Tag Archives: Jantje Friese

Dark days

The showrunners behind Netflix’s first original German production, supernatural thriller Dark, tell DQ why auteur filmmakers are migrating from big screen to small.

When Netflix commissioners were looking for creatives to helm what would become the global streaming giant’s first original German series production, they turned to the film festival circuit.

As with previous Netflix shows such as The OA and Dear White People, which came from the minds of Britt Marling and Justin Simian respectively, the subscription service sought out indie auteur filmmakers – specifically, the director-writer duo of Baran bo Odar and Jantje Friese.

The husband-and-wife pair had scored a hit at the 2014 Toronto International Film Festival (TIFF) with their hacker thriller Who Am I – No System is Safe, and Netflix approached them to see if they would be keen to adapt the movie into a series. “We said no,” Odar recalls, “because we don’t like to repeat ourselves. We get bored easily and we like to live in a world for a couple of months and then leave it and go into another world.”

Nevertheless, he and Friese had other ideas in mind, including a missing-teen thriller that blended elements of Nordic noir (think shows such as The Killing and Trapped) with a supernatural twist (à la Stranger Things and Les Revenants).

L-R: Dark creators and showrunners Baran bo Odar and Jantje Friese, Netflix’s Eric Barmack, and exec producers Quirin Berg and Justyna Muesch

“Dark was an idea we’d had for a very long time, in different forms,” Odar says. “The title always stayed the same, like a good band, but the music changed. It was once a feature film, which was more like a Stephen King, It kind of story and then it morphed into a very typical crime story for the UK market.”

After shelving the idea for a period and later returning to it, the pair finally decided “to combine it with another idea we had, which was a supernatural twist idea, and all of a sudden a new world opened up for us,” Odar explains. “That’s what we pitched Netflix and they immediately loved the idea – that combination of family drama TV show meets supernatural phenomena.”

Dark takes place in a small German town that’s living in the shadow of a soon-to-close nuclear power plant. The disappearance of a teenage boy marks the start of a series of eerie events, putting the show’s large cast (consisting of some 72 characters) increasingly on edge.

“We both come from a small town and we’ve always been interested in the secrets and sins of people living in small towns,” says Friese, the show’s writer and co-creator. “What really happens with your neighbours and what dark avarices can you find behind their front door?”

After previewing Dark’s first two episodes at TIFF in September, Netflix launched the 10-part German-language series globally in December. The show was produced by German indie Wiedemann & Berg Film (Who Am I, Welcome to Germany), with Justyna Muesch, Quirin Berg and Max Wiedemann as executive producers alongside Friese and Odar. Amanda Krentzman, Netflix senior manager for international originals, is the exec producer for the streamer.

The series centres on the disappearance of a teenage boy

Friese says making the move from the world of feature films to TV was a liberating experience “because basically you have someone who says, ‘OK, this is your idea, this is how you want to make it, go ahead and make it.’ And then you just start right into it.”

She adds: “In Germany, you have so many people who have their own agenda, and when they put money into a project you get lots of notes; you kind of lose your train of thought with what you wanted to do. But it was very different with Netflix.”

Netflix’s first German series commission marks just one of a series of international initiatives to be unveiled by the streaming giant in recent months. The company made headlines in September when it unveiled a controversial, five-year original production strategy in Canada, worth some C$500m (US$398.85m). The move, announced in partnership with the Canadian government, represents Netflix’s first commissioning hub outside the US and will result in original titles in both English and French.

The same month, Oscar-nominated filmmaker Agnieszka Holland (Spoor, Europa Europa) signed up to direct the SVoD service’s first original Polish series. The as-yet-untitled, eight-episode show will be a Cold War spy thriller, shot in cities in Poland. Written and created by Joshua Long, it promises to deliver an alternative reality in which the Iron Curtain never fell.

And a month later, Netflix detailed its first Middle Eastern production: a comedy special starring Lebanese comedian and actor Adel Karam, which is expected to launch this year.

Dark landed on Netflix around the world in December

Despite Dark being touted as Netflix’s flagship German production, with a second season recently confirmed, Odar and Friese say they did not set out to create a particularly German-feeling show. “We always try to create stories that work internationally because we watch movies and series from all over the world and want the same with our stories,” Odar explains. “We like genre mixes. We’re influenced a lot by South Korean movies, which do that a lot, such as Bong Joon-Ho’s movies like The Host or Mother. He always combines comedy with horror, or comedy with crime, and we like that. For us, a typical thriller gets pretty boring.

