Viewers will be transported to Berlin in the Roaring Twenties in epic German period drama Babylon Berlin.
Based on Volker Kutscher’s novels, the story follows Gereon Rath, a police officer from Cologne investigating in the capital with his own agenda. Yet the story only serves as a way into a city overrun by organised crime and political extremism. Berlin is a metropolis for those with talent and ambition but a dead end for the impoverished masses striving for a better life.
Writers and directors Tom Tykwer, Henrik Handloegten and Achim von Borries discuss how they used to books as the basis of the 16-episode series, which they say also asks questions about German society during the emergence of the Nazis.
They also reveal how they shared responsibilities in pre-production, during shooting and in the editing process, on a production that ran to 185 shooting days and filmed on a backlot built at Studio Babelsberg, complete with four streets and squares.
Babylon Berlin is produced by X Filme, ARD Degeto, Sky and distributor Beta Film.
Babylon Berlin recreates 1920s Berlin in exquisite detail to bring Volker Kutchser’s detective Gereon Rath to television. DQ visits the set.
Amid financial turmoil and growing distrust of establishment figures, an ultra-nationalist movement stirs, snaring growing numbers of supporters through lies and scaremongering while opposition parties flounder. A functioning political process begins its slow, stealthy death march, while the importance of fighting for freedom and democracy becomes impossible to ignore.
Small wonder the story of the Weimar Republic, Germany’s postwar democracy dismantled by the Nazis in the 1930s, feels so appropriate for our times. For X Filme, the German production company weighing up the possibilities, the big question was how to tell it. Enter Volker Kutscher, author of the noirish Gereon Rath detective novels.
Kutscher’s first story in the series, Babylon Berlin, follows vice squad detective Rath as he is dispatched from his hometown of Cologne on a secret mission to bust an extortion ring in Berlin. Instead, his investigations turn up sinister goings-on linking politics to the underworld and police corruption to a proposed right-wing military putsch. His sidekick, Charlotte Ritter, is an unlikely combination of police stenotypist and prostitute, such was the struggle for many to make ends meet on the cusp of the Great Depression. Although ridiculed by her superiors, she becomes indispensable to Rath, her dual life granting him crucial access to Berlin’s seamy underbelly.
It’s a rich stew of cultural, personal, political and economic excess in arguably the most intoxicating city of the age, and proved irresistible to producer Michael Polle and X Filme co-founder Tom Tykwer, director of ambitious art-house touchstones including Run Lola Run and Cloud Atlas.
Brought to X Filme to build up the television department, it’s fair to say Polle is fulfilling his brief with Babylon Berlin, which will premiere on Sky Deutschland this October before its free-to-air debut on Germany’s ARD Das Erste next year.
After an aborted attempt to work up their own material for a Weimar-era drama, the team turned to Kutscher’s books and, after a patient hunt (they had been optioned by another company), bought the rights. Kutscher has been a hands-off partner on the Babylon Berlin set, happy to leave the production to it once he had seen the scripts, according to Polle.
Crucially, like the novel, the TV adaptation examines the era without imposing any knowledge of what was to come. This was the pre-cabaret age, when optimism still abounded and political turmoil was matched by a thriving creative arts scene led by director Fritz Lang, dramatist Bertolt Brecht and the art movements of Expressionism and New Objectivity. The Nazis were a minority concern and few had heard of Adolf Hitler.
Tykwer was joined by Achim von Borries (Alone in Berlin) and Henk Handloegten (Summer Window), with the triumvirate directing and writing all 16 episodes that make up the first two seasons. And despite being both the most recognisable name internationally and the ostensible showrunner, Tykwer appears to run a very collaborative process, insisting each episode is credited to the three of them. Certainly, it’s unusual for an auteur to harness their creative instincts to the collective quite so comprehensively.
“Tom wanted to develop characters and stories longer than films allow,” claims Polle. “This was the right project at the right time for him. It’s not about who’s best – they’re a strong team. That spirit of co-operation was fascinating. Achim says that, when you see an episode, you have no idea who shot which scene, which was the goal all along.”
While Tykwer was virtually a TV debutant before Babylon Berlin, with just two episodes of Lana and Lilly Wachowski’s Netflix folly Sense8 to his name, Von Borries and Handloegten had considerable experience in small-screen drama – something undoubtedly invaluable to the extraordinary logistical effort required to shoot 16 episodes concurrently over eight months.
It’s a bone-chillingly cold December day when DQ visits Babylon Berlin’s backlot set, Neuen Berliner Strasse, at the Studio Babelsberg in the Berlin suburb of Potsdam, on the outskirts of the German capital. Scenes from episodes two, three, 12, 14 and 15 are being shot by all three directors across several locations in Berlin and Cologne, the hometown of not only Rath (played by Generation War’s Volker Bruch, pictured top) but also Kutscher.
At Babelsberg, a week before wrap, von Borries is directing Liv Lisa Fries (Day of Rage, Night of Reason) as her character, Chartlotte, attempts to rescue her younger sister from the clutches of an exploitative gangster outside Moka Efti, a legendary Berlin nightspot whose art deco facade is impressively rendered here. Almost all the houses on this network of streets are in fact facades, but their doors and windows still offer different perspectives and angles for filming. Interiors were shot in studios or production centres – primarily the former ministry of the interior for the GDR, which was used as the inside of a police station, various offices and part of Moka Efti (an old silent-cinema building was also used for the latter).
As well as overseeing the score, as he has done for the vast majority of his films, Tykwer brought several key collaborators to the series. Most critically, there’s production designer Uli Hanisch, whose work on this outstanding set allows grotesque wealth to nestle cheek by jowl with extreme poverty. Various streets from several different Berlin districts are here: principally, Friedrichstrasse, Charlottenburg and Kreuzberg Neukölln. No single thoroughfare is straight, again offering multiple camera angles for the creative director of photography. Greenscreens lurk on street corners, although on-location filming was carried out where possible, including a memorable day of filming on Alexanderplatz, a large public square in central Berlin. “The plan was to get an idea of Berlin in the 1920s, and to do that you have to film in the streets,” says Polle.
The scene being depicted when DQ visits is set a few days after police had used horses and tanks to disperse a Communist march for Official Workers’ Day, May 1, 1929. It’s a little calmer now, but only just. Political slogans cover walls and lampposts. Adverts promote Sanatogen ‘Fur Deine Nerven’ (for your nerves). Beautiful vintage cars squeal through crowds of people going about their business. Around 150 extras are on set today, each with their own name, number and costume – “some people say there aren’t any 20s costumes left in Europe because we have rented them all!” laughs Polle. The blend of 1920s Berlin with the aesthetic of classic American gangster movies is entirely deliberate, and a decision that Boardwalk Empire fan Kutscher endorses.
“Watching The Sopranos 15 years ago was an epiphany,” he told The Guardian last year. “That and The Wire. Seeing my books being adapted for TV in the tradition of those HBO shows is exciting.”
The timing for such a series is unquestionably right. “Once, there were more urgent stories to tell, like the Second World War and Hitler,” reckons Jan Mojto, CEO of Beta Film, Babylon Berlin’s distributor and strategic partner to X-Filme. “Germans have always had a complicated relationship with their past, but that’s changing now. The country is facing its own history in all its contradictions, understanding that, even if it was very black, there were light moments. It’s a more realistic attitude to one’s own history than just guilt.”
