Tag Archives: Nacho Manubens

¡Viva España!

Without much noise or fanfare, Spain has been steadily building a reputation as one of the hottest producers of scripted drama, with homegrown series finding fans around the world. DQ takes an in-depth look at the wave of new series coming out of the country.

Spanish drama may not attract as much attention as Nordic noir or the ‘Korean wave,’ but there’s no question the country’s scripted series are now enjoying decent levels of profile around the world. And with significant increases in content investment from free-to-air (FTA) channels, pay TV and SVoD platforms, Spain’s storytellers are poised to deliver a new wave of diverse and ambitious shows to the international market.

One of the first firms to identify the potential of Spanish drama was German distributor Beta Film, which was responsible for the international roll-outs of Gran Hotel and Velvet, two exquisite period pieces produced by Bambú Producciones for FTA network Antena 3.

According to Beta Film executive VP for acquisitions and sales Christian Gockel, the success of the Bambú/Antena 3 partnership convinced his company to board two new productions from the same stable: Morocco – Love in Times of War and Farinia – Snow on the Atlantic. “They have raised the bar yet again by taking the unique blend of romance and drama we know so well from Velvet,” he says.

Morocco, says Gockel, is set in war-torn Spanish Morocco in the 1920s, where a group of nurses look after troops. Farinia, meanwhile, “centres on a fisherman who becomes a wealthy smuggler by providing South American cartels a gateway to Europe.”

Farinia is a good indicator of how Antena 3 – the dominant force in FTA drama – has diversified its slate in recent times. The channel also launched Vis a Vis (pictured above), a female-prison drama produced by Mediapro drama label Globomedia. Distributed by Mediapro sales arm Imagina under the title Locked Up, that show broke into the English-speaking market, airing on Channel 4 in the UK and on foreign-language SVoD service Walter Presents.

Gran Hotel was produced by Bambú Producciones for Antena 3

Walter Presents also picked up fellow Antena 3/Globomedia drama Pulsaciones (Lifeline). The psychological thriller is about a surgeon who unravels a medical scandal after suffering a heart attack and having strange nightmares when he receives a donor heart. “Last year, Locked Up exploded onto the international scene, heralding a renaissance in Spanish scripted excellence,” says Walter Presents curator Walter Iuzzolino. “This year they’ve done it again. Lifeline is a thriller with shock narrative twists and epic cliffhanger endings.”

The growing appeal of Antena 3-commissioned drama to the global market is further underlined by a deal that will see Netflix air miniseries The Cathedral of the Sea around the world. Based on Ildefonso Falcones’ bestselling novel and produced by leading Spanish prodco Diagonal, the story takes place in 14th century Barcelona during the Inquisition.

Explaining his remit, Antena 3 senior VP for drama Nacho Manubens says: “Although we produce sporadically for our other channels [laSexta, Neox], we mainly focus on Antena 3. We commission more than 600 hours of TV per year, with 120 primetime hours and 500 daytime hours. We have a range of genres, since our audiences demand variety and innovation. In thrillers we have had hits with Bajo Sospecha, Mar De Plastico and Vis a Vis. In period dramas we have had El Tiempo Entre Costuras and Velvet. These are both lines we will continue exploring.”

Antena 3 has developed a reputation for edgy shows – something Manubens wants to maintain. “We cannot take risks in every show we produce, but we try to keep making shows that push the envelope like we did with Casa De Papel [aka The Money Heist, the latest show from Via a Vis creator Alex Pina].”

Sé Quién Eres (I Know Who You Are) was a hit for Mediaset España

Public broadcaster RTVE and Mediaset Espana, owner of commercial networks TeleCinco and Cuatro, have also upped their scripted game. For RTVE, key titles have been El Ministerio del Tiempo (The Ministry of Time) and Isabel, produced by Onza Partners/Cliffhanger and Diagonal respectively. Isabel, one of several royal-themed shows on the market, ran for three seasons and travelled well internationally. Buoyed by its success, RTVE also made a foray into English-language drama with Reinas (Queens), about the rivalry between Mary, Queen of Scots and Elizabeth I.

