Never one to shy away from a challenge, Adam Price’s first major TV project brought the machinations of a coalition government to Danish screens with Borgen, which picked up an International Bafta during its three-season run.
Now he is taking on religion in Ride Upon the Storm, with two seasons of the show already commissioned by Denmark’s DR and Arte France.
Sitting alongside star Lars Mikkelsen, Price tells DQ how he hopes to address the big questions of life and religion in the show, which ostensibly focuses on the family of Mikkelsen’s priest Johannes, his wife and, in particular, their two sons, who each choose different religious paths.
Ride Upon the Storm is produced by SAM Productions and distributed by StudioCanal.
A family of priests are at the centre of Herrens Veje (Ride Upon the Storm), Danish writer Adam Price’s follow-up to political drama Borgen.
From a topic that may not immediately seem the most exciting – coalition politics in Denmark – Borgen creator Adam Price (pictured above) crafted a captivating drama that gripped audiences around the world. And now, turning his attention to religion in the forthcoming Herrens Veje (Ride Upon the Storm), the writer is hoping lightning will strike for a second time.
The series reunites Price with producer Camilla Hammerich and Danish broadcaster DR to tell the story of a family of Danish priests. While one son has followed his father into the priesthood, his brother has chosen another path.
The cast is headed by Lars Mikkelsen and Ann Eleonora Jørgensen as the parents, with Simon Sears and Morten Hee Andersen as their grown-up sons.
“I can think of no other broadcaster in Denmark that would be willing to tell a story that is as tricky, difficult, demanding and potentially provocative as this will be,” Price says. “My last show dealt with politics and I thought, ‘Where do I move from this?’ You can [take inspiration from] so many emotions as a writer – the emotion for this show is definitely curiosity.
“In the times we are living in now, it’s almost more political to write about religion than about politics – because when we’re talking about integration, immigration, social issues, geopolitics and terrorism, we are in fact dealing with religious issues. It is one of the great topics of our time.”
It’s the family at the centre of the story through which such issues are explored. “If you want a compelling story, you need to tell it from the point of view of the characters,” says Price. “It would be very difficult to talk about religion from too aloof a position, to talk about great ideas, religious history. It’s too big. You need to pull it down to a human level. The characters must always be at the heart of the story.”
DR is producing Ride Upon the Storm as a coproduction with French-German network Arte and SAM le Français, in association with distributor StudioCanal. The series, which is being filmed in Denmark and Spain, will debut this fall with 10 episodes, while DR has already ordered a second 10-episode season scheduled to air in autumn 2018.
Alongside Forbrydelsen (The Killing) and Broen/Bron (The Bridge), Borgen is regularly held up as one of the TV dramas that brought Danish – and Scandinavian – drama front and centre on the world stage.
“Nobody ever thought Borgen would travel or moderately interest an audience because, when you pitch the series, everybody should be running away screaming,” Price jokes of its niche political content. “Religion is definitely just as difficult a main topic as politics, but if you have captivating character stories then you can talk about all the difficult things on top of that. That was the way we told the stories of Borgen so I’m delving into the same bag of tricks. I hope it will still work.”
With the show in development for two-and-a-half years, Price spent six months working on Ride Upon the Storm by himself before setting up a small writers room, just as he did with Borgen, which was penned by just three writers for the first two seasons. Staff writers Karina Dam and Poul Berg joined Price in writing the first 14 episodes across Ride Upon the Storm’s two planned seasons, while Price and Dam are completing the final six episodes together.
The writers room, however, was more than just a collaborative effort. Price explains: “It was very important for me to have different attitudes of faith in the writers room – Karina is a Christian, Poul is probably an agnostic and I guess I am a non-believer myself, but a very curious one. It’s important in a show
like this that we take religion and faith extremely seriously.
“I’m not here to make people not believe, and the show is also not there to make people believe. What we really want with the show, apart from telling hopefully compelling, character-driven stories about faith and religion, is to make viewers wonder about
faith and religious issues and to make people discuss them.”
As the head writer, Price is typically hands-on across the entire project, overseeing up to six drafts of each script before they are approved for shooting. “I try to sketch out the full season because we need to know what we are moving towards so we don’t invent the world anew every time we storyline and pitch an episode,” he says. “It’s very important to know the end point on the map, so that while we can make many interesting and meaningful detours, there is a very clear course set for the whole story.
“The actors know the characters’ mid-points and end points in the season. We discuss that vividly with them every time we meet. If a character is to suffer a nervous breakdown in two or three episodes’ time, the actor has a right to know so they can build up to that moment and it won’t be a steep mountain to climb in the actual episode. It’s so important that we can see small traits of [such a plot point] in the way the character behaves a few episodes in advance.”
Research is another part of Price’s writing process, but he says it’s important not to become “lost” in details that can limit creativity in the writers room. A priest has also been on hand as a religious advisor, sitting in the room once a month to listen to pitches for the next block of episodes.
