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Mipcom showcases global writing talent

Malin Lagerlof
Malin Lagerlof

Mipcom, which takes place in Cannes between October 17 and 20, is not just a great platform for international drama – it’s also a useful showcase for writers from around the world.

At a time when the key players in the scripted TV business are increasingly willing to employ writers from beyond their home territory, it’s worth exploring the people behind the market’s headline dramas.

French distributor Wild Bunch TV, for example, will be in Cannes with three dramas including Israeli production Mama’s Angel. A 10-episode psychological drama that explores the dark underbelly of life in a wealthy Tel Aviv suburb after a child is murdered, it was screened in competition at Series Mania 2016 and was created by rising star Keren Weissman.

Called Malach Shel Ima in Hebrew, the show was produced by Black Sheep Productions and aired on Yes TV. Weissman’s first TV drama series, it has scored a decent 8.2 rating on IMDb. Speaking at Series Mania, Weissman said the show took four years to write and places a strong emphasis on emotive themes such as motherhood.

Also on the Wild Bunch slate a road trip-cum-love story Tytgat Chocolate, about a man and his mentally challenged co-workers at a chocolate factory. The seven-part Flemish series was written and directed by Marc Bryssinck and Filip Lenaerts and produced by deMENSEN for VRT. Of the two writers, Lenaerts has the longer track record in TV, having created 2011 documentary The Colony (about life in an isolated prison). Interestingly, Bryssinck is artistic director at Theatre Stap, a professional theatre company that works with people who have mental disabilities. Clearly this experience will have helped inform the VRT show.

Jesse McKeown
Jesse McKeown

Red Arrow International’s slate features a diverse range of drama titles including Farang, a Nordic drama made by Warner Bros for C More and TV4 in Sweden. This one tells the story of a former criminal eking out a shabby existence in Thailand having testified against some old friends in his home country, Sweden. An eight-part series starring Ola Rapace, this one is written by Malin Lagerlof, Veronica Zacco, Anders Sparring and Niklas Rockstrom.

Lagerlof is a well-established writer whose recent credits include SVT miniseries Bibliotekstjuven and Wallander – Saknaden, a 2013 production from Yellow Bird. Prior to her success in TV, she made a name for herself in theatre and film production. Zacco is a more recent addition to the industry but has several episodes of Thicker than Water under her belt. Rockstrom, who also worked on Thicker than Water, is now involved with a new SVT project called Before We Die. Sparring’s most recent major credit, meanwhile, was the kids animation series Rita & Krokodille.

Red Arrow is also at the market with The Romeo Section: Assassins, a Vancouver-set espionage thriller that aired on CBC. The blurb says: “To his university, Professor Wolfgang McGee is a gifted academic. To his country, he is the spymaster behind the Romeo Section, a secret ring of intelligence operatives that infiltrate some of the world’s deadliest criminal networks.”

Chris Haddock
Chris Haddock

This one is written by a trio that includes Jesse McKeown, Chris Haddock and Stephen E. Miller. McKeown is a well-established writer whose recent credits include 19-2, Rogue, Republic of Doyle and Da Vinci’s City Hall. Larger-than-life figure Haddock was the creator and showrunner of the latter show and also showruns the new title being marketed by Red Arrow. In fact, he has previously been profiled by DQ – click here to check it out. Interestingly, Miller is better known as an actor (with a long string of credits). This is his first outing as a writer, except for a single episode of Da Vinci’s Inquest, a precursor to Da Vinci’s City Hall that was also created and written by Haddock.

StudioCanal’s big push at the market is Midnight Sun, a Canal+/SVT coproduction. Created by Måns Mårlind and Bjorn Stein, StudioCanal calls it “a high-concept thriller set in a small mining community in remote northern Sweden where a series of brutal murders conceal a secret conspiracy.” Due to air later this year, the series received the Audience Award at SeriesMania in April.

Mårlind and Stein, of course, are best known for crime series Bron, which has aired in 160 countries and has been remade in the US as The Bridge and the UK  as The Tunnel. They started working together at Stockholm-based production company Camp David where they directed commercials for major brands including Nike, UNICEF, Toyota, Reebok, Scandinavian Airlines, and IKEA. After this they began alternating between commercials and feature films, helming Underworld: Awakening, starring Kate Beckinsale. In more recent times their focus has been on high-end TV drama.

