DQ meets the main players in four-part Channel 4 drama Chimerica, based on the hit play but updated to include the uncertain global politics of the Donald Trump era.
Lucy Kirkwood’s award-winning 2013 play Chimerica examined the shifting balance of power between East and West through the personal struggles of an American photojournalist.
The title is a portmanteau of the world’s two superpowers, and given the unstable feel of current geopolitics, it seems there’s no better time for a revival. Kirkwood has expanded and updated her work to create a four-part TV drama for Channel 4, produced by Playground Entertainment and distributed globally by All3Media International.
Crucially, the writer has moved the action forward to the 2016 US presidential election to reflect what’s happened since Donald Trump became a major player in global politics.
“Lucy has brought an emotional story to a relevant political aspect,” explains producer Adrian Sturges. “Moving the action from 2012 to 2016 naturally felt like the right thing to do because, in the meantime, Trump was elected and all the accusations of fake news and attacks on journalists have come more to the fore. It was felt to be a useful thing to grapple with in the overall piece.”
The story centres on fictional American photojournalist Lee Berger (Alessandro Nivola, pictured top), who is covering the war in Syria for a respected New York broadsheet. But when Lee doctors a photo in a bid to make the front page, he gets caught and exposed. He tries to salvage his reputation by searching out a new scoop – finding Tank Man, the lone protester who stood up to Chinese tanks during the Tiananmen Square protest of 1989. Back then, a young Lee had made his name by photographing Tank Man.
DQ meets cast members Nivola and Cherry Jones on set at Twickenham Studios in south-west London, where the characters’ New York apartments have been recreated. It’s Nivola’s first lead in a TV series after roles in films like Face/Off, Mansfield Park and American Hustle.
“I liked the idea of a character who became obsessed with one thing,” explains Nivola. “He’s got this singular focus about something that ended up really damaging the people who he felt this discovery would serve. That just seemed like a great paradox, that the road to hell is paved with good intentions.”
Nivola was also convinced Chimerica would have the directorial flair he looks for in projects under the stewardship of Michael Keillor (Line of Duty). “When you have one director directing all four episodes, you know there’s going to be some kind of continuity of the vision,” continues Nivola, who runs production company King Bee with his wife, British actor Emily Mortimer. He produced her comedy series Doll & Em for Sky Living and HBO and they currently have a production and distribution deal with Entertainment One.
Theatre legend Jones plays Lee’s long-time collaborator, Mel Kincaid. An Emmy and Tony Award winner most recently seen in Transparent and The Handmaid’s Tale, Jones describes her character as “a salty dog, a war journalist.” Mel has curtailed her career in war zones because she’s in treatment for alcoholism, so when Lee proposes she help him find Tank Man to lend credibility to any discovery he makes, she agrees.
Although Kincaid is male in the original play, Kirkwood turned her into a woman without altering the character or dialogue. For Jones, signing up was a no-brainer. “For one thing, you attach the name Lucy Kirkwood to anything and a theatre actress will jump up and come running,” she says with a chuckle. “And secondly, you say ‘London’ to me and I’ve already packed my bag. I would live here if I could.”
Jones consulted You Tube for tips on how to play a war correspondent. “I looked online at people like the great Kate Adie,” she says. “And there’s a great journalist called Deborah Amos who’s on NPR who I always love to follow – it seemed she was always crossing the border between Afghanistan and Pakistan, wearing brown contact lenses. It was so dangerous what these women were doing.”
The rest of the cast is equally as exalted: Sophie Okonedo plays Tessa Kendrick, a high-flying British market researcher who catches Lee’s eye, and F Murray Abraham plays the broadsheet’s news editor, Frank Sams.
Though set in New York and China, Chimerica was actually filmed in the UK and Bulgaria. Sofia’s Nu Boyana Studios has a New York City block that was dressed as Chinatown, and communist-era apartment blocks doubled for downtown Beijing.
Dunsfold Aerodrome in Surrey provided a decommissioned 747 for airplane scenes and, most impressively, served as the location of the series’ biggest set piece – recreating the Tiananmen Square Massacre of 1989.
New scenes are melded with archive footage to create the atmosphere of the Trump election and Tiananmen Square, explains Sturges. “We had a really good archive producer who searched high and low for real Tiananmen Square footage, and did a sort of archive edit in pre-production to make sure the Tiananmen scenes would all fit together – the burned-out bus and various bits of banners are copied from what was actually there, so although the original footage is pre-HD, we tried carefully to match what’s in the footage.”
Green screens and CGI were used at the airbase to suggest the scale of Tiananmen Square. “We managed to hire one of the Russian tanks the Chinese used in Tiananmen Square to stage the Tank Man moment,” continues Sturges. “It was terrifying – I hadn’t realised how loud they are. But it was fantastic to recreate that scene.”
A bonus was the crew discovering that two Chinese extras hired for the Tiananmen Square scenes had been at the original protests. “One said it was extraordinary how much it was like the original Tiananmen Square, which was great,” says Sturges. “We asked him what chants were being used. We had experts on set, but it was great to get that texture.”
Alongside telling a personal story against a global geopolitical backdrop, Sturges says Chimerica commemorates a pivotal moment in recent history.
“This summer it’s 30 years since the Tiananmen Square massacre and I haven’t heard of anything else that’s attempted to tackle that subject,” he says. “I hope people will find Chimerica thrilling and mysterious and illuminating on a subject they haven’t thought much about since it happened.”
