Tag Archives: David Nevins

Repackaging Hollywood

CBS has ordered a pilot  based on 2001's Training Day
CBS has ordered a pilot based on the 2001 movie Training Day

It’s a regular cause for discussion that feature film studios and talent are moving into the scripted TV business. But there’s an equally significant trend involving archive movies being reinvented as TV series.

Already out in the market, and doing pretty well, are classic titles including Fargo, Sleepy Hollow, Transporter, Hannibal, 12 Monkeys, Teen Wolf and Parenthood. And this autumn will see the floodgates open still further, with TV spin-offs launching across a wide range of US channels.

Examples include Limitless, Minority Report, Rush Hour, Supergirl, Scream, Ash vs Evil Dead and Uncle Buck, all of which are just weeks away from launch. Coming down the line soon after will be a TV version of Shooter, the 2007 film starring Mark Wahlberg.

The main reason for this spate of remakes is the need to cut through the clutter of competition. With around 400 TV dramas a year vying for attention in the US market alone, any kind of in-built brand awareness is extremely valuable at launch. While a movie’s heritage can’t, in itself, make an audience like a TV show, it can at least encourage viewers to sample it – especially if some aspect of the originating film crosses over (thus adding authenticity).

MGM, for example, made much of the fact that the Coen brothers had a hand in the scripts for the Fargo reboot. And Hollywood A-lister Bradley Cooper is lined up to appear in some episodes of Limitless, having starred in the movie.

Fargo returns for a second season in October
Fargo returns for a second season in October

The future prospects for this film-to-TV business model may well depend on the hit rate of this year’s batch of remakes. But it’s worth noting that all of the existing film-to-TV productions mentioned in the opening paragraph made it to season two at least. Teen Wolf, for example, is at season five. This hit rate compares pretty favourably with shows based on foreign scripted formats, where successes are few and far between.

Ironically, one issue that may affect film-to-TV adaptations is the current shift in the TV industry’s favour. With the film industry polarising between blockbuster and low-budget independent productions, the mid-market where many of the above film titles lived is under pressure. In other words, films capable of adaptation may prove a precious resource that gets over-mined by the industry.

For now, though, there is no sign that the future pipeline is drying up, with confirmation coming this week that Denzel Washington movie Training Day is being lined up for a remake at CBS (initially as a pilot from Warners Bros TV and Jerry Bruckheimer).

CBS, it should be noted, is a fan of this approach, having already greenlit Supergirl, Limitless and Rush Hour – which has also been picked up by E4 in the UK.

Meanwhile, it was revealed last week that NBC is backing a TV adaptation of RED, a cult film series starring Bruce Willis that was itself based on a comic book franchise. There is also talk of a third movie in the RED franchise, so we may be seeing an era of parallel development emerge.

Baywatch is being converted into a movie starring Zac Efron
Baywatch is being converted into a movie starring Zac Efron (High School Musical)

As a footnote, last week also saw the announcement that cult TV show Baywatch is being brought back as a movie with Zac Efron. That is sure to revive interest in the library rights of the TV show – NBC-owned Cozi TV and Telemundo’s TeleXitos both recently relaunched the series – and could even stimulate a TV reboot down the line.

Other TV-to-film stories this week centred on Downton Abbey. With the iconic period drama having just wrapped production on its final season, producer Carnival is now considering continuing the franchise on the big screen –possibly taking the show into the pre-Second World War financial crash.

All of the recent talk about there being too much scripted TV doesn’t seem to have unsettled Viacom-owned channel Spike. Having recently finished airing ancient Egyptian miniseries Tut, Spike has just ordered its first one-hour drama series in nine years – a 10-parter from Jerry Bruckheimer and Warner Horizon Television called Harvest.

The show is being written by Ian Sobel and Matt Morgan (12 Monkeys) and tells the story of a cemetery caretaker who finds his quiet life in jeopardy when his estranged criminal father tracks him down. To protect his daughter, he works with his father in the illegal trade in body tissue.

