Six-part drama Hard Sun is described as a pre-apocalyptic crime drama set in contemporary London.
While investigating the death of a computer hacker, partners and enemies Charlie Hicks and Elaine Renko inadvertently stumble upon proof that the world is facing certain destruction in five years.
Pursued by ruthless security service operatives, who are willing to kill them in order to keep them silent, they must protect themselves and those they love while ensuring a new breed of murderers, abusers, serial killers and cult leaders face justice.
In this DQTV video, writer/creator Neil Cross (Luther) and executive producer Kate Harwood discuss making the series, which centres on the relationship between two detectives who stand morally and ethically opposed to each other.
Stars Agyness Deyn (Renko), Jim Sturgess (Hicks) and Nikki Amuka-Bird (Grace) also reveal more about the conflicted and complex relationships between their characters and the appeal of starring in a show written by Cross, who also talks about his writing process.
Hard Sun is produced by Euston Films for BBC1 and Hulu and distributed by FremantleMedia International.
As Content London 2017 comes to an end, it’s clear that talent is now in greater demand than ever. But while a host of A-list names attended the three-day event, delegates also learned about a community of new writers with stories ripe for adaptation.
In its fifth year, C21Media’s Content London this week was bigger than ever before, bringing together more than 1,500 people from across the scripted television business for the International Drama Summit.
Panel sessions covered every corner of the industry, from the challenges facing distributors and how drama producers are changing, to ever-evolving market forces, uncovering new sources of financing and the secret to working with SVoD players.
Speakers were drawn from every major company in the sector, including FremantleMedia, Banijay, Endemol Shine and ITV Studios. Commissioner panels featured the BBC, Channel 4, SVT, DR, YLE, Starz, AMC, HBO, Epix, YouTube and Netflix.
Executives hailing from Spain, Germany, France, Brazil and Australia also took to the stage to discuss their domestic markets and their strategy on the international scene.
Unsurprisingly, one of the biggest draws at the three-day event, which finished today, was Swedish actor Sofia Helin, who discussed her career, the legacy of Bron/Broen (The Bridge) and new projects including Heder (Honour).
Helin’s appearance capped a line-up that focused heavily on the creative side of making television drama – and with good reason. As more and more money is made available to producers – through coproductions, SVoD players with money to burn and new funding companies ready to invest – financing is available to meet the high-end budgets dramas now demand. The talent attached to a project is now paramount, with the number of shows in development and production meaning actors, writers, directors and other key creatives are more in-demand than ever.
At Content London, Agyness Deyn, discussing her first television role, Jim Sturgess and Nikki Amuka Bird spoke about starring in six-part drama Hard Sun. Adrian Lester joined delegates to watch the world premiere of new ITV drama Trauma (pictured top), which is written by Doctor Foster’s Mike Bartlett.
David Morrissey showcased BBC2’s The City & The City, Kim Rossi Stuart talked Italian hit Maltese Luke Evans joined a case study of The Alienist, which examined US cablenet TNT’s forthcoming period drama.
Writers and directors also taking part included Neil Cross (Hard Sun), Hossein Amini and James Watkins (McMafia), Kari Skogland (The Handmaid’s Tale), Marc Evans (Trauma), Harry and Jack Williams (Liar, The Missing), Jakob Verbruggen (The Alienist), Geoffrey Wright (Romper Stomper), Tony Grisoni (The City & The City, Electric Dreams), David Farr (Electric Dreams) and Jon Cassar (Medici).
In a separate session, Helin was also joined by fellow actors Alexandra Rapaport and Julia Dufvenius to talk about Heder (Honour), which they have created and executive produced together with Anja Lundqvist, another actor.
The focus on creative talent inevitably led to the subjects of packaging and when to attach talent to projects, with ‘the sooner the better’ emerging as the general consensus.
Euston Films MD Kate Harwood revealed how the BBC snapped up Hard Sun before star names such as Deyn, Sturgess and Amuka Bird were cast in the lead roles, though commissioning the next series from Luther creator Cross was unlikely to be a difficult decision.
In such a congested market, talent is the quickest way for a show to make some noise. For most, however, there just isn’t enough to go around. That’s why it was encouraging to hear the Williams brothers discussing their forthcoming slate, which features series White Dragon and Cheat, both for UK broadcaster ITV and both coming from first-time writers.
With more than 10 years in the business, and being responsible for some of the most talked-about and compelling series of recent time, Harry and Jack Williams are now using their experience in the business to bring forward new voices – something broadcasters always say they are keen to do but rarely act upon.