Babylon Berlin will join a growing number of German series making an international splash, notably Second World War saga Generation War and Cold War thriller Deustchland 83. Not since the days of Wolfgang Petersen’s Das Boot and Rainer Werner Fassbinder’s Berlin Alexanderplatz in the early 1980s has German television drama enjoyed such a high profile. Deutschland 83, however, proved to be a much bigger hit abroad than at home – an indication of the gamble being taken by producers when they aim for a wider market. As a result, broadcaster RTL has partnered with Amazon on its sequel, Deutschland 86. Netflix, meanwhile, will launch German-language supernatural drama Dark this winter.
The market, however, hasn’t been entirely cornered by SVoD services. For Babylon Berlin, X Filme opted for a pay TV/free-to-air partnership between Sky Deustchland and German national broadcaster ARD – an unusual but not unprecedented setup.
“For a project of this size and scale, it’s the first one,” says Mojto. “The budget is comparable to international standards, close to €2.5m [US$2.65m] per episode, but we could never have got that from a single broadcaster in Germany. The arrangement wasn’t too complicated; the important thing was that the three directors wanted to tell this story in a certain way, and we all met on that ground.”
European coproductions have, says Polle, become increasingly common, with Borgen creator Adam Price and Danish network DR working with Franco-German network Arte on faith-based drama Rides Upon the Storm.
“National networks now don’t have enough money to fund big, ambitious series alone,” he notes. “But from a storytelling point of view, even if its being made for a global audience, you shouldn’t be considering what French or American people might think about a scene. The story just needs a strong identity – if it’s unique and good, you’ll get attention around the world.”
Another key decision, says Mojto, was to shoot Babylon Berlin in its native language. “Given the size of the project,” he says, “four years ago it would have been reasonable to try and shoot in English, but we felt it would not enhance its authenticity. [Italian mob drama] Gomorrah was shot in a Neapolitan dialect so strong that lots of Italians struggled to understand it, but that didn’t prevent the series from travelling around the world.”
This is unlikely to be the last we’ll see of Gereon Rath, or his unwitting involvement in the birth of the modern age in all its glory and horror. “Volker wanted to tell the story of Berlin throughout this time,” says Polle. “His first idea was to finish the series in 1936 and the Berlin Olympics. His latest novel is set in 1937, so the first idea went a little too well! But that’s OK – the more books he writes, the better for us.”
Andy Fry casts his eye over this year’s selection for the MipTV Drama Screenings and finds an eclectic mix vying for the awards on offer.
In 2016, MipTV organiser Reed Midem decided to celebrate the global boom in scripted TV by launching its own drama awards. Dubbed the MipDrama Screenings, the first year was such a hit with buyers that the event has been brought back for 2017.
Just like last year, 12 finalists have been pre-selected for the awards in Cannes by an advisory board made up of experienced buyers. These shows will now compete for three awards – one decided by a jury of producers, another by critics and a third by buyers, who get to vote for their favourite show after screenings.
There are a couple of points about the MipDrama Screenings that make them particularly interesting. The first is that they focus on non-US titles, meaning that producers from less high-profile markets get a better chance to stand out from the crowd.
This year’s 12 comprise dramas from the UK (three), Germany (two), Russia (two), Canada, France, Denmark, Norway and Brazil. This echoes the story last year when Public Enemy, a drama from Belgium, was selected as the event’s top drama.
The second is that they are all new titles, which means many of them haven’t had much market exposure until now. A couple, like Babylon Berlin and Ride Upon the Storm, have been flagged up for a while – but this is not an awards programme for endlessly returning series like Game of Thrones or American Horror Story. In fact, around half the series being showcased are still in the middle of production.
So what can we learn from the 12 finalists? Well, in terms of subject matter, several deal with themes that have been pretty prominent in film and TV drama recently. Federation Entertainment’s Bad Banks, for example, is a new look at the world of big finance, while Sky Vision’s Bad Blood is a gangster series based on a true story.
All Media Company’s Russian drama Better Than Us (pictured top) is an exploration of AI’s role in our lives, while TV Globo’s Jailers is a new take on prison drama – this time from the point of view of guards, rather than inmates.
There are also a couple of cop shows, though perhaps not the kind we’re used to. The Territory, for example, is an eight-part drama from Sreda Production in Russia. The story is set in a town where a series of ritualistic murders take place. As a result, a pugnacious detective is called in to deal with the situation.
There is also Germany’s Babylon Berlin, a high-end drama series based on the thrillers by Volker Kutscher. Set in 1920s Berlin with Tom Tykwer as showrunner, this could be one of the landmark series of the year if it lives up to the hype.
The rest of the finalists tackle an eclectic and unusual range of subjects. For example, Missions, distributed by AB International, is a futuristic thriller focused on a Mars mission that goes wrong. While we’ve seen Mars as the focus of films and documentary series, this is the first recent TV drama to come to market (though others are in the pipeline).
Ride Upon the Storm is another leftfield drama. From Borgen creator Adam Price and produced by DR Drama in coproduction with Arte France and SAM le Francais, this is a story about faith, both in the traditional religious sense and in the wider context of what it is that guides us through our existence. It centres on an alcoholic, abusive priest and his two sons.
Faith may seem like a tough subject for a TV drama, but after Borgen (politics) and Follow the Money (finance), DR Drama is as likely as any to pull it off. Speaking about the series, Price says: “Despite the fact the Danes might not see themselves as a religious nation, we are surrounded by faith in our daily life. Faith fills the public debate – when atheists encourage people to leave the church, when we discuss integration, the refugee crisis, terrorism or the US presidential election. But also when we nurture mindfulness, ‘hipster Buddhism’ or the familiar blend of superstition and spirituality.”
Interestingly, the other Scandi finalist goes to the other end of the moral spectrum. Produced by HandsUp Stockholm for Viaplay Nordic, Veni Vidi Vici tells the story of a failing movie director who attempts to revive his career by working in the adult entertainment industry. However, this suspect career move forces him into a double life that threatens his family.
The show is part of Viaplay’s push into original drama. Explaining why his company backed the show, Viaplay CEO Jonas Karlén says: “We are convinced combining acquired TV dramas such as Empire and Blacklist with original Nordic drama is our future. Viaplay will take the lead on original productions in the Nordics, with 50 projects in the pipeline until 2020 with great stories that also have the potential to travel.”
A strong UK pool consists of ITV’s Fearless, Channel 4’s Gap Year and the BBC’s Clique – projects that all benefit from having strong writers at the tiller. Fearless, for example, is from Patrick Harbinson (Homeland). Starring Helen McCrory (Peaky Blinders), it tells the story of a solicitor who gets caught up in a political mystery while investigating the killing of a schoolgirl.
“Fearless is a legal thriller, but one that’s written in the crash zone where law and politics collide,” says Harbinson. “The so-called War on Terror has put serious stress on the workings of the law. National security justifies all sorts of police and state over-reach, and the majority of us accept this. So I wanted to create a character who challenges these assumptions.”
The other two UK entries are novel attempts to appeal to a younger audience – something TV drama desperately needs to do. Gap Year, written by Tom Basden (Fresh Meat) and distributed by Entertainment One, tells the story of a group of young travellers heading off on a three-month trip around Asia.
