Based on the book by Neil Gaiman, American Gods follows the story of a war brewing between old and new gods, with the traditional deities of mythological roots from around the world steadily losing believers to an upstart pantheon of gods reflecting modern society’s love of money, technology, media, celebrity and drugs.
Its protagonist, Shadow Moon, is an ex-con who becomes bodyguard and travelling partner to Mr Wednesday, a conman but in reality one of the older gods, on a cross-country mission to gather the latter’s forces in preparation to battle the new deities.
Bryan Fuller, who is the co-showrunner alongside Michael Green, tells DQ why the novel was “ripe” for a television adaptation and how Gaiman’s story portrays the immigrant experience, as well as describing the writing process behind the series and discussing working with stars Ricky Whittle and Ian McShane.
American Gods is produced by FremantleMedia North America for Starz, and is distributed by FremantleMedia International.
For more about American Gods, read DQ’s feature here.
Showrunners Bryan Fuller and Michael Green and executive producer Craig Cegielski tell Toni Sekinah about the “alchemy” of adapting Neil Gaiman’s seminal novel American Gods and the amazing on-screen chemistry between its lead actors.
It took just a few days of shooting for executive producer Craig Cegielski and co-showrunner Michael Green to realise they were working on something phenomenal in American Gods.
The confirmation came courtesy of the first scene between the two lead characters, with Ricky Whittle’s protagonist Shadow Moon (pictured left above) meeting his soon-to-be mentor-guru Mr Wednesday (Ian McShane) on a plane. The set was fizzing with chemistry.
It made Cegielski want to be a part of the characters’ crew, while for Green it confirmed his inkling that the two actors would work very well together. “I felt like we not only had a show with a core relationship in it, but a show that would be honoured, and one that I as a fan would continue watching for many, many years to come,”
This TV adaptation of Neil Gaiman’s legendary fantasy novel, coming to US premium cablenet Starz next year, has been a long time in the making, with the book first being published in 2001.
The plot sets up a war brewing between old and new gods: the traditional gods of biblical and mythological roots from around the world are steadily losing believers to an upstart pantheon of gods reflecting society’s modern love of money, technology, media, celebrity and drugs. Thrust into the centre is ex-con Shadow Moon, who becomes a bodyguard and travelling partner to Mr Wednesday, a conman who is secretly one of the older gods, on a cross-country mission to gather his forces in preparation to battle the new deities.
The book has won awards and become a cultural phenomenon, leading HBO to first express an interest in an adaptation in 2011. But script issues meant this didn’t work out and the network dropped the idea in late 2013.
Then when former Playtone exec Stephanie Berk, who had been developing the project for HBO, moved to producer FremantleMedia North America (FMNA), she reached out again
to Gaiman, inviting him to discuss resurrecting the project.
“Neil sat with us and we talked through everything. He believed in Fremantle and our promise to make the show,” says FMNA’s Cegielski. “We found a good network partner. We found good showrunners to participate. We were true to our word.”
That network partner was Starz, which began dabbling in the horror genre with the launch of Ash vs Evil Dead last year. “Starz has been an incredible partner. They view American Gods as one of their tentpoles for the network and they have done everything to support that,” says Cegielski.
Key to the success of the process thus far has been the fact that everyone working on the series is an aficionado of the novel. “We all know the book, we all love Neil’s writing, we love the poetry of what he does and we’re sitting back as fans saying, ‘We’d like to see this’ or, ‘We’d like to do that,’” Cegielski adds.
Part of that group is Green’s co-showrunner Bryan Fuller. The pair have been on the lookout for another project on which to partner ever since working together on NBC’s Heroes. “We bonded very quickly on Heroes. We were talking for years about working together somehow again and American Gods came up,” says Fuller.
Green recalls not being able to agree to the idea loudly or quickly enough, with both creatives being “incredibly passionate” fans of the book who were excited about the “incredible toy box” Gaiman had provided them with.
“It gives us a fresh opportunity to tell different kinds of stories in a television landscape and talk about things that are really relevant to and will resonate with large members of the audience,” Fuller says. “These things are the subjects of faith, belief and where you put your energies in the world.”
And with Gaiman as an executive producer – as well as writing some scripts – the showrunners are able to make sure every decision they make is in keeping with the author’s vision. “Neil has been incredibly supportive and collaborative throughout this process and the thing Michael and I want to be very careful of is that we are making an American Gods that Neil can be proud of,” says Fuller, conceding: “It’s a tricky alchemy, an adaptation.”
