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.”
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.”
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.”
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 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.”
The producers of Humans and The Young Pope are probably a bit down in the dumps right now. The second season of the former show has just launched on Channel 4 in the UK with an estimated audience of around two million. That’s well down on season one’s average of five million-plus, despite a pretty heavyweight marketing campaign. As for The Young Pope, the much-anticipated Jude Law scripted series is reckoned to have attracted just 141,000 viewers for its debut screening on UK pay TV channel Sky Atlantic.
The most likely explanation is that there is just so much drama on TV right now that it’s impossible for viewers to keep up. In my household, Humans is on our hit list but didn’t stand a chance of being watched ahead of the penultimate episode of BBC1’s Poldark. As for The Young Pope, it’s in a queue that consists of Westworld, Victoria and The Night Of. Oh, and Humans of course…
The Night Of, an HBO crime drama starring Riz Ahmed, is another show that hasn’t been rating particularly well in the UK. Having launched on Sky Atlantic with an audience around 240,000, the latest numbers (mid-October) put it at around 160,000.
This is surprising for a couple of reasons. Firstly, because it’s a really good series – as evidenced by a strong IMDb score and a positive response from the UK’s TV critics. Secondly, because its ratings curve did the opposite in the US. After the first episode managed a mediocre 0.77 million viewers, word obviously got out that the show was good – because by episode two it was up at 1.28 million. It then continued to build throughout its run, peaking at 2.16 million for the finale. Presumably, the show is continuing to do well now that it has moved into the realm of on-demand.
This should be a cause for encouragement for the teams behind Humans and The Young Pope. Even if you don’t get good ratings on launch night, genuine quality will eventually get you noticed, even if it does take a year or two sitting in box-set land.
Sticking with HBO, the network will be pretty pleased with the resilience of its own robot-themed drama Westworld. In the US, the show debuted with 1.96 million and is currently at 1.49 million after five episodes. That suggests it isn’t going to turn into a Game Of Thrones-style monster hit but it’s not bad – especially when you also consider it has a 9.2 rating on the IMDb scale.
The show is also doing very well for Sky Atlantic in the UK. The opening episode attracted 1.7 million for the channel and the following two have come in around 1.2 to 1.4 million. As we’ve seen from the ratings for The Night Of and The Young Pope, that’s an excellent showing for a network that rarely gets above 500,000 viewers (Game of Thrones being the big exception). Maybe there’s a positive point here about movie reboots, at least in the context of pay TV, where they seem to do pretty well.
Another show that seems to be bedding in well is Amazon’s Goliath, a David E Kelley legal drama starring Billy Bob Thornton. Although Amazon doesn’t do audience ratings, it is reported this week as being “the top-binged first season of a US-produced Amazon original series ever over its first 10 days.” That’s a bit of a mouthful but it does suggest the show is proving popular and is a strong candidate to secure renewal.
Of course, shows like Goliath are fortunate in that they don’t get put under the microscope in the same way as Humans and The Young Pope. Likewise with Netflix’s new royal drama The Crown. At timing of writing the show has a perfect 10/10 score on IMDb and is attracting five-star ratings from media critics. Clearly it’s a good show – but for all we know, it could be getting an audience in the UK that is half the size of Sky Atlantic’s The Young Pope.
Back in the US, another show that is in pretty good shape is Lucifer, created by Warner Bros TV for Fox. Currently in its second season, the show has just been granted an extended second season, taking its total run from 13 to 22 episodes. Fox says the show is attracting around eight million viewers an episode when all multiplatform viewing is factored in. “Lucifer continues to deliver, with great blasts of dark humour and ambitious storytelling,” said Fox entertainment president David Madden. “The show has turned out to be a true wicked pleasure, the perfect companion to [Batman prequel series] Gotham. We couldn’t be more pleased.”
In Australia, meanwhile, there is a general sense that domestic drama is beginning to fight back against foreign imports. In the year to June 30, Screen Australia estimates that the number of hours of local TV drama rose from 518 to 561 – representing a total spend of A$376m (US$288.91m), up from A$300m.