Award-winning director Richard Eyre discusses his take on Shakespeare’s King Lear in a new BBC and Amazon film starring Anthony Hopkins, Emma Thompson, Andrew Scott and Jim Carter.
There can be few directors alive today more familiar with William Shakespeare’s works than Sir Richard Eyre.
A multi-award-winning director of film, television, theatre and even opera, Eyre has been behind high-profile stage productions of Hamlet and Richard III and also helmed TV versions of Henry IV: Part One and Henry IV: Part Two for the BBC’s The Hollow Crown, a five-film adaptation of multiple Shakespeare plays.
His most celebrated Shakespearean work to date, however, is surely his 1998 stage version of King Lear, starring Ian Holm. The production earned Olivier Awards for both Holm and Eyre, and now the director will be hoping for similar acclaim for his screen version of the tragedy, which airs on BBC2 in the UK next week and launches later on Amazon, which co-financed the film.
Leading the cast this time around is Sir Anthony Hopkins as Lear, who slowly descends into madness after disposing of his kingdom among his daughters.
The talent-laden ensemble also includes Emma Thompson, Emily Watson and Florence Pugh as Lear’s daughters Goneril, Regan and Cordelia respectively; Jim Broadbent as the Earl of Gloucester, whose sons Edgar and Edmund are played by Andrew Scott and John Macmillan; and Downton Abbey’s Jim Carter as the Earl of Kent.
The first thing viewers tuning in at 21.30 on Monday will notice is the one-off film’s decidedly un-Shakespearean setting, opening as it does with an establishing shot of present-day London with 95-storey skyscraper The Shard front and centre. However, the Bard’s unmistakable dialogue from the 1605-penned play remains intact.
Explaining the decision behind the modern setting, Eyre says: “It’s unusual for a Shakespeare play – it’s set in a pre-Christian era… the period is probably druidic. And if you ask, ‘How am I going to make it look?’, you’re thinking, ‘I don’t want it to look like druids in sheets at Stonehenge.’
“I decided I wanted to set it in a contemporary world. In some ways, the buildings are playing off against the language.”
As for why he was keen to return to King Lear 20 years after his theatre version, Eyre’s reasoning is straightforward: “I think it’s the best play ever written, and I’ve felt that for about 35 years.
“This is a story about two fathers, one with three daughters, one with two sons. It’s a play about family, amplified by being about the state, so the stakes are that much higher. None of its truths are going to change for hundreds of years.”
Bringing such a revered and challenging property to the screen was always going to demand a cast with serious acting chops, and producer Colin Callender of Playground Entertainment says he was delighted with the line-up put together for the show. “The ability to bring a play like this to the screen enables us to assemble a cast that you would never ever see on stage together, and it’s a testament to Richard that we were able to put together such an extraordinary ensemble,” he says.
“Part of the joy of seeing something like this on screen is that every role comes to life in the most extraordinary way; a way that doesn’t always happen on stage because you don’t get actors of this calibre playing all these secondary and tertiary roles.”
The choice of Hopkins as Lear, meanwhile, was a no-brainer – but that’s not to say it was simple to secure his services. The process can be traced back to when Eyre directed the actor in the 2015 BBC/Starz film version of Ronald Harwood play The Dresser, which also starred Ian McKellen. The story is set in the backstage area of a production of King Lear, which led to the pair discussing the Shakespeare play.
“I had directed King Lear, Tony had been in King Lear and we talked rather facetiously about how we’d make a film of King Lear one day,” Eyre says. Then, after Callender came to him with the project, it was the director’s wife who pushed him to move ahead, telling him: “You just have to do this with Tony Hopkins.”
Multiple emails back and forth between actor and director followed, with Hopkins busy with projects such as HBO drama Westworld. The pair talked “more or less everything King Lear” before, two years later, rehearsals finally began – and Hopkins didn’t disappoint.
“He’s the most extraordinary, eccentric, lovable, bizarre man,” Eyre says of the Silence of the Lambs star. “He generates a nuclear energy on set, benign energy.”
The actor’s performance as an increasingly bewildered and dishevelled Lear was apparently so convincing that he was mistaken for a homeless person during filming on location in the UK town of Stevenage. “A woman in a mobility scooter scooted up to Tony and said, ‘You know, there’s a hostel for the homeless up the road, so you might want to take your shopping trolley down there,’” Eyre recalls.
For Thompson, meanwhile, performing in the film led to a reappraisal of her own interpretation of the play, which she also describes as her favourite. As Goneril, who along with her equally devious sister Regan has long been perceived as one of the major villains of King Lear, the actor plays a character who schemes against her ailing father. But Thompson says: “This is the only production of King Lear I’ve ever seen in which you actually sometimes sympathise more with the children, and I think that’s an amazing insight into the play. I’d never been able to see that, so I’m very grateful.”
Describing working with Hopkins for a third time – the pair previously starred in The Remains of the Day and Howards End – as “joyful,” the Oscar winner adds: “It’s great to play all that rage. It’s really fun, I loved it. Anthony and I got very violent in one scene – it was really enjoyable!”
Andrew Scott was also thrilled to act alongside Hopkins. The Sherlock star, nominated for an Olivier Award for his stage portrayal of Hamlet last year, plays Edgar, who is betrayed by his malevolent and bitter half-brother Edmund. “What I found so extraordinary about Tony is how ferocious and alive he is about being an actor,” he says. “Every day he’d come in and if you asked him how he slept, he’d say, ‘Fuck sleep, I don’t sleep!’”