Bjorn Stein (left) and Måns Marlind
Bjorn Stein (left) and Måns Marlind

Sticking with the Scandinavians, StudioCanal will also present Below the Surface, a crime thriller for Denmark’s Kanal 5 from SAM Productions. In this story, 15 people on a subway train beneath Copenhagen are taken hostage by three armed men. A terror taskforce is dispatched to rescue them and a reporter acts as go-between with the police as the captors bait the press with information about each hostage’s past.

Kasper Barfoed is creator, head writer and concept director of the show. Until now, Barfoed had been best known as a director, having previously been a child actor. His previous directorial credits include Dicte and Those Who Kill. His only previous writing credit is 2015 movie Sommeren ’92, set against the Danish football team’s successful campaign in the 1992 European Championships.

From the UK, StudioCanal has Crazyhead, a new comedy-horror series from Bafta winner Howard Overman (Misfits). The six-part series is produced by Urban Myth Films for Channel 4 in association with Netflix. It follows “Amy and Raquel as they navigate their way through the choppy waters of their early 20s while kicking the ass of some seriously gnarly demons.”

Ortega
Sebastian Ortega

RAI Com, the sales arm of Italian pubcaster RAI, is also heading to Cannes with a strong slate of dramas. One key title is crime series Non Uccidere (Close Murders), which is entering its second season. The story focuses on a female crime fighter, Valeria Ferro of the Turin Homicide Squad, and her battle against domestic and community-based violence. It was directed by Giuseppe Gagliardi and created by Claudio Corbucci, whose previous TV series credits include La Squadra. For the last few years, he has been more focused on movies and TV movies.

Dori Media Group, meanwhile, has high hopes for crime drama El Marginal, a 2016 Grand Prix winner at Séries Mania. El Marginal is a coproduction from Underground Producciones and TV Publica Argentina and was created by Sebastian Ortega.

It tells the story of Miguel Dimarco, “an ex-cop who enters prison under a false identity as a convict. His mission is to infiltrate a gang of prisoners who have kidnapped the daughter of a prominent judge. Miguel must discover the whereabouts of the girl and help set her free. He meets the objective but someone betrays him, leaving him behind bars with no witnesses who know his true identity.”

Ortega is a well-established writer/producer on the Argentinian scene and has been closely associated with commercial channel Telefe since 2008 (though this title is for TPA, not Telefe). Big hits during his career have included Lalola, Los Exitosos Pells and Graduates. Ortega’s shows generally score well with international buyers, so El Marginal is also likely to attract a lot of attention.

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MipTV scorecard: Which dramas stood out?

Jenna Coleman in Victoria
Jenna Coleman in Victoria

There were 11,000 delegates at MipTV this week, 3,900 of whom were content buyers. And top of their shopping list was drama, with a wide array of titles being picked up by free-to-air, pay TV and SVoD channels and platforms.

MipTV doesn’t see much activity from the major US studios, which prefer to focus on the LA Screenings next month. So this meant the attention was more on European and Asian drama, with a few US cable titles also attracting attention.

A big winner at the market, for example, was ITV Studios Global Entertainment, which sold its period drama Victoria into the Nordic region, the Netherlands and Canada. There was also interest in BBC Worldwide’s Anglo-French fashion drama The Collection, which sold to SVT Sweden and DR Denmark.

As the above titles indicate, British dramas tend to secure an initial wave of sales in Scandinavia and other English-speaking markets before picking up deals in other territories. This point was underlined by deals done on Capital. Distributed by FremantleMedia International, the adaptation of John Lanchester’s novel has been sold into the US, Canada, Australia and New Zealand.

If there was a clear trend in terms of sales, it was the continued importance of SVoD platforms, which seem to be doing almost as many drama deals as traditional networks.

The Book of Negroes
The Book of Negroes has been picked up by US streamer Hulu

Hulu picked up eOne’s The Book of Negroes, while All3Media International sold Irish drama Red Rock to Amazon Prime Video in the US. Channel 4’s international drama strand Walter Presents, meanwhile, acquired two series from Keshet International – Baker & The Beauty and Milk & Honey – plus Spanish drama Locked Up.

Perhaps the most high-profile SVoD deal of them all saw Netflix acquire Marcella from Cineflix Rights. Created by The Bridge writer Hans Rosenfeldt and produced by Buccaneer Media for ITV in the UK, Marcella delves into the psychology of a troubled female detective investigating a serial killer. Larry Tanz, VP of global television at Netflix, said: “We got involved with the series early on in the process to gain the opportunity to bring Hans’s great storytelling to our members around the world.”

