Tag Archives: Colin McKeown

Less is more

The rampant demand for long-running series is seemingly unstoppable, yet TV movies and one-off dramas are becoming a powerful tool in addressing single issues or themes. They’re also evidence that not every story needs to run to multiple episodes and seasons.

TV movies come in many forms, whether they’re single dramas with a feature-length running time or topical one-offs that dramatise a contemporary or historical theme or event. And while it might seem logical that the current demand for binge-worthy series would temper the desire for small-screen movies, in truth they are as sought-after as ever as viewers seek a quick storytelling fix before starting the next must-watch 10- or 13-episode show.

“They have their place, for sure,” says Ian Whitehead, a producer at Canada’s Incendo Films. “But subscription-based firms are always looking for newness. Yes, they might have Breaking Bad to attract viewers, but they’re trying to broaden out and have something new.”

Europe has long been keen on TV movies, with schedules built around 90-minute dramas. This remains the case in Germany, where Rowboat Film und Fernsehproduktion is behind Die Toten vom Bodensee (Murder by the Lake), a series of small-screen movies produced twice a year, following two cops as they investigate murders at a lake that borders Germany, Austria and Switzerland. Distributor Beta Film has sold the series, produced for Germany’s ZDF and Austria’s ORF, into more than 50 territories.

Brain Power Studio’s After the Storm

“Every market’s different but Germany somehow kept the 90-minute timeslots in abundance,” says Rowboat producer Sam Davis. “We produce two or three a year with the same cops and the audience responds to it because it’s a cinematic experience in a serial context. We find there’s still a big audience for that.

“We can’t ignore the fact the audience has become more serialised. And because they’ve become more serialised, we’ve adapted to more serialised TV movies, as we know the audience can keep a lot of subplots and complex characters in the air at the same time.”

Ontario-based Brain Power Studio has a slate of family movies, Christmas-themed films and romantic comedies, and also has a deal with Harlequin Books to adapt some of its novels for television. Titles include After the Storm and Christmas With a Prince, while My Perfect Romance, Christmas Wedding Planner and Christmas With a View have all been sold to Netflix.

“As well as higher expectations from viewers, there is also greater sophistication to those films than there was in the past,” says Beth Stevenson, Brain Power founder and executive producer. “There are great concepts you can do with standalone films, and when you adapt a novel, there’s a whole backstory that’s been created within that book that you can actually utilise during the storytelling. That makes a really big difference. It may not attract the same audience that’s watching complicated and complex dramas, but those viewers still have very high expectations of not only being entertained but also being carried along with the story.”

Japanese biopic Kurara: The Dazzling Life of Hokusai’s Daughter (pictured top) tells the story of O-Ei, who lived in the shadow of her father, celebrated artist Katsushika Hokusai, before creating a name for herself with her own style of painting. The film emerged when Taku Kato, a senior producer in Japanese pubcaster NHK’s drama production department, sought a local story that would create interest abroad. A Hokusai exhibit at the British Museum coincided with his discovery of a book about Kurara, leading him to believe the story would appeal to viewers at home and around the world.

Christmas with a Prince, one of a number of Christmas-focused films on Brain Power’s slate

The decision to make a TV movie, as opposed to a series, came from Kato’s preference to focus on the core theme of the story. “In real life, Hokusai and O-Ei had debt problems and a complicated relationship. By making a one-off drama, I was able to focus on their affection for each other in the context of art,” he says. However, this approach was not without its challenges. “Summarising the life of a great artist in a single story is difficult because diverse elements of the circumstances, motivations and processes behind the artworks are interwoven in complex ways,” Kato adds.

The power of TV movies to shine a spotlight on topical or weighty subjects is one of the best uses of the format, with the BBC a particular champion of this type of TV drama. Films such as Murdered by my Boyfriend, Murdered by my Father and Killed by my Debt have told fact-based stories via dramatic reconstructions, while others have dramatised sensitive and often invisible issues.