As for the film itself, which is produced by Playground and Sonia Friedman Productions in association with Lemaise Pictures, Scott notes: “A lot of it is about the vulnerability of our leaders. This is something that was written 400 years ago, but we rely on human beings to lead us and we have to see that they are human beings.”
Rejecting the suggestion that Shakespeare on TV might lack broad appeal, he says: “Human psychology has not changed, and I hate the idea that this kind of drama is only for a select few, because that means that only a select few are seeing it.”
Co-star Jim Carter, best known for playing butler Mr Carson in Downton Abbey, concurs, believing it’s crucial that Shakespeare’s works continue to be adapted for the small screen. “Having it in people’s living rooms, bringing it to people at home, rather than people having to make the effort to go out and see it, is hugely important,” he says of the drama, which is distributed internationally by Great Point Media.
“For this to come to people where they really feel things much more deeply – in their own home – is fantastic. Thank you BBC.”
But how can young people, in particular, be expected to connect with something written so long ago? Scott might have the answer. “Shakespeare is a little bit like rap,” he asserts. “The majority of the audience who are watching on television will go, ‘I don’t understand that, but I understand the music of it.’ There are still certain things that I don’t understand about it, but I understand the music and I understand the feeling.”
What a month for Bristol-born screenwriter Jack Thorne. After picking up no fewer than three Bafta nominations for his work on The Last Panthers, This Is England ’90 and Don’t Take My Baby, Thorne has now been given the task of adapting Philip Pullman’s His Dark Materials for the BBC.
He called it an “honour and privilege” to be selected for the job, adding: “The His Dark Materials trilogy are vast and glorious books full of beautiful characters. I’m going to work as hard as I can to try and do justice to them.”
Thorne first came onto the TV scene around 2007 when he wrote an episode of Shameless. This was followed by shows such as Skins and Cast Offs before he joined forces with Shane Meadows on the This Is England trilogy. Titles like The Fades, Glue and The Last Panthers confirmed his status as one of the UK’s most in-demand writers – as did a couple of Bafta wins in 2012.
And it’s not just the TV industry that wants him. He has also written the play Harry Potter and the Cursed Child and the screenplay for upcoming Warner Brothers movie The Sandman.
Thorne’s involvement has been given the thumbs up by Pullman, whose Dark Materials books have been published in more than 40 languages and sold 17.5 million copies.
“Jack is a writer of formidable energy and range, and I’ve greatly enjoyed talking to him and learning about his plans for bringing His Dark Materials to the screen. I’m certain he’ll do a superb job and I look forward to seeing the whole project develop as he shapes the story.”
Thorne’s versatility and voluminous output are both hallmarks of his remarkable career to date. His latest TV project, for example, is National Treasure for Channel 4.
A four-part production starring Robbie Coltrane, Julie Walters and Andrea Riseborough, it examines the impact – both public and private – of accusations of historic sexual offences against a fictional much-loved celebrity.
The quality of the cast attracted to National Treasure is a good indicator of Thorne’s pulling power as a writer. So expect to start seeing some big names getting attached to the His Dark Materials project, which is being made by Bad Wolf.
In other news this week, filming has begun on season six of the BBC’s hit drama Call the Midwife. Commenting on the show, its creator, writer and executive producer Heidi Thomas said: “My passion for the world and characters of Call the Midwife grows stronger with each passing year. Every season brings new stories, new challenges and new triumphs – yet each one feels like a return to a much-loved home, and season six will be no exception.”
That Thomas has had such success with Call the Midwife is no real surprise when you look at her track record. Having come up through the theatre, she began the transition to screenwriting at the start of the last decade.
Her work on Call the Midwife was foreshadowed by BBC drama Lilies, about three girls attempting to make their way in the world in Liverpool in the 1920s. However, it was Thomas’s work on period drama Cranford that really caught the eye, winning her an RTS Award in 2008. Next came a moderately successful reboot of Upstairs Downstairs before the launch of Call the Midwife confirmed Thomas’s reputation.
The new run will start with a Christmas special set in South Africa before returning to the East End of London. “As the team settle back into Poplar, we’ll see them grappling with all the contradictions and opportunities of the early sixties – the beacon of the pill, the shadow of the Kray twins, the lure of independence and the call to duty,” Thomas said. “And time and time again, in an age of change and danger, we will be reminded of the simple power of love.”
Still in the UK, indie producer Playground has announced two more book deals, after last month securing Patrick Kingsley’s book The New Odyssey – The Story of Europe’s Refugee Crisis.
The first is Penguin Random House Books psychological thriller The Widow. Written by Fiona Barton, it follows the wife of a man who is accused and eventually cleared of kidnapping and murdering a child. The second is non-fiction book Jeremy Hutchinson’s Case Histories. Published by John Murray and written by Thomas Grant, it details the life of the celebrated barrister who played a role in numerous controversial UK court cases involving figures such as Great Train Robber Charlie Wilson.
Sophie Gardiner, creative director of Playground UK, said of the titles: “Though one is fiction and the other is non-fiction, both feature striking central characters caught up in stories that speak to the key issues of our time and should appeal to a wide-ranging audience.”
In the US, the big story of the week is that feted showrunner Terence Winter has left HBO’s lavish music industry drama Vinyl ahead of season two.
Winter has a superb track record, previously working with HBO on series such as The Sopranos and having written the screenplay for Martin Scorsese’s The Wolf of Wall Street (Scorsese is also involved with Vinyl). However, there is a general feeling that Vinyl didn’t quite hit the mark. So HBO and Winter have parted company after creative differences about how the show should get back on track.
