Tag Archives: Sam RIley

Rewriting history

James Bond screenwriters Robert Wade and Neal Purvis imagine a world in which the Nazis occupy Britain in the BBC’s adaptation of Len Deighton’s alternative-history novel SS-GB. DQ visits the set.

At first glance, the set of the 1940s-era London police station looks unassuming and inconspicuous. A map of the River Thames hangs on one wall, beside a board displaying the details of ongoing murder investigations. A telephone switchboard stands in another part of the office, while adjacent tables are laden with an assortment of maps, newspaper cuttings, mugshots and used ashtrays.

Neal Purvis and Robert Wade

‘Wanted’ posters show the faces and details of eight people sought for a train robbery, while a steam train calendar displays the dates of November 1941.

Yet look a little closer and unusual details start to emerge – notepaper headed with the word ‘Metropolitanpolizei’ sticks out from the top of a typewriter sitting on one desk, next to notebooks embossed with Nazi insignia.

Stepping outside the office belonging to Detective Superintendent Douglas Archer, ‘Metropolitanpolizei’ appears again, this time on a sign hanging over the doorway, while Nazi banners hang in the stairwell of a nearby spiral staircase. The scene is jarred further by the sight of soldiers standing in khaki SS uniforms.

This is the setting for SS-GB, the forthcoming BBC1 drama based on Len Deighton’s 1976 alternative-history novel that imagines the Nazis won the Battle of Britain in 1940.

Set in Nazi-occupied London, the story follows DS Archer (Sam Riley) who is working under the brutal SS regime. But while investigating what appears to be a simple black market murder, he is dragged into a much darker and treacherous world where the stakes are as high as they were during the war.

US actress Kate Bosworth stars alongside Riley as American journalist Barbara Barga, who becomes inextricably linked with the murder case Archer is investigating. The cast also includes Jason Flemyng, James Cosmo, Aneurin Barnard, Maeve Dermody and Rainer Bock.

The five-part series, produced by Sid Gentle Films, has been adapted from Deighton’s novel by Bafta-winning writers Neal Purvis and Robert Wade – most famous for writing five James Bond features, including Spectre, Skyfall and Casino Royale.

The drama received its world premiere this week at the Berlin Film Festival, ahead of its UK debut on Sunday February 19. Distributor BBC Worldwide has also sold the series to broadcasters in Germany (RTL), Croatia (Pickbox), Sweden (SVT), Greece (Cosmote), Israel (HOT/Cellcom), Iceland (RUV) and Poland (Showmax), while it will also air on BBC First channels in Africa, Australia, Benelux and the Middle East, as well as UKTV in New Zealand.

It is directed by German director Philipp Kadelbach, whose credits include Naked Among Wolves and Generation War. Sally Woodward Gentle, Lee Morris, Purvis, Wade and Lucy Richer are executive producers. The series is produced by Patrick Schweitzer.

As fans of Deighton, Purvis and Wade were instantly drawn to the series, which marks their first move into television, when they were approached about the project by Woodward Gentle.

Maeve Dermody plays a girl caught up in the British Resistance

“It’s a pretty faithful adaptation,” says Purvis of the screen version. “The biggest challenge was [in the book] we were following Archer from his point of view. The fact he can’t trust people means it’s very difficult to talk to other people about what he’s thinking, so it was all about making it comprehensible because it’s quite a complex plot and nothing’s straightforward. The Resistance has got in-fighting and the German army and SS are opposed to each other, so it’s just finding a way to navigate through the story in an intriguing but understandable way.”

Wade picks up: “I think I understand it now – but we had to simplify it. Since Len wrote the book, there’s a bit more now known about what was going on in Britain to prepare for an invasion, so we were able to access those sources and that gave us background for the British Resistance and the real mechanisms that were set up in event of an invasion. But really our main job was to make the most of the drama within the story and, for that reason, we made a few changes that kept certain characters alive longer than they were in the book.”

Already an established genre in the world of fiction, alternative history is becoming a hot topic in television, with SS-GB following hot on the heels of Amazon’s The Man in the High Castle, which plays out in a world where the Axis powers won the Second World War and America has been split between Japanese and Nazi rule, with a buffer zone separating the two.

SS-GB premiered this week at the Berlin Film Festival

Wade draws a distinction between the two series, in particular describing the Amazon drama as closer to science-fiction because the events it portrays weren’t ever close to happening. SS-GB, however, was within the realms of possibility.

“With The Man in the High Castle, which is set in 1962, you’re talking about the consequences [of the Second World War]. But in this you are actually living through the Occupation and the game isn’t necessarily over. It’s not a historical result, history is alive.”