Mediaset España, meanwhile, had a hit with Sé Quién Eres (I Know Who You Are), a Filmax production about a charismatic university lecturer’s possible involvement in his niece’s murder. The show was bought by several networks, including the influential BBC4 – its first Spanish acquisition – with head of BBC programme acquisitions Sue Deeks calling it “the dramatic equivalent of a page-turning thriller.” Mediaset España’s increased investment in event series has also seen it back Forgive Me God, an eight-part miniseries about a nun battling delinquency and the drug trade.

Alongside the increased ambition among FTA channels, there are also new opportunities in the pay TV and SVoD arenas, according to Pilar Blasco, MD of Endemol Shine Iberia, a division that includes Diagonal. “Spain has always been a strong market for local original scripted programming and this has enabled us to build an industry of creative writers, showrunners and directors,” she says. “The big game-changer, however, has been increased commissioning of Spanish productions from the likes of Movistar+, Netflix, HBO and Amazon. As a result, the Spanish drama industry is flourishing with higher budgets that tell more daring stories from a broader range of genres.”

The most high-profile example of Blasco’s point is Telefónica’s decision to invest €70m (US$84m) a year in scripted series for its pay TV platform Movistar+. According to Domingo Corral, head of original programming at Movistar+, the plan is to launch 11 original series a year, initially for SVoD customers. The emphasis will be on “Spanish-language series dealing with Spanish stories created by Spanish talent,” he says.

Movistar+ drama La Zona is set four years after a nuclear accident

Titles include La Zona, a story set in northern Spain four years after a nuclear accident. Also coming soon is La Peste, set in 16th century Sevilla against the backdrop of a plague. Movistar+ has also done a deal with Bambú for a spin-off from Madrid fashion-store series Velvet, which ended on Antena 3 after four seasons. The new series, Velvet Collection, will take the story forward to the 1960s and relocate to Barcelona.

At first sight, Corral’s insistence on super-charged Spanish series seems like it will limit their international appeal. But he takes the view that “great storytelling and characters have universal appeal.” Besides, he adds, Movistar+ series will have 50-minute episodes, rather than the 70 minutes typical to Spain. This will make them a better fit for the global market. Also, Movistar+ has spared no expense on talent, pulling in writers and directors from the country’s admired cinema scene.

Beta Film is continuing its relationship with the Velvet franchise and is also distributing La Zona, says Gockel. “We believe La Zona is one of the most exciting shows coming from Spain this year. It’s an innovative eco-crime thriller with a high budget that will catch viewers around the globe.”

About Premium Content has picked up rights to eight-part mob thriller Gigantes, while Sky Vision has secured global rights to La Peste, which is budgeted at €10m for six episodes. Sky Vision MD Jane Millichip gives an upbeat assessment of Movistar+’s shows: “With La Peste, they have assembled an incredible team with a proven track record. The partnership of Alberto Rodriguez and Rafael Cobos has delivered a deeply engaging story that delivers a thriller of scale, a pungent sense of the past and a modernity that will satisfy audiences.”

Big-budget series La Peste is being distributed by Sky Vision

Movistar+’s investment in drama is especially timely given the growing competition. In April, Netflix launched Las Chicas del Cable, another sumptuous period piece from the Bambú stable that tells the story of four young women working for Spain’s national telephone company in the 1920s.

Also muscling in on the Spanish market is Fox Networks Group (FNG), which has just done a deal with Mediapro’s Globomedia that will see future series of Via a Vis air on its pay TV networks, rather than on broadcaster Antena 3. This is Fox’s first foray into original scripted series, with Vera Pereira, exec VP of FNG Iberia, saying it “will give us greater visibility and relevance in the market.”

Success in scripted formats is also contributing to Spain’s creative revival, with Star-Crossed (The CW), Red Band Society (Fox) and The Mysteries of Laura (NBC) all reimagined for the US market. Televisa USA is also teaming with Lantica Media to produce an English-language Gran Hotel, while Lionsgate has been linked to a US adaptation of Bambú’s Velvet.

The final dimension to the Spanish market’s new dynamism relates to the ambition of the producers. Bambú is part of StudioCanal and has coproduced time-travel drama Refugiados (Refugees) with BBC Worldwide. Diagonal, meanwhile, sees projects like The Cathedral of the Sea as a new phase. “It is a huge leap for the company as it moves into international coproductions,” observes Blasco. “It’s an ambitious project that would never have been commissioned without the support of Netflix.”

