Rafael Parente and Boris Kunz introduce DQ to Hindafing, a drama set in the fictional Bavarian village where mayor Alfons Zischl battles politicians by day and his inner demons by night.
Walter White and Alfons Zischl are both men whose good intentions lead to shocking consequences. They both also share a fondness for crystal meth – but that’s where the similarities end between the cancer-stricken chemistry teacher from Breaking Bad and the egotistical mayor at the heart of new German drama Hindafing.
The six-part series follows the rise and fall of the provincial mayor and the eponymous village found deep in the Bavarian backwoods that tries to project an idyllic image of family values but struggles with its inner demons. By day, people go to the local soccer club and practice Bikram Yoga. At night, it‘s off to the swingers‘ club or a rendezvous with the local meth dealer.
Season one also focuses on the German refugee crisis and skewers nepotism, ecological hysteria, clerical homophobia, political correctness and monogamy.
The series has its German premiere today ahead of its debut on Bavarian public broadcaster BR on May 16. It is produced by Neuesuper and distributed by Global Screen.
Hindafing was first born two years ago when three writers, Raphael Parente, Boris Kunz and Niklas Hoffman, recognised their own inexperience was a stumbling block and took matters into their own hands to win a commission.
“We first shot a small teaser to get BR involved, as we’re very young filmmakers and it’s hard to get finance because normally they just want somebody who knows how the job is done,” Parente, who also produces, says. “So we had to shoot the teaser and, after that, we had one-and-a-half years of development.”
Having conjured the concept of a small Bavarian village and its megalomaniac, drug addict mayor, the writers then evolved the story, leaning on real-life events in Germany to come up with the idea of the polititican being given an opportunity to make money by opening a refugee camp.
“We realised during the development process that we wanted to make a statement about the refugee crisis, but we didn’t want it to dominate the whole story,” Parente explains. “It’s really not a story about refugees. It’s just one of the big topics in the first season.”
Kunz continues: “It’s quite humorous. It started out more as a comedy and, during the process and due to the influence of the main actor, it changed tone a bit, which we all liked. It became more serious. There are still classic comedy scenes and lots of laughs, but there’s a very serious story behind it all and serious moments, brutal scenes as well. It’s this thin line between comedy and drama.”
Parente, Kunz and Hoffman spent several months in a writers room breaking down the episodes and writing drafts, which were then passed between them until everyone was happy with the finished scripts.
“When the drafts rotate and everyone’s honest about their own skills and there’s not too much ego involved, it really improves,” Parente says of their writing process. “The good stuff mostly stays in the script and only the bad stuff gets redone. And because everyone’s reading different scripts, you can discuss if something isn’t working.”
It was during this time that Kunz, who also directs, was imagining how he would film each scene – but with the teaser already committed to film, so too was the look and style of the series.
“We really wanted to do something not very typical for Germany,” Parente explains. “Germany is very influenced by Berliner Schuler, a way of telling a fictional story in a documentary style, and there’s also a lot of very grey German crime. We wanted to change that and set it in a heightened reality.”
The cast includes Andreas Giebel, Katrin Röver, Petra Berndt and Ercan Karacayli, with Maximilian Brückner leading the line as Mayor Zischl, a complicated character whose desire to do good for the town he serves is muddied by his ego, his desire for fame and money and a meth addiction.
Parente says of the protagonist: “He’s always trying to do the right thing but always has to deal with the consequences of his wrongdoings. He also has some skeletons in his closet and he has to hide them, leading to more lies, so he’s struggling all the time. We tried to give him negative sides and flaws but he’s not a villain. We tried to make him sympathetic so you wish he somehow makes it through, even though some of the things he does are terrible.”
The part-serialised drama was filmed on location in Bavaria, where the production team – which also included Parente’s Neuesuper partners Simon Amberger and Korbinian Dufter – sought to present a different image of the region.
“If you’re a foreigner, you think of Bavaria as big beer glasses and people wearing typical German clothing – nice churches and a very rural setting,” Parente observes. “We tried to twist that around. The town hall is like this huge, concrete, ugly thing from the 60s, because that is also a part of Bavaria. And because the people [in Hindafing] are so detached, because Bavaria and [its capital city] Munich are so far from other cities, people want to seem innovative and trendy. We try to show that too.
