Tag Archives: Red Arrow Entertainment

MipTV celebrates Germany

Beta Film's Maximilian
Beta Film’s Maximilian

On the eve of MipTV 2016, German producer/distributor Beta Film sold a slate of German dramas to leading broadcasters in Scandinavia.

Among the titles picked up by DR Denmark, NRK Norway, SVT Sweden and YLE Finland were the right-wing terror trilogy NSU German History X and Tom Tykwer’s 1920s crime series Babylon Berlin.

The four networks also acquired Oliver Hirschbiegel’s spy drama The Same Sky and 15th century period drama Maximilian.

Historically, drama has travelled in the other direction – from Scandinavia to Germany. But the new deals are further evidence of the way German scripted content has started to appeal to international buyers.

Expressing the German industry’s newfound confidence, Beta Film’s director Jan Mojto – talking about Babylon Berlin – said: “Made in Germany is also a hallmark of quality in television. Due to the subject (of Babylon Berlin), the creative energy invested in the project, the names involved, its high standards and, not least, its budget, international reactions to the project have been very positive. Babylon Berlin doesn’t need to take second stage to any of the major international series.”

That view was endorsed by Stephen Mowbray, head of acquisitions SVT, who said: “German producers are now delivering world-class fiction, and partnering with Beta secures a raft of exciting titles for the Swedish public.”

Also upbeat is Tarmo Kivikallio, head of acquisition at YLE: “New German drama is strong at the moment in Finland. The way it deals with German history is unique and thrilling. I am sure Finnish audiences will enjoy these series and I am very happy about the co-operation with Beta.”

German drama was preivously known for being quite conservative in tone and style, targeted primarily at the mainstream free-to-air domestic market. But a shift in the market came with Generation War, produced by UFA and distributed by Beta Film. A hard-hitting, high-quality exploration of the Second World War from the perspective of five young German friends, it has sold widely around the world.

NSU German History X
NSU German History X

The success of this show was then repeated by Deutschland 83, another UFA, which that took a quirky, offbeat look at the end of the Cold War era. The story of a young East German spy who is sent to the West on a mission, it was picked up in English-speaking markets such as the US (by SundanceTV) and the UK (Channel 4) – a significant breakthrough for German drama.

All of which brings us to Cannes’ MipTV market, where Germany will be making a lot of noise as Country of Honour. The event will be hosting numerous networking and screening events throughout the week, as well as a series of conference sessions.

In terms of drama titles, the Beta Film titles mentioned at the outset will all be on show or up for discussion. There will, for example, be a screening of NSU German History X. Produced by Gabriela Sperl (Line of Separation) and Academy Award-winning Wiedemann & Berg (The Lives of Others), this drama explores the true story of a series of murders that, despite serious hints, were only exposed as right-wing terrorism 10 years after the first killing took place.

“In the aftermath of the fall of the Iron Curtain, a clandestine far-right German terrorist group called National Socialist Underground, or NSU, began operating in Germany by killing immigrants in cold blood, termed the Bosporus Serial Murders,” explains Beta Film. “It took the police and intelligence services over 10 years to hunt down the perpetrators. Beate Zschäpe, suspected to be a member of the NSU, is still on trial today.”

The 20th century has proved a strong source of inspiration for German scripted TV producers. Another project coming through from Beta Film, for example, is Hitler – a 10–hour event series based on the biography Hitler’s First War by historian Thomas Weber. The show, which promises to shed an unprecedented light on the most closely examined figure of modern history, has been pre-sold to French broadcaster TF1 and is likely to be the subject of numerous conversations with buyers next week in Cannes.

Ku'damm 56 – Rebel With a Cause
Ku’damm 56 – Rebel With a Cause

As is evident from the above scripted shows, Beta Film has played a key role in the new wave of German drama exports. But there will also be plenty of activity at MipTV involving the country’s other leading content owners. ZDF Enterprises, for example, has already had success with its crime drama The Team. And at MipTV it will launch Ku’damm 56 – Rebel With a Cause. A three-part drama produced by UFA Fiction for ZDF/ZDF Enterprises and written by Dorothee Schon, it is set in the 1950s and tells the story of young women of the era and their struggle for equality.