All3Media International’s Clique, created by Jess Brittain (Skins), is about two best friends drawn into an elite circle of alpha girls led by lecturer Jude McDermid in their first few weeks at university in Edinburgh. “It is about the different ways ambition plays out in young women at university,” says Brittain. “It’s a heightened version of a certain type of uni experience, pulled from my time at uni, then ramped up a few notches into a psychological thriller.”
In terms of the mechanics of the above shows, a few have been set up as coproductions, but for the most part they are centred around a strong central vision that originates in one territory. The impression is that the advisory board favoured shows that seek to tell local stories with universal themes. It’s also noticeable that most of them have a limited series feel to them. While this doesn’t preclude them from returning, it confirms the impression that the scripted sector outside the US is most comfortable in the six-to-10-episode range, working with season-long narratives rather than story-of-the-week projects.
Some of the talent involved is well established: Tykwer, Harbinson, Basden and Price, for example. But the overall list looks like a serious attempt to give buyers some interesting new angles,rather than simply showcasing big MipTV clients.
Public Enemy’s victory last year proves it’s hard to predict which show will come out on top. But the three-pronged winner selection process means the shows will be scrutinised pretty rigorously. Expert judges include Filmlance International MD Lars Blomgren (The Bridge), showrunner Simon Mirren (Versailles), screenwriter Virginie Brac (Cannabis, Spiral), Mediapro head of international content development Ran Tellem (Prisoners of War) and Big Light Productions founder Frank Spotnitz (The X-Files). That’s an impressive line-up of global drama talent with a good eye for spotting winning projects.
Finally, of course, it’s worth asking: is entering worth the effort? Well, the experience of Public Enemy would suggest so. Barely known before MipTV last year, the show was later sold by Banijay Rights to a wide range of broadcasters including TF1 and Sky Atlantic. So the message seems to be that creative recognition at the awards can have a financial pay-off.
Seven more series will take part in this year’s coproduction pitching session at the Berlin Film Festival – but what became of the shows that previously pitched for coproduction partners?
In the increasingly expensive business of television drama, piecing together the financial plan to pay for these shows has become more important than ever.
Since 2015, the Berlin Film Festival has invited TV projects to pitch for coproduction and financing partners at the CoPro Series, part of the Berlinale Coproduction Market.
Ahead of this year’s event, which takes place this week, seven shows have been selected for the exclusive pitching session. They include Freud, from Bavaria Fernsehproduktion and Satel Film (Germany and Austria); Cognition, from Catalyst Global Media and A Better Tomorrow Films (UK and US); Omerta, from Caviar (Belgium); and Metro, from Kelija (France).
The line-up is completed by State of Happiness, from Maipo Film (Norway); Hausen, from Tanuki Films (Bulgaria); and Warrior, which comes from Miso Film (Denmark).
But what has become of the shows that have been pitched in previous years? Here, DQ looks back at some of the series that have taken part to find out what happened next.
Valkyrien (pitched in 2015)
This Norwegian drama, produced by Tordenfilm, debuted in January on NRK, with 1.2 million viewers watching the first two episodes. It was also picked up by networks in Sweden, Denmark and Finland, and will launch in the UK on Channel 4’s international drama-focused digital platform Walter Presents.
Written and directed by Erik Richter Strand, Valkyrien tells the story of a physician who fakes his terminally ill wife’s death but keeps her secretly alive in an induced coma while he desperately tries to find a cure for her illness. To finance his endeavours, he is forced to make alliances with the criminal world and treat a variety of patients who need to stay off the grid.
Babylon Berlin (2015)
This groundbreaking new German series (pictured top) brings together pay TV giant Sky Deutschland and public broadcaster ARD, as well as coproducers X Filme Creative Pool and Beta Film.
Based on the series of novels by Volker Kutscher, it tells the story of police inspector Gereon Rath (played by Volker Bruch) as he tackles crime in 1920s Berlin – the most exciting city in the world, set between drugs and politics, murder and art, emancipation and extremism.
Currently in post-production, it is due to debut on Sky on October 13 and then on ARD later in 2018. International broadcasters to have acquired the series include Sky UK, Sky Italia, Spain’s Movistar+ and Belgium’s Telenet, as well as SVT Sweden, NRK Norway, DR Denmark, YLE Finland and RUV Iceland.
Tabula Rasa (2015)
Produced by Belgium’s Caviar, Tabula Rasa is currently in post-production and is scheduled to debut this October on VRT. It is distributed internationally by ZDF Enterprises.
Starring Veerle Baetens, the show centres on Mie, a young woman locked up in a secure psychiatric hospital. She is visited by detective inspector Wolkers, who is trying to solve a disturbing missing-persons case when it transpires Mie was the last person to be seen with Thomas Spectre before he vanished.
It appears to be a cut-and-dried case for the experienced DI Wolkers – except his only witness is a woman suffering from acute memory loss. In order to solve the puzzle and find Thomas, Mie has to reconstruct her lost memories and find her way back through the dark labyrinth of her past.
Tabula Rasa is written by Malin-Sarah Gozin (Clan) alongside Christophe Dirickx and Baetens.
Das Verschwinden (The Vanishing, 2016)
Written by Bernd Lange and Hans-Christian Schmid, this show unfolds in Forstenau, a small town close to the Czech border. When 20-year-old Janine Grabowski (Elisa Schlott) disappears, no one suspects foul play except her mother, Michelle (Julia Jentsch), who is forced to begin the search on her own. But the more she learns about her daughter and her surroundings, the more she wonders how much her own behaviour in the past has helped to create a network of lies and secrets, in which Janine is not the only victim.
Currently in post-production after shooting finished in December, The Vanishing is produced by Germany’s 23/5 Filmproduktion. Since it was pitched at Berlinale, regional German broadcasters ARD Degeto, BR, NDR and SWR have come on board, with the series due to air on national public broadcaster Das Erste later this year. Coproducer Mia Film from the Czech Republic is also attached.
This drama centres on a flamboyant Turkish family that immigrates to the Netherlands in the 1980s. It follows Osman and Cansu Çelik and their four adolescent children, who each have to find their own way to adulthood, pulled between a seemingly more communal life in spacious and sunny Turkey and an individual, modern existence in the Netherlands.
Written by Sacha Polak and Stienette Bosklopper, it is produced by Circe Films. NTR in the Netherlands and BNN-VARA will broadcast the show.
The Illegal (2016)
From Conquering Lion Pictures and Canadian broadcaster CBC, The Illegal is based on a book by Lawrence Hill and reunites the team behind The Book of Negroes, which was also based on a novel by Hill.
Described as a dystopian story by writer and director Clement Virgo, the novel tells the story of Keita Ali, a refugee compelled to leave his homeland and flee to a nearby wealthy nation – a country engaged in a crackdown on illegal immigrants.
There, Keita becomes a part of the new underground. He learns what it means to live as an illegal: surfacing to earn cash prizes by running local races and assessing whether the people he meets will be kind or turn him in. As the authorities seek to arrest Keita, he strives to elude capture and ransom his sister, who has been kidnapped.
It is currently in its second phase of script development, with shooting scheduled for January 2018.
Wars Inc (2016)
This newsroom-based drama, hailing from Israel’s Drama Team, is currently in development.
European pay TV broadcaster Sky has been investing in original scripted content for a few years now, but the last 12 months have undoubtedly seen the company increase its ambition in German-speaking territories. This week, for example, it announced an order for eight-episode drama Eight Days.