“There are also themes that are very common in Bavaria that nobody talks about. For example, Germany has one of the biggest sex industries in the world because we have modest laws about that, so people from around the world come to Germany to brothels. One of the women in the show goes to sex parties, but it’s not in Berlin or somewhere urban, it’s in this really rural town. Stuff like that is normal in Bavaria but nobody talks about it.”
Speaking before Hindafing’s premiere, Parente and Kunz say there are no plans yet for a second season, “but we’re all eager to do it,” the director adds. “I have spent a lot of time now with these characters and I would be very excited to find completely new stories for them. We have an ending where we can go on, but if there’s no season two, it’s still OK. There’s no cliffhanger at the end.”
While they await news of a possible recommission, the Neuesuper team is busy working on Acht Tage (Eight Days), an end-of-the-world drama for Sky Deutschland that has Oscar winner Stefan Ruzowitzky (Die Fälscher) attached to direct. It is due to air in 2018.
The Japanese have a good strike rate when it comes to exporting animation and entertainment formats. But they have struggled with drama. There are a few reasons for this but, when it comes down to it, the core problem is that scripted shows that work in Japanese primetime don’t travel that well.
The country’s leading players want to do something about this because the revenues they are generating from the domestic media market aren’t as strong as they used to be. So now they are looking at formats and coproductions as ways of building up their international profile and generating a new revenue stream. They are also starting to ask themselves if there is a way of making shows that can tap into the world drama zeitgeist that has propelled Korean, Turkish, Nordic and Israeli drama around the globe.
There were a couple of examples of the way Japan is seeking to shift its mindset at the Mipcom market in Cannes this week. One was a deal that will see Nippon TV drama Mother adapted for the Turkish market by MF Yapim & MEDYAPIM. The new show will be called Anne and will air on leading broadcaster Star TV. It’s the first time a Japanese company has struck this kind of deal in Turkey.
Also this week, Japanese public broadcaster NHK screened Moribito II: Guardian of the Spirit, an ambitious live-action fantasy series based on the novels of Nahoko Uehashi – likened by some to JRR Tolkien’s epic The Lord of the Rings.
Produced in 4K and HDR, this is the second in a planned trilogy of TV series, the first of which consisted of four parts. The show has been attracting interest from channel buyers beyond Japan’s usual sphere of influence, suggesting the country may be starting to have the kind of international impact it wants.
Interestingly, NHK brought the actor Kento Hayashi to Cannes to help promote the Moribito franchise. Hayashi also starred in Netflix’s first Japanese original, Hibana, another scripted show that has captured the attention of audiences and critics around the world.
Away from Japanese activity, companies that had a good week in Cannes included ITV Studios Global Entertainment, which said its hit period drama series Victoria has now sold to more than 150 countries, including new deals with the likes of Sky Germany, VRT Belgium and Spanish pay TV platform Movistar+. It also sold comedy drama Cold Feet – renewed for a new season in 2017 – to the likes of NPO Netherlands, ITV Choice Africa, Yes in Israel, TV4 Sweden and NRK Norway.
Further evidence of the appeal of lavish period pieces came with the pre-sales buzz around Zodiak Rights’ Versailles, which is going into its second season. At Mipcom, the show was picked up by a range of broadcasters and platforms including BBC2 (UK), Amazon Prime (UK), C More (Sweden, Norway, Denmark and Finland), DirecTV (Latin America) and Movistar+.
Moving beyond period pieces, other shows that cut through the promotional clutter included Sony Pictures Television (SPT)’s time-travel drama Timeless, which sold to the UK’s Channel 4 to air on its youth-skewing E4 network. The show was also picked up by the likes of OSN in the Middle East, Fox in Italy, AXN in Japan, Viacom 18’s Colors Infinity in India and Sohu in China.
SPT also sold new sitcom Kevin Can Wait to Channel 4 in the UK, though perhaps the most interesting Sony-related story at Mipcom was the news that its international television network group AXN has joined forces with Pinewood Television to a develop a slate of six TV drama projects.