Also coming through is Blender, a six-part series that Tele München Gruppe is developing together with Friedrich Ani, Ina Jung and Dominik Graf. Based on a true story, the series centres on the head of a police drug squad accused of being involved in the drug world himself.

Global Screen, meanwhile, will continue selling its acclaimed TV movie Naked Among Wolves. Based on a novel about a three-year-old Jewish boy who is smuggled into the Buchenwald concentration camp in a suitcase, it has already sold to markets including the USA, Canada, the UK, Australia, Italy, Spain, South Korea, Denmark, Sweden, Turkey, France, Benelux, Poland and Lithuania.

The company will also present Rivals Forever – The Sneaker Battle, which tells the story of the battling brothers behind Adidas and Puma, set against the backdrop of the rising Nazi regime. The show has already been sold to Scandinavia and Eastern Europe.

Naked Among Wolves
Naked Among Wolves

One of the main sponsors of the Germany In Focus event is Red Arrow Entertainment, the content creation and distribution arm of ProSiebenSat.1 Media. For the most part, Red Arrow’s international strategy has been driven by participation in non-German scripted content (Bosch, Cleverman, Peter & Wendy, The 100 Code). But it does have a story to tell in terms of German scripted formats. Classic series The Last Cop has been adapted for France, Japan, Estonia and Russia, while Danni Lowinski was recently reversioned for the Netherlands Market.

In terms of future prospects for German drama, there is another development that points to a bright future – namely the emergence of SVoD platforms as content commissioners. Amazon, for example, has recently greenlit its first German-language series in The Wanted. Starring Matthias Schweighöfer as a Berlin convention centre project manager whose life is turned upside down following a mysterious hacking attack, the series will debut on Amazon Prime in Germany and Austria in 2017.

Netflix, meanwhile, has just unveiled plans for its first German original, a supernatural family saga called Dark. Commenting on that one, Erik Barmack, VP of International Originals at Netflix said: “Dark is an incredible German story that will appeal to a global audience.”

All in all then, it looks like we are only at the start of a boom time for German-language drama exports.

For more about Rivals Forever and an interview with Maximilian writer Martin Ambrosch, be sure to pick up the latest copy of Drama Quarterly in Cannes.

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ITV checks into The Halcyon hotel

Spain's Gran Hotel
Spain’s Gran Hotel

Hotels are great places to set dramas. Not only do you get to see the behind-the-scenes activities of the staff, from lowly bellboy to entrepreneurial owner, you also have guests coming in and out every week.

As with hospitals and shops, this means a constant turnover of stories and characters as the series progresses.

Hotel dramas are nothing new – think back to the UK’s iconic soap Crossroads, for example – but in the last few years they have certainly been in vogue.

There was, for example, the BBC’s Hotel Babylon, set in the world of a luxury five-star hotel. And then came ZDF period drama Hotel Adlon. In the US, we have seen American Horror Story’s most recent season set in a hotel, while Spain has given us the best example of them all with Grand Hotel.

An opulent series set in the early 20th century, the show has proved a big hit at home and in the international distribution market. Not to be overlooked either is Stephen Poliakoff’s new spy drama Close to the Enemy, set in a run-down hotel after the Second World War.

American Horror Story's current outing is based in a hotel
American Horror Story’s current outing is based in a hotel

And so to the point of this preamble, which is that ITV in the UK has commissioned The Halcyon, a series set in a London-based five-star hotel during the Second World War. Produced by Left Bank Pictures and written by Charlotte Jones, it will focus on the guests and staff of the hotel in 1940. As such, it adds the unsettling backdrop of conflict to the transitory nature of hotel life – bombs overhead, staff going to war, soldiers passing through and perhaps even spies.

The eight-hour drama will be produced by Chris Croucher, who also produced the last two seasons of ITV’s period hit Downton Abbey. So there is clearly a hope that The Halcyon can go some way towards replacing that show.