“With reference to Borgen, it’s one thing to step on a person’s political beliefs, but it’s another entirely to step on their religious faith,” Price explains. “We need to know when we’re stepping on any toes; we can’t step too wildly and in all directions without researching or planning quite thoroughly. This is definitely territory where people can be very upset. It can and will probably happen.”
After the success of Borgen, which ran on DR for three seasons and starred Sidse Babett Knudsen as the Danish prime minister, Price admits he tries not to concern himself with the expectations over his follow-up series, which is coproduced by the SAM label founded by Price, fellow writer Søren Sveistrup (The Killing) and producer Meta Louise Foldager Sørensen (A Royal Affair) in 2014.
Also on SAM’s slate is Gidseltagningen (Below the Surface), a hostage drama for Denmark’s Kanal 5, and Mercur (Something’s Rockin’), a radio station-focused show that launched in March on TV2 Charlie. The company also has projects in development in Denmark and the UK, as well as the US with HBO and AMC.
“The Danish industry has changed – it has become much more international,” Price says. “We should just be grateful that we’re able to finance these shows with big countries in Europe and across the world.
“Now they know our shows – and if we can do something as good as The Killing, they want to be a part of it. That’s a great privilege because it allows us to tell even more ambitious stories. We are standing on the shoulders of our own success, which is very demanding but also a great privilege.”
Nordic drama has made its mark on the international stage over the last few years. But what’s coming next? A good source of information is the Nordisk Film & TV Fund, which provides regular updates on shows in development, production and distribution. So this week we look at some of the latest developments from the region.
Next Summer: Bob Film is remaking Norwegian comedy Next Summer for Kanal5/Discovery in Sweden. The original version aired on TVNorge/Discovery and was one of the country’s most popular local TV dramas. The Swedish remake, which will air in 2017, centres on a man who shares a summer house with his wife and in-laws in Stockholm’s archipelago. Bob Film also remade the Finnish drama Nurses for TV4 Sweden. That show, known locally as Syrror, launched on October 19, attracting an audience of one million. It’s part of wider trend of local Nordic adaptations that also includes Gåsmamman and Black Widows. Bob Film is also working with Sweetwater on a crime drama called Missing (Saknad) for CMore and TV4, which focuses on the investigation into the murder of a young girl in a Swedish Bible-belt town.
Bonusfamiljen (The Bonus Family): Nordisk Film & TV Fond has just allocated a total of NOK9.4m (US$1.14m) to a slate of new film and TV projects. One of them is season two of The Bonus Family, a comedy drama about a recomposed family and the complications that go with it. Season one is due to air on SVT in 2017, as well as on NRK, YLE, RUV and DR. Season two, granted NOK2.4m (US$290,000), started filming in September and will continue until February 2017.
Downshifters: This Finnish series has just secured a French sales rep (ACE Entertainment) while Sweden’s Anagram has optioned remake rights for its own market. The 10-part comedy from Yellow Film & TV has been generating a good buzz since it launched on OTT service Elisa in late 2015. More recently, it aired on YLE2 and established itself as the second most watched programme. The series tells the story of a couple who face financial problems and are forced to cut down on their extravagant lifestyle. A second series, Upshifters, will launch on Elisa in December 2016.
The Rain: News of this Danish show has been doing the rounds in the last couple of weeks. Produced by Miso Film (Dicte, 1864, Acquitted), The Rain is a dystopian drama commissioned by Netflix. The series is set in Copenhagen 10 years after a biological catastrophe that wipes out most of the population in Scandinavia and sees two young siblings embark on a search for safety. Guided only by their father’s notebook about the virus and the hazards of this new world, they start a dangerous journey through the country and join up with a group of other young survivors. Miso has had a busy few months, with the second season of Acquitted recently launching on TV2 in Norway.
Midnight Sun: This Swedish/French crime show recently debuted to 1.39 million viewers (38.1% share) on SVT1 in the Sunday 21.00 slot. According to the channel, this performance is comparable with The Bridge (Bron/Broen). Midnight Sun also trended at number two on Twitter – and online viewers, which are still to be added to the count, could pass 200,000. The show also secured strong reviews in the Swedish media, with five stars out of five in Aftonbladet. Elsewhere in Scandinavia, Midnight Sun will premiere on RUV on December 5. DR, NRK and MTV3 are likely to air the show, which is distributed internationally by StudioCanal, in early 2017.
Nobel: Trapped and Nobel were among 26 European fiction TV series selected for the Prix Europa Media awards last month. Trapped, an Icelandic crime show, won Best European TV Series while Nobel, a Norwegian political/war drama, won Best European TV Movie/Miniseries. Nobel was described as “a precisely crafted original script, perfectly executed and directed, that takes the viewer on a journey into a world of lies, betrayal, mistrust and political games.” Produced by Monster Scripted for NRK, Nobel secured 800,000 viewers for its first episode across NRK1 and NRK streaming service NRK.TV. Both Trapped and Nobel were supported by Nordisk Film & TV Fond. Nobel was directed by Per Olav Sørensen, who also directed The Heavy Water War.