Velvet Collection follows on from Velvet

Another leading Spanish producer, DLO, recently became part of the Banijay network and has also picked up a commission from Movistar+ — a series based on Julia Navarro’s best-selling historical novel Dime Quien Soy. In a similar vein, Lagardère Active-owned producer Boomerang is well-known for El Tiempo Entre Costuras (The Time in Between), a 2013 hit for Antena 3 that went on to sell into 75 territories. Now the company has identified Latin America as a key expansion opportunity and is working on a brace of series for broadcasters in Chile. Bambú is also building its profile in Latin America, via a development deal with Televisa in Mexico.

Mediapro is also involved in an eclectic mix of domestic and international series. It coproduced English-language drama The Young Pope and is working on Paradise, a Finnish-Spanish copro that takes place in a Spanish village on the Costa del Sol with a large Finnish community. Other projects include The Head, a copro with Sweden’s Dramacorp in which 10 scientists, trapped in a laboratory at the South Pole, realise one is a killer. “We are also working with DirecTV Latin America on El Fútbol no es Así, a crime series set in the world of Spanish football,” says Mediapro head of content Javier Mendez.

While Mendez welcomes the influx of pay TV drama funding, he says a key opportunity for Mediapro is the international market – especially in light of the fact it has a distribution arm, Imagina. “Series like Narcos show it is possible to find great stories that have the ability to travel all over the world,” he explains. “Increasingly, our strategy is to back good stories regardless of where they come from, because there is a huge appetite for drama around the world.”

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Pulsaciones: Spain conjures crossover drama with heart

Matters of the heart concern more than love in Spanish psychological thriller Pulsaciones. DQ speaks to one of its creators to find out what keeps the series beating towards its conclusion.

Genre crossovers are nothing new in television. From forthcoming sci-fi western Westworld to period crime dramas Ripper Street and Peaky Blinders and comedy-horror Ash vs Evil Dead, the small screen is constantly finding ways to mash up traditional styles to create new stories.

Another example is Pulsaciones (aka Lifeline), a Spanish drama that is described as a psychological thriller with elements of romance, the supernatural and traditional medical drama, with scenes inside an operating theatre serving as the prologue for the resulting 10-episode series.

In particular, it explores the issues surrounding so-called ‘heart memory’ – when a heart transplant patient begins to relive the memories and experiences of the donor.

Pulsaciones tells the story of the dangerous investigation carried out by a neurosurgeon to solve the mysterious death of his heart donor, using only the hints that, in the shape of memories and dreams, the heart sends to its new owner. His disturbing nightmares will also cause his marriage to fracture as he is inexplicably attracted to another woman.

Emilio Aragon (left) on the Pulsaciones set
Writer Emilio Aragón (left) on the Pulsaciones set

Produced by Globomedia for Antena 3, it stars Pablo Derqui, Leonor Watling, Ingrid Rubio, Meritxell Calvo and Juan Diego Botto.

The series, due to air later this year, was created by writers Emilio Aragón, Carmen O Carbonero and Francisco Roncal, with Aragón, David Ulloa and David Victori directing. The show is distributed internationally by Imagina International Sales.

Aragón says the creative team had been toying with developing a fantasy series for a while, “then one day we read an article about a French investigator who had been studying the memory of the heart and immediately we thought, ‘We have a story here!’”

He continues: “The appeal of the show is in the idea of the heart’s memory. But the most interesting part, from a creative point of view, was the chance to cross a thriller with something so related to human emotion, as is everything that is carved in our hearts, and the power it holds.”

Aragón says he and the rest of the creative team “read everything that fell into our hands” on the subject of heart transplants and the phenomenon of transplant recipients adopting some of the characteristics, personality traits or desires of their donors. Reports suggest some heart patients have developed a sweet tooth, specific food cravings and adopted new musical tastes following their transplants.