Upcoming BBC single Care stars Sheridan Smith as Jenny, a single mum-of-two whose world comes crashing down when her beloved mother Mary (Alison Steadman) suffers a devastating stroke, leading to dementia. Written by Jimmy McGovern (Broken, The Accused) and Gillian Juckes, it is produced by LA Productions and distributed by Kew Media Distribution.

Producer Colin McKeown says the story, based on Juckes’ real-life experiences, was always destined to be a single drama. “It had a beginning, middle and end,” he says. “To me, a series is designed as a series. It’s about knowing when to stop and also what animal you’ve got. If it’s a single one-off, it shouts at you and says, ‘This is more poignant if you treat it not as some sort of commercial exercise but as a piece of storytelling that’s got maximum impact by being what it is in the first place – a unique story.’”

Japanese biopic Kurara: The Dazzling Life of Hokusai’s Daughter

LA Productions has good form with singles, having produced Common, another McGovern film, which explored the UK’s Joint Enterprise law when a young man gives friends an impromptu lift to a pizza parlour and ends up being charged with murder. The film helped change British law. “We’re very proud of what it achieved. Would it have achieved that if it was a series? I don’t think so,” McKeown says. “What Care will achieve in flagging up the problems that families are subjected to when a member of the family unfortunately contracts Alzheimer’s will be that much more rewarding because it’s a single film. It’s always the films that touch people’s hearts a lot more and have a bigger impact.”

Dementia is also key to another upcoming BBC feature-length drama, an adaptation of Emma Healey’s novel Elizabeth is Missing, about a woman struggling with the illness as she sets out to discover the truth about her friend’s disappearance. Shooting is set to begin in March 2019.

“It deals with an incredibly current and relevant issue to a lot of people but did it in such a fresh and accessible way,” producer Sarah Brown, head of drama at STV Productions, says of the source material. “There hadn’t been many dramas about dementia and it is such a huge issue of our time. We were very keen it should be on a mainstream channel for a mainstream audience because it’s an issue that touches so many people’s lives.”

The book’s unique viewpoint – the story is told from the perspective of someone with dementia – meant Elizabeth is Missing suited a 90-minute format, rather than the three-parter that was originally discussed. “There was no agenda, we just all felt creatively and editorially that a single was the best form for this story,” Brown says. “Some stories are designed and meant to be told as a multi-part show, and we all love those long-running stories that unfold slowly. But not every story is suited to that format, and we felt this story was best told in a single immersive experience.”

Sheridan Smith in BBC one-off drama Care

Whitehead says that, like serialised dramas, TV movies are introducing more flawed characters and complex situations. “In our movies, we go in different areas and have villains we enjoy as much as the heroes. Some broadcasters invest because the film is about a controversial subject or it’s a historical piece. We try to have interesting characters, and don’t believe we have to go big budget or big name. What I hope to do is more a mix of characters and languages. People are more open to that, so I hope it translates with movies.”

TV movies also allow stories to be told more directly, without becoming consumed by the side plots and peripheral characters needed to flesh out multi-episode series.

“Movies allow you to tell a story in a very condensed way. As you have only about 90 minutes of runtime, you can’t allow yourself to explore too many facets of a character’s life – even if it would be interesting,” says Caroline Labrèche, the director of Incendo thriller Second Opinion and the forthcoming Thicker than Water. “So everything in the film, be it story beats or character beats, needs to be very precise. You need to watch a scene and know exactly why you’ve just watched it. It can’t be too vague or subtle. There’s just no time for that, especially in plot-heavy thrillers. But that’s the challenge.”

Brown laments the way quieter single stories have been squeezed out in favour of multi-part dramas. “So the ones that tend to be commissioned are either big, topical, campaigning issue pieces or based on a really big well-loved book or with a bit of talent attached,” she notes. “In our case, it’s a combination of the subject matter and the book. Hopefully the way we make that and cast it will further enhance its visibility.”

With the trend for serialised stories showing no signs of stopping, TV movies can offer themselves up as a bitesized drama that can be watched in the time it takes to watch two episodes of a series. Meanwhile, investments in the genre made by Netflix, Amazon and other streaming platforms continue to blur the boundaries between TV movies and feature films on TV.