Heartless: In a recent interview with The Nordisk Film & TV Fond, SVoD service Walter Presents’ curator Walter Iuzzolino said 25-30% of the platform’s shows are from Scandinavia. In terms of titles doing well, he mentioned Heartless: “Our curated programme goes way beyond the tradition of Nordic Noir that has been established by the BBC. I would say that 30% of our audience is 16 to 34, the rest 35-plus. The sexy Danish vampire series Heartless, for example, was a huge hit among 16-24s. Normally I hate fantasy and sci-fi but it’s elegant, poetic, cleverly done and an interesting portrayal of a family – a sort of vampire version of The Legacy. It was a huge success, pushed only by word of mouth.”
Watchdog: At last month’s Mipcom market in Cannes, ZDF Enterprises announced an exclusive first-look rights deal for all scripted content from the Finnish producer Fisher King. Matti Halonen, Fisher King MD and producer, said: “ZDF Enterprises is a well-established company that can give a lot of support to a smaller player like Fisher King.” The first joint project that ZDFE is working on is the upcoming political thriller series Watchdog. Set in present-day Helsinki, The Hague and London, it’s described as an adrenaline trip into the heart of European justice policy and security regulations concerning source protection and privacy insurance. Fisher King is also behind Bordertown, which is represented worldwide by Federation Entertainment and has been sold to Sky Deutschland and CanalPlay France, while English-language series Crypted is also in its pipeline.
Deadwind: Paris-based financing and distribution boutique About Premium Content (APC) recently picked up Finnish crime drama Deadwind. The 12-part series is about a detective in her 30s who is trying to get over her husband’s death when she discovers the body of a young woman on a construction site. At Mipcom, APC launched Norwegian drama thriller Valkyrien, which is produced by Tordenfilm for NRK. It also distributes another Norwegian show, the youth-oriented Young & Promising, which was recently sold to the UK, Germany and France and has a US deal is in negotiation.
Dan Sommerdahl: This autumn it was announced that Nikolaj Scherfig (The Bridge) would be co-creator/head-writer on Dan Sommerdahl, a new series based on Danish author Anna Grue’s bestselling book series. Distributor Dynamic Television (Trapped) is pre-selling the series on behalf of Germany’s NDF and Denmark’s Nordisk Film. TV2 Denmark is attached and a German broadcaster will soon be announced. Scherfig said the project is different from classic Scandi noir: “It is a tight, clean crime series reflecting on life outside cities understanding how modernity and social development affect life in the province.” Klaus Zimmermann, Dynamic co-MD, told nordicfilmandtvnews.com: “NDF originally acquired the rights to the books and wanted to make it in the tradition of a German crime series with German actors for an international market. But then we felt it made more sense to make it as an original Danish show with a Danish writer and Danish actors. It’s simply the right way to tell the story.”
Hassel: Speaking to the Nordisk Film & TV Fond about Viaplay’s strategy for coproducing original content for the Nordic region, CEO Jonas Karlén said upcoming original Nordic scripted series on Viaplay include Swedish Dicks, Svartsjön/Black Lake, Hassel, Our Time Is Now and Occupied season two. Hassel is a Nordic noir starring Ola Rapace as the iconic detective created by author Olov Svedelid. The show is produced by Nice Drama in coproduction with Beta Film, which handles global sales, and is due to launch in late 2017.
Spring Tide: Eight brand new Nordic TV dramas have been selected for The Lübeck Festival’s Nordic Film Days. “TV drama is the big new thing. It was time for us to open up our festival to TV series, as Germans are so fond of Nordic noir,” said the festival’s long-time artistic director Linde Fröhlich. Shows to be introduced include Splitting Up Together (DK), Living with my Ex (FI), Trapped (IS), Nobel (NO), and Modus, Hashtag and Spring Tide (SE). The latter crime drama, based on the novel by Rolf and Cilla Börjlind, is about two cops who come together to solve the murder of a pregnant woman. The show is distributed internationally by Endemol Shine International.
Below the Surface: This is a new drama based on an idea by Adam Price (Borgen) and Søren Sveistrup (The Killing) – now principals in Studiocanal-backed firm SAM. The thriller series centres on an operation to rescue 15 hostages from a Copenhagen subway train. Price and Sveistrup said: “There is something both eerie and fascinating about [taking hostages] as a criminal act. The close and complex relationship between the hostage and hostage-taker immediately opens up strong character-development possibilities and can also put a number of highly topical issues about our time to the forefront, such as fear of terrorism.“ The eight-part series has received DKK14m (US$2.08m) in production support from the DFI’s Public Service Fund and will air on Kanal5/Discovery Networks.