Green adds: “We talk to Neil about an intention for an extended role or for a new character before we put pen to paper and get the benefit of his additions to our additions. It is an incredibly joyful experience.”
One of those extended roles has been given to Bilquis, the goddess of love, who only appears in one chapter of the book but is in all 10 episodes of the first season. Green continues: “Neil will read the scripts when they come in and talk to us about them and every time he’s been appreciative, helpful and additive.”
Gaiman himself has also expanded characters for the visual narrative. According to Green, the author introduced a character called Vulcan, “a god he’s always had an imagination for,” who’ll be found travelling in the southern states of the US.
Beyond the script, recent advances in technology have played a huge part in allowing Fuller and Green to tell the story the way they wanted and realise their vision for Gaiman’s words on screen. “A show like this could not have been made 15 years ago because the technology wasn’t really available,” says Cegielski.
Green adds: “We were fortunate that technology has caught up with Neil’s imagination in terms of presenting it visually. When the book first came out, there were a lot of things suggested that could not have been accomplished on screen.”
Examples include a visual effect called ‘god flesh.’ Fuller explains: “The instances where we meet gods or are exposed to them for the first time, we have a camera rig that we shoot the actors with and are able to re-skin them in a wide variety of ways that is tantamount to motion capture.”
Green adds that this allowed them to create several different layers of reality. “We can meet a character who is actually a god, having a very mundane terrestrial experience and then we can pick and choose our moments to show what they truly are underneath it all,” he says.
Cegielski goes further: “It gives us an opportunity to provide a view behind the curtain of what gods look like in their godly state.”
While Fuller says technology has been a “friend” to production, he also notes that around 60% of the filming took place on location. Green says making the magic in the show feel like it could exist in the real world was key, “so the more you can be in the actual world, the better.”
This led them to such locations as Oklahoma. “We spent a lot of time driving on the open road in a Cadillac and those are some of the most fun and beautiful times,” Green says. With the book depicting numerous road trips, the creative crew were constantly seeking new spaces and locations, something Green adds was akin to filming an hour-long movie for each episode.
But what of the show’s leading man? Whittle, best known to UK viewers for his five-year portrayal of Calvin Valentine in teen soap Hollyoaks, will be familiar stateside thanks to his role in post-apocalyptic drama The 100. And now he’s proving his chops among the Hollywood heavyweights that pepper the rest of the American Gods cast.
Noting that the actor brings joy and gratitude to the process, Fuller describes Whittle as a “whirling ball of hugs and smiles – exactly what you want in a lead on a show.”
Green also praises Whittle’s efforts in beefing up for the part of Shadow: “He has undergone a really difficult physical transformation for this. Shadow is much physically larger and more menacing so he had to put on 36lbs, eating meat stew and rice for breakfast for the last six months.
With a stellar cast – including The X-Files’ Gillian Anderson, who previously worked with director David Slade and Fuller on Hannibal – location filming and technological wizardry, Fremantle is pulling out all the stops with this big-budget production.
Cegielski says: “You can’t under-deliver this. Every person who comes on board to work on the show is trying to elevate the material in every aspect because the fans deserve that kind of treatment.”
The executive producer adds that he has been working closely with Fuller and Green on set, as Fremantle has always been a “boots on the ground studio. We want to make sure the people we work with feel like we’re partners, as opposed to suits.”
While season one of American Gods covers approximately one-third of the book, the creative team believe the show could last for seven seasons – surely music to the ears of international distributor FremantleMedia International, which has sold the show to Amazon Prime in Germany, Austria, the UK and Japan. “The novel offers us somewhat of an unlimited opportunity to tell the story,” says Cegielski. “American Gods is best served as a television series and Michael and Bryan are doing an incredible job navigating that.”
An integral part of the team is director Slade, who Green and Fuller brought in because of his strong visual style, narrative sense and his ability to bring the best out of actors. Together, they thought carefully about how to represent the old and supernatural worlds.
Fuller describes the visual style as “grounded magic and sometimes untethered magic,” while Cegielski says there is a balance between “a very grounded, visually aggressive palate and whimsical, funny and irreverent elements.”
It is also a case of two showrunners being better than one with Fuller and Green, with the latter believing the collaboration means the show has become more ambitious than it would have been under a single showrunner.
Fuller says: “The fun challenge of this show is to make people believe the world has more in it than they could ever have imagined and is full of wonderful, supernatural elements.”
Perhaps by the time American Gods launches in early 2017, this creative trio will leave viewers feeling like they’re walking on hallowed ground.