In their bid to nurture new TV talent, commissioners and producers could also do a lot worse than sign up for a Wattpad account. The social media storytelling platform has a community of 60 million writers and readers, and the company is drawing data down to find the biggest hit stories and working with their creators and partners including NBCUniversal and Universal Cable Productions to bring them stories to screen. With more than 400 million stories uploaded every month in more than 50 languages, Wattpad looks set to become the next major player in the content revolution.
Luther creator Neil Cross begins the countdown to the end of the world in Hard Sun, starring Jim Sturgess and Agyness Deyn. DQ joins the cast and crew on set to find two detectives fighting crime as society threatens to descend into chaos.
Pushing through the market square, so many mothers sighing // News had just come over, we had five years left to cry in // News guy wept and told us, earth was really dying // Cried so much his face was wet, then I knew he was not lying.
The unrivalled legacy of the late David Bowie reaches far and wide, with musicians, filmmakers and fashion designers alike finding inspiration in his flamboyant use of make-up and costumes and his groundbreaking musical flair.
In television, Bowie’s music has been used as title tracks for Life on Mars, Ashes to Ashes and The Last Panthers, and is said to have inspired Fox network drama Lucifer. Now, his song Five Years – the opening track on his seminal 1972 album The Rise and Fall of Ziggy Stardust and the Spiders from Mars – serves as the loose inspiration behind the new series from Luther creator Neil Cross.
Described as a pre-apocalyptic crime drama set in contemporary London, Hard Sun follows detectives Robert Hicks and Elaine Renko as they discover the end of the world is nigh. With five years until annihilation, they face the prospect of maintaining justice as Armageddon looms. But how do you leave your family behind each morning and put your life at risk? And what criminal would fear a prison sentence in a world on the brink of extinction?
It’s a suitably sunny day when DQ joins the cast and crew on set during filming of scenes for the climactic sixth and final episode. The vast number of buildings and grounds that make up a former HSBC training site, located on the outskirts of north-west London, have provided many of the interior and exterior locations for the series.
A stairway and some double doors inside one building lead to the set of the police station. Here, a dimly lit observation room is filled with CCTV monitors while a central room is full of desks, with one wall covered with photographs of victims, crime scenes and evidence. The walls are painted metallic grey throughout as flashing lights from a bank of computer servers break the darkness.
It’s inside interrogation room FR7 that DQ meets executive producer Kate Harwood, MD of producer Euston Films. The sterile room contains a single steel desk with a recorder on the table. There are grey tile walls and a green lino floor, with CCTV cameras in every corner. Light shines through barred windows.
Hard Sun represents the first commission for Euston Films since Harwood rebooted the FremantleMedia label in 2014. The former head of drama for the BBC’s in-house production unit, she was at the channel when Cross first introduced tough-talking detective John Luther, brought to formidable life by Idris Elba.
BBC1 commissioned Hard Sun on the strength of one episode, so after getting the commission, Cross spent the next 18 months writing scripts. Brian Kirk (Game of Thrones, Penny Dreadful) joined as lead director, with Eve Stewart (The King’s Speech) as production designer and “rising star” Nick Rowlands (Ripper Street) as second-block director.
“It’s a crime show with a science-fiction premise,” Harwood says. “It’s as procedural as you can be when the cops are carrying around the secret that the world is going to end. So it’s part cop show, part sci-fi, part conspiracy thriller. But we’ve called it a pre-apocalyptic crime show set in contemporary London.”
Amid a lot of interest in the US, streaming service Hulu quickly boarded the series, while distributor FremantleMedia International beefed up its budget. Tax breaks have also been used to maximise the show’s finances.
On screen, Jim Sturgess and model-turned-actor Agyness Deyn (in her first TV role) play Hicks and Renko respectively, distrustful partners who seek to enforce the law and protect their families as destruction edges ever closer. Nicki Amuka-Bird plays an MI5 government official, a mysterious character who is part of the establishment and trying to suppress the information.
“Neil always says Hicks is the sun and Renko is the moon,” Harwood explains. “There’s a polarity about them. They circle each other. Sometimes they’re partners, sometimes they’re opposites. It’s a distrustful, must-trust relationship. That tension between them is absolutely essential. Hicks is explosive and external and bright and Renko is more watchful, more secretive, more held back and it’s a lovely duality between them. Agyness has never done TV. She seemed really excited by the material as soon as we met her. She’s like a duck to water and she’s so hard-working, focused and punctilious.”
Back on set and with the cameras rolling, Sturgess and Deyn find themselves in the lobby of a grand house, the air thick with smoke as an elaborate chandelier hangs above. One side room appears to be a surgery, with a lobotomy chair in the middle. Other rooms appear to be bedrooms, with TVs screening static fuzz in the gloom.