Skam: Cult Norwegian youth series Shame (Skam) launched on NRK and was recently acquired by DR3 for Denmark. Danish newspaper Politiken called it “a youth series about high-school life that makes Norway cool for the first time.” Steffen Raastrup, director of DR3, said: “The series’ premise is that when you’re young, you should not be ashamed of who you are but stand up for yourself and deal with the fear that many feel during their formative teen years.” Skam – which is now up to three seasons in Norway and is a strong performer on social media – has also been acquired by SVT in Sweden and RUV in Iceland.
Interference: This is an eight-part English- and French-language sci-fi thriller in development by Stockholm-based Palladium Fiction. Palladium, which is minority-controlled by Sony Pictures Television (SPT), is producing the show alongside Atlantique Productions. SPT is distributing the show internationally. The Palladium team was also behind the critically acclaimed drama Jordskott, and is now working on a second season of the show. Palladium is also developing an English-language project with UK writer/producer Nicola Larder.
Established in 1990 and based in Oslo, the Nordisk Film & TV Fond’s primary purpose is to promote film and TV productions of high quality in the five Nordic countries (Denmark, Finland, Iceland, Norway and Sweden). It is funded by 17 partners: The Nordic Council of Ministers, five national film institutes/funds and 11 public service and private TV stations within the region. Its annual budget is approximately NOK100m.
Anyone who was at the Cannes Lions International Festival Of Creativity this week would have been able to hear Oscar-winning director, screenwriter and producer Oliver Stone talk about his new movie Snowden, which tells the story of Edward Snowden, the computer whizz who leaked huge amounts of classified data from the USA’s National Security Agency (NSA), his former employer, in June 2013.
Stone, who is not shy of tackling controversial political subject matter, was speaking during a session organised by Guardian News & Media. For him, the fascination of the Snowden story seems to be what it has to say about the power of the state and its increasing reliance on tools of mass surveillance, which he referred to as “Orwellian” on more than one occasion. For Stone, the terrifying world of 1984 and the Ministry Of Fear has arrived and Snowden, exiled in Russia, is one of the few to have kicked back.
Interestingly, Stone doesn’t see the current state of affairs as purely a product of government. In an analysis reminiscent of Noam Chomsky’s work on the military-industrial complex in Western societies, Stone railed against the expansion of the US military and its reliance on war (including the War on Terror) as a justification for its existence. He also implicated a number of other parts of the establishment for their role in normalising the current unstable state of affairs. With a few exceptions (such as The Guardian), he criticised the media for pandering to the state’s power and online companies for acquiescing to state-sponsored surveillance. He also took a pop at Europe, for its subservience to the US, and the US movie studios that collectively refused to back his latest feature film outing (it took German and French financing to get Snowden into production and a patchwork of 20 distributors to get the film to an international audience).
Outside his immediate fanbase, Stone is often thought of as a filmmaker with a loaded political agenda. But this is an accusation he refutes. Commenting on the detailed analysis that goes into his development, he said: “I’m a dramatist. I can’t take sides. I do a lot of research and tell the story that evolves. With my films on Nixon and Bush, I actually had complaints that I was too sympathetic.”
One of the big challenges with Snowden was taking a story that is, at its core, about a computer geek downloading information and turning it into a drama that could live on the big screen. Part of the way Stone did this was by building up the personal drama around Snowden and his girlfriend Lindsay Mills – dismissively referred to in the media as a pole dancer. He also looked at why a young man who had been so pro-establishment in his formative years would suddenly elect to become the world’s most famous whistle-blower (a story reminiscent of the journey in Stone’s film Born on the Fourth of July). “I had to walk in Snowden’s footsteps and try to feel what he was feeling. The end result, I hope, is a gripping political thriller.”
The lion’s share of Stone’s work has been in film – notably titles like Salvador, Platoon and JFK. His one outing into TV was a documentary series for Showtime entitled The Untold History of the United States, through which he shone a light on some of the less admirable part of US history.
The lack of scripted TV series from Stone may suggest he is more free to express himself through film. But there is a growing body of great work on TV that shows it is possible for writers to tell complex political truths on the small screen. Here are a few of the best examples that underline this point. Hopefully in the near future Stone will also be tempted to join the growing number of filmmakers who have decided to try their hand at TV series. Perhaps he could took take a break from fact-based storytelling and be the man to reimagine 1984 for the small screen…
House of Cards
Beau Willimon’s adaptation of Michael Dobbs’ novel for Netflix is a superb exploration of the Machiavellian nature of modern American politics. Starring Kevin Spacey, it shows the corrupting influence of the quest for power and raises questions over the extent to which policy decisions are driven by ambition.