Fox in the US is developing a drama based on the 2015 Netflix movie Parallels.
Entitled The Building, it centres on a group of people who enter a skyscraper that transports them into parallel universes, which are similar to but not quite the same as our own. In one, for example, Russia has dropped a nuclear bomb on the US.
The idea is being adapted for TV by Neil Gaiman and Chris Leone (the latter wrote and directed the movie). Albert Kim, whose writing and production credits include Sleepy Hollow and Nikita, is the showrunner. The project caps off a busy year for Gaiman, who has also been adapting his novel American Gods for Starz.
Also in the news this week is Alan Ball, creator of HBO series Six Feet Under and True Blood. Ball is reported to be teaming up with HBO again on a series that will star Holly Hunter as the mother of a non-traditional progressive family.
According to Deadline: “Once a therapist in private practice, Hunter’s Audrey now reluctantly utilises her skills as a psychologist in the corporate world, balancing her more progressive personal philosophy with the need to make money. She is a smart, caring woman who believes she knows what’s best for everyone and has no problem telling them. But with her husband now fighting depression and her children mostly grown, she finds herself somewhat adrift.”
Other high-profile stories this week include the news that Sonar Entertainment has signed a first look deal with Robert Downey Jr and Susan Downey’s production outfit Team Downey. As part of the deal, Sonar and Team Downey are working on a project called Singularity. Also involved in the creation of the series is Anthony Michael Hall, who will star.
The deal is the latest link-up between Sonar and star talent. The company is also working with George Clooney and Tom Hardy, with the latter starring in upcoming period series Taboo.
Commenting on the new deal with Team Downey, Sonar CEO Thomas Lesinski said: “We are excited about Team Downey’s vision for developing and producing a broad scope of original premium content. [This] is another example of our commitment to forge creative collaborations with the most dynamic talent in the industry.”
In terms of commissioning news, US network NBC has renewed its military medical drama The Night Shift for a fourth season. The series, produced by Sony Pictures Television (SPT), follows the medical team at the fictional San Antonio Memorial Hospital. Season one of the show averaged around 6.5 million viewers, followed by 5.3 million for season two and five million for season three.
At Fox, meanwhile, there are reports of a new dance drama being developed with director McG, who began his career in the music industry. The project, which sounds little bit like the Channing Tatum movie Step Up, is called The Cut and is set in a dance conservatory. It’s the latest in a line of Fox scripted projects with a musical theme – possibly inspired by the success of Empire. For example, Empire creator Lee Daniels has been working on a series called Star for the network, while last week we reported that Glee star Darren Criss was working with Fox on Royalties.
Also this week, it was announced that Phoebe Waller-Bridge, creator and star of BBC3’s Fleabag, is to write and star in a spy drama for BBC America. The network has ordered eight episodes of Killing Eve, a thriller about a psychopathic assassin and the woman hunting her. The show is based on a novella by Luke Jennings called Villanelle.
“[The show] is a brilliantly fresh take on the cat-and-mouse thriller from Phoebe Waller-Bridge, a major talent,” said Sarah Barnett, president of BBC America. “Underneath the deceptively simple and entertaining surface is a subversive, funny, obsessive relationship between two women, that plays out across some of the most and least glamorous locations imaginable.”
It’s also been a busy week on the distribution front. Fox Networks Group (FNG) Europe and Asia, for example, has secured exclusive first-window rights to CBS legal drama Bull in the UK from CBS Studios International. This follows a previous deal that gave FNG rights to Bull in markets including Spain, Portugal, Turkey and Sweden.
Elsewhere, SPT has sold the much-anticipated new ITV period drama The Halcyon to broadcasters in Scandinavia, while Vimeo has continued its move into longform TV content. Among scripted titles that will now be available on its platform are All3Media International comedy Fresh Meat and seven seasons of Company Pictures’ cult youth series Skins, available globally excluding Australia.
Paul Corney, senior VP of global digital sales at All3Media International, commented: “Vimeo has a strong presence around the world with a great brand that reaches consumers in all key markets. Its team has a dynamic outlook on content delivery and we’re looking forward to working with them to bring more fantastic new shows to the Vimeo audience.”
In terms of new book rights deals, the big story this week is that BBC Worldwide-based indie producer Baby Cow has acquired the rights to Zadie Smith’s new novel Swing Time. Smith has been lined up to adapt the novel for TV alongside her husband Nick Laird.