Pulsaciones
Pulsaciones centres on the notion that organ transplant recipients can retain the donor’s memories

“We also watched a lot of documentaries and scientific programmes,” he adds. “Regarding scientific evidence, the show has just enough. The subject was so juicy that we preferred to unleash our imagination within certain parameters.”

Aragón and Carbonero initially teamed up to start writing a story around the premise of the memory of the heart, before Rocal joined the team.

“For a year-and-a-half it was a true tour de force,” Aragón says. “There were dozens of versions of the story and we were very self-critical until we found the right one. Then, once the series was conceived, other writers joined us to develop the main arc of the plot and to outline the first 10 episodes.

“The first four episodes were written by the three of us and, from there on, Carmen and Francisco took charge of writing the dialogues and co-ordinating the rest of the episodes, with the participation of other writers for certain episodes, while I was in charge of directing the series.”

Behind the camera, Aragón says he wanted the series to be as realistic as possible: “The visual narrative style was something that was debated a lot between the art director, the first assistant director and myself. Once we defined the style, I had a meeting with the other two directors that were to accompany me on this journey and I shared it with them. The collaboration has been very easy and smooth.”

Nacho Manubens
Nacho Manubens

The writer/director says the 10-part story format, rather than an episodic case-of-the-week structure, gives the series more strength – but he admits the production was not without its difficulties.

“The whole project has been a challenge,” he says. “I very much enjoy being involved in the creative and production process. But if I had to choose one, the blank piece of paper is what stimulates me the most.”

Aragón is now looking ahead to a possible second season, at a time when the Spanish TV drama sector is on the rise after the country’s recent financial troubles.

“The Spanish drama industry during the past few years has grown well,” he notes. “There is a lot of talent and very good professionals – just look at the number of formats and series being exported. The networks – in this case, Atresmedia – are also exploring new paths within this industry. Lifeline is proof of it.”

For Nacho Manubens, the senior VP of drama at Antena 3 owner Atresmedia, the appeal of Pulsaciones was its unique concept.

“This intriguing story about a man who, after receiving a heart transplant, can’t get away from the donor’s issues was a very promising beginning,” he explains, adding that this will be the latest thriller to air on Antena 3 in what has become a successful genre for the network.

“At Atresmedia we have been quite successful with our thriller slate in the last few years. We had crime hits like Bajo Sospecha and Mar de Plástico, and the prison drama Vis a Vis. In addition to having a strong thriller structure, Pulsaciones has a romantic story and a slight supernatural element that brings something fresh to our slate. New approaches to the genre are always exciting but also risky, since we can’t predict how audiences will react.”

As such, Manubens says he works closely with producers to help them reach the show’s potential, all while respecting their vision.

“We are part of every key decision but once we have a good sense of what the show we are building is, we tend to stay away from the set,” he adds.

“Our goal is to keep having a wide scope of shows, from comedy to thriller to dramas, so we are always excited about the possibility of offering such different stories to our audiences.”

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Buyers guide

Whether it’s acquiring a finished show, going it alone, adapting a format or coproducing with international partners, there’s a multitude of options when it comes to buying and selling quality drama. DQ asks the experts what works best for their business.

Scripted content is in strong demand around the world. Premium pay TV broadcasters, SVoD platforms and mainstream free-to-air channels are all on the hunt for signature shows that can define and uplift their services. And so are international programme distributors, which are battling it out to secure the rights to piping-hot global drama properties.

The Returned: 'Significant in terms of the kind of prices it is possible to charge for non-English-language content'
The Returned: ‘Significant in terms of the kind of prices it is possible to charge for non-English-language content’

One broadcaster in the midst of this frenetic activity is Canal+. Explaining the way the French pay TV broadcaster works, Aline Marrache-Tesseraud, head of acquisitions, foreign fiction, says: “Canal+ is a premium channel. Our subscribers come to us to find something they can’t find anywhere else in the landscape, so we give them a mix of original programming and shows acquired from the US and Europe.”

On the originals front, Canal+ has backed an eclectic mix of titles including Braquo, Les Revenants, The Tunnel, Barbarella and Versailles. If there’s a point worth making about this group of shows, it’s that they are all capable of playing well on Canal+ or in the international markets. Braquo and Les Revenants, although French-language, have the kind of style and pacing that appeals to international audiences. The Tunnel is an Anglo-French copro with Sky Atlantic that neatly bridges the two cultures. The remaining two productions, both epic in scale, are being produced in English to appeal to the global drama market.