Incendo thriller Second Opinion

NHK’s Kato believes that as creators cross the boundaries between film and television, stories will too. “Given that TV movies allow suppliers and buyers to have informed negotiations after watching the programmes in their entirety and are generally cheaper than drama series, I believe there will be further growth in the market,” he says. “So it’s very likely I will stay involved.”

Stevenson adds that in the current political climate, feel-good TV movies that offer viewers something wholesome and heartwarming can be a tasty antidote to the turbulent and tempestuous news cycle.

“For anybody who grew up in the 70s and early 80s, that was a time of a lot of political upheaval. So Happy Days and The Waltons started, and that’s when television movies really took hold,” she says. “It feels like viewers are seeking out TV movies right now to be able to take a break and enjoy a beautiful Christmas story or be wrapped up in a cosy mystery or suspense tale that’s not as awful as the news coming into everybody’s house every day. That’s what’s making the difference. It feels like there’s a little resurgence of the television movie genre.”

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BBC heads in the write direction

Sherlock: The Abominable Bride
Sherlock: The Abominable Bride

UK TV audiences enjoyed some great drama over the Christmas period. But while all the major broadcasters offered something of interest, the BBC’s scripted output was simply outstanding.

A key reason for this is the corporation’s excellent relationship with writing talent. The Sherlock Christmas Special’s slightly warped view of the suffragette movement may have had its critics, but the episode – titled The Abominable Bride – was still a brilliantly written piece of TV from Steven Moffat and Mark Gatiss that was watched by 8.4 million viewers.

Equally enjoyable were the opening episodes of Andrew Davies’s adaptation of Tolstoy’s War & Peace and Sarah Phelps’ take on Agatha Christie’s And Then There Were None. And not to be overlooked is Tony Jordan’s Dickensian, an inspired piece of TV that I watched out of idle curiosity and which thus far has more than exceeded my modest expectations. See this Telegraph review for a good summary.

Charles Dance in And Then There Were None
Charles Dance in And Then There Were None

The strength of the BBC’s Christmas drama slate won’t have come as a surprise to those who have been following the broadcaster’s scripted output over the last year or two. Among numerous highlights have been Wolf Hall (adapted from the Hilary Mantel novel by Peter Straughan), The Honourable Woman (written by Hugo Blick), Banished (Jimmy McGovern), Happy Valley (Sally Wainwright) and Doctor Foster (Mike Bartlett). In each case, it has been the quality of the writing that has really shone through.

Coming into 2016, it looks like the BBC is sticking with the same successful formula. Announcing a new slate of 35 hours of drama, Polly Hill, controller of BBC drama commissioning, said: “I will continue to reinvent and broaden the range of drama on the BBC. It is because we make great drama for everyone that we can offer audiences and the creative community something unique and distinct. I want the BBC to be the best creative home for writers.”

Hugo Blick's The Honourable Woman
Hugo Blick’s The Honourable Woman

So what’s on offer? Well, Hugo Blick will be back with Black Earth Rising, a BBC2 thriller set in Africa. Blick describes the show as a “longform thriller which, through the prism of a black Anglo-American family, examines the West’s relationship with Africa by exploring issues of justice guilt, and self-determination.”

The series will be produced by Drama Republic and Eight Rooks Production. Drama Republic MD Greg Brenman, whose company also produced The Honourable Woman and Doctor Foster, said: “We are excited to be teaming up with Hugo once more. Black Earth Rising is ambitious, thought-provoking and searingly relevant – the hallmarks that are fast defining Hugo Blick.”

Also recalled for 2016 is Bartlett, whose Doctor Foster was the top-rated UK drama of 2015. With Bartlett already committed to writing a follow-up series, Hill revealed the writer will also be writing a six-hour serial called Press for BBC1. Press is set in the fast-changing world of newspapers.

The critically acclaimed Doctor Foster was written by Mike Bartlett
The critically acclaimed Doctor Foster was written by Mike Bartlett

Explaining the premise, Bartlett said: “From exposing political corruption to splashing on celebrity scandal, editors and journalists have enormous influence over us, yet recent events have shown there’s high-stakes, life-changing drama going on in the news organisations themselves. I’m hugely excited to be working with the BBC to make Press, a behind-the-scenes story about a group of diverse and troubled people who shape the stories and headlines we read every day.”