HBO said: “As we head into the second season, we have decided it is an appropriate time to make a change in the creative direction of the show. We have enjoyed a longtime partnership with Terry Winter and we look forward to our next collaboration with him. We are pleased to welcome Scott Z Burns, executive producer and showrunner, and Max Borenstein, executive producer, as the new team helming the show.”
Burns is best known for The Bourne Ultimatum, though more recent credits include 2016’s Deep Water and 2011’s Contagion. Borenstein, meanwhile, wrote the screenplays for the most recent Godzilla film and the forthcoming Kong: Skull Island. He was also involved in Fox’s ultimately unsuccessful TV version of hit sci-fi movie Minority Report.
Finally, more than 90 writers from Mississippi including John Grisham and Donna Tartt have signed a statement calling for the repeal of the state’s new anti-gay religious freedom bill.
“Mississippi has a thousand histories,” says the statement. “But these can be boiled down to two strains: our reactionary side, which has nourished intolerance and degradation and brutality, which has looked at difference as a threat, which has circled tightly around the familiar and the monolithic; and our humane side, which treasures compassion and charity and a wide net of kinship, which is fascinated by character and story, which is deeply involved in the daily business of our neighbours. This core kindness, the embracing of wildness and weirdness, is what has nurtured the great literature that has come from our state.”
US cable channel AMC is making headlines again this week by commissioning a 10-part anthology series based on a 2007 novel by Dan Simmons called The Terror.
Set in 1847, The Terror unfolds as a Royal Naval expedition searching for the Northwest Passage is attacked by a mysterious predator that stalks their ships and crew. The show continues the recent fascination with thrillers set against a backdrop of snow and ice (Fargo, Fortitude, Trapped and Liam Neeson movie The Grey, to name a few).
The Terror is being exec produced by Ridley Scott and will be adapted for the screen by David Kajganich, whose recent credits include the movie The Bigger Splash. Kajganich will also be a co-showrunner with Soo Hugh.
Joel Stillerman, president of original programming and development for AMC and SundanceTV, said: “Originality is still something that gets our attention every day, and the very unique mixing of historical non-fiction with a gripping and imaginative science-fiction overlay in Dan’s novel is something we hadn’t seen before. That, combined with an exceptional team behind the project, made this something we really wanted to bring to air on AMC.”
Meanwhile, Netflix has ordered an original western series from director Steven Soderbergh and screenwriter Scott Frank. Called Godless, it is set in a 19th century New Mexico mining town.
As yet there are no more details. However, the news is generating a lot of excitement because of the Soderbergh/Frank link-up. The last time they worked together was on the acclaimed movie Out of Sight. Since then, Soderbergh has shifted much of his energy in the direction of TV with shows such as The Knick, while Frank has been screenwriting movies including Minority Report, The Wolverine and Marley & Me.
Netflix has also renewed its revival of US family sitcom Full House for a second season. The reboot, titled Fuller House, follows a pregnant and recently widowed woman who is living with her younger sister, best friend and teenage daughter. They all help to raise her two boys and prepare for the birth of the new baby. The original Full House aired on US network ABC from 1987 to 1995.
Elsewhere, projects now getting kickstarted out of the UK include Tina and Bobby, a three-part drama from ITV that will celebrate the life of England football legend Bobby Moore and his wife. The project writer is Lauren Klee, who has a strong track record on shows like EastEnders, Waterloo Road and Holby City.
Meanwhile, Colin Callender’s indie prodco Playground has picked up the rights to Guardian journalist Patrick Kingsley’s book The New Odyssey – The Story of Europe’s Refugee Crisis. It plans to make a TV series based on the book, which charts Kingsley’s journey to 17 countries where he met hundreds of refugees making their way across deserts, seas and mountains in a bid to reach Europe.
Discussing the decision to acquire the book, Sophie Gardiner, creative director of Playground’s UK office, said: “The New Odyssey is an epic piece of journalism that provides an intimate account of the people caught up in one of the biggest humanitarian crises since the Second World War. We believe this can be TV at its best – powerful, emotional and compelling storytelling that explores the complexities and human dimensions of the biggest story of our time.”
One of the most eye-catching stories to have come out of the US TV business in recent weeks was the news that Channing Dungey, executive VP of drama at Disney-owned network ABC, was being promoted to entertainment president, replacing incumbent Paul Lee. The story came as a surprise and got people wondering about how it might affect decisions over cancellations and renewals.
Well, Dungey hasn’t wasted any time making her mark, giving early renewals to a huge swathe of ABC shows this week. Among these are dramas like Quantico, Grey’s Anatomy, How To Get Away With Murder, Once Upon a Time and Marvel’s Agents of S.H.I.E.L.D. On the comedy front, Fresh off the Boat, The Goldbergs, Modern Family, Black-ish and The Middle got the nod.
Dungey’s renewals are interesting for a few reasons. First, because it looks like she is playing safe in season one. Rather than rip up the schedule, she has decided to play the percentages and give herself time to settle in. Second, because she has renewed the shows much earlier than Lee had a habit of doing. This is her way of quickly distinguishing herself from her predecessor.
Finally, Dungey’s list of renewals is also notable because of what she has not yet committed to. Long-running procedural Castle (nearly at the end of season eight), for example, has not yet been given the OK. Dungey has also delayed decisions on four other scripted series, Nashville, The Muppets, Marvel’s Agent Carter and Galavant.
Castle stands a reasonable chance of being renewed if star Nathan Fillion is prepared to sign up for a new season. However, the other series are harder to call.