Directed by Stefan Ruzowitzky (The Counterfeiters), the limited series focuses on the reaction to the news that an asteroid is hurtling toward Earth and is predicted to crash somewhere in Europe in eight days’ time. It follows a German family as they live through what they expect will be the last eight days of humanity.
Asteroids are a well-worn theme in the movies but Frank Jastfelder, director of drama production at Sky Deutschland, said this project was different: “We were excited about Eight Days because everyone asked themselves the same question: How would I react in such a situation? In response to this question, Eight Days delivers emotional, always surprising and highly dramatic answers – and steers clear of all the Hollywood clichés.”
Eight Days will begin production midway through next year, by which time Sky Deutschland will have aired another of its big drama investments, Babylon Berlin. Directed by Tom Tykwer, Hendrik Handloegten and Achim von Borries, this US$45m show is a coproduction between Sky Deutschland, ARD Degeto, X Filme and Beta Film. It follows Gereon Rath, a police inspector in 1929 Berlin, a hotbed of politics, art, extremism and drugs.
Two seasons (16 episodes in total) of Babylon Berlin have been set up so far, though there is potential for the franchise to run and run because it is based on a popular book series by Volker Kutscher. So far, Kutscher has written six Gereon Rath books but only the first forms the basis of the first two seasons of Babylon Berlin.
Another ambitious project in the works is Das Boot, a €25m (US$26m) coproduction between Sky Deutschland and German producer Bavaria Film adapted from Lothar-Günther Buchheim’s classic 1973 novel of the same name. Based on the wartime experiences of a German U-boat crew, this series will air in 2018 across all the Sky territories: Germany, Austria, the UK, Ireland and Italy.
Sky Deutschland’s investment in new drama is also being backed by the acquisition of international titles. Earlier in December, the company acquired all five seasons of FremantleMedia International’s hit prison drama Wentworth. The deal marks the first time Wentworth will be available to German-speaking viewers. Season one premiered on Sky Deutschland’s recently launched flagship channel Sky1 on December 7.
Elsewhere in the world of European TV drama, YLE Finland and Mediapro of Spain are joining forces to make a Nordic noir drama called The Paradise. The project is the first time that a Spanish production company has collaborated with a Finnish channel.
The Paradise is a thriller set among the Finnish community living on the Costa del Sol. Their peaceful existence is interrupted by a series of crimes that can only be solved by a joint collaboration between the Finnish and Spanish police forces.
The show is being developed by YLE head of drama Jarmo Lampela and Bordertown writer Matti Laine alongside Mediapro’s Ran Tellem and David Troncoso. Although it is the first Finnish/Spanish collaboration, it is part of a much broader trend towards Nordic partnerships with other European countries. The trend was really kicked off by German broadcasters, the first to spot the international appeal of Nordic drama. The Brits then got interested, first in Wallander and more recently Marcella.
A key breakthrough came last year when France TV came on board Icelandic thriller Trapped. Further French backing for Nordic drama has been evident in the cases of Midnight Sun and Bordertown, a YLE crime series coproduced with Federation Entertainment. That show was a hit on YLE1, with a record 1.1 million viewers and a renewal. That bodes well for The Paradise.
Also this week, The Mark Gordon Company and its parent company Entertainment One (eOne) have joined forces with Xavier Marchand’s newly established UK-based production outfit Moonriver Content.
Under the Moonriver banner, Marchand will acquire, develop and produce film and TV projects with a focus on UK and European stories and talent. The move is expected to increase the volume of UK and European projects coming to Mark Gordon and eOne for financing, coproducing and distributing.
Marchand said: “In partnership with Mark Gordon and his superb team, and with the backing of eOne, I look forward to building on existing relationships and fostering new ones in film and TV.”
On the distribution front, Eccho Rights has revealed that two new broadcasters have picked up hit Turkish drama Elif, which airs on Kanal 7 in its home market. Bangladeshi network Deepto TV and Georgian broadcaster Imedi TV take total sales for the show 16 territories including Chile, where it recently debuted on TVN. Produced by Green Yapim, the show’s third season aired in September – with a total run of 250 45-minute episodes.
Also this week, SVoD service Hulu picked up the US rights to UK drama National Treasure from All3Media International. Written by Jack Thorne, National Treasure follows a popular comedian, played by Robbie Coltrane, whose life is turned upside down when he is charged with sexual assaults alleged to have taken place 20 years ago. The four-parter first aired on Channel 4 in the UK and will debut as a Hulu original series on March 1 next year.
Finally, there are exciting reports for fans of cult CBS sitcom How I Met Your Mother. According to Deadline, a spin-off entitled How I Met Your Father is now in the works with This Is Us co-executive producers Isaac Aptaker and Elizabeth Berger in charge. HIMYM ran for nine seasons between 2005 and 2014 racking up 208 episodes. The final episode included a controversial twist ending that didn’t go down well with a lot of fans. But it still attracted an audience of more than 13 million.
Germany’s leading broadcasters have always spent heavily on TV drama. But until recently there was a feeling that their work was too domestic in character to travel.
Shows like Generation War and Deutschland 83 have changed that perception. This week, we shine a light on the writers who are driving Germany’s TV exports.
Stefan Kolditz studied theatre in Berlin then taught in universities until 2002. Throughout the 1980s and 1990s, he wrote numerous projects for theatre, film and television. After honing his TV skills with classic German dramas such as Tatort and Polizeiruf 110, he had a major breakthrough in 2014 with the UFA/ZDF miniseries Unsere Mütter, unsere Väter (Generation War). He followed this with an acclaimed adaptation of Bruno Aptiz’s classic novel Naked among Wolves, which aired on ARD and is distributed internationally by Global Screen. More recent projects include the film biopic Paula and TV movies for pubcasters ZDF (Ein Mann Unter Verdacht) and ARD (Mutter Reicht’s Jetzt). He has also managed to fit in two new episodes of Tatort.
Annette Hess studied playwriting in the 1990s in Berlin and then worked at ARD in various executive roles. Her life as a screenwriter began in earnest at the start of the last decade, with TV movie credits for her previous employer. Like Kolditz, she cut her teeth on long-running scripted franchises like SOKO (Cologne) and Polizeiruf 110. However, the big turning point came in 2010 with the acclaimed drama series Weissensee, which has now run for three seasons (one every two years). Since then, she has had another big hit with Ku’damm 56, a ZDF series about female emancipation in the 1950s. The UFA-produced show was good enough to secure a follow up called Ku’damm 59, which is now in the works. In 2016, Hess also wrote episodes of Der Kommissar Und Das Meer, a ZDF crime series that has been running since 2007.
Philipp Jessen is a new voice to TV having previously worked as the editor of online newspaper service Stern.de. His TV debut came in 2016 with Giftschrank, which has been described as a cross between House of Cards and Kir Royal. The series, which in English translates roughly as Poison Cabinet, goes behind the scenes at a glossy tabloid-style magazine. Joachim Kosack, producer and MD at UFA Fiction, said of the show: “I have rarely seen a script that is so captivating from the first to the last page. Giftschrank gives a fascinating insight into tabloid journalism. High tension is not only the inner view, but also the ever-recurring question of morality in journalism. You get a sense of how editorial works. It is sharp, entertaining and wise.”