“So we didn’t approach this project trying to make just a German show or just an international show; it should be for everyone.”

As for Dark’s distinct visual style, Friese says the team worked with director of photography Nikolaus Summerer to craft an offbeat suburban landscape that was partly inspired by the work of New York-based photographer Gregory Crewdson.

“He does this photography of suburbia where you have these really wide shots where, for example, you have a person standing naked with a suitcase, and you have no idea what’s happening. It’s like mystery photography. It creates this suspense. That was actually a starting point to find the look we were searching for.”

Odar adds that the creative freedom afforded by Netflix, combined with the flexibility to create something of scale and scope, came in stark contrast to the typical constraints of feature cinema. “Most filmmakers right now feel that creating a series, or a limited series, is much more intriguing or interesting, because you actually tell stories that studios don’t tell anymore on the big screen,” he says. “Nowadays it’s all superheroes, sequels, reboots and stuff like that, and that’s pretty boring for a filmmaker.

“We like some of the Marvel movies, but you can’t just wash away the market with superhero movies. It’s very boring. A cheeseburger is great, especially when you have a hangover, but you can’t have a cheeseburger every day.

“That’s the new future for filmmakers right now,” Odar adds, “something like Netflix or Amazon, where you can actually go and tell a drama. No one is making drama for the [movie] theatre anymore, or, if they are, it’s so small and low budget that no one watches it, which is also very frustrating for a filmmaker.”

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German writers raise their game

Germany’s leading broadcasters have always spent heavily on TV drama. But until recently there was a feeling that their work was too domestic in character to travel.

Shows like Generation War and Deutschland 83 have changed that perception. This week, we shine a light on the writers who are driving Germany’s TV exports.

kolditzStefan Kolditz studied theatre in Berlin then taught in universities until 2002. Throughout the 1980s and 1990s, he wrote numerous projects for theatre, film and television. After honing his TV skills with classic German dramas such as Tatort and Polizeiruf 110, he had a major breakthrough in 2014 with the UFA/ZDF miniseries Unsere Mütter, unsere Väter (Generation War). He followed this with an acclaimed adaptation of Bruno Aptiz’s classic novel Naked among Wolves, which aired on ARD and is distributed internationally by Global Screen. More recent projects include the film biopic Paula and TV movies for pubcasters ZDF (Ein Mann Unter Verdacht) and ARD (Mutter Reicht’s Jetzt). He has also managed to fit in two new episodes of Tatort.

annette-hessAnnette Hess studied playwriting in the 1990s in Berlin and then worked at ARD in various executive roles. Her life as a screenwriter began in earnest at the start of the last decade, with TV movie credits for her previous employer. Like Kolditz, she cut her teeth on long-running scripted franchises like SOKO (Cologne) and Polizeiruf 110. However, the big turning point came in 2010 with the acclaimed drama series Weissensee, which has now run for three seasons (one every two years). Since then, she has had another big hit with Ku’damm 56, a ZDF series about female emancipation in the 1950s. The UFA-produced show was good enough to secure a follow up called Ku’damm 59, which is now in the works. In 2016, Hess also wrote episodes of Der Kommissar Und Das Meer, a ZDF crime series that has been running since 2007.

philipp-jessenPhilipp Jessen is a new voice to TV having previously worked as the editor of online newspaper service Stern.de. His TV debut came in 2016 with Giftschrank, which has been described as a cross between House of Cards and Kir Royal. The series, which in English translates roughly as Poison Cabinet, goes behind the scenes at a glossy tabloid-style magazine. Joachim Kosack, producer and MD at UFA Fiction, said of the show: “I have rarely seen a script that is so captivating from the first to the last page. Giftschrank gives a fascinating insight into tabloid journalism. High tension is not only the inner view, but also the ever-recurring question of morality in journalism. You get a sense of how editorial works. It is sharp, entertaining and wise.”

thewingersJoerg & Anna Winger burst onto the scene with Deutschland 83, a Cold War drama that aired on RTL in Germany and has attracted a lot of attention internationally. The two  are now working on a sequel called Deutschland 86, which will premiere exclusively on Amazon Prime Video in Germany in 2018 before airing on RTL. Anna Winger is actually from the US, making her part of a growing trend for foreign writers to get involved in German series (others include Paula Milne and Rachael Turk). She is also developing a series for BBC America set in contemporary Berlin.