In January, Paul Lee said Nashville would probably be back for a fifth season. But the show has never really been a massive ratings hit, so it might not secure the same support from Dungey. In the case of The Muppets, a strong start has given way to sub-par ratings. But this is a Disney-owned property so ABC won’t necessarily want to give up on it just yet. Similarly, Agent Carter hasn’t been particularly strong in ratings terms but it does come from the Disney-Marvel stable of scripted shows.
Galavant, a musical comedy/fantasy series, is coming to the end of its second season and probably looks like the easiest of the five to say goodbye to. Ratings haven’t been especially strong and there’s no obvious Disney 360-degree reason to keep it alive. That said, it does have a top creator behind it in the shape of Dan Fogelman (Tangled, Cars). So that might be enough to persuade ABC to give the show another chance.
Finally, in Scandinavia, Swedish commercial broadcaster TV4 has ordered two 10-part seasons of a medical drama based on a Finnish format called Nurses, produced by Yellow Film & TV and distributed by Eccho Rights. Jan Blomgren, CEO of Swedish production company Bob Films, said: “The original version of Nurses is well written and produced. We believe the audience in Sweden will relate to real stories in a glossy drama series.”
This isn’t the first time a Finnish drama has been adapted for the other Nordic territories. It’s also just happened with DRG-distributed thriller Black Widows.
Although the Finns make dramas to a decent standard, tight budgets mean their shows often aren’t glossy enough to appeal to audiences in the other Nordic markets. In the case of Nurses, a third season is about to air on YLE in Finland. Eccho Rights, which licensed the format to Sweden, has also sold it into the UK. At the same time, it has licensed the first two Finnish seasons to ProSiebenSat.1. Eccho will also sell the Swedish version of the show internationally.
UK TV audiences enjoyed some great drama over the Christmas period. But while all the major broadcasters offered something of interest, the BBC’s scripted output was simply outstanding.
A key reason for this is the corporation’s excellent relationship with writing talent. The Sherlock Christmas Special’s slightly warped view of the suffragette movement may have had its critics, but the episode – titled The Abominable Bride – was still a brilliantly written piece of TV from Steven Moffat and Mark Gatiss that was watched by 8.4 million viewers.
Equally enjoyable were the opening episodes of Andrew Davies’s adaptation of Tolstoy’s War & Peace and Sarah Phelps’ take on Agatha Christie’s And Then There Were None. And not to be overlooked is Tony Jordan’s Dickensian, an inspired piece of TV that I watched out of idle curiosity and which thus far has more than exceeded my modest expectations. See this Telegraph review for a good summary.
The strength of the BBC’s Christmas drama slate won’t have come as a surprise to those who have been following the broadcaster’s scripted output over the last year or two. Among numerous highlights have been Wolf Hall (adapted from the Hilary Mantel novel by Peter Straughan), The Honourable Woman (written by Hugo Blick), Banished (Jimmy McGovern), Happy Valley (Sally Wainwright) and Doctor Foster (Mike Bartlett). In each case, it has been the quality of the writing that has really shone through.
Coming into 2016, it looks like the BBC is sticking with the same successful formula. Announcing a new slate of 35 hours of drama, Polly Hill, controller of BBC drama commissioning, said: “I will continue to reinvent and broaden the range of drama on the BBC. It is because we make great drama for everyone that we can offer audiences and the creative community something unique and distinct. I want the BBC to be the best creative home for writers.”
So what’s on offer? Well, Hugo Blick will be back with Black Earth Rising, a BBC2 thriller set in Africa. Blick describes the show as a “longform thriller which, through the prism of a black Anglo-American family, examines the West’s relationship with Africa by exploring issues of justice guilt, and self-determination.”
The series will be produced by Drama Republic and Eight Rooks Production. Drama Republic MD Greg Brenman, whose company also produced The Honourable Woman and Doctor Foster, said: “We are excited to be teaming up with Hugo once more. Black Earth Rising is ambitious, thought-provoking and searingly relevant – the hallmarks that are fast defining Hugo Blick.”
Also recalled for 2016 is Bartlett, whose Doctor Foster was the top-rated UK drama of 2015. With Bartlett already committed to writing a follow-up series, Hill revealed the writer will also be writing a six-hour serial called Press for BBC1. Press is set in the fast-changing world of newspapers.
Explaining the premise, Bartlett said: “From exposing political corruption to splashing on celebrity scandal, editors and journalists have enormous influence over us, yet recent events have shown there’s high-stakes, life-changing drama going on in the news organisations themselves. I’m hugely excited to be working with the BBC to make Press, a behind-the-scenes story about a group of diverse and troubled people who shape the stories and headlines we read every day.”
Although Jimmy McGovern’s period drama Banished was not renewed, the programme was a tour de force – so it’s no surprise the BBC has commissioned McGovern to write a new show. Broken “plots the perspective of local catholic priest Father Michael Kerrigan and that of his congregation and their struggle with both Catholicism and contemporary Britain.”
Set in Liverpool, the six-hour series will be produced by Colin McKeown and Donna Molloy of LA Productions. McGovern and McKeown said: “We are both proud and privileged to be producing this drama from our home city of Liverpool. The BBC is also the rightful home for this state-of-the-nation piece.”
One writer joining the BBC fold for the first time is Pulitzer Prize and Academy Award-nominated screenwriter/playwright Kenneth Lonergan, who has been tasked with adapting EM Forster’s Howards End for BBC1.
“I’m very proud to have been entrusted with this adaptation of Howards End,” he said. “The book belongs to millions of readers past and present; I only have the nerve to take it on at all because of the bottomless wealth and availability of its ideas, the richness of its characters and the imperishable strain of humanity running through every scene.