As for Canal+’s acquisition slate, Marrache-Tesseraud has picked up a wide range of top titles including Wayward Pines, House of Cards, The Honourable Woman, Game of Thrones and True Detective. “We are looking for modern, unique shows, preferably serialised,” she says. “We generally get involved at an early stage by pre-buying the rights.”

Pre-buying, as opposed to waiting for shows to be completed, generally costs more. But it has two advantages. First, it allows a broadcaster to get to a hot property ahead of rivals. Second, it means they can air the production as quickly as possible, thus minimising the risk of people pirating the content.

Earlier this year, for example, Marrache-Tesseraud acquired Wayward Pines from Fox International Channels, a move that gives it exclusive first-window rights in France and enables it to air episodes on the same day as they go out in the US. Explaining the show’s appeal, she says: “It brings together highly talented signature cast and crew, and is headed by Oscar-nominated director and producer M Night Shyamalan.”

Drama is also a critical consideration for Stephen Mowbray, head of SVT International, the commercial arm of Swedish public broadcaster SVT. Echoing Marrache-Tesseraud, Mowbray says: “There is a big appetite for drama on TV. But there is a limit to how much we can make ourselves. We generally have two nights a week for originals and support that with acquisitions, hand-picking the best drama from around the world.”

Prisoners of War (left) and its US adaptation Homeland, exemplifying the benefits of drama formats
Prisoners of War (left) and its US adaptation Homeland, exemplifying the benefits of drama formats

Although SVT is a free-to-air pubcaster, Mowbray says he is buying similar dramas to pay TV broadcaster Canal+. But he is not enthusiastic about everything on offer: “When people say this is the golden age of drama, they are talking about short-run serials and miniseries, which are very flavoured in tone. We’re seeing a nichification of drama that can create a mismatch with what channels want. For example, the growth of niche products can be at odds with the need for procedural dramas.”

But Mowbray stresses that free channels must also take risks if they are to keep their audiences happy. “In our region, HBO Nordic acquired Penny Dreadful and Viaplay acquired Transparent, neither of which would fit on free TV. But we also need to make sure we challenge our audience. We can’t give them Downton Abbey every night.”

A key issue for Mowbray is that the amount of good content on the international market is perhaps not as voluminous as observers might imagine: “We have six primetime slots a week, which makes our channel a very hungry monster. But not all of the content coming out of the US is good enough. The top 10% can blow your mind, but the rest is dross.”

The kind of factors facing Canal+ and SVT are mirrored within the acquisition and development divisions of leading drama distributors. While they are not the end-users of scripted content, they have to make similar judgement calls when investing in projects that they hope to sell on to broadcasters and digital platforms at a profit. Is it possible, for example, to make shows that work for both the nichified world of pay TV and the mainstream tastes found on free TV? Or does it make more sense to run a broader development slate that caters to both camps?

Caroline Torrance, head of scripted at Zodiak Rights, was brought in last spring to do two things. “Firstly, to head internal drama development at our three main drama producers (Touchpaper, Yellowbird and Marathon), and secondly to look for drama to acquire,” she says.

Mowbray: 'We’re seeing a nichification of drama that can create a mismatch with what channels want'
Mowbray: ‘We’re seeing a nichification of drama that can create a mismatch with what channels want’

Torrance’s assessment is that there are “huge opportunities for all kinds of drama. On the origination side, Marathon is involved in the Versailles project, while Yellowbird has been working on Occupied, a 10-part series about a Russian “silk glove” invasion of Norway, based on an idea by novelist Jo Nesbo. On the acquisitions side, we have had a lot of success selling French shows Braquo and Les Revenants right around the world.”

Zodiak’s slate, all of which is originated in Europe, is interesting because it goes some way towards answering Mowbray’s concerns about the volume of quality US content available. It also suggests that the market is more open to challenging content. A few years ago, there would have been limited interest in a show like Occupied, which seeks to tell a political story in three languages (Russian and Norwegian characters speak in their own language and in English when talking to each other). But after the success of Lilyhammer and The Bridge/The Tunnel, it looks like a real prospect.