ITV director of drama Steve November said: “A hotel is the perfect place to show ambition in telling the story of the Second World War. It was an extraordinary time in our country’s history, and London was a transforming city. The Halcyon takes us right to the heart of this as the hotel is busy, energetic and vibrant, which reflects how people carried on with their lives with defiance in the air.”

ITV's Steve November
ITV’s Steve November

Left Bank CEO Andy Harries added: “1940 was one of the most dramatic years in our island’s history. Who could have imagined London would survive the blitz and Luftwaffe’s attempted destruction of the city? What was it like to be in a five-star hotel in the West End through this extraordinary period? It’s such a compelling idea for a drama. The world of The Halcyon has to carry on through thick and thin and against all odds. The bedrooms have to be made safe, the bars have to stay open and the band has to play on. People have to sleep, eat and survive.”

Left Bank is owned by Sony Pictures Television (SPT), so the likelihood is that SPT will hold the international distribution rights to the show. If so, this will echo the business model of Downton Abbey, which was commissioned by ITV but produced by NBCUniversal-owned Carnival Films. The series will begin filming in London and surrounding areas from April 2016.

It’s been a good week for Left Bank, which has also been commissioned by ITV to make a fifth season of crime drama DCI Banks. The series, which premiered in 2010, is based on the novels by Peter Robinson and stars Stephen Tompkinson. It is set and filmed in the county of Yorkshire.

Stephen Tomkinson in DCI Banks
Stephen Tompkinson in DCI Banks

Harries said: “I’m delighted we are producing a fifth season of DCI Banks, one of ITV’s best-loved dramas. The stunning backdrop of the Yorkshire countryside is contrasted with the uncompromising storylines the team is dealing with.”

Left Bank isn’t the only indie to have benefited from ITV’s voracious appetite for new drama this week. Indie producer CPL Productions has been given the greenlight to make Brief Encounters, a six-parter looking at a group of four women who get into the lingerie and sex-shop business in the 1980s.

The series is inspired by chapters telling the story of the early days of the Ann Summers party plan business found in Good Vibrations, the memoir by Ann Summers boss Jacqueline Gold. “Brief Encounters is a refreshingly different domestic drama taking us back to the wonderful world of the 1980s,” said November. “We’re really excited by this commission – it’s full of heart, story and great new characters.”

Executive producer Arabella McGuigan added: “Brief Encounters is gutsy, emotional, warm and surprising. Like the real Ann Summers saleswomen, through their camaraderie our women discover hidden strengths and an ability to come out fighting no matter what life throws at you. As wives, mothers and businesswomen, they unleash talent – and they blossom.”

Luther creator Neil Cross's new show is set in a pre-apocalyptic London
Luther creator Neil Cross’s new show is set in a pre-apocalyptic UK

CPL belongs to Red Arrow Entertainment, which presumably means distribution will be handled within the Red Arrow family.

Still in the UK, public broadcaster BBC1 has commissioned a new detective series from Euston Films called Hard Sun. The six-parter is being written by Neil Cross, creator of Luther and a writer on Doctor Who. FremantleMedia International is handling sales.

It’s described as a pre-apocalyptic drama, meaning it is set against the backdrop of a dying world. “Imagine the world you see when you look out your window… except it’s been given a death sentence,” Cross said. “There’s no hero to come save us; no contingency plan. What’s it like, trying to keep order, trying to enforce the law in a city that, day by day, slips closer to certain destruction? How do you get up in the morning? How do you get out of bed and leave your family and go out there, putting your own life at risk? And what about the predators? What about the murderers, the rapists, the thieves? What about the psychopaths, the religious nuts, the cult leaders, the serial killers? Who would fear a prison sentence?”

Meanwhile, comic books continue to be a fruitful source of TV ideas, with US cable channel Syfy developing a new series based on the Dark Horse comic Harrow County. The story focuses on a teenage girl who finds ghosts, goblins, and the restless dead in a nearby forest. She subsequently learns she is the reincarnation of a powerful witch.

Blood and Water has been renewed by OMNI Television in Canada
Blood and Water has been renewed by OMNI Television in Canada

The series is being written by Becky Kirsch, who has previously worked on Syfy’s Dominion and 12 Monkeys.

