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Mipcom showcases global writing talent

Malin Lagerlof
Malin Lagerlof

Mipcom, which takes place in Cannes between October 17 and 20, is not just a great platform for international drama – it’s also a useful showcase for writers from around the world.

At a time when the key players in the scripted TV business are increasingly willing to employ writers from beyond their home territory, it’s worth exploring the people behind the market’s headline dramas.

French distributor Wild Bunch TV, for example, will be in Cannes with three dramas including Israeli production Mama’s Angel. A 10-episode psychological drama that explores the dark underbelly of life in a wealthy Tel Aviv suburb after a child is murdered, it was screened in competition at Series Mania 2016 and was created by rising star Keren Weissman.

Called Malach Shel Ima in Hebrew, the show was produced by Black Sheep Productions and aired on Yes TV. Weissman’s first TV drama series, it has scored a decent 8.2 rating on IMDb. Speaking at Series Mania, Weissman said the show took four years to write and places a strong emphasis on emotive themes such as motherhood.

Also on the Wild Bunch slate a road trip-cum-love story Tytgat Chocolate, about a man and his mentally challenged co-workers at a chocolate factory. The seven-part Flemish series was written and directed by Marc Bryssinck and Filip Lenaerts and produced by deMENSEN for VRT. Of the two writers, Lenaerts has the longer track record in TV, having created 2011 documentary The Colony (about life in an isolated prison). Interestingly, Bryssinck is artistic director at Theatre Stap, a professional theatre company that works with people who have mental disabilities. Clearly this experience will have helped inform the VRT show.

Jesse McKeown
Jesse McKeown

Red Arrow International’s slate features a diverse range of drama titles including Farang, a Nordic drama made by Warner Bros for C More and TV4 in Sweden. This one tells the story of a former criminal eking out a shabby existence in Thailand having testified against some old friends in his home country, Sweden. An eight-part series starring Ola Rapace, this one is written by Malin Lagerlof, Veronica Zacco, Anders Sparring and Niklas Rockstrom.

Lagerlof is a well-established writer whose recent credits include SVT miniseries Bibliotekstjuven and Wallander – Saknaden, a 2013 production from Yellow Bird. Prior to her success in TV, she made a name for herself in theatre and film production. Zacco is a more recent addition to the industry but has several episodes of Thicker than Water under her belt. Rockstrom, who also worked on Thicker than Water, is now involved with a new SVT project called Before We Die. Sparring’s most recent major credit, meanwhile, was the kids animation series Rita & Krokodille.

Red Arrow is also at the market with The Romeo Section: Assassins, a Vancouver-set espionage thriller that aired on CBC. The blurb says: “To his university, Professor Wolfgang McGee is a gifted academic. To his country, he is the spymaster behind the Romeo Section, a secret ring of intelligence operatives that infiltrate some of the world’s deadliest criminal networks.”

Chris Haddock
Chris Haddock

This one is written by a trio that includes Jesse McKeown, Chris Haddock and Stephen E. Miller. McKeown is a well-established writer whose recent credits include 19-2, Rogue, Republic of Doyle and Da Vinci’s City Hall. Larger-than-life figure Haddock was the creator and showrunner of the latter show and also showruns the new title being marketed by Red Arrow. In fact, he has previously been profiled by DQ – click here to check it out. Interestingly, Miller is better known as an actor (with a long string of credits). This is his first outing as a writer, except for a single episode of Da Vinci’s Inquest, a precursor to Da Vinci’s City Hall that was also created and written by Haddock.

StudioCanal’s big push at the market is Midnight Sun, a Canal+/SVT coproduction. Created by Måns Mårlind and Bjorn Stein, StudioCanal calls it “a high-concept thriller set in a small mining community in remote northern Sweden where a series of brutal murders conceal a secret conspiracy.” Due to air later this year, the series received the Audience Award at SeriesMania in April.

Mårlind and Stein, of course, are best known for crime series Bron, which has aired in 160 countries and has been remade in the US as The Bridge and the UK  as The Tunnel. They started working together at Stockholm-based production company Camp David where they directed commercials for major brands including Nike, UNICEF, Toyota, Reebok, Scandinavian Airlines, and IKEA. After this they began alternating between commercials and feature films, helming Underworld: Awakening, starring Kate Beckinsale. In more recent times their focus has been on high-end TV drama.

Bjorn Stein (left) and Måns Marlind
Bjorn Stein (left) and Måns Marlind

Sticking with the Scandinavians, StudioCanal will also present Below the Surface, a crime thriller for Denmark’s Kanal 5 from SAM Productions. In this story, 15 people on a subway train beneath Copenhagen are taken hostage by three armed men. A terror taskforce is dispatched to rescue them and a reporter acts as go-between with the police as the captors bait the press with information about each hostage’s past.