dorotheeschon1Dorothee Schön grew up in Bonn then studied film in Munich. She has written a number of TV movies and is another to have contributed to the Tatort juggernaut. After two decades working on TV movies, her next big project is a UFA-produced miniseries for ARD called Charité. A six-parter, the show tells the story of Berlin’s legendary Charité hospital, which many credit with inventing modern medical research. Schon is also lined up to write a miniseries for UFA called The Porsche Saga, which is based on a book about the car manufacturer by Stefan Aust and Thomas Ammann.

tomtykwerTom Tykwer is writing Babylon Berlin with Hendrik Handleoegten and Achim Von Borries for a 2017 launch on Sky Deutschland. The lavish period piece will focus on life in 1920s Berlin. Writer/director Tykwer is best known for his movies, which include Run Lola Run, Perfume and Cloud Atlas. It’s not clear yet whether this is the start of a career in TV or a one-off project.

silberChristoph Silber wrote Rivals Forever – The Sneaker Battle, a period piece about the rivalry between Adi and Rudi Dassler, the founders of Adidas and Puma. A British-German producer, director and writer based in LA, Silber has been working across film and TV since the start of the last decade. Like many of his counterparts, he has written episodes of Tatort. Among his better-known TV movies is Das Wunder von Kärnten (written with Thorsten Wettcke), which tells the true story of a three-year-old girl from Austria, who fell into the lake behind her parents’ house in 1998 and had been underwater for 30 minutes before being found. A young cardiovascular surgeon takes up the seemingly hopeless fight for the young girl’s life, and remarkably saves her. More recently, Silber has been working on the miniseries Honigfrauen, which will see the light of day on ZDF in 2017. Set in 1986, it tells the story of two young women who go on holiday to Hungary’s Lake Balaton from East Germany.

basedow-photo-ardthorsten-janderRolf Basedow is one of a team of writers who scripted Beta Film’s NSU Germany History X, a series about far-right German nationalists produced this year. Active in the TV business since the 1970s, he has contributed to dramas like Tatort and has also written series such as Sperling and the acclaimed 10-part series Im Angesicht des Verbrechens (2010), which looked at the interplay of police and gangsters in Berlin. Following NSU, he is back to writing TV movies including Zielfahnder: Flucht in die Karpaten.

jan-bergerJan Berger had a major international hit with The Physician, which was directed by Philipp Stolzl. The Berger/Stolzl combination has subsequently come to be regarded as something of a dream ticket. The pair reteamed for Beta Film’s updated version of western adventure Winnetou and are also working with UFA Fiction on a TV biopic of magicians Siegfried and Roy.

niki-steinNiki Stein and Hark Bohm are writing Hitler, a high-end drama series from Beta Film that will air on RTL and has been sold to French broadcaster TF1. The 10-hour event series is based on the biography Hitler’s First War by the internationally renowned historian Thomas Weber and will “shed an unprecedented light on the most closely examined figure of modern history,” according to Beta Film. Stein (pictured), another Tatort alumnus, has written numerous TV movies. One of his best-known works is the 2012 TV movie Rommel, about the famed Second World War general. The film attracted controversy, so it will be interesting to see how Stein handles this subject.

marcterjungMarc Terjung and Benedikt Gollhardt created the hit Sat1 comedy series Danni Lowinski, about a hairdresser who becomes an unconventional lawyer. The German series ran for five seasons and spawned a Dutch adaptation. Terjung (pictured) also created comedy series Edel & Starck and has written for SOKO. After working on legal dramedy Danni Lowinski, he wrote Josephine Klick – Allein Unter Cops, about a female police officer who moves from a small town to Berlin, whereupon she encounters resistance from her new colleagues.

friese-jantje-01Jantje Friese recently secured the job of writing Dark, Netflix’s first German original series. The 10-part show, directed by Baran bo Odar, is set in a German town where the disappearance of two children exposes the double lives and fractured relationships among four families. Friese studied in Munich then started her career as a commercials director. Subsequently she went into production and writing. Together with Odar, she wrote the film Who Am I?, a well-received political/cyber thriller.

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