Discovery is also reported to be working on an anthology drama series. According to Deadline, the broadcaster is developing a show called Manifesto, which will explore how the FBI caught infamous criminal masterminds, with each closed-ended season following a different case. The show sounds similar in structure to Ryan Murphy’s American Crime Story on FX.

Finally, in Canada, OMNI Television has announced that it has renewed crime drama Blood and Water, just a month after the first season’s debut. The show, which is set in Vancouver, is unusual because it delves into the lives of Chinese immigrants and is produced in English, Mandarin, and Cantonese.

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As digital changes the game, where does drama go next?

With the explosion in digital platforms, a sharp rise in investment and more varied content than ever, it’s certainly an exciting time to be working in the drama industry. But where does drama go from here – and what challenges is the new landscape throwing up?

The TV industry has always had a tendency to talk up the quality of its work. But there’s no question that TV drama is now more creative, ambitious and innovative than ever. While US, British and Scandinavian series tend to grab most of the headlines, a steady stream of excellent scripted shows from countries such as Australia, Canada, France, Israel, Korea, the Netherlands, Spain and Turkey reinforces the point.

In fact, says Helen Jackson, chief creative officer  at UK-based distributor BBC Worldwide: “You would have to have been on Mars not to feel excited about developments in drama.”

For Jackson (pictured above), a number of factors have come together to create the current enthusiasm for the genre. “Viewing habits have changed so that there is a real desire among consumers for the emotional connections that drama brings,” she says. “That has been picked up on by channels and platforms, which realise drama is a brilliant way to engage with audiences, build their brands and then leverage other types of content in their schedule.”

Hit shows like AMC’s Breaking Bad, Showtime’s Homeland, Netflix’s House Of Cards, ITV UK’s Downton Abbey and SVT/DR’s The Bridge have proved this proposition and led to a huge increase in scripted content investment by broadcasters, distributors and the new wave of global SVOD platforms. This, in turn, has led to an influx of great writers, actors, directors and producers from the film industry, says Jackson.

“There is a strong trend for people travelling with ease between film and TV. We worked with Jane Campion on Top Of The Lake, a project that would have too big to think of in terms of a two-hour film.”

With TV now able to match film in terms of the quality of its storytelling, top talent is enjoying the ability to “explore characters over a long period of time,” she adds.

The growing appeal of drama has had a clear impact on BBCWW’s bottom line, Jackson continues, with the genre now accounting for 50% of the company’s revenues. Looking ahead, Jackson anticipates more growth, with drama on course to account for 60% of revenues next year. “Drama’s success isn’t to the exclusion of other genres, but it is definitely here to stay.”

The Honourable Woman
The Honourable Woman

BBCWW’s faith in drama’s future has encouraged it to form some high-profile partnerships with talent. It has a first-look relationship with Drama Republic, the company behind Maggie Gyllenhaal project The Honourable Woman, and also with On The Corner, a new indie that includes execs from the critically acclaimed movie Senna. In addition, it has taken a 35% stake in Lookout Point, a coproduction specialist that worked with BBCWW on Ripper Street and Parade’s End and is now in the midst of developing a TV version of Tolstoy’s War and Peace.

For Lookout Point, BBCWW’s investment is vital because it provides the company with financial stability and market muscle in what remains an expensive, high-risk business. But the deal is also a good indicator of the way the international drama business is moving. Put simply, high-end dramas are so ambitious they can’t be funded by a single broadcaster. As a result, companies like Lookout Point play a pivotal role in bringing together various parties to build the required budget – in structures that increasingly resemble indie film deals.

Ripper Street
Ripper Street

In the case of War and Peace, LOP brought in The Weinstein Company as a frontline partner. Just as interesting was the deal that saved crime drama Ripper Street from the axe at the end of series two. “The BBC loved the show and, if they had unlimited slots and money, would have done more,” says Lookout Point CEO Simon Vaughan. “But they cancelled it. So we brokered a deal with Amazon that helped us put it back on air for a third series. Amazon had the first window and then the BBC picked up the show for 2015. For us, that was creatively very exciting because we hadn’t finished telling our story.”