Swing Time is Baby Cow’s first major acquisition since Christine Langan, ex-head of BBC Films, took over as CEO this month. She said: “Zadie Smith is the voice of a generation and Swing Time is a thrillingly ambitious story of friendship, rivalry and fame.”
Smith added: “I am absolutely delighted at the prospect of working with Baby Cow on an adaptation of Swing Time. Their extraordinary track record in both drama and comedy I have always admired from afar and it’s a thrill for me to get the chance to collaborate with [founder] Steve Coogan and Christine Langan.”
Smith burst onto the literary scene with her first novel White Teeth. Swing Time, only released this week, is her fifth novel.
Stephen Arnell casts his eye over the television landscape and finds there are plenty of science-fiction and fantasy series in the works to keep genre fans happy.
At the same time as a tide of comic book and graphic novel TV adaptations have hit the screen, there has been a less trumpeted but increasingly visible trend in series based on ‘hard’ science fiction and ‘serious’ fantasy.
With the recent announcement of Bryan Cranston’s new Philip K Dick anthology series Electric Dreams (produced by Sony Pictures Television for Channel 4), there seems to be an unmistakable head of steam behind adaptations of ‘hard’ sci-fi – coming hot on the heels of Amazon’s critically lauded The Man in the High Castle (also based on a Philip K Dick novel) and Syfy’s miniseries version of Arthur C Clarke’s downbeat Childhood’s End.
This resurgence of more serious-minded sci-fi is demonstrated in the UK, with Channel 4 leading the way with the AMC coproduction Humans and the less viewed, but well-regarded, Utopia.
The alternate-history Axis victory premise of Amazon’s High Castle will be mirrored by BBC1’s upcoming SS-GB, which itself harks back to 1978’s BBC2 production An Englishman’s Castle, which starred Kenneth More as a TV soap writer in Nazi-occupied Britain.
Broadcasters and OTT providers have discovered a new vein to mine, as evidenced by a slew of shows being developed or in production, including HBO’s series version of Michael Crichton’s Westworld (pictured top), best known to older readers from the 1973 movie starring Yul Brynner, James Brolin and Richard Benjamin.
The successful movie was followed by the sequel Futureworld (1976) and short-lived 1980 series Beyond Westworld (CBS), both unfortunately following the law of diminishing returns.
Despite reported production problems, 2016’s Westworld’s stellar cast (including Anthony Hopkins, Ed Harris and Thandie Newton) and strong proposition should guarantee high initial sampling when it debuts this autumn.
Westworld creator Jonathan Nolan (co-writer with his brother Christopher of The Prestige, Interstellar, The Dark Knight and The Dark Knight Rises) is also apparently developing a series version of Isaac Asimov’s classic Foundation trilogy (also for HBO), which is surely a prospect that will have sci-fi fans salivating.
Back in 2009, Sony reportedly tried to crack the novels with director Roland Emmerich (Independence Day, White House Down) attached, but when the project stalled, HBO stepped in to acquire the rights.
Along with JRR Tolkien’s The Lord of the Rings and Frank Herbert’s Dune, Foundation was regarded as ‘unfilmable’ due to its epic scope but, following Game of Thrones’ success, epic is something HBO can confidently handle.
Other sci-fi classics reportedly in development include Stephen Spielberg’s Amblin’s take on dystopian Aldous Huxley novel Brave New World and Dan Simmons’ Hyperion, produced by aficionado Bradley Cooper.
Both have been ordered by Syfy, which is also teaming with Battlestar Galactica writer/exec producer David Eick for the series version of Frederik Pohl’s 1977 Hugo and Nebula award-winning Gateway.
On the SVoD front, Hulu has given a straight-to-series order for a 10-part adaptation of Margaret Atwood’s The Handmaid’s Tale, a feminist story set in a grim US of the future, ruled by a Ted Cruz-style totalitarian Christian theocracy, starring Elizabeth Moss (Mad Men, Top of the Lake).
A movie of the novel was released in 1990, boasting an all-star cast that included Robert Duvall, Faye Dunaway and Downton Abbey’s Elizabeth McGovern, but the film suffered from script problems and was generally felt to be an interesting failure.
Darren Aronofsky (Black Swan, Noah) is said to be developing a TV series with HBO based on Atwood’s post-apocalyptic novel trilogy Oryx and Crake, The Year of the Flood and MaddAddam, set in a world where most of humanity has been wiped out by a pandemic and the survivors fight to find a reason to continue.