One title that continues to do well is Network Ten’s Offspring, season six of which aired this summer. Although the show’s numbers dropped from 950,000 at launch to around 600,000 later in the season, that was still good enough for the network to announce that there will be a seventh season in 2017.
Finally, a plug for the C21 International Drama Awards, which take place on November 30 as part of C21’s Content London event. This week, the finalists were announced.
In the Best English-language Drama Series category, finalists are London Spy, Marcella, The A Word, The Night Manager, The Night Of, Unforgotten and War & Peace. Up for Best Non-English-Language Drama Series are Black Widows, CASE, Follow the Money, Highway Of Love, Public Enemy, Section Zero, The Writer and Trapped. And the Best Miniseries contenders are And Then There Were None, Beyond The Walls, Ku’damm 56 – Rebel with a Cause, Sotto Copertura, Roots and The Secret of Elise.
For decades, John Grisham has written great novels about lawyers. And some of them have been turned into classy movies. The Firm is the most obvious example, but the likes of The Client, The Pelican Brief and Runaway Jury were also entertaining films.
For some reason, however, Grisham’s works have not translated well to television – which is a surprise given that US networks are always on the hunt for series with a legal underpinning. The Client was turned into a TV series in 1995 but only lasted one 20-episode season. Eight years later, The Street Lawyer was piloted but got no further. And in 2011, there was a TV version of The Firm, which imagined the central characters 10 years on from the film. Again, this only lasted one 22-episode season before being pulled.
Now, though, there is to be another attempt to bring Grisham’s magic to the small screen. This time it is the turn of The Rainmaker, a popular novel that was adapted into a 1997 movie by Francis Ford Coppola. The original starred Matt Damon, Danny DeVito, Claire Danes and Mickey Rourke and told the story of a young lawyer who finds himself fighting a court case against a huge law firm that he previously aspired to work for.
The Rainmaker is being adapted by Code Black creator/executive producer Michael Seitzman, who will write it with Brett Mahoney. Seitzman said: “I’ve always loved Grisham’s book. One of the things that always struck me about it is that the story has a wonderful character for a TV show – a young lawyer right out of law school, no money, no white-shoe law firm scooping him up, forced to work for a crooked lawyer named Bruiser, representing criminals one minute and chasing ambulances the next. Then he stumbles on a big case against an impossible adversary, with high stakes that are both professional and personal. That just feels like a show I want to watch.”
Another legal drama in the works is Reversible Error, an NBC show from Barbara Curry and Chris Morgan. This one is about a former attorney who is freed from prison after her conviction for murdering her husband is reversed. Now she must find her husband’s real killer, before a vindictive district attorney finds a way to prosecute her again. Curry, who used to work as a federal prosecutor, is writing the project and will executive produce.
Still in the US, there are reports of another movie-to-TV reboot, with ABC planning a series based on the 1998 feature film Enemy of the State. The show is being produced by ABC Studios and Jerry Bruckheimer, who was also behind the original movie. The new version will focus on an attorney and an FBI agent who try to stop state secrets being exposed. Bruckheimer’s deal with ABC is the first that the veteran producer has signed since the end of his exclusive 15-year relationship with Warner Bros Television.
NBC is also looking at a movie-to-TV adaptation about hackers (a subject that has been in demand since the success of Mr Robot). The project is Sneakers, which started life as a Robert Redford movie back in 1992. There are also reports this week that NBC is talking to Jack Reacher novelist Lee Child about a drama called Last Hope. Child is working with screenwriter Andrew Dettmann on the project, which is about a former military police investigator who seeks justice for people with nowhere else to go.
Fox is also busy, with reports of a new cop show called Kin. This one centres on a Florida law-enforcement family who become the main suspects in the disappearance of a drug cartel leader following a DEA plane crash. Kevin O’Hare will write the project.
And CBS has ordered a 13-part summer series from Alex Kutzman, executive producer on the new Star Trek series. Called Salvation, it centres on an MIT student who discovers that an asteroid is on course to collide with Earth. News of the CBS series comes in the same week that summer dramas BrainDead and American Gothic were cancelled by the network. Also on the cancellation front, Freeform (previously ABC Family) has announced there will not be a second season of Guilt, a thriller set in London about a young American woman accused of killing her roommate. The show, loosely inspired by the Amanda Knox story, rated pretty poorly.
