Tag Archives: The City & The City

Converging on Cannes

The great and good of the television industry are once again packing their bags for another week in the south of France. DQ previews some of the drama series set to break out at Mipcom 2017.

Mipcom is often viewed as an opportunity for US studios to showcase their scripted series to international buyers. But this year the US will be jostling for attention with dramas from the likes of Spain, Russia, Brazil, Japan, Scandinavia and the UK.

The Spanish contingent is especially strong thanks to a major investment in drama by Telefonica’s Movistar+. Titles on show will be Gigantes, distributed by APC; La Peste, distributed by Sky Vision; and La Zona and Velvet Collection, both from Beta Film. The latter is a spin-off from Antena 3’s popular Velvet, previously sold around the world by Beta.

Beta Film’s Morocco – Love in Times of War

Beta is also in Cannes with Morocco – Love in Times of War, as well as Farinia – Snow on the Atlantic, both produced by Bambu for Antena 3. The former is set in war-torn Spanish Morocco in the 1920s, where a group of nurses look after troops, while Farinia centres on a fisherman who becomes a wealthy smuggler by providing South American cartels a gateway to Europe.

Mipcom’s huge Russian contingent is linked, in part, to the fact 2018 is the 100th anniversary of the Russian Revolution. Titles that tackle this subject include Demon of Revolution, Road to Calvary and Trotsky – the latter two of which will be screened at the market. Trotsky, produced by Sreda Production for Channel One Russia, is an eight-part series that tells the story of the flamboyant and controversial Leon Trotsky, an architect of the Russian Revolution and Red Army who was assassinated in exile.

Russian drama Road to Calvary

Other high-profile Russian projects include TV3’s Gogol, a series of film-length dramas that reimagine the famous mystery writer as an amateur detective. Already a Russian box-office hit, the films will be screened to TV buyers at Mipcom.

Japanese drama has found a new international outlet recently following Nippon TV’s format deal for Mother in Turkey (a successful adaptation that has resulted in more interest in Japanese content among international buyers). The company is now back with a drama format called My Son. NHK, meanwhile, is screening Kurara: The Dazzling Life of Hokusai’s Daughter, a 4K production about Japan’s most famous artist.

Brazil’s Globo, meanwhile, is moving beyond the telenovelas for which it is so famous. After international recognition for dramas like Above Justice and Jailers, it will be in Cannes with Under Pressure, a coproduction with Conspiração that recorded an average daily reach of 40.2 million viewers when it aired in Brazil.

Nippont TV format My Son

From mainland Europe, there’s a range of high-profile titles at Mipcom including Bad Banks, distributed by Federation Entertainment, which looks at corruption within the global banking world. From the Nordic region there is StudioCanal’s The Lawyer, which includes Hans Rosenfeldt (The Bridge) as one of its creators, and season two of FremantleMedia International’s Modus. The latter is particularly interesting for starring Kim Cattrall, signalling a shift towards a more hybrid Anglo-Swedish project.

While non-English-language drama will have a high profile at the market, there are compelling projects from the UK, Canada and Australia. UK’s offerings include Sky Vision’s epic period piece Britannia and All3Media International’s book adaptation The Miniaturist – both with screenings. There’s also BBC Worldwide’s McMafia (pictured top), sold to Amazon on the eve of the market, and ITV Studios Global Entertainment’s The City & The City, produced by Mammoth Screen and written by Tony Grisoni.

All3Media International drama The Miniaturist

From Canada, there is Kew Media-distributed Frankie Drake Mysteries, from the same stable as the Murdoch Mysteries, while Banijay Rights is offering season two of Australian hit Wolf Creek. There’s also a screening for Pulse, a medical drama from ABC Commercial and Screen Australia.

Of course, it would be wrong to neglect the US entirely,since leading studios will be in town with some strong content. A+E Networks, for example, will bring actor Catherine Zeta-Jones to promote Cocaine Godmother, a TV movie about 1970s Miami drug dealer Griselda Blanco, aka The Black Widow.

Sony Pictures Entertainment, meanwhile, is screening Counterpart, in which JK Simmons (Whiplash, La La Land) plays Howard Silk, a lowly employee in a Berlin-based UN spy agency. When Silk discovers that his organisation safeguards the secret of a crossing into a parallel dimension, he is thrust into a world of intrigue and danger where the only man he can trust is his near-identical counterpart from this parallel world.