The themes outlined by Jackson are reflected in other developments in international drama. Earlier this year, for example, UK broadcaster Channel 4 created a new role specifically to develop international drama coproductions. Appointed to oversee this area was Simon Maxwell, who joined from Pro7Sat1-owned Red Arrow Entertainment. He says: “It was a bold move by C4 to launch a third strand of drama alongside its domestic slate and acquisitions. I can’t specify the budget but it is in addition to what is spent on domestic drama.”

Maxwell says his creative brief is to find “contemporary authored dramas that are distinct from the domestic slate. So we’re looking for partnerships with like-minded broadcasters.”

His first big project is a textbook example of the new breed of cross-border drama that is capturing the headlines. Called Humans, the show is set in a parallel present where the latest must-have gadget for any busy family is a robotic servant called a ‘Synth’. The show was originally produced by Matador Productions for Swedish public broadcaster SVT. The remake rights were then acquired by UK indie Kudos, with sister company Shine International coming on board to distribute both the Swedish and UK versions. Initially, the show was being prepped as a C4 partnership with Xbox Entertainment Systems. But when XES was shut down, US cable network AMC stepped in as a coproduction partner.

For Maxwell, Humans is “a project that will build on C4’s renowned drama brand. It’s an opportunity to achieve the scale and international appeal of shows like Fargo and Homeland.”

He is happy AMC has come on board because he believes the companies are a good fit. “The climate in favour of copro is stronger than ever. But it is imperative with projects like this to find people with the same vision, who want to make the same kind of show. You don’t want to enter partnerships where both sides are excited by the idea but have different editorial sensibilities, because you’ll be trying to create different shows.”

While AMC is in expansionist mood both domestically and internationally, it’s increasingly clear that the emerging digital platforms will also play a key part in the future of drama. Xbox may have turned its back on TV, but there is plenty of activity from the likes of Netflix, Amazon and Sony Playstation (which recently jumped on board comic-book adaptation Powers with sister firm SPT).

Carrie Stein, EVP of global productions at eOne TV, says the rapid rise of digital platforms has transformed the funding of drama. “Two years ago digital didn’t exist in our sales projections, but now we can be looking at up to 30% from that sector. Sometimes there are so many digital players in one market that we might be able to sell a show five, six or seven times.”

Gaumont's Katie OConnell
Gaumont’s Katie O’Connell

It’s a similar story for Gaumont International Television, the LA-based arm of iconic French producer Gaumont. The company has seen critical and commercial success with horror series Hemlock Grove, which is just going into its third and final season on Netflix. GIT CEO Katie O’Connell says this is now being followed up with two very distinct series for Netflix: “We have announced Narcos, a brilliant look at life during the drug wars in Colombia in the 1980s. We’re also excited about a comedy animation with synergies between our US and French studios.”

Asked whether there is a difference between making drama for regular TV channels and SVOD platforms, producers often say different styles of viewing behaviour have to be taken into account. This is confirmed by O’Connell, who says the trend towards binge or box set viewing on SVOD meant “we had to think hard about the music on Hemlock Grove. It sounds more repetitive to an audience that is binge viewing than an audience watching once a week. You also have to think about the conclusion of each episode. With traditional TV you want a robust ending, whereas with SVOD you almost want to stop mid-sentence so people jump straight to next episode.”

Lookout Point’s Vaughan echoes O’Connell when he says that the way people watch drama now means it is possible to do “braver, more interesting stuff. Because people are watching shows via catch-up and are willing to immerse themselves in shows, writers and creators can make more complicated and nuanced decisions about the story. They don’t have to spoon-feed the audience; they can leave questions unanswered.”

With so many different platforms to produce for, a big question for producers is how to target their development. O’Connell believes it’s important not to try to second-guess channels: “The tail shouldn’t ever wag the dog,” she says, “We like to develop the narrative outside the commissioning network. Often, shows that offer the best creative expression are not prescriptive. They allow the auteur to bring something the audience and market don’t even know they want.”

eOne’s Stein makes a similar point: “It’s a problem when you try to put a project together and guess who will like different aspects of it. It diffuses the creative. So, where it makes sense, we are funding scripts before going to networks.”