This week also saw Australian subscription VoD platform Presto pick up rights to USA Network thriller Mr Robot, which has Christian Slater among its cast. Presto, which acquired the show from NBCUniversal, will show the first seven episodes of Mr Robot immediately before adding the last three after they air stateside on USA.

The show follows a young programmer who suffers from a debilitating anti-social disorder. He finds himself caught between working for a cybersecurity firm and the murky world of mysterious anarchist Mr Robot, played by Slater. In the US, the show is averaging an audience of around 1.42 million viewers, though recent episodes are nearer the 1.2 million mark. The show was recommissioned for a second season very early on the basis of a digital preview.

Presto has picked up the rights to Mr Robot
Presto has picked up the rights to Mr Robot

Finally, a week after Showtime Networks president David Nevins criticised some of the current risky investments in scripted TV, Showtime announced it is producing I’m Dying Up Here, a new one-hour pilot being executive produced by Jim Carrey.

Based on the non-fiction novel by William Knoedelseder, the pilot will be directed by Jonathan Levine (50/50, Warm Bodies) and produced by Endemol Shine Studios and Assembly Entertainment. Written and executive produced by former stand-up comedian Dave Flebotte (Will & Grace, Desperate Housewives, The Bernie Mac Show) and set among the famous Hollywood comedy clubs of the 1970s, the dark comedy pilot “will delve into the inspired and damaged psyches that inhabit the hilarious but complex business of making an audience laugh”.

Nevins said: “The 1970s LA comedy scene gave rise to some of the biggest and most influential performers of the last half-century. Who better than Jim Carrey and Dave Flebotte, who were both there, to tell the story of that special era?”

When asked last week about the current situation with scripted programming, Nevins said Showtime is in expansion mode, but he questioned networks that were rushing into new shows – giving two-season commitments on the basis on pitches, for example. He said brands like Showtime that “stand for something” will survive.

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Scripted staying power

American Gods
Neil Gaiman’s American Gods is coming to Starz as a TV series

This is one of those weeks that makes you realise the current boom in scripted series is far from over. In Europe and the US, across pay TV and free TV, the latest greenlights must easily represent in excess of US$50m of new productions.

Not only that, they all look like projects that will actually make it to screen, rather than ending up in the dustbin of failed developments.

One of the most high-profile announcements came from US premium cable channel Starz, whose aggressive pursuit of its two main rivals HBO and Showtime has seen it back ambitious series such as Power, Outlander, Black Sails and Flesh and Bone. Now it has announced plans for a series based on Neil Gaiman’s novel American Gods.

Bryan Fuller (Dead Like Me, Hannibal) and Michael Green (Gotham, Heroes) will write the screen version and act as showrunners, with Gaiman on board as executive producer. The show is being produced by FremantleMedia North America (FMNA), with international sales handled by FremantleMedia International.

Commenting on the project, Gaiman said: “I am thrilled, ‎scared, delighted, nervous and a ball of glorious anticipation. The team that is going to bring the world of American Gods to the screen has been assembled like the master criminals in a caper movie: I’m relieved and confident that my baby is in good hands.”

The project is an important one for FMNA, which has just experienced the disappointment of a cancellation for supernatural series The Returned. FMNA co-CEO Craig Cegielski said: “Neil’s novel is a brilliant work of art and together with the talented Bryan Fuller and Michael Green, we are committed to delivering a series that is nothing short of extraordinary.”

Showtime has also been in the news this week, having renewed Penny Dreadful, its horror drama copro with Sky Atlantic, for a third season of nine episodes. The series, which has built up a lot of momentum since season two, will shoot in Dublin with TX due in 2016.

