At timing of writing this column, the C21 Drama Summit is taking place at the British Film Institute in London. In among the numerous producers, broadcasters and distributors attending the event, there has also been a star-studded line-up of screenwriters.
In no particular order, the summit attracted the likes of Stephen Poliakoff, Frank Spotnitz, Harlan Coben, Tony Jordan, Sarah Phelps, Paula Milne, Anna Winger, David Farr, Hans Rosenfeld, James Dormer, Charlie Higson, Simon Mirren, Clive Bradley and Chip Johannessen.
What’s interesting about these scribes is the unusual and idiosyncratic journeys that many of them are currently embarked upon. Rosenfeld, for example, is one of the main architects of acclaimed Scandinavian series The Bridge. But now he is writing an English-language crime series set in London, called Marcella. Winger, meanwhile, is an American who lives in Germany with her husband Joerg. Between them they created the well-reviewed period spy drama Deutschland 83, currently airing in Germany on RTL and around the world.
If it seems odd that an American co-wrote D83, then consider that British writer Paula Milne (The Politician’s Wife) has just done something similar, delivering The Same Sky to ZDF in Germany. In this case, she wrote scripts in English that were then translated into German by director Oliver Hirschbiegel. Clive Bradley, meanwhile, is an English screenwriter who has just finished working as the co-writer on Trapped, a pan-European coproduction set in snowy Iceland.
Harlan Coben, a novelist, has just written his first TV drama, The Five, in collaboration with Danny Brocklehurst (Shameless, Clocking Off). Farr, meanwhile, is a playwright adapting a John Le Carre novel The Night Manager for TV. In one of his anecdotes at the Summit, Farr talked of meeting Le Carre in a north London pub and having to pluck up the courage to tell the great man the last 100 pages of his novel wouldn’t work on TV. Sarah Phelps must have felt just as nervous when she met Hilary Strong of Agatha Christie Ltd to discuss how she would go about adapting Christie’s classic novel And Then There Were None.
Poliakoff’s session was enlightening, providing an insight into the way he has honed his skills as a writer-director. While many would think of him first and foremost as a playwright and screenwriter, Poliakoff spent much of his session discussing the directorial dimension of his latest project Close to the Enemy. Casting, rigorous rehearsals and location selection were as significant to the realisation of Poliakoff’s vision of the series as story and dialogue.
Frank Spotnitz, an American residing in Europe, was at the summit to discuss his latest project for Amazon, The Man in the High Castle, while Chip Johannessen provided insight into the adaptation of Israeli show Prisoners of War into his hit series Homeland. Simon Mirren was in town to talk about the creation of Versailles, the English-language, French production of a quintessentially French subject. That seems a long way from where his career started – as a writer on Casualty.
So what does all the above tell us? Well, it shows that the idea of the writer as a solitary creature is something of a myth. While part of the job inevitably involves shutting the study door and blocking out distractions, just as much is dependent on a willingness and ability to interact with other parts of the production chain.
At the same time, the shift towards international coproduction (in order to realise ambitious creative ideas) means writers have to be surefooted on the international stage. It’s noteworthy just how many of the above scribes have had to collaborate across borders or set scenes abroad. Milne talked about watching rushes of The Same Sky after her words had been translated in German, and having to make a judgement on whether the emotional impact of the dialogue had survived the shift to a new language. Rosenfeld, meanwhile, discussed the support he needed to ensure Marcella’s London life was authentic.
Another theme throughout the summit has been the way the current era of ambitious international drama production allows writers to cut loose creatively. Farr talked about how writers used to be scared to set a scene outside – let alone in a foreign country. But this concern has been blown away as dramas head for increasingly exotic climes.
This freedom is also evident in the range of literary reimaginings currently on show. Charlie Higson’s interpretation of Jekyll and Hyde (in which he injects his own mythology), Tony Jordan’s literary mash-up Dickensian and James Dormer’s reworking of the Beowulf saga are all examples of how traditional budgeting and commissioning constraints have fallen away.
Of course, a key implication of the above is that writers need to be trusted to deliver against bold objectives. And this is creating a challenge for the scripted business. Understandably, the broadcasters and distributors that put up millions of dollars to make drama projects a reality are anxious to ensure they work with proven writers. This is causing a logjam, with the best writers often booked up for years to come.
While this is good news for those writers who are in demand, the clear message is that the industry needs to improve the flow of new writing talent coming through. C21 and Red Planet are both playing their part with scriptwriting competitions, but there needs to be a more formal solution to this issue if the drama business is to keep up its extraordinary creative momentum.
tagged in: Anna Winger, Charlie Higson, Chip Johannessen, Clive Bradley, Content London, David Farr, Frank Spotnitz, Hans Rosenfeld, Harlan Coben, James Dormer, Paula Milne, Sarah Phelps, Simon Mirren, Stephen Poliakoff, Tony Jordan