Wade and Purvis co-wrote films Let Him Have It (1991) and Plunkett & Macleane (1999) before being asked to write Bond movies The World Is Not Enough, Die Another Day and the super-spy’s four most recent outings starring Daniel Craig. Other credits include 2003’s Johnny English, a spoof of the espionage genre starring Rowan Atkinson.

“We’ve written together for a very long time,” Purvis says. “We do that because we enjoy it. There’s more to it than just writing; you’ve got to go abroad and it can be quite pressured. So having two people has always been good because when things are going well, you can always go down the pub together – and when things are going badly, you can go down the pub together! It gets the job done well to be able to discuss things.”

With scripts approved by Deighton, the writers say they haven’t felt the need to be on set every day, but have kept in touch by watching the daily rushes. They were also consulted during casting and say they were very pleased by the decision to put Riley in the lead role. “We wanted someone who was a film actor – this is his first television job so it’s just that thing of trying to keep it like a big movie,” Purvis notes. “It gave it a bit more oomph to have someone like Sam.”

If Riley’s DS Archer is akin to Sam Spade, the protagonist of Dashiell Hammett’s noir thriller The Maltese Falcon, then US actress Kate Bosworth is firmly in the femme fatale role.

“She’s an American journalist who has just arrived on the inaugural New York-London Lufthansa flight, which is one of Len’s nice touches,” Wade offers. “She’s a femme fatale. She might be working for the Resistance, she might be a spy for the Germans, she might be an agent for the Americans – you don’t know. She’s someone who’s attractive to Archer and attracted by Archer. So it’s a dance. He’s trying to figure out whether she’s involved in this murder and she’s trying to figure out what she can get out of this guy.

“We balance her with Maeve Dermody, who plays a girl caught up in the Resistance and who is quite messed up. She’s an English girl and her parents were killed during the invasion. But she’s actually spying on Archer.”

But how did their experience on SS-GB compare to scripting a Bond movie? “It’s easier in the sense that there’s a book and you don’t have massive expectations,” Wade admits. “We’re very proud of this but we were able to write it in a free way. Hopefully there are some real surprises in this.

“With a Bond film, people are expecting certain things. The other aspect for us, as it’s our first TV series, was that having that large canvas to be able to tell a story with twists and turns over five hours is great fun, and you get the freedom you don’t have in an hour-and-a-half movie.”

Purvis adds: “We have been approached by TV a lot but we’ve always said no to everything. This was the first time we said yes. It’s a genre one can feel comfortable with. Len’s a great writer. It just seemed to be appealing and something we could do.”

For locations manager Antonia Grant, the toughest part of her job on SS-GB was finding appropriate exteriors around London for the show’s wartime setting. “It’s always a challenge for a locations department to remove the modern world,” she says. “We rely on the art department as well to help us so it’s very much a combined effort.

“There will be some things that are quite obvious [locations] as per the script that you have to go and look for. But then otherwise it’s coming up with different options to put to the director and designer and it’s a lot of driving around, photographing different places, chatting to people, persuading people to let us film.

“It’s always lovely looking for new locations but, on period dramas, there’s a limited amount because more things are changing and being modernised. I’ve shot on several new locations in this. Also, the nature of SS-GB, being alternative history, means you’re looking for quite different locations compared with those used for The Hour and certainly Call the Midwife [both also period dramas on which Grant has worked].”

After piecing together a 300-page script and bringing Deighton’s story to the screen, Wade and Purvis have one eye on their next big-screen feature – but tease that this might not be the end of the story for SS-GB.

“History is still in play, it’s not ended,” adds Wade. “Some characters have died, some have grown. I’m very pleased with the way it ends and there could be more.”

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ABC Oz makes Clever decision

Cleverman
Cleverman made its debut last week

Cleverman, the futuristic drama from Goalpost Pictures in Australia and Pukeko Pictures New Zealand, has been greenlit for a second six-part season just as the first launched on ABC down under and SundanceTV in the US.

Starring Hunter Page-Lochard, Iain Glen and Ryan Corr, the drama tells the story of two Indigenous brothers as they struggle to survive in a dystopian landscape where people exploit and segregate a hairy human-like species with special powers.

The show was originally commissioned by ABC TV Australia with the assistance of Screen Australia, Screen NSW and the New Zealand Screen Production Grant. Subsequently, Red Arrow International came on board as a distributor and SundanceTV joined up as a coproducer.

Sally Riley, head of scripted production at ABC TV, said: “It’s rare that you get the green light for a second season of a show before the first season has even gone to air, so for me it’s a testament to the quality and audience appeal of Cleverman. It is also a testament to the unflinching support the show has from our funding partners Screen Australia and Screen NSW here in Oz, and our international partners Red Arrow and SundanceTV.”