“The blissfully expansive miniseries format makes it possible to mine these materials with a freedom and fidelity that would be otherwise impossible. It’s a thrilling creative venture transporting the Schlegels, Wilcoxes and Basts from page to the screen. I hope audiences will enjoy spending time with them as much as I do.”
The show is being produced by Playground Entertainment, City Entertainment and KippSter Entertainment for the BBC. Rights to use the original novel as source material for the miniseries were acquired from Jonathan Sissons at Peters, Fraser & Dunlop, on behalf of the Forster estate.
Playground founder and CEO Colin Callender said: “At a time when there is a raging debate about the BBC licence fee, it is worth reminding ourselves that it is because this great institution is funded by a licence fee rather than advertising or subscription that it is able to bring to the British audience dramas that no one else in the UK would produce. The boldness of commissioning a playwright like Ken Lonergan to adapt this great literary classic and make it accessible and relevant to a modern audience is a testament to the BBC’s crucial and unique role in the broadcast landscape worldwide.”
Equally exciting is the prospect of Wilkie Collins’s Woman in White coming to BBC1. Made by Origin Pictures with BBC Northern Ireland Drama, the four-part adaptation will be written by Fiona Seres, who wrote a new version of The Lady Vanishes for BBC1 in 2013.
David Thompson and Ed Rubin, from Origin Pictures, said: “We are so excited to be bringing a bold new version of Wilkie Collins’ beloved Gothic classic to the screen. His gift for gripping, atmospheric storytelling is as thrilling for contemporary readers as it was for Victorians, and Fiona’s unique take brings out the intense psychological drama that has captivated so many.”
Other writers lined up include Joe Ahearne (for The Replacement), Conor McPherson (for Paula) and Kris Mrksa (Requiem). The decision to work with Mrksa, best known for titles such as The Slap and Underbelly, is interesting because he is Australian.
The BBC’s blurb for Requiem (which will be produced by New Pictures) says: “What if your parent died and you suddenly discovered that everything they’d said about themselves, and about you, was untrue? Requiem is part psychological thriller – the story of a young woman, who, in the wake of her mother’s death, sets out to learn the truth about herself, even to the point of unravelling her own identity. But it is also a subtle tale of the supernatural that avoids giving easy answers, playing instead on uncertainty, mystery and ambiguity.”
Mrksa calls it “a show I’ve always wanted to make. To be making it with the team at New Pictures (Indian Summers), and for the BBC, a network that I so greatly admire, really is a dream come true.”
Right now, that would probably be true for any TV writer.
Looking for Victorian London? Try Dublin. Or perhaps you’re after the kind of quintessentially Italian setting one can only find in Prague? From tax credits to geography and architecture, DQ examines the factors far beyond plotlines that play a part in selecting drama production locations.
Jetting around the world in search of locations was once the domain of feature-film producers. But it is now increasingly common for high-end TV productions to scour the globe for the right backdrops to their stories.
A key reason for this is the rise of tax incentives. With a growing number of countries and regions introducing financial sweeteners to attract film and TV drama, producers now have an array of opportunities to positively impact their budgets, either by controlling costs or putting more value on screen.
Most scripted TV executives agree, however, that the pursuit of tax incentives shouldn’t be allowed to dictate the location decision-making process.
“I’ve been shooting around the world for 35 years so I know the pros and cons of tax incentives,” says Starz MD Carmi Zlotnik, “and the bottom line is it’s just one factor among many. The appeal of tax breaks has to be balanced with the creative needs of the project and the logistical set-up you find when you get to the other end.”
He cites hit Starz series Power as “a show that just had to be made in New York. We could probably have replicated New York in Toronto but I don’t think we would have got the authenticity that makes the show stand out.”
However, the network opted for a more exotic location for pirate drama Black Sails (pictured top), which shoots in Cape Town and will launch its third season in the US on January 23, 2016.
Zlotnik explains: “South Africa is a world-class location. You don’t just get tax incentives, you get a fantastic crew base and superb exterior locations. There is a construction team that knows how to build a ship and a deep pool of actors. In Black Sails, the second and third tiers of actors are great, which is something you wouldn’t get in every location. Details like that can have a real impact on whether the audience engages with a show.”
Patrick Irwin, executive producer and co-chairman at Far Moor, a coproduction specialist, takes a similar line. “I don’t think any producer would choose to shoot in a country simply to achieve tax breaks without considering the other factors,” he says. “They may well decide that the benefit from tax credits is outweighed, either by the creative sacrifices required or the additional logistical challenges, such as travel. Add to that the complications of meeting treaty and tax credit requirements and twin production bases in different countries, which means additional legal and potential collection agreements.”
The notion that tax incentives can be undermined by other financial factors is a common talking point. Aside from travel and accommodation costs, for example, the tax incentive premium can quickly dissolve if you need to bring in specialist equipment or if there are unanticipated production delays because of inexperienced or inefficient crews. This scenario is particularly common when countries have only recently introduced their tax incentives and are, as yet, unproven as filming locations.
“We took one of the first big drama productions, Parade’s End, into Belgium to take advantage of tax incentives,” recalls Ben Donald, another coproduction specialist who splits his time between working for BBC Worldwide and his own indie start-up Cosmopolitan Pictures. “While the shoot went very well, there was a lot of logistical running around. We found ourselves using several locations and flying in people we hadn’t expected to call on.”