Similarly, a French-language show like Les Revenants would not have fared as well a few years back. However, Torrance says: “I’ve heard it described as niche, but it has sold around the world. Selling Les Revenants to Channel 4 in the UK was significant in terms of the kind of prices it is possible to charge for non-English-language content.”

Notwithstanding the new appetite for risk in the drama sector, Torrance says “distributors have to offer all types of product.” Addressing Mowbray’s point, she adds: “There is still a role for procedurals, which is why we acquired Canadian series The Pinkertons (a 22-parter about the activities of the famous detective agency in 1860s America). That has procedural-style stories-of-the-week coupled with serial elements.”

Drama acquisitions are also a key objective for Noel Hedges, SVP and head of acquisitions at Modern Times Group-owned distributor DRG. “Eighteen months to two years into the new MTG ownership, there is a real desire to grow a diverse slate of drama. We think our strategy really started bearing fruit with what we launched at Mipcom.”

Anglo-French copro The Tunnel was adapted from Danish drama The Bridge
Anglo-French copro The Tunnel was adapted from Danish drama The Bridge

One of DRG’s biggest investments to date is in Babylon, a comedic look at the people and politics associated with the frontline of modern policing. Directed by Oscar winner Danny Boyle and written by Bafta winners Sam Bain and Jesse Armstrong (Peep Show), the six-part commission for Channel 4 aired between November and December last year.

Echoing points raised earlier, there is an edgy tone to the drama that won’t make it suitable for all broadcasters. But that is something Hedges is comfortable with: “We’ve worked with Sam and Jesse before so we knew the show would have a challenging tone that wouldn’t appeal to everyone. But you have to balance the prescriptive commercial elements you’re looking for with surprise, originality, and uniqueness. As with all shows, we went through a checklist of what we were looking for and ticked enough boxes. What you can’t afford to invest in is boring TV – you wouldn’t get anywhere with that.”

Hedges doesn’t mind if a drama’s “wrapping” is unusual as long as it has strong stories and characters. Other titles DRG has picked up this year include Strange Empire, a 13×60’ series from Canada that focuses on three women living on the Canadian border in the 1860s who are brought together by a spate of brutal murders. DRG also has a first-look deal with NRK in Norway, which has brought it such titles as Mammon and Eyewitness. The latter is a six-part thriller series about two teenage boys, secretly in love, who are key witnesses to an underworld murder. Terrified for their lives and fearful about bringing their relationship into the open, they agree never to reveal what they saw.

Of course, distributing drama isn’t always about battling to place shows with reluctant buyers. Some of the time it’s about trying to make careful commercial judgements about who to licence content to. A big trend in the market right now is for channels or platforms to offer big sums of money up front to try to secure exclusivity on a show. But while this may seem attractive, Hedges advises caution: “It’s not always about upfront cash. The decision you make on the first window can affect the life cycle of the show. You may be better off accepting a lower offer at the beginning because of the valuable windows to come later, as opposed to cashing in straight away.”

Krüger: 'Our experience of US companies is that the moment they have a part of a project, they think it is their show'
Krüger: ‘Our experience of US companies is that the moment they have a part of a project, they think it is their show’

SVT’s Mowbray makes a similar point, arguing that free-to-air channels can play a role in building a brand: “I think it’s difficult to build a brand from Netflix. They had The Fall and no one knew it existed. It’s hard for them to launch a lot of first-run content. With us, we create value.”

While all of the above agree there is a healthy market for acquired drama, they also acknowledge that most audiences prefer homegrown stories. Hedges sums this point up neatly: “Local production can define a channel much better than acquisitions. Audiences like to see domestic faces in domestic situations.”

The reason why there isn’t more original production is, understandably, cost, but there are a couple of ways broadcasters can narrow the price differential between origination and acquisition. One, says Hedges, is acquiring drama formats, since this allows a broadcaster to create an original show without having to invest as much in development or production. “We represent Doc Martin, which sells well in some markets as a finished British show. But, where it doesn’t, we can still make money by licensing the remake rights,” he explains. “It’s another opportunity.”