One interesting recent trend in the US drama market, which has global significance, is the shift away from piloting towards full-series orders. GIT took this line with its thriller Hannibal, which was fully developed before being sold to NBC in the US and SPT-owned AXN internationally. When NBC greenlit the show, it went straight for a full-series order of 13 episodes rather than a pilot. This is can be advantageous to producers, says O’Connell: “Having a straight-to-series order helps when talking to talent. We could go to Laurence Fishburne and Hugh Dancy and offer them 13 episodes, not just a one-off pilot.”

The shift towards full-series orders has mainly been driven by cable and SVOD channels, but it is unlikely to spell the end of the US pilot system. Channing Dungey, EVP of drama development, movies and miniseries at ABC Entertainment Group, says pilots still have a value for ad-funded networks, which don’t want to commit to long-running series and then have to axe them after two or three episodes if they rate poorly. Economically, she says, there is greater logic in using pilots to test shows before the full series investment is made.

The main exception to this is shows like Hannibal, where the funding risk is being shared with the international market. In this scenario, where an international network and a distributor have already covered some of the budget, it becomes possible for US networks to dispense with pilots and go straight to series.

Echoing many of these scenarios, BBCWW’s head of scripted, Liam Keelan, says the big change in the drama market is that “deal structures are changing beyond recognition. There’s just not one single model when it comes to getting a project off the ground. For example, we used to take it for granted that we would need a UK broadcaster attached to a project, but that mindset doesn’t really exist anymore.”

He illustrates this point with a project called The Refugees, which “was being made for La Sexta in Spain by a Spanish production company called Bambu. It was a really smart eight-part sci-fi series that needed coproduction funding. Two to three years ago we wouldn’t have got involved because there wouldn’t have been the appetite, but the boom in demand for drama has changed that. We are in a global marketplace now.”

While the new “shared risk” funding model has provided a platform for the current boom in international drama, the big question is whether the drama sector can keep pumping out great stories, or if there are threats to the new ecosystem.

Justin Glover
Justin Thomson-Glover

One issue that has emerged as a concern is the lack of top screenwriters available to high-end productions. Writers can often be backed up for years with work – leaving some projects high and dry. Justin Thomson-Glover, managing director of Far Moor Media and Artists Studio, is a copro expert who has helped bring projects including BBC drama Jonathan Strange and Mr Norrell to life. He says he has been waiting for 12 years for a particular writer to become available on a project (though the good news is that the writer looks like he’ll be free in 2015).

Experts on the production side say the problem isn’t so much a shortfall of writers, but rather a lack of writers in whom commissioning broadcasters are willing to place financial faith. “There are lots of fantastic writers,” explains Thomson-Glover, “but very few who everyone can agree are fantastic writers.”

This pressure is exacerbated by the fact that so many broadcasters are looking for “authored” drama, says Greg Brenman, MD of producer Drama Republic. Unlike procedural dramas, soaps or comedy series, which tend to rely on a pool of writers, the new generation of drama is often handled by one (or sometimes two) writers. Brenman cites the example of Peaky Blinders, which saw creator Stephen Knight write all of season two. That’s the kind of scenario where new screenwriters could, in theory, be blooded.

Brenman’s company was widely acclaimed for The Honourable Woman and is now working on Doctor Foster, another drama that places an intelligent, empowered woman at the heart of the narrative. In terms of positives, he is excited by the creative opportunities the market presents, citing an increase in the number of “genre adjacent” shows like The Missing and Happy Valley, “where you see a crime show and a relationship show in one format.” But he is concerned about what he calls “content fatigue. I see a tension between serial and series. How many deep relationships can audiences commit to in TV?”

Future Drama panel features from left to right,
The Future Drama panel, from left: Amazon’s Chris Bird, Greg Brenman from Drama Republic, eOne’s Carrie Stein, Justin Thomson-Glover, Simon Vaughan and James Baker.