There’s also “a human side to production that needs to be taken into account,” says Donald. “There is often an impulse among actors and other key talent to stay at home, which needs to be considered. It’s possible you will get a better end result if they are at home rather than in some temporary set-up.”
Having said that, it’s crystal clear tax incentives do influence location decision-making. California’s loss of film and TV work to Louisiana, Georgia, New York and Canada is a classic example of tax incentives redirecting work to other production centres. The UK has similarly lost out to Belgium, Ireland, Eastern Europe and South Africa over the years.
A case in point is Ripper Street, a BBC drama that recreates Victorian London in Dublin. It’s no surprise then that both California and the UK, despite the inherent strength of their infrastructures, have had to improve their own tax incentive schemes in order to reverse the runaway production trend of recent years.
Oliver Bachert, Beta Film’s senior VP for international sales and acquisition, says that in most cases there doesn’t need to be a conflict between creative and commercial considerations. “The economics of drama production mean you have to be realistic. But often we are in a position where the creative and financial requirements fall in line. Sometimes we can get the look we want in Eastern Europe at a lower price than we would get in Western Europe, so it makes sense to do that – especially when you’re dealing with places like Prague, in the Czech Republic, where the production infrastructure is excellent.”
Beta is currently involved in a US$17m miniseries called Maximilian that will shoot across Germany, Austria, Hungary and the Czech Republic, thus achieving the right mix of authenticity and efficiency. Indeed, Bachert says there are occasions with period pieces “when you can find better examples of the locations or buildings you want in foreign territories than where the story is set. With Borgias, an Italy-based story, we shot some of the production in Prague because it had the renaissance backdrop required.”
Donald endorses this point: “We’re working on a new production of Maigret with Rowan Atkinson. Although it is set in 1950s France, some of it is being shot in Budapest, Hungary. Clearly there are financial benefits to this, but it’s not always easy to shoot in cities like Paris because of the permit rules and because of the way the character of the city has changed.”
Most producers start with the requirements of the story and go from there. As FremantleMedia Australia director of drama Jo Porter explains: “There’s always a point at the beginning of the process where you’ll pass on some projects because you just know the location choices inherent in the story would be too expensive. But after you get into development there are usually a few options for where you might produce a show. It’s at this point you start weighing up the best alternatives.”
Not surprisingly, being in Australia makes a difference. “There are no hard and fast rules, but it’s inevitable that where you are based plays into your decision-making,” says Porter. “With many of our projects, the question for us is about which part of Australia offers the best creative and financial solution – not whether we should take the production to another country.”
However, Porter adds that there are times when the story dictates that you go abroad: “Advances in technology like green-screen and VFX have really helped. But we recently made a TV movie biopic for Network Ten called Mary: The Making of a Princess, about a local woman who married a Danish prince. For the sake of authenticity we had to go to Copenhagen. There’s only a limited amount you can achieve with Australia’s architecture and climate – though we have made it snow in Sydney.”
Exchange rates are another factor that Porter says can make a difference: “Australia has everything you could possibly need to handle an incoming production, but the strength of the Australian dollar has had a negative impact. Now, though, the currency has dropped enough that I think you might start to see it coming back onto producers’ radars.”
Of course, not all locations are in direct competition with each other. “There’s some overlap,” says Donald, “but if you’re looking for action-adventure backdrops then you probably think first about South Africa (which has hosted series like Left Bank’s Strike Back). And if it’s a biblical epic then you’re swaying towards places like Malta or Morocco. As for Eastern Europe, it gives you another set of urban and rural options.”
Morocco is an interesting case, because it continues to attract big-budget TV series such as HBO’s Game of Thrones, BBC2’s The Honourable Woman, Spike TV’s Tut, Fox’s Homeland and NBC’s AD: The Bible Continues – despite having no tax incentive. With superb standing sets at Ouarzazate in the south, it has doubled for locations like Iran, Egypt, Somalia and Israel, among others.
Fans of Morocco cite a variety of factors for the country’s popularity, including the quality of the light, experienced crews, low production costs, political stability and a liberal attitude to Western filmmakers. But it remains to be seen whether the country can persist with its current stance on tax incentives.
With the UAE, Jordan, South Africa, Malta and Turkey all able to replicate some of Morocco’s landscapes, it may soon find itself having to join the increasing number of countries adopting incentives. South Africa, for example, is hosting ITV’s new four-part drama Tutankhamun, in which it will double for Egypt. Although usually thought of as a lush, fertile land, South Africa also doubled for Pakistan in Homeland and Afghanistan in Our Girl.
Echoing Porter’s point about location proximity, most US TV drama producers tend to make decisions about which US state to base their productions in (or whether to go north to Canada).
Gene Stein, the former CEO of Sonar Entertainment, says: “We looked at a number of southern US states before we located Sonar’s new series South of Hell in Charleston, South Carolina. We needed a beautiful city to be the backdrop for a southern gothic story and it fit the bill perfectly. The fact there was a good financial package also played into the final decision.”
However, Stein says the US market’s current drive towards high-end drama is encouraging producers to make ambitious decisions about locations. “With the increasing number of distinctive dramas, there’s a hunger for great locations. Sonar recently shot Shannara for MTV in New Zealand. That’s a massive show that demanded a striking visual approach. So when you combined New Zealand’s beautiful locations with its tax incentives and the quality of its craftsmanship, it all made sense. And we’ve come out with a fantastic show.”
This endorsement of New Zealand, which is a prime location for European and US shoots in winter because it is in the southern hemisphere, is echoed by Starz’ Zlotnik, who says film franchises like Lord of the Rings and Avatar helped establish a high degree of technical expertise and led to the premium cable network’s decision to film Ash vs Evil Dead there.