Other dramas that secured good deals at the market include the Content Television-distributed Line of Duty, which sold to DirecTV Latin America, BBC Worldwide Benelux and Hulu in the US, which picked up VoD rights.

There was also an interesting deal that saw Zodiak Rights’ Versailles picked up by US pay TV channel Ovation. Ovation isn’t really known as a drama buyer, so it’s another good indication of the demand for event dramas.

One company that has got more interesting to the international market in recent years is Italian public broadcaster Rai, which until recently was only really interested in commissioning mainstream scripted shows for primetime slots on flagship channel Rai 1. But there has a been a definite shift as a result of the wider changes taking place in the international drama market.

Marcella
Marcella, starring Anna Friel and now airing on ITV in the UK, was acquired by Netflix

On the one hand, the company is now producing edgier, younger-targeted drama for Rai 3, with the result that it is attracting more attention from international buyers. An example at the market was Close Murders, which was on the verge of being picked up by Franco-German network Arte at Mip.

On the other, Rai has started getting interested in supporting English-language event dramas. At the market, for example, it was one of the backers of Wild Bunch TV’s epic new period drama Medici: Masters of Florence, which has now been greenlit for a second season.

One new development at the market was the launch of the Mip Drama Screenings, a showcase for 12 new drama titles that was held on April 3 in the JW Marriott Hotel. The event, heavily skewed towards European content (but with a Chilean and an Israeli-originated show involved) was well received by buyers and put the spotlight on some interesting series.

Writer/producer Frank Spotnitz, whose Medici was among the shows screened, called the screenings “an excellent platform. We had the undivided attention of 400 buyers who were able to watch extended excerpts and trailers in a nice theatre, with proper sound and picture quality. When you are running around at a hectic TV market like MipTV, a focused and quiet environment is valuable for both the filmmakers and the broadcasters. I hope the screenings expand in the future.”

Public Enemy
Belgium’s Public Enemy won the Coup De Coeur following the Mip Drama Screenings

At the end of the screenings, one show is given an award called the Coup De Coeur for being the best of the bunch according to the buyers. This year it was Belgium’s Public Enemy, which is distributed by Zodiak Rights.

It’s too early to know how Public Enemy’s success at the screenings will impact on its sales – but it certainly should help. Sarah Wright, director of acquisitions at Sky and one of the executives on the advisory board that selected the show, said: “We chose Public Enemy because we felt it was brave, it was strong, it was fresh, it had twists and turns. It feels like something that will travel.”

Last week, we name-checked a few scripted format deals. By the end of MipTV a couple more had bubbled to the surface. Onza Entertainment sold the format for Spanish drama The Department of Time to China’s Guan Yue International, while Russia’s NTV commissioned a local version of Nordic Noir hit The Bridge.

In a related development, Lionsgate licensed its new show Feed the Beast (starring David Schwimmer and Jim Sturgess) to AMC’s UK pay TV channel. This show, about two friends who launch a restaurant, is based on a Danish scripted format.

This market was very much billed as being about Germany – this year’s Country of Honour. But it was noticeable that France was actually among the most high profile in terms of deal-making. StudioCanal, for example, used the market to announce that it was acquiring stakes in a number of international production companies, including Spanish powerhouse Bambu, producer of hit shows like Velvet, Gran Hotel and the first Spanish-language series ordered by Netflix. The firm’s sister company Canal+, meanwhile, launched Studio+, which is billed as the first global premium series offer for mobile devices.

Velvet
Velvet, produced by Spain’s Bambu

The new company will produce exclusive premium drama series for smartphones, tablets and a dedicated app. Each series will consist of 10 10-minute episodes, with an average budget of €1m (US$1.14m). Studio+ president Manuel Alduy said the service will launch in September in France with 25 complete original series, before opening in Europe, Russia and Latin America in partnership with major local telecoms. Early series include drama Amnesia starring Caroline Proust, action series Brutal and Urban Jungle and thrillers Kill Skills and Madame Hollywood. Sixty more shows are currently in development.

Explaining the thinking behind the series, Dominique Delport, president of Vivendi Content (Canal+’s parent company), said 60% of smartphone users watch shortform video. He said the directing talent for the new series comes from advertising and music, sectors that have experience of reaching Studio+’s target audience of 15- to 35-year-olds.

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