The series will be financed in partnership between Sony Pictures Television Networks and Pinewood Television. The plan is for them to air on AXN channels in Latin America, Asia, Africa and Europe, with a programming emphasis on high-impact action, crime and mystery. The deal was brokered by Marie Jacobson, executive VP of programming and production at SPTN, and Peter Gerwe, a director for Pinewood Television.
Jacobson said: “As we look for alternative paths to expand original series development, Pinewood TV make for the ideal partners. We are look forward to developing projects with them that play both in the UK and on our channels around the world.”
Other high-profile dramas to attract buyer attention at the market this week included StudioCanal’s Swedish-French eight-hour drama Midnight Sun, picked up by ZDF in Germany, SBS in Australia, HOT in Israel and DR in Denmark.
Distributor FremantleMedia International licensed its big-budget series The Young Pope to Kadokawa Corporation in Japan, while Twentieth Century Fox Television Distribution licensed The People v OJ Simpson: American Crime Story to French pay TV operator Canal+.
Another show that enjoyed some success this week was DRG-distributed The Level, a six-part thriller that was picked up by ABC Australia, UTV in Ireland, TVNZ in New Zealand and DBS Satellite Services in Israel, among others. Produced by Kate Norrish and Polly Leys, joint MDs of Hillbilly Films, the show follows a reputable cop with a secret that is about to unravel. The show has previously been picked up by Acorn Media Enterprises for the US market.
Reiterating the growing interest in non-English drama, Global Screen enjoyed some success with Rivals Forever – The Sneaker Battle, which tells the true story of how brothers Adi and Rudi Dassler set up Adidas and Puma. France Télévisions acquired free TV rights and will air the series in early 2017 on France 3, while Just Entertainment in the Netherlands has landed video, pay TV and VoD rights. Other buyers included DR (Denmark), FTV Prima (Czech Republic), LRT (Lithuania) and HBO Europe (for Eastern Europe).
Turkish drama successes included Mistco’s sale of TRT period drama Resurrection to Kazakhstan Channel 31. Eccho Rights also sold four Turkish dramas to Chilean broadcaster Mega. The four shows were all produced by Ay Yapim and include the recent hit series Insider. This continues a good run of success for Turkish content in the Latin American region.
While Mipcom is fundamentally a sales market, its conference programme is also a useful way of tuning into international trends and opportunities in drama. There was an interesting keynote with showrunner Adi Hasak, who has managed to get two shows away with US networks (Shades of Blue, Eyewitness) in the last three years despite having no real track record with the US channel business. He believes the current voracious demand for ideas has made this possible: “This is a small business, where everyone knows everyone. If you create material that speaks to buyers, they will respond.”
Participant Media CEO David Linde also talked about the way his company is starting to extend its influence beyond film into TV and social media. Known for movies like An Inconvenient Truth, Food Inc, Snitch and Spotlight, the firm’s expansion into TV will see a new series about journalists breaking stories, developed by the team behind Oscar winner Spotlight.
The rivalry between two brothers that led to the creation of sportswear giants Adidas and Puma is brought to life in a new German miniseries. DQ speaks to its creators.
They’re two of the biggest rivals in the world of sport – but this battle doesn’t take place in a stadium or arena. Instead, the origins of the conflict between sportswear giants Adidas and Puma can be found within a single German family as the story of two brothers is retold in miniseries Rivals Forever – The Sneaker Battle.
Set in the early 20th century, the show follows the Dassler brothers as their initial partnership sees them launch the sports shoe to international fame. But long-standing differences lead to mistrust and when they fall out, their relationship unravels and the business they founded together is split into companies that become two of the world’s biggest sports labels – Adidas, led by Adi Dassler, and Puma, run by Rudi Dassler.
Written by Christoph Silber and produced by Quirin Berg, Rivals Forever stars Hanno Koffler, Christian Friedel, Alina Levshin and Hannah Herzsprung. It comes from Wiedemann & Berg Television (The Lives of Others) in coproduction with ARD Degeto for German broadcaster ARD, and is distributed internationally by Global Screen.