Zodiak’s Torrance agrees: “We’ve seen a huge increase in demand for scripted formats. Broadcasters want local shows but local production is a risk. So in formats they are looking for a measure of success. They want to learn from what has been done – things that worked and things that didn’t.”

The formatting business is now a big part of the international drama scene and has opened the door to a wider pool of content suppliers. Israel’s Keshet Media Group, for example, had a huge breakthrough when its drama series Prisoners of War was adapted by Showtime in the US as the acclaimed Homeland. In November 2014, Keshet UK executive producer and head of scripted coproductions Sara Johnson revealed that another of its titles, The A Word, was to be remade by the BBC.

A very different proposition from political thriller Homeland, The A Word is a comedy drama that focuses on a young couple who learn that their son is autistic. The UK version will be written by Peter Bowker (Viva Blackpool) and coproduced by Fifty Fathoms Productions, Tiger Aspect Productions and Keshet UK, with plans for the six-part show to appear on BBC1 in early 2016.

M. Night Shyamalan's Wayward Pines, which Canal+ has acquired from Fox International Channels
M. Night Shyamalan’s Wayward Pines, which Canal+ has acquired from Fox International Channels

The decision to make a UK version first, as opposed to going to the US, is about giving the property plenty of time to establish itself in the international market. “Keshet looks at the slate as a whole and makes decisions about where we should go and what should we do with each property. With The A Word, we had real interest from the UK and a fantastic writer, so we decided to give it time to develop in this market.”

In terms of the long-term sustainability of The A Word, Johnson says it is important to stay closely connected to the remake process: “We’re very flexible in how we look at deals because it has got to make sense financially for everyone. And we love working with local professionals like Patrick Spence at Fifty Fathoms. But it also matters to us that we are creatively involved because we care deeply about our shows.”

Creating a formatted version of a show can have a positive impact on the commercial appeal of the original. In the case of Keshet’s Prisoners of War, the success of the US adaptation Homeland boosted sales of the original show and helped it realise further format deals in Russia, Turkey and Mexico. And sometimes formatting is the only viable option for getting a show away in a market. In Turkey, for example, channels are only interested in acquiring remake rights to shows (which then can have a renewed life selling on in the Balkans and Middle East).

But it’s not always advisable for rights holders to rush into the format market, says DRG’s Hedges. “It depends on the investment you’ve made. If you need to recoup quickly, then a format isn’t necessarily the right idea because it can be a long time before you see a financial return.”

Torrance agrees: “There are always strategic decisions about whether to sell or hold back format rights. It’s almost like another window. Generally, though, format deals come when there are lots of episodes.”

The other middle ground between origination and acquisition is to pursue a shared-risk scenario such as coproduction. As with formats, this model has become prevalent in recent years as the scale and ambition of drama has increased.

Unquestionably, copros have enabled some superb shows to get made. But with most high-profile projects involving a minimum of two broadcasters, two producers and a distributor, they come with a number of creative and commercial challenges. For a start, copros need to have ideas that will travel internationally and casts that are acceptable to everybody involved. A decision also needs to be made about editorial tone and series structure, because this will determine whether it is more suitable for free TV or pay TV (or, ideally, both).

The issue of writers/showrunners is also a sensitive one, because not all writers are trusted to deliver the goods – even if they are talented enough to do so, says Donna Wiffen, the former FremantleMedia head of worldwide drama who is now MD at indie Duchess Street Productions. “There is a practical problem with authored pieces,” she says, “which is that there are only so many writers that broadcasters will commission. It’s difficult to get a show over the line with new talent, which means you can end up with a bottleneck.”

Keshet UK's Sara Johnson
Keshet UK’s Sara Johnson

Wiffen joined her current company four months ago. It is backed by investment firm Bob & Co, which is well established in film but wants to extend into TV (echoing a broader shift in the business). “We have a diverse slate at the early stages of development,” she says. “One of our major projects at the moment is an epic saga about two families based on a popular book series by Jeffrey Archer called The Clifton Chronicles.”