Kasper Barfoed is creator, head writer and concept director of the show. Until now, Barfoed had been best known as a director, having previously been a child actor. His previous directorial credits include Dicte and Those Who Kill. His only previous writing credit is 2015 movie Sommeren ’92, set against the Danish football team’s successful campaign in the 1992 European Championships.

From the UK, StudioCanal has Crazyhead, a new comedy-horror series from Bafta winner Howard Overman (Misfits). The six-part series is produced by Urban Myth Films for Channel 4 in association with Netflix. It follows “Amy and Raquel as they navigate their way through the choppy waters of their early 20s while kicking the ass of some seriously gnarly demons.”

Ortega
Sebastian Ortega

RAI Com, the sales arm of Italian pubcaster RAI, is also heading to Cannes with a strong slate of dramas. One key title is crime series Non Uccidere (Close Murders), which is entering its second season. The story focuses on a female crime fighter, Valeria Ferro of the Turin Homicide Squad, and her battle against domestic and community-based violence. It was directed by Giuseppe Gagliardi and created by Claudio Corbucci, whose previous TV series credits include La Squadra. For the last few years, he has been more focused on movies and TV movies.

Dori Media Group, meanwhile, has high hopes for crime drama El Marginal, a 2016 Grand Prix winner at Séries Mania. El Marginal is a coproduction from Underground Producciones and TV Publica Argentina and was created by Sebastian Ortega.

It tells the story of Miguel Dimarco, “an ex-cop who enters prison under a false identity as a convict. His mission is to infiltrate a gang of prisoners who have kidnapped the daughter of a prominent judge. Miguel must discover the whereabouts of the girl and help set her free. He meets the objective but someone betrays him, leaving him behind bars with no witnesses who know his true identity.”

Ortega is a well-established writer/producer on the Argentinian scene and has been closely associated with commercial channel Telefe since 2008 (though this title is for TPA, not Telefe). Big hits during his career have included Lalola, Los Exitosos Pells and Graduates. Ortega’s shows generally score well with international buyers, so El Marginal is also likely to attract a lot of attention.

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Drama in demand at Mipcom

Deutschland 83
Deutschland 83

A devastating flood at the start of this year’s Mipcom didn’t seem to affect the amount of business being done throughout the week, with the trade in scripted shows especially brisk.

One title that managed to rack up a number of sales was FremantleMedia International’s German-language spy thriller Deutschland 83, which was sold to Channel One (Russia), Sky Italia, Hulu (US), SundanceTV (English-speaking Canada) and Stan (Australia and New Zealand), among others. This follows on from previous deals with broadcasters including SundanceTV in the US, Canal+ (France) and Channel 4/Walter Presents (UK).

A coming-of-age story set in Germany during the Cold War, Deutschland 83 follows Martin Rauch, a 24-year-old East German native who is sent to West Germany as an undercover spy for the Stasi foreign service. The show is part of a broad trend in the TV business towards espionage-based thrillers – the trigger for which was probably the Israeli scripted format Hatufim (Prisoners of War), which was reinvented as Homeland in the US.

Occupied
Occupied

Other espionage-based shows selling well this week included Zodiak Rights’ Occupied, a Nordic series that imagines a situation in which Russia invades Norway to take control of the country’s oil industry. The show, which has debuted strongly in Norway, was picked up for broadcast in Poland (a country that also has an acute interest in Russian foreign policy).

Similarly, there was a lot of interest in Keshet International’s False Flag, which was featured in The Wit’s popular conference session Fresh TV Fiction. This Israeli series centres on five seemingly ordinary Israeli citizens who are accused of kidnapping a senior Iranian politician. It has been picked up by Fox International Channels – which is planning an English-language version via Fox International Studios and has also acquired the rights to the Hebrew version. The latter, which will air in 127 territories via FIC’s channels, is the broadcaster’s first non-English-language series acquired on a global basis.

FALSE-FLAG_KI_V12_1075X850_RGB_300DPIThere has always been a strong trade in non-English-language drama between countries where English is not the first language. But a big change in the business over the past few years has been the willingness of English-language broadcasters and platforms to air such shows. Netflix, Hulu and BBC4 in the UK can take a lot of credit for kickstarting this trend, but it has become a lot more widespread in the past six to 12 months.

One interesting development in this regard is Walter Presents, a foreign-language drama on-demand platform that is being launched in January by Channel 4 in the UK and its strategic partner GSN. Walter Presents was busy at Mipcom snapping up the rights to a wide range of non-English dramas. It struck a deal with German distributor ZDF Enterprises for a number of series, including 10-part Belgian black comedy drama Clan, which follows the exploits of four frustrated sisters as they plot to kill their obnoxious brother-in-law, and 10-part Swedish political thriller Blue Eyes. Also acquired from ZDF were eight-part crime drama The Team, six-part Polish crime thriller The Pack and Swedish family saga Thicker than Water.

