It’s a regular cause for discussion that feature film studios and talent are moving into the scripted TV business. But there’s an equally significant trend involving archive movies being reinvented as TV series.
Already out in the market, and doing pretty well, are classic titles including Fargo, Sleepy Hollow, Transporter, Hannibal, 12 Monkeys, Teen Wolf and Parenthood. And this autumn will see the floodgates open still further, with TV spin-offs launching across a wide range of US channels.
Examples include Limitless, Minority Report, Rush Hour, Supergirl, Scream, Ash vs Evil Dead and Uncle Buck, all of which are just weeks away from launch. Coming down the line soon after will be a TV version of Shooter, the 2007 film starring Mark Wahlberg.
The main reason for this spate of remakes is the need to cut through the clutter of competition. With around 400 TV dramas a year vying for attention in the US market alone, any kind of in-built brand awareness is extremely valuable at launch. While a movie’s heritage can’t, in itself, make an audience like a TV show, it can at least encourage viewers to sample it – especially if some aspect of the originating film crosses over (thus adding authenticity).
MGM, for example, made much of the fact that the Coen brothers had a hand in the scripts for the Fargo reboot. And Hollywood A-lister Bradley Cooper is lined up to appear in some episodes of Limitless, having starred in the movie.
The future prospects for this film-to-TV business model may well depend on the hit rate of this year’s batch of remakes. But it’s worth noting that all of the existing film-to-TV productions mentioned in the opening paragraph made it to season two at least. Teen Wolf, for example, is at season five. This hit rate compares pretty favourably with shows based on foreign scripted formats, where successes are few and far between.
Ironically, one issue that may affect film-to-TV adaptations is the current shift in the TV industry’s favour. With the film industry polarising between blockbuster and low-budget independent productions, the mid-market where many of the above film titles lived is under pressure. In other words, films capable of adaptation may prove a precious resource that gets over-mined by the industry.
For now, though, there is no sign that the future pipeline is drying up, with confirmation coming this week that Denzel Washington movie Training Day is being lined up for a remake at CBS (initially as a pilot from Warners Bros TV and Jerry Bruckheimer).
CBS, it should be noted, is a fan of this approach, having already greenlit Supergirl, Limitless and Rush Hour – which has also been picked up by E4 in the UK.
Meanwhile, it was revealed last week that NBC is backing a TV adaptation of RED, a cult film series starring Bruce Willis that was itself based on a comic book franchise. There is also talk of a third movie in the RED franchise, so we may be seeing an era of parallel development emerge.
As a footnote, last week also saw the announcement that cult TV show Baywatch is being brought back as a movie with Zac Efron. That is sure to revive interest in the library rights of the TV show – NBC-owned Cozi TV and Telemundo’s TeleXitos both recently relaunched the series – and could even stimulate a TV reboot down the line.
Other TV-to-film stories this week centred on Downton Abbey. With the iconic period drama having just wrapped production on its final season, producer Carnival is now considering continuing the franchise on the big screen –possibly taking the show into the pre-Second World War financial crash.
All of the recent talk about there being too much scripted TV doesn’t seem to have unsettled Viacom-owned channel Spike. Having recently finished airing ancient Egyptian miniseries Tut, Spike has just ordered its first one-hour drama series in nine years – a 10-parter from Jerry Bruckheimer and Warner Horizon Television called Harvest.
The show is being written by Ian Sobel and Matt Morgan (12 Monkeys) and tells the story of a cemetery caretaker who finds his quiet life in jeopardy when his estranged criminal father tracks him down. To protect his daughter, he works with his father in the illegal trade in body tissue.
This week also saw Australian subscription VoD platform Presto pick up rights to USA Network thriller Mr Robot, which has Christian Slater among its cast. Presto, which acquired the show from NBCUniversal, will show the first seven episodes of Mr Robot immediately before adding the last three after they air stateside on USA.
The show follows a young programmer who suffers from a debilitating anti-social disorder. He finds himself caught between working for a cybersecurity firm and the murky world of mysterious anarchist Mr Robot, played by Slater. In the US, the show is averaging an audience of around 1.42 million viewers, though recent episodes are nearer the 1.2 million mark. The show was recommissioned for a second season very early on the basis of a digital preview.
Finally, a week after Showtime Networks president David Nevins criticised some of the current risky investments in scripted TV, Showtime announced it is producing I’m Dying Up Here, a new one-hour pilot being executive produced by Jim Carrey.
Based on the non-fiction novel by William Knoedelseder, the pilot will be directed by Jonathan Levine (50/50, Warm Bodies) and produced by Endemol Shine Studios and Assembly Entertainment. Written and executive produced by former stand-up comedian Dave Flebotte (Will & Grace, Desperate Housewives, The Bernie Mac Show) and set among the famous Hollywood comedy clubs of the 1970s, the dark comedy pilot “will delve into the inspired and damaged psyches that inhabit the hilarious but complex business of making an audience laugh”.
Nevins said: “The 1970s LA comedy scene gave rise to some of the biggest and most influential performers of the last half-century. Who better than Jim Carrey and Dave Flebotte, who were both there, to tell the story of that special era?”
When asked last week about the current situation with scripted programming, Nevins said Showtime is in expansion mode, but he questioned networks that were rushing into new shows – giving two-season commitments on the basis on pitches, for example. He said brands like Showtime that “stand for something” will survive.
tagged in: Ash Vs. Evil Dead, Baywatch, CBS, David Nevins, Harvest, I’m Dying Up Here, Jerry Bruckheimer, Limitless, MGM, Minority Report, Mr Robot, NBC, Netflix, Presto, RED, Rush Hour, Scream, Showtime, Spike, Supergirl, Training Day, Uncle Buck, Warner Horizon Television