As Renko and Hicks, they enter the room from a dark corridor, torches raised to find a lady in a medical gown. Slowly, others emerge from the darkness to surround them in what promises to be an extremely creepy climax to the sixth episode.
“It starts off as a procedural show with Hicks and Renko investigating a particular crime – a man who’s apparently fallen off a balcony and is found dead in a tree,” explains producer Hugh Warren, who also reveals the Bowie link to the series. “But what unravels is that his stolen flash drive contains this Hard Sun dossier that, internationally, is being suppressed by government forces because they’ve learnt that an extinction-level event is coming. So by the end [of episode one], Hicks and Renko know there’s five years left for the planet and that’s the new world they’re in.”
Filming locations took in areas of London including Shepherd’s Bush, Shoreditch and Oxford Circus. Naturally, the logistics and cost of moving the production around the city caused headaches for Warren and his team. The scripts also called for numerous night shoots, which became increasingly difficult as the production, which began shooting at the end of January, entered spring and early summer.
“It’s also very action-heavy for British television so there are a lot of stunts, a lot of complicated stuff to shoot. The normal amount you would expect to shoot on an average day for a TV drama, we can’t achieve,” he admits. “We’re shooting for many more days per hour than you would expect. That’s a real challenge in terms of time because we’ve only got the actors for a finite period.”
But what will fans of Luther, which is returning to the BBC for a fifth season, make of Cross’s latest series? “I think it will surprise people,” says Warren, adding that celebrity cosmologist Brian Cox has been on hand to help the creator root his end of-the-world theory in fact.
“What it has in common with Luther is the darkness – there are some very dark stories in there but also real humanity. We’re telling a huge cosmic story about the end of the planet but what’s interesting is it comes down to really common human experiences. They’re very everyday stories set against this massive global catastrophe.”
Too good to turn down
Having only just appeared in a BBC drama – Stephen Poliakoff’s Close to the Enemy – Jim Sturgess wasn’t planning on signing up for another one. Instead, he was pondering a break from acting to focus on his music career. So it’s testament to Neil Cross’s script that the actor immediately signed up to play detective Robert Hicks in Hard Sun.
“I was almost cursing Neil for writing something so good,” Sturgess reveals, adding that he was attracted by the combination of “messed up, flawed characters” and the overall concept for the series.
“What’s great about this, and why I’m really excited about it, is it’s a pre-apocalyptic story that doesn’t need to rush,” he says, citing movies such as Armageddon that cram an extinction-level event into 120 minutes. “I hadn’t seen this before, where something’s looming but you can really spend time looking at what that’s going to do to individuals and society as a whole. TV works for a project like this because you can really take your time with it.”
Cross travelled from his New Zealand home for rehearsals alongside Sturgess, co-star Agyness Deyn and lead director Brian Kirk. It was there that the two leads cemented their partnership, both on and off screen.
“Our relationship on screen is incredibly intricate and at times complicated and strategic,” Sturgess says. “Off-screen It’s great to have a partner in crime on set who you really trust, has a very similar work ethic and cares about it as much as I do. She brings everything she has to it and we get on really well. We’re both pretty chilled out.”
Sturgess, whose film credits include 21 and Cloud Atlas, last year starred as a chef in AMC’s 2016 series Feed the Beast, an adaptation of Danish drama Bankerot. He’s also played criminals, drug addicts and a stoner musician, but has never played a detective before – “and I’ve never really wanted to,” he admits, “until I read this particular detective.”
“He’s not squeaky clean at all,” Sturgess adds. “He’s not James Bond. He makes some very tricky decisions that have a difficult impact on his life later on. But he considers himself to be a good family man, and that becomes an important part of the story because it’s his family he’s trying to save.”
The international drama community gathered at the BFI on London’s South Bank for three days of screenings, panel sessions, case studies and awards. Michael Pickard looks back on C21 Media’s International Drama Summit, part of Content London.
On the south bank of the River Thames, hundreds of producers, writers and broadcasters from around the world gathered in London for C21 Media’s International Drama Summit this week.
Held at the British Film Institute, the event took in three days of screenings, panel sessions and interviews covering the hottest talking points in the business – from budgets and coproductions to what commissioners are looking for to fill their schedules.
Audiences took in the first images of new Icelandic drama Trapped, written by Clive Bradley and produced by Dynamic Television. Producer Klaus Zimmermann discussed the challenges of working with nine commissioning broadcasters, among them SVT, DR1, DRK, France Télévisions and BBC4.
Bradley also spoke about his positive experience working in a US-style writers room for the first time. “It’s always going to be true that if you have four rather than one brain that you will create more,” he said. “The turnaround was always going to be very quick because you’ve got at least eight months to do 10 episodes.”