Joerg & Anna Winger burst onto the scene with Deutschland 83, a Cold War drama that aired on RTL in Germany and has attracted a lot of attention internationally. The two are now working on a sequel called Deutschland 86, which will premiere exclusively on Amazon Prime Video in Germany in 2018 before airing on RTL. Anna Winger is actually from the US, making her part of a growing trend for foreign writers to get involved in German series (others include Paula Milne and Rachael Turk). She is also developing a series for BBC America set in contemporary Berlin.
Dorothee Schön grew up in Bonn then studied film in Munich. She has written a number of TV movies and is another to have contributed to the Tatort juggernaut. After two decades working on TV movies, her next big project is a UFA-produced miniseries for ARD called Charité. A six-parter, the show tells the story of Berlin’s legendary Charité hospital, which many credit with inventing modern medical research. Schon is also lined up to write a miniseries for UFA called The Porsche Saga, which is based on a book about the car manufacturer by Stefan Aust and Thomas Ammann.
Tom Tykwer is writing Babylon Berlin with Hendrik Handleoegten and Achim Von Borries for a 2017 launch on Sky Deutschland. The lavish period piece will focus on life in 1920s Berlin. Writer/director Tykwer is best known for his movies, which include Run Lola Run, Perfume and Cloud Atlas. It’s not clear yet whether this is the start of a career in TV or a one-off project.
Christoph Silber wrote Rivals Forever – The Sneaker Battle, a period piece about the rivalry between Adi and Rudi Dassler, the founders of Adidas and Puma. A British-German producer, director and writer based in LA, Silber has been working across film and TV since the start of the last decade. Like many of his counterparts, he has written episodes of Tatort. Among his better-known TV movies is Das Wunder von Kärnten (written with Thorsten Wettcke), which tells the true story of a three-year-old girl from Austria, who fell into the lake behind her parents’ house in 1998 and had been underwater for 30 minutes before being found. A young cardiovascular surgeon takes up the seemingly hopeless fight for the young girl’s life, and remarkably saves her. More recently, Silber has been working on the miniseries Honigfrauen, which will see the light of day on ZDF in 2017. Set in 1986, it tells the story of two young women who go on holiday to Hungary’s Lake Balaton from East Germany.
Rolf Basedow is one of a team of writers who scripted Beta Film’s NSU Germany History X, a series about far-right German nationalists produced this year. Active in the TV business since the 1970s, he has contributed to dramas like Tatort and has also written series such as Sperling and the acclaimed 10-part series Im Angesicht des Verbrechens (2010), which looked at the interplay of police and gangsters in Berlin. Following NSU, he is back to writing TV movies including Zielfahnder: Flucht in die Karpaten.
Jan Berger had a major international hit with The Physician, which was directed by Philipp Stolzl. The Berger/Stolzl combination has subsequently come to be regarded as something of a dream ticket. The pair reteamed for Beta Film’s updated version of western adventure Winnetou and are also working with UFA Fiction on a TV biopic of magicians Siegfried and Roy.
Niki Stein and Hark Bohm are writing Hitler, a high-end drama series from Beta Film that will air on RTL and has been sold to French broadcaster TF1. The 10-hour event series is based on the biography Hitler’s First War by the internationally renowned historian Thomas Weber and will “shed an unprecedented light on the most closely examined figure of modern history,” according to Beta Film. Stein (pictured), another Tatort alumnus, has written numerous TV movies. One of his best-known works is the 2012 TV movie Rommel, about the famed Second World War general. The film attracted controversy, so it will be interesting to see how Stein handles this subject.
Marc Terjung and Benedikt Gollhardt created the hit Sat1 comedy series Danni Lowinski, about a hairdresser who becomes an unconventional lawyer. The German series ran for five seasons and spawned a Dutch adaptation. Terjung (pictured) also created comedy series Edel & Starck and has written for SOKO. After working on legal dramedy Danni Lowinski, he wrote Josephine Klick – Allein Unter Cops, about a female police officer who moves from a small town to Berlin, whereupon she encounters resistance from her new colleagues.
Jantje Friese recently secured the job of writing Dark, Netflix’s first German original series. The 10-part show, directed by Baran bo Odar, is set in a German town where the disappearance of two children exposes the double lives and fractured relationships among four families. Friese studied in Munich then started her career as a commercials director. Subsequently she went into production and writing. Together with Odar, she wrote the film Who Am I?, a well-received political/cyber thriller.
And those successes are spreading confidence across the industry.
One of the most ambitious new series coming out of Germany is Babylon Berlin, which starts filming next month.
Based on Volker Kutscher’s novels, it centres on police inspector Gereon Rath in 1920s Berlin – a hotbed of drugs and politics, murder and art, emancipation and extremism.
It was created by showrunner Tom Tykwer (Sense 8) and his writer/director team Achim von Borries and Hendrik Handloegten, and stars Volker Bruch (Generation War) and Liv Lisa Fries.
Babylon Berlin is particularly groundbreaking as it’s a collaboration between pay TV platform Sky, X-Filme, public broadcast group ARD and Beta Film, which is distributing the series worldwide. Sky will broadcast the series in 2017 and ARD in 2018.
Furthermore, the parties have all signed on for two seasons of the series. X-Filme producer Stefan Arndt says: “We’re particularly happy that we’ll be able to complete two seasons of eight episodes each during the first shooting. This shows how enthusiastic and confident all of the partners are in our joint project.”
That Sky and ARD have come together on the project is particularly unique, signalling both Sky’s ambitions to break into original German drama and the unique financing strategy in place to bring the series to life.
Volker Herres, programme director at ARD-owned Das Erste, which will air the series, says: “We would like to build on the incredible success of Volker Kutscher’s novels. These are exciting stories with a historical background, and we want to present them to German television audiences in a serial production that holds up to international standards. With this goal, we benefit from a collaboration between three strong partners so X Filme and Tom Tykwer can implement the detective series in grand style.”
Beta Film’s director Jan Mojto continues: “Due to the subject, the creative energy invested in the project, the names involved, its high standards and, not least, its budget, the first international reactions to the project have been very positive. Babylon Berlin doesn’t need to take second stage to any of the major international series.”
For Sky, Babylon Berlin is just the start of its original drama strategy, which is being built on top of exclusive acquisition deals for content from US premium cable networks such as HBO and Showtime.
Carsten Schmidt, CEO of Sky Deutschland, says the series “is an exceptional project and a perfect match for Sky – bold storytelling, an outstanding cast and Tom Tykwer’s incredibly creative team.
“The co-operation between X Filme, ARD Degeto and Beta Film is an impressive example of a fruitful and fair collaboration where all the partners are striking a unique path for Germany and Austria. With Babylon Berlin, we are adding an in-house German production segment to our exclusive international agreements with such major partners as HBO and Showtime – a direction we will be moving in even more in the future.”
Christine Strobl, MD of producer ARD Degeto, adds: “Babylon Berlin is a special project and very important for ARD. With this series, ARD Degeto will be offering Das Erste audiences a real treat that can stand up to international comparison from both narrative and visual points of view. With regard to co-operation and financing, such an exceptional project deserves an exceptional approach. I am looking forward to the upcoming start of filming – judging from the screenplays, we can expect some outstanding television.”
For Tykwer and his colleagues von Borries and Handloegten, the project marks the end of a search for a unique story to tell on Germany television.
“For a long time, we were searching for subject matter that could tell the story of this era in all its facets,” he explains. “We finally found it in Kutscher’s novels. And after Achim, Hendrik and I spent three years working intensively on the screenplay, I can hardly wait to get started.”