Broadcasters familiar with the copro process say the best scenarios are where the partners engage in a strong, balanced dialogue. Explaining how his company became involved in the world of scripted coproduction, Nacho Manubens, senior VP of drama at Atresmedia in Spain, says: “A3 Media has two of the main channels in Spain, Antena3 and La Sexta. Most of our drama is produced for A3, and in the last few years some of our bigger productions have started to travel well internationally. Recently, we started thinking about building a solid brand for La Sexta but we had tighter budget limitations. So we decided to go to the international market in search of coproduction partners.”

This resulted in a partnership with BBC Worldwide (BBCWW) on The Refugees, a drama series produced by Spanish production company Bambu about a group of people who travel back to the present time from the future. “We identified the show we wanted to do and then tried to create a fair partnership,” says Manubens. “BBCWW brought 50% of the budget and is selling the show internationally while La Sexta has premier rights.”

Key to the success of the project, says Manubens, was starting the copro dialogue early and maintaining a good working relationship throughout. “Everyone always had a say and BBCWW was very involved with the writing. We made a lot more versions than on a regular Spanish show.”

Manubens says it was important to be clear from the outset about La Sexta’s requirements. “There is a trend towards miniseries but that is hard for us because of the economics of production and marketing. So we are more focused on creating returning series.”

Budgets also played their part in the way the story was written, adds Manubens. Although The Refugees is “a big premise,” costs were controlled by telling the story told through the eyes of one particular family.

Ulrich Krüger, senior editor in international coproduction and documentaries at Germany’s ProSiebenSat.1, agrees with Manubens about the importance of having an equal partnership in copros. But he says his company has had bad experiences with US firms: “Our experience of US companies is that the moment they have a part of a project, they think it is their show. Their response to European partners wanting creative input is ‘we know what we are doing,’ which is not a conversation we want. My advice in dealing with US studios and broadcasters is to go as late as possible because they are not used to discussing ideas.”

Pro7Sat1’s general policy is to go for acquisitions rather than copros because “acquiring is simple,” says Krüger. Having said that, the broadcaster has a good relationship with Tandem Communications, coming in as a copro partner on projects like The Pillars of the Earth, World Without End and Labyrinth.

Most recently, it acquired season one of Tandem’s cross-border crime thriller Crossing Lines, and then stepped up as a copro partner for seasons two and three. “We didn’t coproduce the first series because it felt too expensive, but we acquired it. It went well for us so we decided to get more involved. We only go for coproduction when we see an opportunity for editorial input that will help a show in our territory. By paying more, we have greater say about scripts and casting.”

Like Manubens, Krüger says the key to coproduction is to “start early and choose your partner wisely.”

A final word of wisdom comes from Keshet’s Johnson: “Make sure to leave your ego at the door.”


Creative Europe funding

Raising money to make a drama coproduction isn’t easy. But there is some welcome support from the European Union’s funding programme Creative Europe, which offers grants worth up to €1m (US$1.08m).

Agnieszka Moody, director of Creative Europe’s UK desk, says the EU’s TV Programming scheme aims to help European independent producers create shows that have the potential to circulate within the EU and beyond. The total programme budget for 2015 (across all genres) is around €11.8m. Drama producers have two options: either they can apply for up to 12.5% of their production budget (capped at €500,000); or, if the project in question is a drama series coproduction (minimum duration 6×45’) with a production budget of at least €10m, they can apply for a grant  of up to €1m.

To qualify as a coproduction, Moody says the project needs to involve at least three partners from different states. The latest point at which producers can apply is the first day of principal photography. At the time of submission, 50% of the estimated total financing of the production budget must be guaranteed from third-party sources of finance. In addition, 50% of the total financing must come from European sources.

A number of projects have been successful in securing funding down the years. These include Wallander, Millennium, Jamaica Inn, Occupied and Hinterland. The €1m upper limit has only recently been introduced, but projects to have secured this figure include Warp Films’ The Last Panthers, The Returned and The Bridge. The latter two productions received awards for their second series, says Moody. Drama series is the only genre for which sequels or second and third seasons are eligible.

According to Moody, last year saw 135 applications, of which 53 were selected. Of these, 11 were TV dramas, with four receiving €1m. For 2015 there are two deadlines in January and May. Worth noting, says Moody, is that an unsuccessful project can be resubmitted (once).

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