“As producers, we’re always looking for strong topics and headlines that draw attention and create a reaction,” Berg explains. “The Dassler story is certainly one of the biggest family sagas recent German history has to offer, besides the fact we’re dealing with two extremely well-known brands that are loved around the globe.
“Most people in Germany have heard about the story without really knowing too much about it. That creates a perfect level of mystery and interest for a TV project. The true story itself is thrilling, dramatic and truly tragic – two brothers who share a vision and drive that vision almost to extremes but fail big time when it comes to keeping their family together. They change an industry but at the same time create a war within their family.”
In contrast with other biopics, where real-life stories are often fictionalised to inject extra drama or tension, Berg says the story of the Adidas-Puma battle needed no extra excitement as the Dasslers’ story is retold over a 50-year period.
Silber picks up: “The advantage we get from the brothers’ conflict is twofold: on the one hand, there’s an element of surprise because hardly anybody knows that behind these huge brands are two brothers who fought pretty much all their lives; and on the other is the narrative gain, because rather than having a typical biopic, you know from minute one to the end there’s always one element that holds everything together, the brothers, and that’s perfect for me as a writer.”
Berg says he was also fascinated by the story on a personal level, as he could relate to the central relationship: “I have a business partner who co-owns my company and he is my oldest friend as well. We went to school together and started to do films 20 years ago. So I could really relate to the brothers sharing one vision and fighting for it, building a company – and I was wondering what could happen to tear them apart? We’re sure it won’t happen to us and that’s something we definitely take from the story. The Dasslers paid a high price for being so competitive and successful. They sacrificed their brotherhood, their family.”
In terms of research for the three-hour series, Silber says there was already a lot of material concerning the brothers’ relationship in the public domain, adding that Adidas and Puma were very welcoming of the project.
“Those companies are no longer owned by the family, they’re owned by investors and shareholders,” Berg says, “so they are still competitors but today the big enemy is Nike. They were very open, collaborative and fair. The families are no longer involved and all the material is out there. There are hundreds of interviews and documentaries, so there’s a rich pool of information available for anybody who is interested.
“But, from a writer’s perspective, it’s always rewarding to meet people who are actually part of the story and it provides the benefit of adding details you wouldn’t find on the internet. Within the companies, we were lucky to find people who knew the brothers personally and had worked with them for years. That was very helpful – we wanted to find out as much as possible about the real characters.”
Silber’s television credits include crime series Tatort and Der Kriminalist. He also won an International Emmy for 2011 German-Austrian TV movie Das Wunder von Kärnten (A Day for a Miracle). Describing himself as a history and sports buff, he admits he doesn’t like “typical” period dramas, despite frequently working in the genre.
“I always want to peel away the veil of history and get close to the characters, which is why a sports-themed period film with the brothers aspect was so appealing. It already looks like you can’t have that veil over it,” he explains. “I did a lot of reading and talked to a few people, but it was a very collaborative process with Quirin. We’ve worked together for many years, we’re very hands-on with our work on stories. I need to be writing to get into a story so I do a lot of drafts. We work very well together.”
Directors Cyrill Boss and Philipp Stennert then joined the production, into which the creative team sought to inject a sense of speed and urgency, as if the brothers are racing each other against a backdrop of 50 years of history.
Berg says: “There are many examples of movies that have a great character and depict one crucial year or focus on a short episode in their life, and that has many advantages. But we wanted to tell the whole story, to give the big picture – so we decided to cover 50 years. And it’s so great to see not only the characters change over time but German society as well.
“Politics, fashion, quality of life – all those things that make and define a country changed over those years. We start shortly after World War One and end in the mid-1970s. That’s an interesting USP and not many German TV series offer that range. It’s not only about the brothers, it’s a ride through several Olympics and soccer World Cups, through German history, and we feel it’s something people will love.”
As such, one of the challenges faced by Berg and his production partner Max Wiedemann – who are behind Netflix’s first original German production, the supernatural thriller Dark – was to get every euro in the budget on screen while recreating half a century of time periods.
“There are several very crucial and budget-intensive sequences but our focus is on the family,” he says. “One of the biggest challenges was changing the production design and sets across the years. And obviously we have actors playing the same role over 50 years, so we had a great make-up team to make that happen. You want to stick with the same actor for all those decades so when it comes to make-up, it’s a tricky task but it worked well. You follow the same person and you almost feel part of the family at the end because they shared so many moments of their lives with you.”