Penny Dreadful
Sky Atlantic and Showtime copro Penny Dreadful has been given a third season

Showtime president David Nevins said: “(Creator) John Logan’s brilliant writing and the show’s amazingly talented ensemble continue to draw a passionate, global fanbase into the meticulously crafted world of Penny Dreadful.”

Sky Atlantic director Zai Bennett added: “Penny Dreadful is the perfect fit for Sky Atlantic; truly international in scale and ambition but with a raft of British talent at its core, and filmed in the Republic of Ireland. I’m thrilled to have the series returning to the channel, and to once again be partnering with John Logan and continuing to work with our good friends at Showtime.”

HBO has cropped up in the headlines this week too, following the revelation in the Hollywood Reporter that David Simon, creator of The Wire, is working on a series for the channel called The Deuce, about the rise of the porn industry in the 1970s. While there has been no official confirmation on this from HBO, Simon is currently working with the channel on a series called Show Me a Hero, so the prospect of a second greenlight seems close to the mark.

In Europe, one of the biggest announcements of the week came during the Monte Carlo TV Festival, where Christophe Riandee, vice-CEO of Gaumont, announced that Gaumont Television Europe plans to produce a new 13×60’ English language series entitled Crosshair. A Europe-based thriller that follows a former CIA assassin turned gunman for hire, Crosshair is written by Ken Sanzel, whose credits include CBS series Numb3rs.

Crosshair is the third project under the Gaumont Television Europe banner, after Spy City and 1001, an English-language thriller created by Real Humans’ Lars Lundström.

“We are seeing a huge trend into drama production making Europe a new frontier for TV,” said Riandee, “and a project like Crosshair is the perfect fit. It’s a new idea and a new world for a procedural series.”

Other activities that back Riandee’s upbeat assessment of the scene in Europe include the news that Israeli producer and distributor Keshet International wants to be more active in the European drama space, with plans to fund three or four productions a year. This would build on previously announced plans to work with France’s Atlantique Productions on an eight-part series called Crater Lake (written by Ron Lesham).

There was also a triple greenlight announcement from UK-based broadcaster ITV this week. The most interesting news is that it has commissioned Hans Rosenfeldt, creator of Scandinavian drama The Bridge, to make his first series in the UK. Called Marcella, the 8×60’ show (produced by Buccaneer Media) follows a female detective working on a murder case.

Prime Suspect
Prime Suspect, starring Helen Mirren. ITV has announced plans for Tennison, a prequel to the hit crime series

ITV also announced plans for a series called Tennison, a prequel to its long-running hit crime series Prime Suspect, which featured Helen Mirren as detective Jane Tennison. The new series, from Noho Film and Television and La Plante Global, is a six-parter. The decision to go down the prequel route follows ITV’s success with Endeavour, a prequel to fellow long-running crime series Morse.

The third part of ITV’s production news is the commission of six-part drama series The Durrells, based on author Gerald Durrell’s Corfu memoirs, including My Family and Other Animals. The series is being written by Simon Nye (Men Behaving Badly) and produced by Sally Woodward Gentle.

Durrell’s works are a perennial favourite for film and TV producers, with My Family and Other Animals adapted for the big screen in 2005. So it will be interesting to see how the TV series takes the franchise on. Woodward Gentle said: “Gerald Durrell’s novels are some of the warmest, wittiest, books of the last century. It is no wonder they are so well loved. It is a real treat to be working on them with the brilliant Simon Nye. I hope that his obvious love of the characters and the material will be hugely infectious.”

Finally, there was interesting news from Hulu regarding The Way, a 10-part series it ordered in March from Jason Katims (Parenthood). On Wednesday, Aaron Paul – aka Breaking Bad’s Jesse Pinkman – was revealed as the male lead in the drama, which centres on a controversial faith movement.

Hulu’s origination programme hasn’t received as much attention as that of Netflix or Amazon, but it does have some standout projects. Aside from The Way, it has greenlit a series called 11/22/63 from Stephen King and JJ Abrams that will star James Franco.

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