Back in 2011, there was talk of a remake of Ray Bradbury’s 1980 movie The Martian Chronicles (starring Rock Hudson), but this appears to have been abandoned. The revival of interest in the genre may see it resurrected, though.
US cable channel Spike has commissioned Kim Stanley Robinson’s hard sci-fi classic Red Mars for a 10-episode series debuting in January 2017. Dealing with the human colonisation of the Red Planet, the series features Vince Geradis (Game of Thrones) as exec producer.
And speaking of Mars, the daddy of all sci-fi stories – HG Wells’ War of the Worlds – is currently being developed by ITV-owned Mammoth Screen for an ostensibly authentic period version of the classic novel, scripted by Peter Harness (Jonathan Strange & Mr Norrell, City of Vice, Doctor Who).
Neil Marshall (Game of Thrones, Dog Soldiers, The Descent) is on board to direct, while reports earlier this year of Poldark star Aidan Turner taking the lead role of the narrator have since been denied.
HG Wells features as the protagonist of ABC’s Time After Time (based on Nicholas Meyers’ 1979 movie), which involves the author travelling from Victorian England to the present day. Kevin Williamson (The Vampire Diaries, The Following, Dawson’s Creek) is showrunner for the series.
Although Robert A Heinlein’s Starship Troopers was successfully transferred to the cinema screen by Paul Verhoeven in 1997, it remains doubtful whether a TV version of his most famous work, the controversial 1961 novel Stranger in a Strange Land (once promoted as “the most famous sci-fi novel ever written”) will ever see the light of day.
In terms of the serious fantasy genre, the BBC’s upcoming version of Philip Pullman’s His Dark Materials trilogy should benefit from having writer Jack Thorne (The Last Panthers, Skins, The Fades) guiding the show, which will hopefully avoid the pitfalls of 2007’s movie adaptation The Golden Compass and maintain more of an adult tone.
Scheduling and advertising will be important for the series, as the excellent Jonathan Strange & Mr Norrell suffered from misleading promotion, which gave the impression of a Harry Potter-style fantasy – and aired on the wrong channel, BBC1, when BBC2 would have been far more appropriate.
Fantasy legend Neil Gaiman has certainly been a busy lad, with no less than four TV adaptations of his writings in the works, as well as his mooted big-screen version of Gormenghast, which was last seen as a BBC2 series in 2000.
Actor Joseph Gordon-Levitt (Looper) was due to direct a movie version of Gaiman’s Sandman, but that recently hit the buffers.
First up is American Gods for Starz in the US, which has an impressive cast including Ian McShane, Peter Stormare, Jonathan Tucker and Crispin Glover.
Sean Harris (Mission Impossible: Rogue Nation, Jamaica Inn, The Borgias) has since left the production to be replaced by Pablo Schreiber (Orange is the New Black, The Wire) in the role of troubled Leprechaun Mad Sweeney, with Bryan Fuller (Hannibal, Pushing Daisies) as showrunner.
Gaiman’s Anansi Boys, which occupies the same fictional universe as American Gods, was optioned by BBC1 in the UK back in 2014, while his anthology Likely Stories has been commissioned by Sky Arts in the UK, featuring a cast that numbers Johnny Vegas (Benidorm, Ideal) and industry veteran Kenneth Cranham (Rome, War & Peace, Layer Cake), with a score by Pulp frontman Jarvis Cocker.
Directors Iain Forsyth and Jane Pollard helmed and co-wrote the critically acclaimed 2,000 Days On Earth, a portrait of Aussie Renaissance Man Nick Cave.
Good Omens, Gaiman’s end-of-the-world collaboration with the late Terry Pratchett, is also being considered by the BBC for a miniseries, while Lucifer, the Fox show based on Gaiman’s character from Sandman, has recently been renewed for a second season.
Other fantasy projects with adult themes on the horizon include NBC’s Midnight, Texas (due to be transmitted this autumn), based on the novels by Charlaine Harris (True Blood), and the BBC’s The City and The City – Tony Grisoni (Red Riding, Fear and Loathing in Las Vegas, Southcliffe) developing China Mieville’s cult novel about the cities Beszel and Ul Quoma, which occupy the same point in space and time.
And last, but by no means least, Robert Jordan’s Wheel of Time series, said to be the highest-selling serious fantasy novels since The Lord of the Rings, are rumoured to be under consideration by Sony for either AMC, Netflix or Amazon.
We’ve talked frequently about the importance of brands in this golden age of drama. A while ago we also discussed Stephen King’s appeal to the film and TV business.