Rivals Forever is the latest German drama set to warrant international attention, following in the footsteps of Deutschland 83, Generation War and Naked Among Wolves. Coincidentally, another German broadcaster, RTL, also ordered its own version the Dasslers’ story, with TV movie Duel of the Brothers – The story of Adidas and Puma. It premiered in March this year.
Berg says the self-financing German market is now opening up to seek investment from other territories, increasing the opportunity for German stories to be made for an international audience. “The whole industry is globalising more,” he notes. “In every country you will find amazing local stories that have a global scale. That certainly applies to the true story of Adidas and Puma and I’m glad we were able to pull this project off for ARD and an audience all around the world.”
Silber adds that 10 or 20 years ago, plans to tell the origin story of the two sportswear labels might have run into hostility, but those tensions have now cooled: “There’s been a generational change and the heat of that conflict isn’t so high any more. They’ve pretty much made peace and they can co-exist as two strong brands. Today it’s easier to tell the story, but the market has also changed. Germany is more eager to tell stories that reach out to an international market and don’t just focus on one audience. This story is ideal for that.”
On the eve of MipTV 2016, German producer/distributor Beta Film sold a slate of German dramas to leading broadcasters in Scandinavia.
Among the titles picked up by DR Denmark, NRK Norway, SVT Sweden and YLE Finland were the right-wing terror trilogy NSU German History X and Tom Tykwer’s 1920s crime series Babylon Berlin.
The four networks also acquired Oliver Hirschbiegel’s spy drama The Same Sky and 15th century period drama Maximilian.
Historically, drama has travelled in the other direction – from Scandinavia to Germany. But the new deals are further evidence of the way German scripted content has started to appeal to international buyers.
Expressing the German industry’s newfound confidence, Beta Film’s director Jan Mojto – talking about Babylon Berlin – said: “Made in Germany is also a hallmark of quality in television. Due to the subject (of Babylon Berlin), the creative energy invested in the project, the names involved, its high standards and, not least, its budget, 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.”
That view was endorsed by Stephen Mowbray, head of acquisitions SVT, who said: “German producers are now delivering world-class fiction, and partnering with Beta secures a raft of exciting titles for the Swedish public.”
Also upbeat is Tarmo Kivikallio, head of acquisition at YLE: “New German drama is strong at the moment in Finland. The way it deals with German history is unique and thrilling. I am sure Finnish audiences will enjoy these series and I am very happy about the co-operation with Beta.”
German drama was preivously known for being quite conservative in tone and style, targeted primarily at the mainstream free-to-air domestic market. But a shift in the market came with Generation War, produced by UFA and distributed by Beta Film. A hard-hitting, high-quality exploration of the Second World War from the perspective of five young German friends, it has sold widely around the world.
The success of this show was then repeated by Deutschland 83, another UFA, which that took a quirky, offbeat look at the end of the Cold War era. The story of a young East German spy who is sent to the West on a mission, it was picked up in English-speaking markets such as the US (by SundanceTV) and the UK (Channel 4) – a significant breakthrough for German drama.
All of which brings us to Cannes’ MipTV market, where Germany will be making a lot of noise as Country of Honour. The event will be hosting numerous networking and screening events throughout the week, as well as a series of conference sessions.
In terms of drama titles, the Beta Film titles mentioned at the outset will all be on show or up for discussion. There will, for example, be a screening of NSU German History X. Produced by Gabriela Sperl (Line of Separation) and Academy Award-winning Wiedemann & Berg (The Lives of Others), this drama explores the true story of a series of murders that, despite serious hints, were only exposed as right-wing terrorism 10 years after the first killing took place.
“In the aftermath of the fall of the Iron Curtain, a clandestine far-right German terrorist group called National Socialist Underground, or NSU, began operating in Germany by killing immigrants in cold blood, termed the Bosporus Serial Murders,” explains Beta Film. “It took the police and intelligence services over 10 years to hunt down the perpetrators. Beate Zschäpe, suspected to be a member of the NSU, is still on trial today.”