There was also a packed house for a first glimpse at ITV’s forthcoming period drama Victoria, starring former Doctor Who companion Jenna Coleman. “Jenna was born to be queen,” said Damien Timmer, from producer Mammoth Screen.
Writer Daisy Goodwin added: “I’ve tried to tell the story of a teenager growing up with a crown. She’s not the queen you expect. It’s drama but everything that happens is true.”
Among the drama case studies, the creative teams from shows including Agatha Christie’s And Then There Were None, The Collection, Dickensian, Beowulf: Return to the Shieldlands, Capital and Jekyll & Hyde took to the stage to reveal secrets from behind the scenes.
Agatha Christie Ltd CEO Hilary Strong said she always envisioned And Then There Were None to be a coproduction, with the three-parter due to air on BBC1 in the UK and Lifetime in the US.
“Working with Joel [Denton, A+E Networks ] and A+E has been a real revelation. This is a BBC show, it’s inherently British, but A+E didn’t demand we put any US stars in as per the old coproduction thing. That is over. Instead, we knew it needed a cast that resonated [in the US] so there was a dialogue.”
Elsewhere, executives discussed spiralling budgets, creating an increasing need to piece together funding through multiple streams – whether via licence fees, private funding, distribution financing or pre-sales.
And while there was plenty of talk about the alleged saturation of the TV drama market, it was clear that many executives simply believe that while there might be too many shows, there aren’t enough great shows.
Morgan Wandell (pictured top), head of drama series for Amazon Studios, said as much during his keynote session when he warned producers against making run-of-the-mill, “industrial grade” procedurals.
He told delegates that Amazon Studios is aiming to make shows that are a “step above” what is already on offer, such as the SVoD platform’s recently launched The Man in the High Castle.
“If you’re making industrial-grade procedurals then good luck, but you do run the risk of being washed out,” he said, adding that some producers and writers “have built up specific muscles in TV. We’ve stripped away narrative tropes they relied on.”
Meanwhile, UK commissioners noted the changing television landscape as genre tastes and viewing habits continue to evolve.
BBC drama commissioner Polly Hill claimed TV audiences are now more open than ever to “complex, tricky” plots as she unveiled a new series from Luther creator Neil Cross set in a pre-apocalyptic London.
Hard Sun, which will air in 2017 and is produced by Euston Films, follows detectives Elaine Renko and Robert Hicks, partners and enemies, who seek to protect their loved ones and enforce the law in a world slipping closer to certain destruction.
Hill told the Drama Summit that the success of the BBC’s recent drama slate, including Sherlock and Happy Valley, was evidence that “mainstream is really moving and big audiences will watch really complex, tricky subjects.”
Sky head of drama Anne Mensah and drama commissioning editor Cameron Roach described the differences between the networks they look after. Watching Sky Atlantic was compared to buying a ticket for a blockbuster film, while Sky Arts was likened to an art house cinema – though not for niche storytelling.
The pair said story was key across the board, however, adding that the pay TV broadcaster’s development team is now commissioning year-round for all three networks, including Sky1, and that channel boundaries remain fluid depending on the project.
ITV director of drama Steve November was more specific when describing his channel’s needs for the next two years. With shows such as Victoria and Jericho coming up in 2016, the broadcaster is well placed to retain viewers following the end of long-running hit Downton Abbey, which concludes with a Christmas special later this month.
And while ITV remains keen on period dramas – with Dark Angel and Doctor Thorne also coming up next year – November said he was looking for a range of new contemporary dramas to fill the 21.00 slot.
“I have got to be honest, I watched [the BBC’s] Dr Foster with a degree of envy and I wish we had that show,” he said. “Big romantic thrillers and a family relationship drama are real priorities for us.”
Channel 4 drama team Piers Wenger and Beth Willis also talked about the challenge of building a year-round drama slate, and how they approach traditional genres such as crime, period and sci-fi in a fresh way (see No Offence, Indian Summers and Humans respectively).
Deputy head of drama Willis said: “If it could be on another channel, we shouldn’t be doing it. We’re always looking for shows with an edge.”
Wenger, C4’s head of drama, revealed there are a variety of funding models in play at the broadcaster, such as its international coproduction strategy that saw Humans produced with US cable channel AMC.
As the conference drew to a close, the challenges of the future came into view – keeping viewers tuning into linear broadcasts, judging success in ways other than overnight ratings, piecing together financing in a world where there are no longer any set models for production and finding ways to tell new stories in an increasingly competitive market.
There will never be a formula for creating a hit series, but the ambition to find the next big hit is continuing to drive the business forward in new and innovative ways, ensuring the appetite for television drama will remain undiminished for some time to come.