Von Borries picks up: “The final years of the Weimar Republic were a time of continual crisis and constant attacks from political extremists. A rapidly growing city with immigrants from all over the world was in the middle of it all – Berlin, the international melting pot, with the pressure constantly mounting. This was a source of inexhaustible material for us as authors. And to finally have the opportunity to portray the atmosphere of the late 1920s is a challenge to us as directors – absolutely huge and incredibly exciting.”
Of course, one of the central characters in the series is the city itself, which Handloegten says was characterised at the time by its fast pace, freedom and diversity.
“But soon it was too much speed, too much freedom, too much diversity,” he adds. “It was a city that was always becoming but never was. In Babylon Berlin, the city is the protagonist. And Berlin in 1929 is a bestial, monstrous, famished and satiated, exalted and down-to-earth, elegant and degenerate, perverse and chaste… and mysterious protagonist. It is the best thing that could happen to an author and director.”
German drama is also set to receive a boost from Netflix and Amazon, which have both ordered their first original German-language series.
Matthias Schweighofer will star in, direct and produce Amazon series Wanted, about a man who becomes the target of a mysterious hacking attack that puts him and his family in danger.
Dark, described as a family saga with a supernatural twist, comes to Netflix from producers Widermann & Berg (The Lives of Others) and is directed by Baran bo Odar. It is due to air in 2017.
The story is set in a German town in the present day where the disappearance of two young children exposes the double lives and fractured relationships among four families. It goes on to take a supernatural twist that ties back to the same town in 1986.
“Dark is a milestone for the German market and for us as a company,” says producer Quirin Berg. “Baran bo Odar and (writer) Jantje Friese are outstanding talents and we are glad they shared this amazing idea with us. We feel privileged to continue our collaboration with both of them and we are all thrilled to join forces with a great team at Netflix to create something truly unique.”
By pushing the boundaries of its homegrown series, both in terms of story and where they can be found, German drama is going from strength to strength at a time when there is a growing demand to see its stories played out on the international stage.
Built on a new willingness to tackle historical subject matter and increasing viewer acceptance of English-language shows, German drama is making international headway. DQ finds out how it’s all coming together for this growing industry.
In recent years the global dominance of Anglo-American TV drama has been challenged by a wave of innovative scripted shows from Scandinavia, France, Spain, Israel, Turkey and Korea.
But one country that should now be added to this list of emerging drama hubs is Europe’s powerhouse economy Germany. So long regarded as a creatively conservative market, Germany triumphed at 2014’s International Emmys with acclaimed miniseries Generation War (Unsere Mütter, Unsere Väter, pictured top). Other German-language dramas that suggest this will not be a one-off include Babylon Berlin, Shades Of Guilt and Deutschland 83.
All of this activity around German-language scripted content comes in parallel with the rise of German-backed English-language drama. Companies like Tandem Communications, Red Arrow Entertainment and Tele Munchen Group (TMG) have all become major players on the international drama scene with scripted series such as Pillars Of The Earth, Crossing Lines, Bosch, 100 Code, Moby Dick and Rosamunde Pilcher-penned miniseries. In addition to this, federal and regional incentives for film and TV have made Germany a popular production site (see panel).
To understand the German drama market in its entirety, however, it’s important to start by looking at the free-to-air public broadcasting market – which is where most of the drama audience and investment still resides. And the message here is that TV movies continue to dominate schedules. “Our audience loves TV movies,” says Susanne Mueller, head of feature films at one of Germany’s two public broadcasters, ZDF. “ZDF has been the overall leader in the German market for the past two years, and a lot of that is due to the success of our TV movies, which play in the traditional primetime slot of 20.15. We have two or three primetime slots for TV movies every week and typically get an audience of five million or more, which is very good in Germany.”
According to Mueller, there are three main categories of TV movie on ZDF: “Crime, romance and dramas dealing with contemporary social issues (such as drugs, stalking, adoption and sexuality). Sometimes we will also air comedy in the middle of the week, though that is less regular. We also sometimes acquire miniseries like The Borgias and reformat them to fit our TV movie slots.”
ZDF’s reliance on TV movies in primetime is mirrored over on ARD, Germany’s other public broadcaster. Despite a self-inflicted financial crisis that severely dented budgets at the broadcaster’s drama division, ARD Degeto, in 2012 and 2013, ARD continues to air a large number of TV movie-length dramas in primetime. Some are standalone titles and some are set up as branded franchises. An example of the latter is Tatort (Crime Scene), which has been airing at 20.15 on Sundays since 1970 and invariably rates well. Another long-running police franchise that continues to perform for ARD is Polizeiruf 110 (Emergency Call 110), on air since 1990.
ARD Degeto came out of its financial crisis with a dynamic new chief, Christine Strobl, who has a budget of around €400m (US$455m) a year to spend on drama. While ARD’s basic reliance on TV movies hasn’t changed, Strobl has made it clear that she wants to up the creative stakes at ARD, telling local media that the formula “‘beautiful landscape plus complicated family history equals success’ is no longer enough.” One title that underlines the new agenda at ARD is The Barschel Case. Produced by Cologne-based Time Warp, the show looks at the suspicious circumstances surrounding the death of German politician Uwe Barschel in 1987, who may have been killed by Israeli secret service the Mossad.
Other ARD greenlights include biopics about Hans Rosenthal and Bernhard Grzimek, high-profile German figures whose career paths were dogged by personal difficulties. Rosenthal was a Jewish radio and TV host who overcame anti-Semitism in his youth to become one of Germany’s best-loved celebrities, while Grzimek was a zoo director and conservationist who was accused of being a Nazi but later acquitted of any wrongdoing. Like the Barschel film, both subjects show a growing appetite from German television to explore the country’s recent tumultuous history through the prism of character-based storytelling.
Germany’s fascination with domestically oriented TV movies has presented challenges from a content distribution perspective for a couple of reasons. First, international buyers tend to favour long-running series, because it is easier and more cost-effective to build a marketing program around them. Second, TV movies don’t lend themselves well to scripted format adaptations.
Nevertheless, leading distributors such as ZDF Enterprises, Global Screen and Beta Film have all had success selling German TV movies to markets like Italy, Spain, France, Austria, Scandinavia and Eastern Europe. Beta Film MD Eric Welbers cites recent examples such as Anatomy of Evil (a five-movie franchise) to back the point. “The Anatomy Of Evil series has sold to RAI2, Antena3 and broadcasters in Scandinavia,” he says.
Welbers is also optimistic about the prospects of Murder by the Lake: The Celtic Mystery, the first part of a TV movie trilogy produced by Rowboat Film in partnership with Graf, ZDF and Austrian pubcaster ORF. Set on the shores of Lake Constance, the trilogy depicts German and Austrian police forced to work together on a murder case. The film attracted 6.6 million viewers on ZDF (20% share) last winter, and Welbers is confident it will do well with international buyers.
Global Screen, meanwhile, has had success with A Faithful Husband (Männertreu), an ARD primetime movie that was sold to Italy (RAI), Slovakia (STV) and Hungary (MTVA). It has also done well with Naked Among Wolves, which was pitched at Mipcom 2014 and the German Screenings last December. Directed by Philip Kadelbach (Generation War) and set in the Buchenwald concentration camp, the show aired in April and has since been sold into France, Poland, Benelux and Lithuania.