So it was no huge surprise this week when Viacom-owned cable network Spike greenlit a series adaptation of the horror-meister’s 1980 novella The Mist. The show is scheduled to go into production in the summer and will air in 2017.
Those of you who watch a little too much film and TV will know that The Mist also had an outing as a movie in 2007. That version was directed by Frank Darabont (The Walking Dead) and produced by Dimension, which is also behind the TV version.
The novella (and film) tells the story of a small town in Maine that gets shrouded in a Mist that conceals a group of murderous monsters. The film was okay, without being spectacular, so a little more effort will need to be taken to turn this into a hit.
Interestingly, the Spike version of The Mist is being adapted by Danish writer Christian Torpe, whose previous credits include Rita. This is another indicator of the high regard in which Nordic talent is now held.
Sharon Levy, Spike’s head of original series, said: “Christian and the entire team at TWC-Dimension TV have crafted the framework for a compelling and distinctive series that will resonate with Spike’s expanding audience.”
Spike will be hoping this show goes smoothly. Last year, the network announced its intention to move more aggressively into scripted TV – but since then it has encountered a couple of bumps in the road.
First, it pulled the plug on a Jerry Bruckheimer drama called Harvest, which it had given a straight-to-series order. Then, a couple weeks ago, it suspended production on Red Mars, another straight-to-series order based on Kim Stanley Robinson’s acclaimed science-fiction trilogy.
With regard to that project, Spike said in a statement: “We will continue to develop Red Mars with (producer) Skydance. The Red Mars trilogy is one of the most beloved modern science-fiction properties, in part because of its tremendous scope and ambition. We are pausing to ensure we get the script right and to deliver fans what they want – a fantastic show that fully captures the spirit of these wonderful books.”
Another novelist in high demand by the TV and film business is Neil Gaiman, whose American Gods is currently in production for Starz. This week, The Guardian reported that another Gaiman project, Good Omens (co-written in 1990 with Terry Pratchett), is also being adapted as a limited TV series.
This one follows an angel, Aziraphale, and a demon, Crowley, as they try and prevent the end of the world because they’ve grown accustomed to the comfort of Earth. Apparently, Monty Python’s Terry Jones and Gavin Scott looked at making a TV series based on Good Omens in 2011, but that project was later scrapped. If this one goes ahead as planned, it will be adapted by Gaiman. According to The Guardian, Gaiman decided to adapt the book after reading a posthumous letter from Pratchett asking him to do so.
Perhaps not surprisingly, US cable network AMC has announced there will be a third season of Fear The Walking Dead, consisting of 16 episodes. The news follows the successful launch of season two, which attracted an impressive 8.8 million viewers in Live+3 ratings.
“What Dave Erickson and Robert Kirkman have invented in Fear The Walking Dead is to be applauded,” said Charlie Collier, president of AMC, SundanceTV and AMC Studios. “Watching Los Angeles crumble through the eyes of our characters and seeing each make decisions and try to figure out the rules of their new world – it’s fresh, eerie and compelling and we’re all in for the ride. We thank the fans for embracing this mad world and look forward to sailing far into the future.”
As the above titles demonstrate, horror/fantasy is still very much in demand. Another illustration of this is Hulu’s decision to acquire the exclusive rights to Freakish from AwesomenessTV. Freakish was created by Beth Szymkowski and is set after a meltdown at chemical plant. It sees a group of highschoolers battle against the predatory mutant freaks that have taken over their small town as a result of the accident. The 10-episode first season is in production and is being lined up for 2017 transmission.
There are also reports this week that Lionsgate is preparing a drama for Amazon based on the songs of Bob Dylan. Entitled Time Out of Mind, the project will be headed by writer-director Josh Wakely – who has secured a rights deal that gives him access to Dylan’s vast music catalogue. The idea is that the show will be inspired by characters and themes within Dylan’s work. The news continues the trend towards scripted series based on musical subjects, discussed here, with Amazon itself also developing a series about legendary band The Grateful Dead.
Among other stories doing the rounds this week, there are reports that CBS’s new Star Trek series will be a seasonal anthology. It’s not clear exactly what that means in practice. Other seasonal anthologies shed their cast each season but it’s hard to imagine a show that jettisons the entire USS Enterprise crew after every season. Possibly the anthology nature of the series will relate to the challenges faced by the crew. So star names could be brought into new adventures as non-recurring characters, while the Enterprise cohort is kept broadly the same each season.