Joel Stillerman, president of original programming and development for AMC and SundanceTV, added: “The world that (show creator) Ryan Griffen and the rest of the team behind Cleverman have created is a perfect blend of timeless mythology seen through the prism of a near-future lens. This is a series that sophisticated genre fans will no doubt fall in love with.”

Red Arrow International MD Henrik Pabst said: “Cleverman has already generated a huge amount of interest with international broadcasters, and the great news about season two will continue to build on this success.”

Outlander
Outlander has been given two more seasons

Channels that have already signed up for the show include online streamer BBC3 in the UK.

Cleverman was one of a number of high-profile renewal stories this week. In a piece of good news for the Scottish production business, US premium cable channel Starz announced there will be two new seasons of its period/time-travel epic Outlander, adapted by Ronald D Moore from Diana Gabaldon’s books.

Seasons three and four will be based on the third and fourth books in the series: Voyager and Drums of Autumn.

“Outlander is like nothing seen before on television,” said Starz CEO Chris Albrecht. “From its depiction of a truly powerful female lead character, to the devastating decimation of the Highlander way of life, to what is a rarely seen, genuine and timeless love story, it is a show that not only transports the viewer but inspires the passion and admiration of its fans.”

The show has been a solid performer for Starz, attracting an average of 1.1 million viewers (overnight figures) for its current second run. “The audience has rewarded Outlander with their praise and loyalty, and we know we will deliver the best seasons yet in the years ahead,” said Jamie Erlicht and Zack Van Amburg, presidents of US programming and production at Sony Pictures Television – the company that produces the show for Starz. “Starz has been an incredible partner and has helped shape this into one of the most iconic premiere series on the air today.”

As discussed in our last column, an early renewal was also given to Lifetime’s UnREAL this week. The same is true for Amazon’s acclaimed comedy drama Transparent, created by Jill Soloway. With season three yet to air, the show has already been given a season four commitment.

Transparent
Amazon has renewed Transparent (pictured) and unveiled a slew of Japanese originals

“As the quality of television rises to new heights, Transparent continues to stand out for its depth of character, compassionate storytelling and its infinite creative risk-taking,” said Joe Lewis, head of half hour television at Amazon Studios. “We’re grateful that customers have responded so enthusiastically and we’re excited to bring another chapter.”

Amazon has also been in the news for unveiling a slate of new shows for its Prime Video service in Japan. The line-up, presented by Amazon Japan president Jasper Cheung, Amazon Studios chief Roy Price and Amazon Japan content head James Farrell, includes 12 Japanese-made titles, some of which are scripted. Price said Japan is a high priority, adding: “Of our 40 new original global contents, 20 are Japanese originals.”

Among the new dramas on the slate are Baby Steps, a teen rom-com series based on a popular girls’ comic about a would-be tennis star who takes up the game to impress a pretty classmate. Others include Businessmen vs Aliens, a sci-fi comedy scripted and directed by Yuichi Fukuda; and Magi, a historical drama about four Japanese youths who journeyed to the Vatican nearly four centuries ago – and returned home to find Christianity banned. Also in the pipeline for Amazon Japan are new adaptations of popular superhero franchises Kamen Rider and Ultraman.

In terms of movie-to-TV adaptations, cable channel TV Land is reportedly planning a reboot of The First Wives Club, a popular 1996 feature film starring Diane Keaton, Bette Midler and Goldie Hawn.

Umbre
HBO Europe’s Romanian crime drama Umbre has been picked up by Hulu

Set in present-day San Francisco, the new version will revolve around three women – friends and classmates in the ’90s – who reconnect after their close friend from college dies in a freak accident. When they discover that they are all at a romantic crossroads, they band together to tackle divorce, relationships and life’s other annoying challenges. As an idea, it doesn’t sound that bad – though you have to ask how much extra value is generated by connecting the idea to the 1990s movie, rather than just presenting it as an original concept.

Elsewhere, Hulu has picked up HBO Europe’s Romanian crime drama Umbre for streaming in the US. Produced entirely in Romania by Multi Media Est, the story follows a taxi driver who doubles as a collector for a major local mobster and whose life is threatened when he accidentally kills someone. DQ sister publication C21 reports that show is based on Small Time Gangster, an Australian show produced by Sydney-based prodco Boilermaker Burberry and distributed by UK-based DRG.

Finally, Netflix has greenlit a new comedy from Jenji Kohan (creator of Orange Is The New Black). Entitled G.L.O.W., the new series tells the story of a 1980s female wrestling league.

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