On the issue of writing talent, James Baker, MD of Pro7Sat1-owned Red Arrow Entertainment UK, believes the current demand suggests there is “a huge need for a writers/showrunners academy. It’s such an important thing that I think it is incumbent on bigger companies to create that process.”

Baker is part of one of Europe’s fastest-growing drama studios and has recently seen police show Bosch commissioned by Amazon. Echoing his peers, he is “bullish about on-demand. There’s already been a big step change in the last 24 months, and that is going to accelerate faster than people think. Already we have Amazon, Netflix and Hulu, and now there is talk of Vodafone considering content. Going forward, major networks are going to need a robust on-demand strategy, either on their own or in partnership. It’s fantastic news for the drama industry.”

For Baker, the key to survival will be flexibility, both in terms of how consumers gain access to content and creative partnerships. He also believes the industry “will see more non-traditional financiers coming into this space. I can see more venture money backing the long-term value of content.”

While producers and distributors are endlessly articulate when discussing the way forward for drama, it’s always interesting to find out what the new generation of drama-commissioning platforms think. For example, in November, Chris Bird, director of content strategy at Amazon Instant Video EU, attended the C21 Drama Summit in London, where he provided some insight into the company that commissioned shows like The After, Transparent, Mozart in the Jungle and Bosch during 2014.

The key to Amazon’s approach, Bird said, is that the company is “very customer-driven.” However, he dismissed the idea that Amazon’s decisions are purely based on data derived form audience behaviour: “No one buys into the idea you could base creative decisions just on data or feedback from customers. The data we have is very broad and deep, but so is the data broadcasters like the BBC and ITV have. Human opinion – plus data – will trump either of those tools alone. You have to use everything you have.”

Amazon’s approach is to make the relationship between audience and creative talent as “seamless as possible, cutting out anything in the middle,” he continued. In terms of the future, Bird predicted 2015 will see “a great volume and quality of drama shows appearing exclusively on online platforms. Content is going to be important as a point of difference, so we have to ensure the things we do are different to competitors.”

So what kind of drama works in the new landscape? “There’s such a bewildering array of platforms, you have to find a show that is as loud, impressive and ambitious as possible,” says Thomson-Glover. “Everyone is looking for something extraordinary.”

At Lookout Point, the emphasis is firmly on period properties at present. Aside from War and Peace and Ripper Street, the company is prepping Victorian ghosthunter series The Living and the Dead (6×60’) for the BBC and is also in the midst of developing a £20m-plus version of Charles Dickens’ A Tale Of Two Cities. The 10×45’ miniseries is being written by Alan Bleasdale and will be distributed by BBCWW.

C4’s Simon Maxwell says a lot of sci-fi and international thriller projects are crossing his desk, “though what I’d love to find is an authored crime show that reinvents the genre.” In terms of projects other than Humans, C4 has unveiled Opposite Number, a political drama that focuses on a British nuclear scientist taken prisoner in North Korea, triggering an international crisis.

Looking at future trends, Red Arrow’s Baker expects to see “narrative content starting to jump from the internet to mainstream networks,” while eOne’s Stein anticipates “more shows crossing borders, like the foreign-language shows that have aired on BBC4 in the UK. I can also see more examples of shows taking audiences to different places, like Channel 4’s new 10-part drama Indian Summers.

However, Thomson-Glover sounds a note of warning: “There is an expectation now from broadcasters that you can deliver big budgets and big stars when they’ve only given you 40% of the budget. So there’s an ongoing puzzle regarding how you find the rest of the money in a way that won’t destroy the show. I also think there are some potential issues around aggregation, which means fewer independents.”

BBCWW’s Keelan says the current market is so competitive that “everything that goes out in the schedule needs to feel like an event. So I think we’ll see the middle squeezed.” One big feature of the new landscape is that producers don’t have to worry as much about the number of episodes, he adds. “You just have to look at how successful Sherlock has been around the world.”

Keelan also stresses his optimism for the future of linear TV as part of the drama viewing mix. Notwithstanding Netflix CEO Reed Hastings’ prediction that linear TV will be dead in 15 years, he says: “People like their weekly fix. They want to have some social interaction around last night’s show. So I think linear is here to stay for a good while.”

 

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