With TV movies occupying so much of their primetime schedules, ZDF and ARD tend to place series in afternoon, access primetime or late evening slots. “When we acquire British or Scandinavian drama series they usually go into the Sunday 22.00 slot,” says ZDF’s Mueller. “That’s also where we put our German crime series called The Team (which began airing in February).” An eight-part series, distributed internationally by ZDFE, The Team follows an international police unit on the trail of a cross-border crime network.
As with TV movies, German-language series have historically tended to appeal most to neighbouring markets. Betafilm’s Welbers cites Homicide Hills, a Tuesday night series on ARD that is also a strong performer on RAI in Italy, as an example. Also popular in Italy and Eastern Europe is another classic series, For Heaven’s Sake. One show that has travelled widely, says Welbers, is Kommissar Rex, a long-running police procedural centred on a police dog called Rex. Originally produced in German for Austrian pubcaster ORF, Rex has sold around the world and been remade in Italy and Poland. According to Welbers, there are also plans for a Canadian version.
ZDF Enterprises drama VP Tasja Abel says crime has historically been the strongest seller in her company’s catalogue. In particular, she points to classic series Derrick, a ZDF production that sold to markets including Australia, India, South Africa, France and Scandinavia. Global Screen has also done well with cop show Alarm For Cobra 11, which has been airing on RTL since 1996. A perennial seller, Cobra was most recently farmed out to Thailand.
Away from crime, another German-language show that has been exported widely is Storm of Love, an afternoon soap based in a five-star hotel at the foot of the Alps. Launched in 2005, the show is produced by Bavaria Film for ARD. To date, it has racked up more than 2000 50-minute episodes and been sold by Global Screen to 24 territories, including Belgium, Canada, Italy, Czech Republic, Poland, Bulgaria and Italy. With format rights also sold to Turkey, the show was named by Madigan Cluff and Digital TV Research as “one of the 10 most valuable drama series in Europe” in 2012.
Undoubtedly the most interesting export of all, however, has been 2013’s Generation War, a high-end production that tells the story of five young German friends (one of them Jewish) living through the trauma of the Second World War. Described as Germany’s answer to Band of Brothers, the miniseries has sold to around 150 countries and, unusually, managed to secure slots on mainstream English-language networks like BBC2 in the UK.
At home, Generation War was adapted into a TV movie format and played in ZDF primetime, an unusual move for such an edgy production. For Nico Hofmann, producer of the show and head of FremantleMedia-owned UFA Films, Generation War is indicative of a new style and energy in German drama: “We have a very strong business in traditional TV movies and crime dramas, thanks to titles like Soko (ZDF) and Donna Leon (ARD), but there is a growing appetite in the market for high-end drama storytelling.”
In part, this is because broadcasters need special events to showcase their schedules, says Hofmann. But it is also a response to the fact that young German audiences are increasingly attracted to the slick narrative style of US cable drama. “The good news is that we have a wave of young talent coming over from cinema that can make great drama,” he explains. “But the unknown question is whether this kind of drama can get the kind of ratings to appeal to a mainstream primetime audience.”
This isn’t just a question for the public broadcasters, says Hofmann. Commercial broadcaster RTL (which owns RTL, RTL2 SuperRTL and Vox) has tended to rely more on factual and entertainment in primetime, “but it is expanding its interest in drama. We are making Deutschland 83 for them, a series about a young East German spy who is sent to West Berlin during the Cold War. If that can get around four to five million viewers in primetime then it might encourage broadcasters to commission more primetime series.”
Like ZDF and ARD, RTL’s upcoming drama plans focus heavily on historical subject matter. Aside from Deutschland 83, the broadcaster is also working with UFA on an epic eight-part series that looks at Adolf Hitler’s life as a soldier during World War I (a project that is likely to stir up as much debate as Generation War).
More typical for RTL is the TV movie Iron Fist, which was introduced to the international market by Global Screen at Mipcom 2014. Set in medieval Germany, it tells the story of Götz von Berlichinge, a charismatic knight who fought for the Holy Roman Empire. According to Global Screen, the film has attracted interested from markets such as France, Benelux, Eastern Europe and Asia.
While RTL doesn’t commission as much drama as ZDF or ARD in primetime, it has done extremely well in daytime with reality dramas from Filmpool, a subsidiary of All3Media. Filmpool’s Felix Wesseler says the company first hit on the idea of reality drama a decade ago and now produces around 1500 hours a year, primarily for non-primetime slots on RTL and its main rival in the free-to-air commercial TV market, Sat1. “The idea is to take real-life situations and amateur actors and then place them in a scripted drama scenario. The result is a very compelling drama at an efficient production cost, with format potential,” he explains.
Wesseler cites examples like Cases of Doubt, a family-based whodunnit in which an unsuspecting husband or wife is confronted with the possibility that a family member might have committed a crime. Now up to 600 episodes, Cases of Doubt doubled RTL’s share in its daytime slot and has been sold on to Ukraine, Russia and Poland. Other examples of this approach include Families at the Crossroads and Berlin Day & Night, a youth-based series that airs in post-primetime on RTL2.
A big hit on TV, Day & Night also has a strong online following and has spawned a spin-off series, Cologne 50667. Both series are hitting audience shares of 16-17% of 14-49s against a channel average that is generally sub-10%. “I think this is one of German drama’s mega-trends,” says Wesseler. “We’ve just been commissioned to make a new series for primetime (details regarding subject matter and broadcaster still under wraps) which will allow us to see if this format can extend to those commercially important slots.”
Like RTL, Germany’s other major commercial broadcaster Pro7Sat1 (owner of Sat1, Pro7 and Kabel 1) doesn’t air as much primetime drama as the pubcasters. However, Jochen Ketschau, its senior VP of German fiction and coproduction, stresses that “German drama has always been and still is a crucial element in the portfolio for Sat1. Key slots on Sat1 are Monday night (20.15 and 21.15) for serial drama. And Tuesday is Movie Night. For more than 20 years, Sat1 has been showing German fictional movies in this same timeslot.”
Sat1 is well known for historical movies as well as romantic comedy, comedy and drama, says Ketschau. Successes include Die Hebamme, the story of a young woman in 1799 whose ambition to train as a midwife sees her embroiled in a murder-mystery in university town Marburg.
Among other titles that have worked well for Sat1, Ketschau picks out Der Letzte Bulle and Danni Lowinski, “both of which are very successful and unique shows that have won several prizes over the past five years and have also been licensed for international markets.” In ratings terms, Ketschau says: “A good share is more or less 10% in our main target group of women aged 30-49.”
Recent times have seen Sat1 inject a new kind of energy into its primetime schedule with politics-based dramas, says Ketschau. One is Der Rucktritt, a docu-drama that follows the events leading to the resignation of former German president Christian Wulff (2010-2012). Another is Der Minister, a satire on the rise and fall of a young political star. The TV movie, produced by UFA-owned teamWorx, is loosely based on the plagiarism scandal that engulfed former German minister Karl-Theodor zu Guttenberg.
As with RTL (owner of FremantleMedia), it’s important to keep in mind that Pro7Sat1 has positioned itself as an international TV business. In terms of drama, this manifests itself in two ways. First, the company sometimes joins projects as a coproduction partner. For example, it has teamed up with Munich-based Tandem Communications on a number of projects, including Pillars of the Earth, World Without End, Labyrinth and Crossing Lines.