If you’re in Cannes, don’t forget to pick up the fall 2017 issue of Drama Quarterly, which features Icelandic thriller Stella Blómkvist, McMafia, Benedict Cumberbatch’s The Child in Time, Australian period drama Picnic at Hanging Rock and much more.

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Punishing work

Tom Shankland has directed shows including Dirk Gently’s Holistic Detective Agency, The Missing, Ripper Street and House of Cards.

Speaking to DQ, he reveals his approach to directing, how he picks new projects and how the process differs between the UK and US.

He also discusses his work on Marvel series Luke Cage, Iron Fist and forthcoming The Punisher, as well as new BBC drama The City & The City, based on the book by China Miéville.

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Living the dream

Tony Grisoni enthuses about the merits of collaboration as he discusses career highlights including Southcliffe and Red Riding and reveals more about new projects The City & The City and Philip K Dick anthology Do Androids Dream of Electric Sheep?.

The best thing and the worst thing about being a screenwriter is that it takes a lot of people to make a film – it’s no good unless it’s actually made into something,” Tony Grisoni (pictured above), the award-winning writer of The Brothers Grimm, Red Riding and Southcliffe, explains thoughtfully. “I love that social part, that collaboration, but if you’re spending a lot of time writing and nothing’s happening, it can be tough.”

It’s fair to say that’s not a problem the 64-year-old Grisoni faces too often these days. Since his breakthrough feature Queen of Hearts back in 1989, he’s had something produced at least once every year – from 1998’s Fear & Loathing in Las Vegas, through 2009/10’s purple patch of Red Riding and Southcliffe, to his collaboration with writer-director Paolo Sorrentino for Sky’s The Young Pope.

And yet one crucial part of his overall writing process effectively depends on dry spells – his unpaid collaborations with conceptual artists like sculptor Brian Catling. “There’s no money involved – it’s just somewhere to play,” he says, grinning widely. “We’ll make the kind of films no one would commission. But the important thing is that it stirs the cauldron. There are lots of ideas that begin there – in Southcliffe there’s an old lady with Alzheimer’s who had her beginnings in a piece I did with an artist Oona Grimes, for instance. It keeps you alive and it keeps you inventing.”

Grisoni collaborated with writer-director Paolo Sorrentino for Sky’s The Young Pope

It’s the kind of spirit that took him from sound assistant, through production manager, to runner, then assistant director on commercials and music videos across the 1970s and 1980s. “I spent my spare time writing ideas for films, or sometimes collaging images, and I shot bits of Super 8,” he explains. “It was a way of starting the filmmaking process without the funds or army of people. Then a friend who had risen up the ranks got me a commission, but it was five years before Queen of Hearts got made.”

Queen of Hearts’ story of Italians immigrants wasn’t exactly autobiographical but it was rooted in a lifetime of research growing up in London’s Italian community. Since then, deep research has been the core of half of Grisoni’s work. In 2001, he made the trek along the people-smuggling route from the Pakistan/Afghan border, through Iran and Turkey, to Europe with director Michael Winterbottom.

“When Michael said he wanted a refugee journey shot documentary-style with non-professional actors – or what we call real people – it meant I had to think carefully about the writing,” he recalls. “How are you going to write dialogue when they can’t deliver it? The starting point was to meet a lot of people who had been smuggled overland into London. Then we went out and tested the route – dangerous things happened to us and I thought that was such an exciting way to write, because instead of me making stuff, it’s about real experiences.”

The resulting film, In This World, won the 2002 Berlinale Golden Bear. Similar research infused 2008’s Kingsland, a collection of short films that Grisoni directed as well as wrote, based on a gang fight in his Hackney neighbourhood. Even the modern gothic thriller Southcliffe was based on his research into shooting sprees such as those that occurred in Hungerford (1967) and Dunblane (1996).

“I started with the idea of writing a series set in Faversham, a market town in Kent, and I wanted to explore how a community coped with a number of people dying in this small town,” Grisoni explains. “The most interesting thing was to have someone from within the community have executed these people – it makes it more complex. All credit to Channel 4, they agreed to that when I didn’t know if it was three, four or five parts. I didn’t know what happened, I knew a lot of people died and that was kind of it.”

Grisoni was one of the writers of Fear & Loathing in Las Vegas’s screenplay

From Southcliffe’s first draft, the writer opted to identify the killer in the first scene – “because it was about how it happened, not who did it,” he explains. “I knew that if you saw someone doing something atrocious and then you saw him repairing a radiator, you wouldn’t be able to take your eyes off him. That non-linear approach engages me as a viewer because I’ve become part of the storytelling. I’m not just being fed stuff; I’m trying to puzzle it out.”

