Tag Archives: Hans-Christian Schmid

Disappearing act

German film prodco 23/5 Filmproduktion is moving into TV for the first time with Das Verschwinden (The Vanishing), in which a woman searching for the truth behind her daughter’s disappearance uncovers more than she bargained for.

Since Generation War burst onto the scene in 2013, the international reputation of German drama has been surging on the back of shows such as Deutschland 83, Der Gleiche Himmel (The Same Sky), 4 Blocks and Ku’Damm 56. Upcoming projects including Das Boot and Babylon Berlin are likely to ensure German scripted series remain a talking point for some time to come.

It’s no surprise, then, to see filmmakers from all corners of the country now moving into television, further proving that the film-to-TV trend isn’t just reserved for Hollywood. Among German producers now targeting the small screen is 23/5 Filmproduktion, which is finding its way in this new world with Das Verschwinden (The Vanishing), its first TV drama.

Building on another current trend – stories with a disappearance at their heart (see also The Missing, The Five, El Regreso de Lucas) – The Vanishing centres on the search for 20-year-old Janine Grabowski, played by Elisa Schlott, who goes missing from a small Bavarian town near the Czech border.

The Vanishing stars Julia Jentsch and Elisa Schlott

While all the evidence suggests Janine wanted to leave her rural life behind, her mother Michelle (Julia Jentsch) takes up the investigation herself and quickly finds that the more she looks for answers, the more she discovers about her daughter and the company she kept. She then begins to question whether Janine even wants to be found – and her own role in the disappearance.

The eight-part series, distributed by Beta Film, was created by writers Bernd Lange and Hans-Christian Schmid, who also directs. With five or six stories in development, they were discussing which film to shoot next when they turned to The Vanishing, a story they determined was too complex and had too many characters to squeeze into a 90-minute feature.

“While there’s this story on the surface – this woman looking for her grown-up daughter – we’re also trying to create a portrait of a small town,” Schmid tells DQ at 23/5’s Berlin office. “Then we were curious to see if we could manage an eight-hour series.”

The series is based on a true story, and Schmid says he was keen to explore why young people have such a hard time with their parents. “Nowadays in this area, there are a lot of drug issues. Crystal meth is produced along the Bavaria-Czech border and it’s transferred to these small towns where you can buy it for €10 [US$12],” he continues.

Producers Hans-Christian Schmid and Britta Knöller

“So they have a problem with this. The other thing I wanted to find out about was what happens to you if you’re looking for your daughter, even if she’s grown up. What do you find out about her? Does the daughter even want to be found? I would call it a mother-daughter story, or a generational story. These are just questions we hopefully put in the audience’s mind so maybe they talk about it afterwards.”

After getting the green light from public broadcaster Das Erste, the immediate challenge facing Schmid and producing partner Britta Knöller was raising the budget by navigating the German regional broadcasting system. The series is coproduced with Mia Film and ARD Degeto, BR, NDR and SWR. Support also came from funding bodies FilmFernsehFonds Bayern, Medienboard Berlin-Brandenburg and the Czech State Fund for Cinematography.

“There’s no opportunity for independent producers like us to get a coproduction development for a TV series without losing all the rights,” Knöller explains. “If you’ve been developing for two-and-a-half years on your own, you don’t just give it up in the last five or six months, which is hard on the financial side but we managed.”

On the creative side, coming from a cinema background meant Lange and Schmid had to come to terms with a new story structure featuring enough material to fill eight hours of television. “It was just so hard to treat all the characters well and keep all the storylines up and to not just include something just to keep the story going on. It was quite challenging,” Schmid recalls.

Sebastian Blomberg takes a call

“The structure is different; we’re used to the three-act structure and we’re both pupils of classical storytelling, but here you have seven cliffhangers so we had to create those without betraying the characters. Trying to make it look realistic and natural was tough, and if you read the third draft of the script, there’s not much left from the first treatment. It was a long, ongoing process.”

Production was completed in December last year following a 90-day shooting period for a show whose story progresses over eight days.

“Because we had one director [Schmid], we shot all the scenes at one location and then moved on to the next, so the actors were really hopping between these eight episodes, which probably isn’t the nicest thing for either the director or them,” Knöller admits.

“And, of course, you need team members who will be available for such a long journey. We shot the border scenes at the beginning and then moved up to Berlin because we had funding from the city and because it was turning to winter, so we did most of the interior shots there, such as the police station.”

Johanna Ingelfinger hides from Andreas Bichler

Schmid worked with the production designer and cinematographer to create a show that he believes “doesn’t look like TV,” taking some inspiration from the naturalistic approach of French supernatural drama Les Revenants (The Returned). “It’s really hard to do to German suburbia and to try to make it look like something you want to watch,” he admits.