Second, it is directly plugged into the English-language drama market through its international production/distribution division Red Arrow, whose projects include Bosch, 100 Code and Esio Trot.
Strategically, this approach allows Red Arrow to build up a slate of titles that are more attractive to buyers than the majority of German drama. It also means there is a significant level of German input on any English-language drama that is sold back into the German market.
This latter point reflects the pragmatism of the German TV market. While German drama is still the most popular form of scripted content, years of exposure to Hollywood movies and series have created a familiarity with and acceptance of dubbed English-language content. A good example of this is TMG’s run of TV movies/miniseries based on the novels of Rosamunde Pilcher (recent examples being The Other Wife, Unknown Heart and Valentine’s Kiss). These are aired on ZDF but shot in English so that TMG can sell them internationally. It’s a strategy that works. ZDF gets good ratings, while TMG sells the shows to more than 20 countries, including the likes of Spain, Scandinavia and Australia.
With more and more successful international coproductions, there’s increased willingness among German broadcasters to see this as a primary route to sourcing content. “A growing number of German producers want to see their drama succeed internationally but are restricted by the language,” says ZDF’s Mueller. “So we are seeing more projects that feature German actors and locations but are shot in English.”
Like its commercially owned counterparts, ZDF Enterprises is also investing more time and money in the international drama arena. In June 2014, it joined forces with executive producer Uwe Kersken to form G5 fiction, a joint venture designed to create original drama (miniseries, long-running series and event productions – predominantly history) with German and international market potential. Among G5’s first projects for the international market are the series Alexander the Great, with Michael Hirst (The Tudors, Vikings) as showrunner, and a miniseries called Ellis Island.
One interesting feature of the German market over the past two decades has been the strength of its free-to-air market compared with those of the US, UK and France. From a drama perspective, this has meant German pay TV has not really been a major contributor to drama investment when compared with US cable, Sky UK and Canal+.
Beta Film’s Welbers believes this might be about to change, and points to Babylon Berlin as evidence: “Babylon Berlin is a coproduction between X-Filme, ARD, Sky Germany and Beta Film that is an example of the creative risk-taking we are starting to see.”
Based on novels by Volker Kutscher, the show is set in 1920s Berlin and centres on police inspector Gereon Rath. The TV version will be headed by showrunner Tom Tykwer, whose directing credits include Perfume: The Story of a Murderer.
All the partners involved see Babylon Berlin as a groundbreaking project. It is, for example, the first time ARD has gone down this kind of coproduction route with Sky Deutschland. “In order to realise this costly and intricate project, we wanted to try out a new form of co-operation with Sky,” explains ARD Chairman Lutz Marmor. “It could also be a viable model for the future.”
As for Sky Deutschland, Gary Davey, executive VP of programming at Sky, says of the show: “The story is perfectly suited to our mission statement to offer our customers high-quality productions. It describes a very special place at a very special point in history. Babylon Berlin will be the perfect addition to our successful US series.”
According to Welbers, a further illustration of the growing ambition of German pay TV channels is Weinberg, a six-hour psycho thriller series that will air on TNT Germany, Austria and Switzerland this year. Produced by Bantry Bay and Twenty Four 9 Films with Gerda Müller, Jan Kromschörder and Philipp Steffens, international distribution is again being managed by Beta Film.
The strength of Germany’s indigenous drama market, combined with its attraction to US and Scandinavian content, means it has never been a big buyer of scripted formats. But there are a couple of important examples produced by UFA for RTL. One is the long-running soap Gute Zeiten, Schlechte Zeiten, adapted from the Australian series Good Times, Bad Times. Another, more recent example is a local adaptation of female prison drama Wentworth. Produced originally by FremantleMedia Australia, UFA went into production with a German version in March last year.
As evident throughout the above story, a large part of the current drama drive is built around historical subjects. If there are two notable trends here, they are the following: a willingness to tackle subjects previously thought of as taboo (like Hitler and the Nazis); and a greater exploration of periods outside WW2.
One of the richest sources of ideas is the period before the East-West reunification. Aside from Deutschland 83, for example, there has been Annette Hess’s critically acclaimed Weissensee, a family drama set in communist East Germany during the 1980s. The show first aired in 2010 and, having achieved a strong audience of around six million, will return for a third series this year. The show has also proved popular internationally, selling to Benelux, Scandinavia and most of Eastern Europe.
Also of note is Bornholm Street, an ARD TV movie that took a light-hearted look at the final few hours of the Berlin Wall from the perspective of an East German border guard. The film attracted 7.5 million viewers and was named TV event of the year at the prestigious BAMBI Awards. Like Deutschland 83, it shows a new side to German drama, by tackling tough historical subjects through an ironic storytelling style more typical of the US and UK.
UFA’s Hofmann cites additional examples to underline the point about the historical flavour of German drama. One is Die Ärzte (The Doctors), which is set at the end of the 19th century in the world-famous Charité hospital in Berlin-Mitte. Another is Berlin Kurfürstendamm, the story of three young women in 1950s Berlin. “A lot of people talk about the fact that modern Germany was created by a generation of strong women, because so many men died in the war,” he says. “So this is a look at the era of sexual and social liberation they lived through.”
One other interesting dynamic worth mentioning in Germany is the existence of a strong bond between theatrical and TV, a situation that makes sense when you take account of ZDF and ARD’s dependence on TV movies. At last count, more than half of all feature films made in Germany had TV money in the budget (though there was a dip during ARD Degeto’s crisis).
A good recent example of this relationship at its best is Der Medicus (The Physician), a €10m UFA Cinema production which was a box-office success before going on to air as a two-part miniseries in ARD primetime. Hofmann says this kind of collaboration is acting as a blueprint with a raft of new projects being lined up for theatrical then television release. Worth noting here is that Der Medicus was shot in English and featured high-profile international stars Stellan Skarsgård and Ben Kingsley.
Echoing developments in other territories, increased quality in the TV market is encouraging some movie producers to place greater emphasis on TV production. A good case in point is Constantin Film, which has announced plans for TV series spin-offs of its Mortal Instruments and Resident Evil movies.
In addition, Constantin subsidiary Moovie, run by producer Oliver Berben, has been making its mark with some strong drama series. Following the success of period piece Hotel Adlon, Constantin/Moovie made Shades of Guilt, a 6×60’ legal/crime series based on true cases and featuring Moritz Bleibtreu. Distributed by Beta Film, the well-received show “is not a crime-solving series but a series that explores the motives of the people who commit crimes,” explains Beta Films’ Welbers.
The growing significance of TV is also having an impact on the European Film Market, which took place this year from February 5-13 in Berlin. This year, an expanded emphasis on TV saw the launch of a Drama Series Day and enhanced opportunities for screening, buying, selling and coproduction dialogue.
Explaining the move, Matthijs Wouter Knol, director of the EFM, said: “Unusual, often complex and sophisticated, stories combined with high production values and a first-class acting ensemble are now the trademarks of successful drama series, and they have moved the format closer to film. It was therefore natural for us to offer series producers and creators a platform at the EFM for the first time.”
Finally, it’s impossible to write a drama story these days without some reference to SVoD platform Netflix. Netflix Germany opened for business in September last year with its standard offering of series such as House of Cards, Orange is the New Black and The Killing. There is no news yet on German-language originals, but the strength of the local SVoD competition (Watchever, Maxdome, Amazon) combined with the use of local-language originals during the recent launch in France suggests that may be the next step.