The platform’s buying spree also encompassed deals with French content providers such as TF1 International and Film & Picture TV Distribution, plus 20 hours of Dutch-language shows from Netherlands-based Dutch Features Global Entertainment.

Rai Com, the commercial arm of Italian public broadcaster Rai, has been another beneficiary of this interest in non-English drama. At Mipcom it secured deals for the new season of its detective series The Young Montalbano, licensing it to the BBC, RLJ (UK video rights) and Hi Gloss (Australia and New Zealand video).

The Frankenstein Chronicles
The Frankenstein Chronicles

There have been numerous examples of US cable channels commissioning new scripted content recently. But making drama is expensive, so some channels have sensibly decided to explore the international acquisitions route as well. An example we cited a couple of columns ago is Esquire Network, which has picked up Spotless and Beowulf: Return to the Shieldlands. A&E Network did something similar at Mipcom, picking up The Frankenstein Chronicles, produced by Rainmark Films, distributed by Endemol Shine International and starring Sean Bean (Game of Thrones).

SundanceTV is following a similar trajectory, though it prefers to get involved as a coproduction partner, giving it a little more oversight and input into the end product. Having previously partnered up on The Honourable Woman and D83, for example, it was busy at Mipcom picking up a new portfolio of non-US dramas.

Rebellion
Rebellion

One interesting title that it has jumped on board is RTÉ’s historical drama Rebellion, which tells the story of the birth of modern Ireland. It has also linked up with Sky Atlantic and Canal+ on The Last Panthers. Produced by France’s Haut et Court and the UK’s Warp Films, the series centres on the evolution of criminality in Europe, taking place in locations across the continent, from Serbia to Marseilles in France.

More evidence of the vibrancy of the European drama scene right now is the news that Zodiak Rights-supported Versailles has been given a second season, while TF1 in France and RTL in Germany are backing the new UFA Fiction/Beta Film drama series Hitler (working title). Meanwhile, The Copenhagen Film Fund has confirmed it is in talks about financing a fourth season of SVT and DR’s hit crime drama The Bridge.

Versailles
Versailles

Out of the UK, notable deals included the sale of All3Media International’s The Missing to German public broadcaster ZDF and FremantleMedia International’s No Offence to France TV.

The Brits are also beneficiaries of the growing demand for drama content from subscription VoD platforms. This week, for example, South African service ShowMax bought 125 hours of content from ITV Studios Global Entertainment, including Jekyll & Hyde, Rectify, Mr Selfridge, Good Witch and Texas Rising.

In terms of US series, the major TV studios were quick to seal deals. Disney Media Distribution licensed ABC Studios’ The Muppets to 122 territories, while the latest Shondaland drama series, The Catch, has been licensed to 186 territories. Executive produced by Shonda Rhimes and Betsy Beers, The Catch is a thriller about a successful fraud investigator who becomes the victim of fraud by her fiancé.

The Catch
The Catch

Sony Pictures Television also announced international deals for its shows. Wesley Snipes drama The Player hasn’t started very strongly in the US, but SPT has still managed to sell it into 105 territories, with high-profile deals in France (TF1), Germany (RTL), Spain (AXN) and Australia (Seven). SPT has also had a good start with The Art of More, a Dennis Quaid drama that was created for on-demand service Crackle. To date, the show has been sold into 25 territories via broadcasters such as Viacom’s Colors Infinity channel in India, OSN across the Middle East and D-Smart in Turkey. Of the two dramas, The Art of More feels more like a show that may run for a few seasons.

Other US shows to do business this week include NBC’s strong starter Blindspot, which was licensed to Sky Living (alongside Limitless and The Catch). Meanwhile, NBCUniversal thriller Mr Robot was picked up by Finland’s public broadcaster YLE.

While the majority of news from Mipcom 2015 concerned the sale of completed shows, there was also a smattering of commissioning and format announcements at the market. Viacom-owned BET, for example, is reported to be planning a six-part drama miniseries called Madiba, focusing on the life of Nelson Mandela and starring Laurence Fishburne; while StudioCanal-owned Tandem Productions is to adapt Code to Zero, the international bestselling novel by Ken Follett (Tandem previously adapted Follett’s Pillars of the Earth epic). Note also the above references to Versailles, Hitler and The Bridge.

The Art of More
The Art of More

On the format front, German network Vox is remaking Spanish drama The Red Band, TF1 in France is to produce a local adaptation of BBC drama The Escape Artist and CTC in Russia is adapting Keshet International’s romantic comedy The Baker and the Beauty.

Perhaps the most exciting format news of the week, however, is that US broadcast network ABC is adapting Janus, a drama from Austrian pubcaster ORF. This deal demonstrates that the powerful US networks are continuing to cast their net far and wide in search of great scripted ideas.

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