An upcoming series from David Simon for HBO, this show will tackle the legal issues around porn and prostitution in 1970s and 1980s New York. However, it will also address other social issues such as the real-estate boom, the spread of HIV/AIDS and drug use. Simon is probably the closest thing the TV business has to an Oliver Stone – having previously written The Wire, Generation Kill, Treme and Show Me a Hero, the latter an exploration of social housing that aired at the end of last year.
Adam Price’s exploration of the rise of Birgitte Nyborg to become prime minister of Denmark is widely recognised as one of the best political series of recent years. Written for Danish public broadcaster DR, it provided a fascinating insight into party politics while addressing the challenges of being a female politician. Price is tackling the subject of faith in his latest show Rides on the Storm.
The Honourable Woman
For the country that gave us James Bond and John le Carré, the UK doesn’t deliver that many dramatic exposés of the establishment. The original House of Cards, Edge of Darkness and State of Play are a few standout exceptions. Possibly this is because the Brits tend to fall back on period pieces or comedy satire when criticising politicians – though this may explain why the country is not very good at interrogating its political class. One recent show that stands out is Hugo Blick’s acclaimed drama The Honourable Woman, which beautifully explores the interplay between personal ambition and geopolitical conflict.
Created by Brian Koppelman, David Levien and Andrew Ross Sorkin, Billions is an intelligent attempt to get under the skin of the US financial sector. Starring Damian Lewis and Paul Giamatti, it tells the story of a corrupt hedge fund manager who uses insider trading and bribery to build his empire. With an IMDb rating of 8.4, the show has been well received and recently earned a renewal.
Hard-hitting Israeli series are now part of the landscape of the international TV industry (Homeland, False Flag). The reason YES’s Fauda stands out is that it is tries to bring both sides of the Israeli-Palestinian conflict to the TV screen. Created by Lior Raz and Avi Issacharoff, the series focuses on an elite undercover unit of combat Israeli soldiers who disguise themselves as Palestinians. It is regarded as the first time that an Israeli TV drama has depicted terrorists as people with wives and children.
The New Odyssey
Colin Callender’s production company Playground recently acquired the rights to Guardian journalist Patrick Kingsley’s book The New Odyssey – The Story of Europe’s Refugee Crisis. Throughout last year, Kingsley traveled to 17 countries along the migrant trail, meeting hundreds of refugees making their journey across deserts, seas and mountains to reach Europe. His book is an account of those travellers’ experiences. At the time of writing, no screenwriter has been attached to the project.
TV has a habit of treating politics as a period subject. Often this leads to interesting shows. But apart from a few allegorical references to the present, it doesn’t really cut to the quick of the contemporary debate. One exception is 1992, a series for Sky Italia created by Ludovica Rampoldi, Stefano Sardo and Alessandro Fabbri. The series looks at the political upheaval in the Italian system in the 1990s. However, similarities to the current situation in Italian politics give the show a particular resonance.
Korea is best known for its romance and historical drama, so KBS series Assembly is something of a novelty. It features a brave and honest shipyard welder who gets elected to the country’s national assembly. He is out of his depth until helped by an aide. The show is based on screenwriter Jung Hyun-Min’s own experience working as an aide for 10 years before breaking into TV.
This new political drama from Australian pay TV platform Foxtel is based on Chris Uhlmann and Steve Lewis’s novels The Marmalade Files and The Mandarin Code. Adapted for TV by the writing team of Belinda Chayko, Matt Cameron, Marieke Hardy, Alice Addison, Tommy Murphy, Kris Mrksa and Greg Waters, it follows a journalist who uncovers an international political scandal while investigating the death of a young man.
For a small nation, Denmark knows how to pack a punch. It makes great lager, gave the world LEGO and even managed to win the UEFA European Football Championships back in 1992. In addition to all this it is now producing some of the most compelling and intriguing TV drama series in the world.
It wasn’t always that way, says Adam Price, the creator of Borgen, an acclaimed political drama that first aired on public broadcaster DR. “Twenty-five or 30 years ago, Danish TV drama was really terrible. It had no audience at all. So DR sent a fact-finding mission to the US to see how it was done.
“They made a quite deliberate decision to improve TV storytelling and came up with a model that works for the Danish market. That model is what has made the difference to Danish drama output.”
Distilled down to its basics, there are three core elements, says Price. “It begins with the one-vision dogma – the idea that one writer’s vision is central to the process. But this is supported by the idea of the deadly duo – a producer and writer working in partnership throughout the process. And finally there is an insistence on the concept of the double story. It’s not enough just to have a good plot, shows need to tell us something about what it means to be a citizen in contemporary Western society.”
Once these elements are in place, a high level of trust is ceded to the creative. “You aren’t put through some kind of entrance exam on every episode,” says Price. “If your show doesn’t get an audience, you might not be hired again. But as long as you are working diligently on your show, you are trusted. The result is that you get shows that are not just consensus ideas.”