On the international distribution front, Denmark’s DR has sold its financial crime series Follow the Money to France Televisions. The show has already been sold to BBC4 UK, CBC Canada and SBS Australia. Other DR-distributed dramas to have secured sales in the wake of the recent MipTV market include SF Film’s crime drama Norskov, acquired by on-demand platform Walter Presents, and Happy End’s Splitting Up Together, which was licensed to NRK Norway.
Family drama The Legacy, which was explored in detail at C21’s Drama Summit at the end of last year, was also sold to SBS. In terms of shows to look out for, TV2 Denmark’s DNA should be a major event, since it has been created by Torleif Hoppe of The Killing fame.
There is a long history of novelists writing movie screenplays, stretching all the way to Raymond Chandler, William Faulkner and Scott Fitzgerald. But recently we’ve seen a similar trend in television. Go back a few years and most novelists wouldn’t have been tempted to try their hand at TV, but in this golden age of high-end miniseries and limited series, attitudes have changed.
There are a couple of reasons for this. First, the TV industry is taking more risks and showing more ambition in its choice of material. So books that wouldn’t have been picked up for development in the old days are now being transformed into TV. The job of adapting them doesn’t always fall to the author – but sometimes it does.
Second, authors are getting more interested in writing for TV. A few years ago, most authors would have regarded TV as too formulaic or procedural to be of any interest. But like movie talent, many now see TV as a compelling creative challenge.
There are upsides and downsides to author involvement. An obvious advantage, in the case of novel adaptation, is that they know their characters and world better than anyone. Also important is the fact they can bring the book’s fanbase with them, effectively legitimising the process by their involvement.
But there are risks. One is that they aren’t properly able to let go of their baby – insisting on including elements that would be best jettisoned for the sake of the screen. Another is that the two forms are fundamentally different. While novels delve into the inner unseen worlds of characters, TV shows are all about action and dialogue. Character development must be seen on screen.
The US TV system is quite well set up to manage this conundrum, however, because of the way it is structured around executive producers and writing rooms. So if you look a show like MTV’s Shannara, author Terry Brooks is directly engaged with the project as an executive producer but is not required to write the show for screen. In other book-based shows like Game of Thrones (George RR Martin) and American Gods (Neil Gaiman), the authors are brought in to write some episodes but are not expected to carry the entire burden of adaptation. In other words, the expertise of the author is meshed with that of hardened screenwriting professionals.
An added bonus of this approach is that it doesn’t require the author to give up their day job. Screenwriting as part of team becomes a vacation, not a career change, allowing authors to take a break from the self-imposed isolation of novel writing.
Of course, one point worth making is that most authors under the age of 60 have grown up surrounding by TV influences. So there is a visual quality to their novels and a directness to their dialogue that makes the transition to TV easier. Classic examples of authors who took to TV like ducks to water are William Boyd, who adapted his own novel Restless for TV, and Anthony Horowitz, who has built a parallel career as a novelist and screenwriter. Not to be forgotten either is Michael Connelly, who is embroiled in a TV adaptation of his crime franchise Bosch for Amazon.
Horowitz is an interesting example, having been the forerunner of the current trend for authors to write original TV stories that are not adaptations of their novels. Others to have gone down this route include David Nicholls, whose TV career has involved both classic adaptations and original works like the 2014 miniseries The 7.39, and Jo Nesbo, the Norwegian thriller writer who recently created the Scandi political thriller Occupied.
Another interesting example that is sure to get a lot of attention at Mipcom next month is The Five, penned by US thriller writer Harlan Coben. Produced by StudioCanal-owned Red Production Company, The Five is a 10-part thriller that follows a group of friends united by the disappearance of another acquaintance years earlier. When the missing boy’s DNA unexpectedly turns up at the scene of a murder, the group is forced to revisit their past.
The relationship between book, film and TV isn’t completely consistent, however. It’s interesting to note, for example, that Nicholls is not writing the screen adaptation of his novel Us, despite clearly being comfortable with the TV form. And Nick Hornby’s first TV adaptation is not one of his own works but that of another author (Nina Stibbe’s book Love, Nina). Perhaps here we’re seeing a desire among authors to tread lightly in TV – not presuming that they have all the answers to adaptation.
There are also authors who have happily entered the film arena but have not yet crossed over to TV. The classic cases in point are Cormac McCarthy (No Country for Old Men, The Road) and Gillian Flynn, who adapted her Gone Girl novel for the movies. Flynn is now attached to a TV adaptation of another of her novels, Sharp Objects. But on this occasion she is positioned as an executive producer rather than a writer.