The 20th century has proved a strong source of inspiration for German scripted TV producers. Another project coming through from Beta Film, for example, is Hitler – a 10–hour event series based on the biography Hitler’s First War by historian Thomas Weber. The show, which promises to shed an unprecedented light on the most closely examined figure of modern history, has been pre-sold to French broadcaster TF1 and is likely to be the subject of numerous conversations with buyers next week in Cannes.
As is evident from the above scripted shows, Beta Film has played a key role in the new wave of German drama exports. But there will also be plenty of activity at MipTV involving the country’s other leading content owners. ZDF Enterprises, for example, has already had success with its crime drama The Team. And at MipTV it will launch Ku’damm 56 – Rebel With a Cause. A three-part drama produced by UFA Fiction for ZDF/ZDF Enterprises and written by Dorothee Schon, it is set in the 1950s and tells the story of young women of the era and their struggle for equality.
Also coming through is Blender, a six-part series that Tele München Gruppe is developing together with Friedrich Ani, Ina Jung and Dominik Graf. Based on a true story, the series centres on the head of a police drug squad accused of being involved in the drug world himself.
Global Screen, meanwhile, will continue selling its acclaimed TV movie Naked Among Wolves. Based on a novel about a three-year-old Jewish boy who is smuggled into the Buchenwald concentration camp in a suitcase, it has already sold to markets including the USA, Canada, the UK, Australia, Italy, Spain, South Korea, Denmark, Sweden, Turkey, France, Benelux, Poland and Lithuania.
The company will also present Rivals Forever – The Sneaker Battle, which tells the story of the battling brothers behind Adidas and Puma, set against the backdrop of the rising Nazi regime. The show has already been sold to Scandinavia and Eastern Europe.
One of the main sponsors of the Germany In Focus event is Red Arrow Entertainment, the content creation and distribution arm of ProSiebenSat.1 Media. For the most part, Red Arrow’s international strategy has been driven by participation in non-German scripted content (Bosch, Cleverman, Peter & Wendy, The 100 Code). But it does have a story to tell in terms of German scripted formats. Classic series The Last Cop has been adapted for France, Japan, Estonia and Russia, while Danni Lowinski was recently reversioned for the Netherlands Market.
In terms of future prospects for German drama, there is another development that points to a bright future – namely the emergence of SVoD platforms as content commissioners. Amazon, for example, has recently greenlit its first German-language series in The Wanted. Starring Matthias Schweighöfer as a Berlin convention centre project manager whose life is turned upside down following a mysterious hacking attack, the series will debut on Amazon Prime in Germany and Austria in 2017.
Netflix, meanwhile, has just unveiled plans for its first German original, a supernatural family saga called Dark. Commenting on that one, Erik Barmack, VP of International Originals at Netflix said: “Dark is an incredible German story that will appeal to a global audience.”
All in all then, it looks like we are only at the start of a boom time for German-language drama exports.
For more about Rivals Forever and an interview with Maximilian writer Martin Ambrosch, be sure to pick up the latest copy of Drama Quarterly in Cannes.
There’s a growing trend in the US towards female-led series and movies. And one interesting aspect of this is the reboot of ideas that previously had male leads.
Supergirl, currently doing very well for CBS network, is a kind of example of this trend, since it takes DC Comics’ ‘Super’ mythology and sidelines the traditional male lead character. But even more to the point are upcoming series where the central character is being given a gender swap.
ABC, for example, is working with Sony Pictures on a reboot of Fantasy Island in which the central character Mr Roarke will be recast as a woman. CBS, meanwhile, is taking a similar route with its reimagination of HG Wells’ Island of Dr Moreau and with a planned resurrection of 1980s series MacGyver. All of this is in addition to movie launches such as the all-female Ghostbusters.
This week came news of another gender-swap drama, with US channel Syfy picking up Nomadic Films’ new take on the Dracula story, in which vampire hunter Van Helsing will be a woman. A 13-part series due to launch in autumn 2016, the show will focus on Vanessa Helsing, who must lead mankind against a world controlled by vampires. Neil LaBute is the writer/showrunner.