Price broke into the business when this new model was in its formative years: “There were no formal writing courses available in film schools back then. But I come from a family of theatre writers and directors that dates back two centuries. I was working in theatre when I was given the opportunity to work on a show called Taxa (Taxi). I learned my trade there and then progressed onto a romantic comedy called Nikolai and Julie. From there I was given the opportunity to create Borgen.”
Around this time, the international market started to get interested in Danish shows. So Price decided to set up his own indie production company alongside Soren Sveistrup (creator of DR’s The Killing) and Meta Louise Foldager (A Royal Affair). “We launched a company called SAM, with backing from StudioCanal,” he says. “The idea is that we continue to work on ideas for the Danish market but also build a slate of shows that are more targeted towards international audiences.”
He is, for example, working on another high-profile piece for DR called Rides Upon the Storm. Centred on a Protestant priest, “it’s a show that uses personal faith as the motivation of the action. I’ve always been interested in and puzzled by religion. It has had such a terrifying impact on the politics of the world in the last 15 years that I wanted to make a show that tries to understand it. I’ve always found that things that puzzle you can serve as the topic of compelling stories. For me, it is about satisfying a kind of scientific or journalistic curiosity.”
In Price’s opinion, Denmark makes a good backdrop for such a story “because we are all born as members of the church and pay taxes for it – unless we choose to leave, which more people are now doing. So this show looks at traditional Christian beliefs, the new younger elements and the arrival of Islam.”
Rides Upon the Storm is moving rapidly towards production, with transmission planned for 2017. With two series (20 episodes) already ordered, it’s going to take up a lot of Price’s time. But at the same time, SAM has developed a large development slate of around 25 ideas – with some in English. One project Price hopes will get off the ground is a political series for the BBC. “That’s something that predates SAM,” he explains, “an idea I developed with Michael Dobbs.”
In terms of approach, Price says: “Writers come to us with ideas and we use our experience to advise them on the next step. Soren and I have been round the block a few times so we think we can help them get their projects off the ground.”
This is not so different to the model DR has perfected. “In the same way I was trained up, others have followed,” says Price. “The creator (Jeppe Gjervig Gram) of DR’s latest series, financial crime story Follow the Money, was a writer on Borgen.”
Running a company at the same time as writing a TV series may seem like a lot of work, but Price has no problem with that. “There’s an old saying I like: ‘If you want something done, go to a busy man.’” Maybe that philosophy explains why the Danes are among the world’s perennial overachievers.
French drama is evolving at an increasing pace, but while broadcasters and producers are widening their international horizons, the most dramatic changes are taking place at home.
Change is afoot in France, but while landmark international coproductions might be grabbing the headlines, traditional ciné movies and crime procedurals are being replaced by serialised dramas and a gamut of new genres on screen.
Tetra Media Fiction producer Emmanuel Daucé says French drama is in the middle of a revolution that dates back 10 years to when broadcasters shifted their focus from TV movies to series, inspired by the work of US premium cable network HBO.
Gritty crime dramas such as Braquo and Spiral subsequently broke through to the international market, and more producers are now trying to follow their lead as France seeks to capitalise on the increasing demand for global drama series.
One example is The Young Pope, which sees pay TV network Canal+ join forces with HBO and Sky to tell the controversial story of the beginning of Pope Pius XIII’s pontificate. The cast is headed by Jude Law and Diane Keaton, while all eight episodes will be directed by Oscar winner Paolo Sorrentino.
“It was HBO series, which not many people watched in France, that changed everything,” Daucé explains. “Telling stories through images is so important in France that we needed a cultural validation that TV could be interesting, and HBO helped a lot.”
Stéphane Drouet, producer and co-founder of MakingProd, says he is developing series for “almost every broadcaster,” as well as producing season three of cop show Cherif for France 2.
“Networks are still looking for self-contained episodes, but more and more they’re looking for serialised drama,” he adds. “Broadchurch did really well on France 2 and it may have accelerated the need for this kind of programme. They realised it would really work in primetime in France.
“Of course, there are still cop dramas. It’s a format that still works so well. But for a lot of years it was mainly procedural – now it’s more serialised, which is a good thing, and it also opens the door to more serialised dramas that aren’t about cops.”
Paris-based Ego Productions is behind TF1 series Alice Nevers, which will begin production on its 13th season this autumn, while new drama Zone Blanche, commissioned by France Télévisions, will begin shooting in April 2016. Ego is also responsible for the French adaptation of UK drama Doc Martin, which ran for four seasons on TF1.
Executive producer Pascal Wyn says French drama is playing catch-up to other territories by trying to broaden the international appeal of its stories, in the face of traditional series that still prove popular among domestic viewers.
“At the moment, the TV drama business is trying to create a revolution,” he explains. “French TV producers all want to make French television better and more international, as in Sweden, Germany and, of course, the USA. French producers want to make programmes with international appeal.