In addition, Zlotnik says there is a robust relationship between the US and New Zealand thanks to the work done by Ash vs Evil Dead producer Rob Tapert, who first started bringing productions like Hercules and Xena: Warrior Princess to NZ in the 1980 and 1990s. “Having someone like Rob involved provides you with the security you need when shooting on location,” he explains. As a general rule, having a reliable production services company in the market can be a big influence when weighing up the relative merits of locations.
Another key point to understand about location decision-making is that the market is evolving all the time, adds Playground Entertainment founder and CEO Colin Callender. “No producer ever says they have enough money, so they’re always looking for way to secure a financial advantage that can improve the end result,” he says. “But things can change suddenly. With Wolf Hall we were looking at Belgium when the UK introduced its new tax credits. After that we knew we could afford to make the show in the UK and the decision became self-evident.”
There’s no question that the UK is a popular choice right now. Far Moor’s Irwin says: “Thanks to the additional tax credits, our first choice would always be to try to shoot domestically with potential enhancement from regional incentives such as Northern Ireland Screen (NIS) or Screen Yorkshire, unless there is an obvious creative rationale to shoot overseas. We’ve filmed numerous productions in Belfast, Northern Ireland, most recently with the ITV drama The Frankenstein Chronicles, which is produced by Rainmark Films. We have also filmed two seasons of BBC2 series The Fall in Northern Ireland and are about to start prep on the third. We’ve found the crew in Northern Ireland to be highly skilled and the NIS funding adds to the appeal.”
One exception to Far Moor’s UK-centric approach was BBC1 period fantasy Jonathan Strange & Mr Norrell, which was partly filmed in Canada and Croatia. “The reason behind this was a combination of tax credit benefits of Canadian coproduction and the locations on offer. We added Croatia for its unspoilt locations, which were ideal for doubling as Waterloo and Venice; this couldn’t be achieved in the coproducing countries.”
While the Czech Republic and Hungary tend to be the preferred locations in Eastern Europe, they are facing increased competition within the region. The BBC’s new epic interpretation of the novel War and Peace has been shooting in Lithuania, where it benefited from a 20% filming incentive, while History’s 2012 miniseries Hatfields & McCoys recreated Appalachia in Romania. Rising star Croatia, which introduced a 20% tax credit in 2011, also secured work from Game of Thrones and Beta Film-distributed Winnetou, a Western adventure based on the books by German author Karl May.
Looking at the global map, you definitely get a sense of location clustering – rather like the way you see estate agents next to each other on the high street. The southern US states and Eastern Europe are the best examples. But it’s noteworthy that the Republic of Ireland also forms part of a popular block with the British mainland and Northern Ireland.
Aside from Ripper Street, titles to have been based there include Penny Dreadful, Vikings and The Tudors. In part, this is down to tax incentives and crew quality, but it is also significant that the ROI has two impressive studio complexes, Ardmore and Ashford. Studios are also a key factor in the popularity of territories such as the US, Canada, UK, Germany, South Africa and Australia.
For all the reasons outlined above, producers tend to be slightly conservative when choosing locations, preferring to go with tried and tested areas ahead of unused ones. But there are a few places starting to attract interest as a result of new tax incentives. FM’s Porter says: “We are starting to look at producing drama that has more of an international profile to it, and as we do we are thinking about Malaysia and Singapore, both of which are increasingly important production centres.”
Malaysia, with its 25% production incentive and the recent launch of Pinewood Iskandar Malaysia Studios, has already managed to lure Netflix original series Marco Polo and Channel 4 returning series Indian Summers to its shores. With the latter set against the backdrop of British rule in India, producer New Pictures initially looked at Simla in that country, but found it was too built up.
It also considered Sri Lanka, but was dissuaded by the fact that Channel 4 News had recently aired an investigation into alleged Sri Lankan war crimes, thus putting a strain on UK/Sri Lankan relationships.
Indian Summers, commissioned for a second season in 2016, was shot on Penang Island in north Malaysia. At the 2014 C21 International Drama Summit, director Anand Tucker described how “we had to recreate 1930s India and the Raj in the country. My job in setting up the show was also about creating the infrastructure. The most any local crews had done were a couple of movies or commercials, so it was also about training them to manage a 160- or 170-day shoot.”
While this can seem like a lot of effort up front, it is something executives at the distribution end of the process often value. Sky Vision CEO Jane Millichip points to productions like Fortitude (shot in Iceland) and The Last Panthers (shot in London, Marseilles, Belgrade and Montenegro). “Buyers like the sense of breadth and scale locations bring,” she says.
Joel Denton, MD of international content sales and partnerships at A+E Networks, echoes Millichip’s view: “We’d always look at locations as a marketing tool, maybe organising trips for broadcasters to see the production.”
So what does the future hold for location-based production? Improvements in green-screen technology suggest more productions could stay closer to home. But this needs to be balanced against growing competition among channels, which encourages increasingly bold location choices.
Inevitably some countries and regions will fall off the locations map as they come to the conclusion that their tax incentives are not having much of an impact in attracting work. But others will always take their place.
Italy, for example, has seen a resurgence in film activity following the decision to introduce a tax credit in 2009 – and it’s not far-fetched to think TV productions may follow. Colombia has also seen an upturn since introducing its own incentive scheme in 2013. With Turkey talking about something similar, it seems producers with itchy feet can continue to scour the globe for the perfect backdrop.