Perhaps this is an example of a gifted writer who doesn’t want to be committed to a TV project for too long. Or maybe it’s recognition that the adaptation’s showrunner/writer Marti Noxon is perfectly equipped to do the project properly. Any author interested in writing their own adaptation always has to be mindful of the long-term commercial implications of that decision. Do it badly or without full attention to detail and it may kill the TV franchise earlier – or even have a negative impact on book sales.
There is, it’s worth saying, another factor that is probably driving the current trend of author to screenwriter (either as a writer of adaptations or of original ideas). This is the perceived shortage of TV writing talent in the industry. While demand for scripted shows is at an all-time high, channels are nervous about committing to projects with unproven or rising writing talent. This has created a bottleneck, with numerous ideas stuck in development for years until a bankable TV writer is available. The injection of authorial blood could be helping to break this gridlock – with producers able to leverage the author’s credibility in another field to push projects over the line. For authors this is flattering, but it needs to be approached with caution in order to protect their reputation.
Note: Interesting reading on this subject includes this interview with Salman Rushdie and this look at Gillian Flynn’s adaptation of Gone Girl.
When adapting a much-loved book for television, what’s the best way to keep the source material’s army of loyal fans onside? Get them involved.
American Gods, Neil Gaiman’s award-winning novel, is finally heading to television 14 years after it was first published.
US premium cable network Starz announced last month that it had ordered a series based on the contemporary fantasy novel. The show has been in development at FremantleMedia North America since February 2014.
Translated into more than 30 languages, the book is set amid a war between old and new gods: the traditional gods of biblical and mythological roots from around the world are steadily losing believers to an upstart group of gods reflecting society’s modern love of money, technology, media, celebrity and drugs.
The protagonist, Shadow Moon, is an ex-con who becomes bodyguard and travelling partner to Mr Wednesday, a conman who is in reality one of the older gods, on a cross-country mission to gather his forces in preparation to battle the new deities.
The deal to finally bring Gaiman’s book to the small screen will end years of anticipation for its fans, who were left disappointed when plans for Tom Hanks to develop American Gods for HBO failed to materialise.
Now, however, the series looks set to hit production, with Bryan Fuller and Michael Green on board as writers and showrunners. Gaiman himself will also write some of the episodes, much to the delight of his supporters.
When the series was announced, the author said: “I am thrilled, scared, delighted, nervous and a ball of glorious anticipation. The team that is going to bring the world of American Gods to the screen has been assembled like the master criminals in a caper movie: I’m relieved and confident that my baby is in good hands.
“Now we finally move to the exciting business that fans have been doing for the last dozen years: casting our Shadow, our Wednesday, our Laura…”
Fears over Starz’ plans for the series were also dispelled when the network CEO Chris Albrecht said it was “committed to bring American Gods to its legions of fans.”
He added: “With our partners at FremantleMedia and with Bryan, Michael and Neil guiding the project, we hope to create a series that honours the book and does right by the fans, who have been casting it in their minds for years. The search for Shadow begins today!”
With that final statement, Albrecht sent fans’ heads spinning into overdrive after it emerged that the start of production rested on finding the actor who would play the show’s lead character.
But in an attempt to utilise the novel’s huge online fanbase, Starz invited fans to suggest who they think should play Shadow Moon using the Twitter hashtag #CastingShadow.
The response has been huge, with hundreds of tweets posted with the names of actors not only to play Shadow Moon, but countless other characters as well.
Among the frontrunners for the fans’ choice for the lead role is Jason Momoa (top left), best known for his role in Khal Drogo in HBO’s Game of Thrones and now appearing in SundanceTV’s The Red Road.
Other suggestions include Luther star Idris Elba (top right), Criminal Minds actor Shemar Moore, The 100’s Ricky Whittle and Grey’s Anatomy’s Jesse Williams.
The suggestions are endless and the debate will rage on, both on Twitter and elsewhere on the web, until a name has finally been cast – and then the debate will reignite once more.
That’s the fine line networks and producers tread when adapting a popular book for television (or the movies). They know they will have a lot of buzz around the show from an existing fanbase, which becomes a ready-made audience, with many more looking forward to catching up.
Yet from the casting process to the series’ identity and the treatment of characters and storylines on screen, that same audience will enjoy constantly comparing the book and the show.
By engaging with fans and leading the debate on Twitter, Starz and Fremantle have shown respect for American Gods’ existing popularity and that they care about how fans respond to the project. What that loyal army of readers will make of the finished series, however, is truly in the hands of the gods.