Although Jimmy McGovern’s period drama Banished was not renewed, the programme was a tour de force – so it’s no surprise the BBC has commissioned McGovern to write a new show. Broken “plots the perspective of local catholic priest Father Michael Kerrigan and that of his congregation and their struggle with both Catholicism and contemporary Britain.”

Set in Liverpool, the six-hour series will be produced by Colin McKeown and Donna Molloy of LA Productions. McGovern and McKeown said: “We are both proud and privileged to be producing this drama from our home city of Liverpool. The BBC is also the rightful home for this state-of-the-nation piece.”

Jimmy McGovern's Banished will not return
Jimmy McGovern’s Banished will not return

One writer joining the BBC fold for the first time is Pulitzer Prize and Academy Award-nominated screenwriter/playwright Kenneth Lonergan, who has been tasked with adapting EM Forster’s Howards End for BBC1.

“I’m very proud to have been entrusted with this adaptation of Howards End,” he said. “The book belongs to millions of readers past and present; I only have the nerve to take it on at all because of the bottomless wealth and availability of its ideas, the richness of its characters and the imperishable strain of humanity running through every scene.

“The blissfully expansive miniseries format makes it possible to mine these materials with a freedom and fidelity that would be otherwise impossible. It’s a thrilling creative venture transporting the Schlegels, Wilcoxes and Basts from page to the screen. I hope audiences will enjoy spending time with them as much as I do.”

The show is being produced by Playground Entertainment, City Entertainment and KippSter Entertainment for the BBC. Rights to use the original novel as source material for the miniseries were acquired from Jonathan Sissons at Peters, Fraser & Dunlop, on behalf of the Forster estate.

Playground founder and CEO Colin Callender said: “At a time when there is a raging debate about the BBC licence fee, it is worth reminding ourselves that it is because this great institution is funded by a licence fee rather than advertising or subscription that it is able to bring to the British audience dramas that no one else in the UK would produce. The boldness of commissioning a playwright like Ken Lonergan to adapt this great literary classic and make it accessible and relevant to a modern audience is a testament to the BBC’s crucial and unique role in the broadcast landscape worldwide.”

Fiona Seres, who wrote The Lady Vanishes (pictured), is now working on Woman in White
Fiona Seres, who wrote The Lady Vanishes (pictured), is now working on Woman in White

Equally exciting is the prospect of Wilkie Collins’s Woman in White coming to BBC1. Made by Origin Pictures with BBC Northern Ireland Drama, the four-part adaptation will be written by Fiona Seres, who wrote a new version of The Lady Vanishes for BBC1 in 2013.

David Thompson and Ed Rubin, from Origin Pictures, said: “We are so excited to be bringing a bold new version of Wilkie Collins’ beloved Gothic classic to the screen. His gift for gripping, atmospheric storytelling is as thrilling for contemporary readers as it was for Victorians, and Fiona’s unique take brings out the intense psychological drama that has captivated so many.”

Other writers lined up include Joe Ahearne (for The Replacement), Conor McPherson (for Paula) and Kris Mrksa (Requiem). The decision to work with Mrksa, best known for titles such as The Slap and Underbelly, is interesting because he is Australian.

The BBC’s blurb for Requiem (which will be produced by New Pictures) says: “What if your parent died and you suddenly discovered that everything they’d said about themselves, and about you, was untrue? Requiem is part psychological thriller – the story of a young woman, who, in the wake of her mother’s death, sets out to learn the truth about herself, even to the point of unravelling her own identity. But it is also a subtle tale of the supernatural that avoids giving easy answers, playing instead on uncertainty, mystery and ambiguity.”

Mrksa calls it “a show I’ve always wanted to make. To be making it with the team at New Pictures (Indian Summers), and for the BBC, a network that I so greatly admire, really is a dream come true.”

Right now, that would probably be true for any TV writer.

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