“Broadcasters say they are looking for new stories, but in fact they are very suspicious of new programmes because traditional French drama always works.”
Another factor behind the changing face of the country’s TV drama, according to Endemol France MD Nicholas Coppermann, is the decreasing reliance on US series. As long-term output deals for series such as CSI: Crime Scene Investigation, Grey’s Anatomy, House and NCIS come to an end or the shows are cancelled, primetime slots are opening up for domestic series.
“The channels used US dramas as primetime shows and it was very difficult to compete using French scripted drama,” Coppermann says. “Although there are some very good US series now, they aren’t as mainstream or coherent with French tastes.
“The channels that previously thought it was expensive and risky to pay for local drama compared with US series now feel they need some strong local pieces. They are also ready to buy more series. All this combines to create a much more favourable environment for French writers, producers, actors and directors.”
Endemol label Leonis Productions was responsible for telemovie L’Emprise, which told the true story of a woman who was acquitted of killing her abusive husband. Coppermann says the project represented a leap of faith for TF1, which he says was rewarded with the highest-rating French drama since 2007, attracting 8.6 million viewers (and 9.8 million after seven days).
The film, which debuted in January, has since been sold to Antenna 3 in Spain.
“Our drama business is up and running and we recently signed a deal for a procedural with TF1, as well as a thriller miniseries called Le Domaine for M6,” Coppermann adds. “It is penned by writer/director Hervé Hadmar, who was behind the huge French hit Les Témoins (aka Witnesses), a drama that made quite some noise because it was sold to Channel 4 in the UK before its debut in France, which is quite rare.
“TF1 used to be sceptical about miniseries, but it’s more open to them now. There’s a movement towards more serialised miniseries in France because it’s easier to grip the audience’s attention with those. However, the main free-to-air channels still need some self-contained shows. So both those genres are required at the moment.
“Canal+ wants more miniseries because it wants to create an event with every show. I think it has come to realise that its returning series, no matter how good, are not making so much noise, so it needs to bring back miniseries. TF1 has a slot for procedurals on Thursday and it wants that to be strong, but it’s also open to miniseries. The time of ‘no serialised shows,’ which was making things complicated for the French creative community, is now behind us, so there’s room for all kinds of dramas.”
Canal+ is currently preparing for the fall launch of Versailles, a 10-part historical drama created by Simon Mirren and David Wolstencroft and produced by Capa Drama, Incendo and Zodiak Fiction.
But what is the cause of France’s late arrival to serialised series? Daucé says television in France has struggled to escape the shadow of cinema but, as in other territories, the tide is slowly turning in favour of the small screen. In particular, he credits another Canal+ series – breakout supernatural drama Les Revenants (aka The Returned) – for helping to improve the reputation of television series in France.
“Viewers weren’t very familiar with the format,” he says. “This is because of the importance of cinema in France. The biggest recent hit in France was Les Revenants. This is a brilliant TV series but its strength lies in its cinematic qualities. The filmmaking is brilliant. It was produced by Haut et Court, a production company that makes feature films, and was created by filmmaker Fabrice Gobert, not by someone from TV.
“Now, slowly, TV series in France are receiving hype. It’s only very recently that viewers and people in the industry have started to take more of an interest in television. There are two worlds in France — cinema and TV, and there’s still some friction between the two.”
Tetra Media Fiction’s slate includes period drama Un Village Français (pictured top), which will air its sixth season this autumn on France 3, with a seventh and final season due to begin production by the end of the year. It is also producing Les Hommes de l’Ombre, a political drama now in its third season on France 2.
Daucé adds that broadcasters are also now more open-minded about the type of series they broadcast. “Canal+ helped a lot, again with Les Revenants,” he explains. “This is a genre we never have usually. When I started Un Village Français, I was told period dramas were too difficult to produce and cost too much. But there have been a lot of period dramas since.
“Now we are, in a way, in a revolution of the way we think about TV series. Our problem is that for a long time we didn’t make TV series. We now have producers and writers who specialise in making them but this is still pretty new for us.”
With this shift in focus to television drama, the industry will only become more experienced, and this expertise will be boosted further by the surge of international coproductions being built in France.
In June, Canal+ and Swedish public broadcaster SVT unveiled Jour Polaire (aka Midnight Sun), the first ever French-Swedish drama copro. It follows a French detective who is sent to the far north of Sweden to investigate the murder of a French citizen.
Created by Måns Mårlind and Björn Stein, and based on an idea by Henrik Jansson-Schweizer and Patrick Nebout, it is produced by Atlantique Productions, Nice Drama and Filmpool Nord. The cast includes Leïla Bekhti and Gustaf Hammarsten.
Atlantique has also partnered with Keshet UK, the London-based production arm of Israeli distributor Keshet International, to develop English-language drama Crater Lake. The eight-part series, created by Ron Leshem, is described as a “life-affirming, character-driven show about death.”
