preschool cartoons was helpful to Ceribelli because it aided his work as a filmmaker. "There was a lot of content that I would never watch as a Netflix consumer or viewer, especially kids' content. "To be honest, it's impossible to enjoy everything," he said. Ceribelli admitted that there were many times he analyzed content he had zero interest in. Yeah, it'd be great if you could watch Stranger Things, The Crown and the best movies on Netflix all day every day, but that's not how it works. The other less-than-sunny side of Netflix metadata analysis is that you don't get to pick what to watch.
The content also varied wildly, from kids' programming, to television series, to feature films. "There were weeks where I was really busy and then on the other weeks, not so much." "It was dependent on the flow of content," Ceribelli said. His schedule varied wildly from week to week.
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