If research is roughly half Grisoni’s writing practice, adaptations are effectively the other half. “I think it’s unlikely that a production company will come to me with an idea they’ve researched as a package and say, ‘Are you up for this?’” he explains. “I find it very difficult to get into those projects. I always feel they’ve been very thought out by someone else. But if someone brings me a book and asks if I’m interested then it could happen.”

For Grisoni’s remarkable Red Riding trilogy, that’s exactly what took place. “I knew Anne Reid and Revolution Films after In This World,” he says. “They came with this quartet of books by David Peace and asked if I was interested in adapting them. I started reading the first one. It’s difficult to describe them, they’re so angry and they’re full of literary experiment but they’re also exciting, with images that repel you but draw you in at the same time. I was scared of them, to be honest, and so I said I’d only do the first one.

“Then I kept reading and had conversations over meals and drinks and, finally, I gave in and did them all. I just waded in and started to take the books to pieces. It helps to have someone – a producer – who’s on top of the books and effectively plots which character is where for you, who you can check in with every day. That’s the main thing about adapting.”

Andrew Garfield (left) and Sean Bean in Grisoni’s Red Riding

Grisoni clearly loves working on books that would scare other writers. His version of the China Mieville novel The City & The City – which will air on the BBC as a four-part drama later in 2017 – is a case in point. “It’s a noir-ish detective story in two cities – one Eastern European and crumbling, and one all glass and steel. But they coexist in the same geographical space,” he grins. “The populations of each city know it’s a sin to see the other. Once you’ve got that wrinkle, you’ve got your detective story and it becomes very interesting and very complex. And almost impossible to adapt, by the way,” he bursts out laughing. “That’s when you need a good director to fix everything.”

If Grisoni likes working with good directors, they love working with him. He’s written for and with Monty Python member Terry Gilliam on The Brothers Grimm and Fear & Loathing in Las Vegas. “Working with Terry is like a hard play,” he nods. “For Fear & Loathing he’d seen loads of scripts – including one by Hunter S Thompson [the author of the autobiographical novel] – but he didn’t like them, so we tore the book in half. He took the front half and I took the second half and we collaged it. When we needed lines or events or anything, we took them from the book. It’s about people trusting you, people being willing to take a risk.”

Grisoni also wrote the script for Gilliam’s The Man Who Killed Don Quixote – a movie that famously collapsed back in 2000 while a documentary crew were following the making of the film. “Keith Fulton and Louis Pepe were documenting us not making this film – there was one point where it was clearly collapsing and they said to Terry, who was mic’d up all the time, do you want us to stop filming?” Grisoni recalls. “He said, ‘No, someone has to get a film out of this.’”

The writer’s killing-spree drama Southcliffe

The resulting 2002 doc – Lost in La Mancha – appealed to Grisoni and he worked with Fulton and Pepe on Brothers of the Head, a dark tale of conjoined twins. “But Don Quixote is finally due to shoot next year – I’ve been re-writing it twice a year for the past 17 years and the script’s getting OK now,” he laughs.

If there’s one project that knits together all Grisoni’s technique and learning, it’s his contribution to Channel 4’s forthcoming Philip K Dick anthology series Do Androids Dream of Electric Sheep?. His script is part research, part adaptation and part lived experience. And, in a way, he’s been working on it for years.

“Ages ago I came across a Philip K Dick interview about a story he hadn’t got around to writing, about a really crap film composer who’s kidnapped by aliens so fascinated by sound that they biochip one of their kind into his head and send him back out into the world where he starts to compose amazing avant garde music,” Grisoni explains enthusiastically. “I wanted to write that story and dovetail Philip K Dick’s life with it, so I went to California and met his five ex-wives and his friends, and [visited] the places where he saw God.

“It was the most intensive bit of research I’d ever done. Towards the end I was staying with ex-wife three and every time I used the bathroom there was this frog sitting watching me. On the last day, I looked at it and thought, ‘There’s something about that frog’s face that looks a bit like Phil K Dick.’ The moment I thought that, the frog just disappeared and I thought, ‘I have to go home now, this project is too much.’”

Recently, Sony and Channel 4 approached Grisoni to contribute to the anthology – “and I’ve never written anything faster,” he grins. “It’s purely because that frog story was there waiting to go into something. Very often someone gives you a book or suggests something and you pick up on it because it connects with something you were thinking earlier but just couldn’t crack,” he smiles. “That’s the other best/worst thing about being a screenwriter – everything is material.”

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