Oliver Bibas, MD at Atlantique, says: “People are more and more aware of international coproduction opportunities. Canal+ has a strategy to do more coproductions. It is also focused on French drama, but there is a place for coproduction. It’s the same for Arte, and now we’re seeing what will be the next move for France Télévisions, which should also step up in this area.”
Bibas says Atlantique is now developing series it wouldn’t have considered as recently as two or three years ago. In particular, the company is remaking Django, a spaghetti western from the 1960s, and is also on board the reboot of science-fiction series Metal Hurlant with producer Jamie Mathieson. “They’re not something we would have done previously but because of online platforms such as Amazon, Netflix and Canal Play, there are so many new outlets that you can go deeper into a niche genre, which wasn’t the case three or four years ago,” he says.
“We’re trying to get some more niche shows into development. Western and sci-fi are not traditional genres for scripted drama in France. But we feel that when we’re pitching shows to the networks, there is an appetite for this. The market is changing – there’s new demand from networks, and you have to find shows that are in line with our times.”
In fact, Netflix is already in production on its first French-langauge drama, Marseille, with Gerard Depardieu playing the lead role of the city’s mayor in a political story of power, corruption and redemption.
Created and written by Dan Franck, the eight-part series is produced by Federation Entertainment and will launch on Netflix in 2016.
Franco-German network Arte epitomises the change in attitude towards drama among French broadcasters. Switching from
TV movies to serialised programmes, it was among the first to import European shows, most notably Denmark’s Forbrydelsen (aka The Killing) and Borgen, plus Swedish sci-fi series Äkta människor (Real Humans).
The channel is now forging ahead with its coproduction strategy. Launching this autumn is Occupied, a 10-part political thriller based on an idea by novelist Jo Nesbø and developed with Norway’s TV2.
It has also partnered with Denmark’s DR and Borgen creator Adam Price on a new faith-based series called Herrens veje (aka Rides Upon the Storm).
Alexandre Piel, Arte’s deputy head of drama in charge of international acquisitions and coproductions, says he’s not sure if what is happening in French drama is a revolution but admits the landscape is changing fast.
“Our behaviours have completely changed in the last five years,” he says. “We jumped from 90- to 52-minute slots; from mainly standalone collections to serial dramas. That’s a major change.
“Canal+ was one of the first to establish the strategy. Arte followed and we were very much open to European content as a pioneer channel. Now everyone has an eye on European content.
“From international acquisitions to French content, the standards have changed and everyone has to cope with it. Then we have to see in the coming months – in terms of international distribution and coproduction – if it’s a major change or just a short-term change.”
Arte’s coproduction strategy began with it working as a minor partner on Occupied, before co-developing Herrens veje. It is also onboard sci-fi drama Trepalium. Piel hopes Arte’s next copro will be a French project on which the network can take the lead.
He adds that Arte is open to new ideas, as it doesn’t want to run the same sort of shows that air on other channels.
“It means more risk-taking but the idea is to jump on originality, creativity and innovation, and to be able to offer something more audacious,” he says. “That’s really the keyword in terms of ambition.
“There are a lot of projects on the market. There are plenty of series but some are quite similar. I feel there’s less difference, creativity and innovation than a few years ago, but that’s normal. The industry is restructuring so we need new and different projects and a different way to work altogether.
“That’s why we’re doing a lot of pre-buys on series including Wolf Hall, Indian Summers and Danish series Norskov. We’re trying to understand the way some channels and producers are working so we can work with them in the future.”
Meanwhile, MakingProd is developing Destination Mars, about an expedition to the red planet, with Russia’s Star Media, Laurence Fishburne’s Cinema Gypsy Productions and Poland’s Synergy Films. It is also producing Salazar, a period coproduction with Spain’s Plano a Plano and distributor Eccho Rights.
But while Drouet acknowledges that international coproductions are gaining traction, he says networks are still predominantly focused on homegrown drama.
“French drama is becoming more and more attractive for partners and producers, so we have a lot of people coming to us saying they would like to make international coproductions,” he says. “A few years ago it wouldn’t have been possible but now it is, and it shows the success of TV drama in France.
“There will always be a strong demand for domestic drama but even now the pure French TV series are getting better and better. And even if it’s a purely French series, we have interest now from foreign countries to get shows like The Returned or Witnesses. It shows there’s a new era of TV series in France.
“Even though the shows are taking place in France and are spoken in French, now they interest foreign markets more and more because the stories we tell are more international and more universal.”
Bibas agrees that domestic drama is still the model in France. “We have a very traditional setup,” he explains. “It’s nobody’s fault – this is the way the French system has been for the past 20 years – but now more and more producers and networks are opening up a bit to something that is more modern in terms of French drama, and it’s a very good thing. We’re on the right track but it takes time to change the market.”