There was more good news for female onscreen talent this week with the news that BBC1 has commissioned UK hit drama Doctor Foster (starring Suranne Jones) for a second series. The renewal follows a trend in the UK of bringing back successful serials even if they look to have reached a natural conclusion (Broadchurch, The Missing, Safe House and Prey are other examples).
The trick is to leave a loose editorial strand at the end of the first run and then see if the audience is sufficiently interested to justify a follow-up. In the case of Doctor Foster, which is written by Mike Bartlett, an average consolidated audience of 8.2 million across five episodes made renewal a no-brainer, even though the first run seemed to have come to a fairly neat conclusion.
The second season order was announced by Polly Hill, BBC Drama commissioning controller, who said: “Mike has not finished telling the story of Gemma (Dr Foster) and Simon (her husband) and there will be many more surprises in the next chapter of this powerful drama.”
Bartlett added: “I’ve been astounded by the response to Doctor Foster. So I’m thrilled that alongside (production company) Drama Republic and the phenomenal Suranne Jones, we’re going to tell the next chapter in Gemma’s story. Her life in Parminster may look better on the surface, but as she will discover to her cost, every action has its consequences eventually. No one comes through hell unscathed.”
Still in the UK, commercial broadcaster ITV is the latest company to announce a drama revival, with news that it is bringing back Cold Feet. Created and written by Mike Bullen, Cold Feet ran from 1998 to 2003 and was both a ratings and critical success for ITV.
Centred on the lives of three couples, it was credited with addressing social issues in a way not previously seen on British TV. Likened to US shows such as Friends and Thirtysomething, it was also adapted for NBC in the US, although the Stateside version was quickly cancelled.
There aren’t too many details on the new Cold Feet as yet, but media reports seem to suggest it will involve most of the original cast. This means it will be looking at the same characters later in life (presumably with kids), as opposed to using a new cast working with similar but updated scripts to the earlier run.
Interesting stories out of Europe this week include the news that German pubcaster ARD is backing a miniseries about the brothers who founded Adidas and Puma – Adi and Rudi Dassler respectively. Called Rivals Forever: The Sneaker Battle, the four-part production will air in 2016.
The series is being distributed internationally by Global Screen, which has already licensed the show to Scandinavia and Eastern Europe. “Rivals Forever tells one of the greatest success stories of German industry,” says Global Screen head of TV sales Alexandra Heidrich. “At the same time, it is a gripping and dramatic saga, full of love, friendship, mistrust and intrigue.”
Elsewhere, the Turkish drama success story continues with the news that Indonesian channel SCTV is to adapt the Green Yapim drama Elif. The original version of Elif has already been a hit on SCTV, having first aired successfully on Kanal 7 in Turkey. International distribution of the show is handled by Eccho Rights.
Back in the US, cable channel ABC Family is poised to rebrand as Freeform from January. The new name is part of the channel’s attempt to become a “core destination” for people in the 14- to 34-year-old age range (which it calls ‘becomers’ as shorthand).
To support the shift, the channel has given series orders to two new shows. The first is Beyond, a drama about a young man who wakes up from a coma after 12 years and discovers he has developed supernatural abilities that propel him into the middle of a dangerous conspiracy. The second, Guilt, the pilot of which was much discussed because of its similarity to the Amanda Knox story, is about a young American woman in London who becomes the prime suspect in the savage murder of her roommate.
The pilot of Guilt was shot in London and Budapest – and presumably the series will need to follow a similar line. Perhaps it’s too early to call this a meaningful trend, but it seems like a growing number of US cable networks are taking advantage of European production tax breaks. In addition to Guilt, we’ve seen E!’s drama series The Royals come to London, FX’s The Bastard Executioner shot in Wales and Homeland film in Germany. Starz and History have also produced in Europe.
Following another trend, Syfy has decided to do its bit for the undead by renewing its zombie series Z Nation for a third season. Eight episodes into its current 13-part run, the show is proving rock solid with an average audience of around 0.88 million. The show is currently Syfy’s strongest performer among 18-49s.
Finally, this week saw Amazon launch six new drama pilots. Based on their popularity with subscribers these show will either fade away and die or be given a shot at a series.
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.