“I liked the look of Les Revenants and the simplicity of the shots. It’s a mountain village, which is the same in our show, and there was always a lot of fog. We were there [on location] for half a year and found out how quickly the weather changes, and there was fog coming up from the forest. But you see that so often that we didn’t put much emphasis on it. Often we would just have two people talking. You don’t have to shoot every angle.”

With The Vanishing set to debut in Germany this fall, 23/5 is now working on its next feature. And while the company hasn’t ruled out another move into television, it won’t embark on another small-screen series just because it’s the fashionable thing to do.

“It’s good if you’re really well organised with the schedule,” Schmid says. “You have to be prepared to shoot four minutes [of screen time] a day. In cinema it’s usually three or two-and-a-half, and that makes a big difference. You hardly ever have the chance to step back from what you’re doing, see the rushes and dailies and do something again. But you can get used to it. I’m afraid to get used to it!”

“Producing series just to be part of the series hype is kind of foolish,” Knöller notes, adding that new financial mechanisms are required to support independent producers. She says 23/5 will observe whether broadcasters’ current demand for series holds up and, reflecting the US industry, leads to television replacing mid-budget feature films, which now struggle to get made.

“Funding institutions have already shifted some of their money for cinema to series. I don’t know how that will impact the quality of cinema, but since we are still mainly a cinema production company, I would be wary of shifting everything to TV now.”

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Berlinale opens doors to top TV talent

As its name suggests, feature films are the major focus of the Berlin Film Festival, better known as the Berlinale. But, echoing trends across the global media market, high-end TV drama is also playing an increasingly important role at the event.

There is, for example, a screening showcase called the Berlinale Special Series, during which TV titles from Denmark, the UK, Israel, Australia and the US will be shown. There is also an event called The CoPro Series, during which seven international TV projects searching for coproduction and financing partners will launch.

For this week’s column, we’re taking a closer look at each of the selected projects, focusing on the writing talent involved.

Berlinale Special Series

David Farr
David Farr

The Night Manager is an adaptation of John Le Carre’s spy thriller, starring Hugh Laurie, Tom Hiddleston and Olivia Colman. Set to be broadcast by the BBC in the UK and AMC in the USA, it has been adapted for screen by David Farr, who recently attended the C21 Drama Summit to discuss his approach to the project. Farr has established a strong reputation as a theatre director but has also proved very adept as a screenwriter. His credits include TV series Spooks and the movie Hanna, co-written with Joe Wright.

Nick Hornby
Nick Hornby

Love, Nina is a comedy miniseries for the BBC starring Helena Bonham Carter, Jason Watkins, Joshua McGuire and Faye Marsay. The story is based on the memoirs of Nina Stibbe, a nanny who worked for and encountered some of London’s leading literary figures in the 1980s. It has been adapted by British novelist Nick Hornby (About a Boy, Fever Pitch) and is his first ever TV drama. He says of the project: “Love, Nina has already attained the status of a modern classic, and I am so happy that I’ve been given the opportunity to adapt it. We want to make a series that is as charming, funny and delightful as Nina Stibbe’s glorious book.”

Bob Odenkirk in Better Call Saul
Bob Odenkirk in Better Call Saul

Better Call Saul is a spin-off from the iconic AMC series Breaking Bad. Now moving into season two, it’s the brainchild of Vince Gilligan, who also created Breaking Bad. For season two, he shares the showrunning duties with Peter Gould. Although Gould is not as high profile as Gilligan, he is equally steeped in the series’ mythology, having worked on all five seasons of the parent show and the first season of the spin-off. For his work on Breaking Bad, he was nominated for four Writers Guild of America Awards.

Ryan Griffen
Ryan Griffen

Cleverman is an Australia/New Zealand coproduction based in a dystopian futuristic fantasy world. Due to be broadcast by ABC Australia and SundanceTV in the US, it stars Iain Glen and Frances O’Connor. The original concept for the story is from Ryan Griffen, a relative newcomer to the industry who also co-wrote four out of the series’ six episodes. Other credited writers were Jon Bell, Jonathan Gavin and Michael Miller (six episodes) and Jane Allen (two episodes). Overal,l that’s a pretty potent line-up of Aussie writing talent, with career credits that include Peter Allen: Not the Boy Next Door, Neighbours, The Gods of Wheat Street and Offspring.

Splitting Up Together is the latest drama to come out of Denmark. The TV2 show is described as a serialised character-driven comedy about family, love, sex and happy divorce. The show, which first saw the light of day at last year’s Mipcom, is produced by Happy End and distributed by DR Sales. It is created and written by Mette Heeno, whose previous credits include TV2 comedy series Lærkevej and Lillemand. Prior to that, she spent much of the last decade writing movie scripts (such as Triple Dare).

Sayed Kashua
Sayed Kashua

The Writer is an Israeli series coming out of the prolific Keshet stable. Written by Sayed Kashua, who created award-winning comedy Arab Labor, the 10-part series “observes the reality of a hybrid Israeli-Palestinian existence and the personal and political toll it can take on the individual.” This is a similar theme to Arab Labor, which has so far had four seasons (since debuting in 2007). Kashua earned an international reputation for his previous series, with the New York Times saying: “Kashua has managed to barge through cultural barriers and bring an Arab point of view… into the mainstream of Israeli entertainment.”

CoPro Series

Bosklopper
Stienette Bosklopper

Avrupa is a project from Circe Film in the Netherlands centring on a flamboyant Turkish family that immigrates to the Netherlands in the 1980s. It is written by Sacha Polak and Stienette Bosklopper. To date, Polak’s main credits have been movies (Hemel, Zurich and Vita & Virginia). Bosklopper, meanwhile, is best known as a producer – only turning to screenwriting in the past couple of years. Speaking to Screen Daily, she said: “I had been working with a lot of writers and directors. Somehow, there was an urge to contribute on a different level. To my own amazement, it is going very well. It comes quite naturally and I get the feeling I will continue to do this.”

Brotherhood is a Norwegian crime series for TV2 Norway from Friland Film, a production company best known for feature films. The series, apparently inspired by true events, centres on a police investigator in Oslo who becomes heavily involved in organised crime. His secret links to the underworld are suddenly challenged and the protection he has built around his family starts to fall apart. The eight-part project is being written by Nikolaj Frobenius, whose main writing credits to date are as an author and movie writer. Film credits over the course of the last decade include Pioneer, Sons of Norway and Insomnia, while his books have been translated into 18 languages.

Torleif Hoppe
Torleif Hoppe

DNA is a Danish crime show produced by Eyeworks Scandi Fiction and written by author and creator Torleif Hoppe. Hoppe’s main claim to fame is his involvement in The Killing, of which he wrote 20 episodes. Aside from DNA, he is also working with Buccaneer Media, BBC America and AMC on Moths, a thriller set in Japan.

Anders August
Anders August

Lucky Per is a Nordisk Film Production for TV2 Denmark, based on a famous book written at the start of the 20th century. The four-part miniseries will be adapted for the screen by Bille August and his son Anders. It is scheduled to go into production this summer, with delivery at the end of 2017. DR Sales is handling distribution. Anders August established himself as a film and TV writer at the start of the current decade and has gone on to bigger and bigger projects. Recent credits include The Legacy and Follow the Money for DR. There have also been reports that BBC America and AMC are developing a show created by the younger August. Deadline called the BBC/AMC project “an untitled comic-noir thriller set in a 1950s resort (that) follows the social climbing of a disarming young woman who turns out to be a dangerous sociopath.”

The Disappearance is a new project from highly rated writer/director Hans-Christian Schmid. Primarily a movie maker, his credits include Home for the Weekend, which competed at the 2012 Berlinale.

Clement Virgo
Clement Virgo

The Illegal is a new project from Clement Virgo, the director of The Book of Negroes. It’s based on a book by Lawrence Hill, who also wrote The Book of Negroes. Virgo’s new project, which is being produced through his company Conquering Lion Pictures, is a dystopian story set in the near future. It follows the journey of Keita Ali, a young marathon runner who flees his repressive native home and finds himself in a community of undocumented refugees living in a wealthy country. Virgo and Hill co-wrote the TV version of The Book of Negroes so it’s likely they will adopt a similar approach this time.

Wars Inc, produced by Drama Team, is described as an Israeli newsroom-based drama. Unfortunately there isn’t any additional information on the project right now, so you’ll have to wait until the Berlinale pitch to find out more about this one.

The CoPro Series will give producers and financiers the chance to get to know the series’ creators at a networking get-together following their pitch, and arrange one-on-one meetings to discuss potential partnerships. The full programme was designed in conjunction with Peter Nadermann (Nadcon, Germany) and Jan de Clercq (Lumière Publishing, Belgium).

The BBC's Doctor Who
The BBC’s Doctor Who

In other writer news, Steven Moffat has announced that season 10 of Doctor Who will be his last as showrunner. His final season will air on BBC1 in 2017 before he is replaced by Chris Chibnall, whose credits include Broadchurch, The Great Train Robbery and Life on Mars.

Moffat said: “While Chris is doing his last run of Broadchurch, I’ll be finishing up on the best job in the universe and keeping the Tardis warm for him. It took a lot of gin and tonic to talk him into this, but I am delighted that one of the true stars of British TV drama will be taking the Time Lord even further into the future.”

Chibnall called Doctor Who “the ultimate BBC programme: bold, unique, vastly entertaining and adored all around the world. So it’s a privilege and a joy to be the next curator of this funny, scary and emotional family drama. Steven’s achieved the impossible by continually expanding Doctor Who’s creative ambition while growing its global popularity. He’s been a dazzling and daring showrunner, and hearing his plans and stories for 2017, it’s clear he’ll be going out with a bang. Just to make my life difficult.”

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