In Europe, FremantleMedia-backed production The Young Pope has secured a second series. The show, which was launched to widespread acclaim this year, stars Jude Law as a maverick American-born Pope. The show was set up as an HBO, Sky and Canal+ copro with FremantleMedia International handling sales. FMI secured a sale into the Japanese market at Mipcom last week.
It’s been a busy week on the acquisition front thanks to the recently-ended Mipcom event in Cannes (see this column). One deal completed after our market round-up was BBC3’s acquisition of Australian drama Barracuda from NBCUniversal International Distribution. The four-part series, based on a book by Christos Tsiolkas (The Slap), tells the story of a 16-year-old boy attempting to become an Olympic swimmer. Sue Deeks, head of programme acquisition at the BBC, said the show “is a compelling, complex and emotional drama – beautifully filmed and performed.”
The Japanese have a good strike rate when it comes to exporting animation and entertainment formats. But they have struggled with drama. There are a few reasons for this but, when it comes down to it, the core problem is that scripted shows that work in Japanese primetime don’t travel that well.
The country’s leading players want to do something about this because the revenues they are generating from the domestic media market aren’t as strong as they used to be. So now they are looking at formats and coproductions as ways of building up their international profile and generating a new revenue stream. They are also starting to ask themselves if there is a way of making shows that can tap into the world drama zeitgeist that has propelled Korean, Turkish, Nordic and Israeli drama around the globe.
There were a couple of examples of the way Japan is seeking to shift its mindset at the Mipcom market in Cannes this week. One was a deal that will see Nippon TV drama Mother adapted for the Turkish market by MF Yapim & MEDYAPIM. The new show will be called Anne and will air on leading broadcaster Star TV. It’s the first time a Japanese company has struck this kind of deal in Turkey.
Also this week, Japanese public broadcaster NHK screened Moribito II: Guardian of the Spirit, an ambitious live-action fantasy series based on the novels of Nahoko Uehashi – likened by some to JRR Tolkien’s epic The Lord of the Rings.
Produced in 4K and HDR, this is the second in a planned trilogy of TV series, the first of which consisted of four parts. The show has been attracting interest from channel buyers beyond Japan’s usual sphere of influence, suggesting the country may be starting to have the kind of international impact it wants.
Interestingly, NHK brought the actor Kento Hayashi to Cannes to help promote the Moribito franchise. Hayashi also starred in Netflix’s first Japanese original, Hibana, another scripted show that has captured the attention of audiences and critics around the world.
Away from Japanese activity, companies that had a good week in Cannes included ITV Studios Global Entertainment, which said its hit period drama series Victoria has now sold to more than 150 countries, including new deals with the likes of Sky Germany, VRT Belgium and Spanish pay TV platform Movistar+. It also sold comedy drama Cold Feet – renewed for a new season in 2017 – to the likes of NPO Netherlands, ITV Choice Africa, Yes in Israel, TV4 Sweden and NRK Norway.
Further evidence of the appeal of lavish period pieces came with the pre-sales buzz around Zodiak Rights’ Versailles, which is going into its second season. At Mipcom, the show was picked up by a range of broadcasters and platforms including BBC2 (UK), Amazon Prime (UK), C More (Sweden, Norway, Denmark and Finland), DirecTV (Latin America) and Movistar+.
Moving beyond period pieces, other shows that cut through the promotional clutter included Sony Pictures Television (SPT)’s time-travel drama Timeless, which sold to the UK’s Channel 4 to air on its youth-skewing E4 network. The show was also picked up by the likes of OSN in the Middle East, Fox in Italy, AXN in Japan, Viacom 18’s Colors Infinity in India and Sohu in China.
SPT also sold new sitcom Kevin Can Wait to Channel 4 in the UK, though perhaps the most interesting Sony-related story at Mipcom was the news that its international television network group AXN has joined forces with Pinewood Television to a develop a slate of six TV drama projects.
The series will be financed in partnership between Sony Pictures Television Networks and Pinewood Television. The plan is for them to air on AXN channels in Latin America, Asia, Africa and Europe, with a programming emphasis on high-impact action, crime and mystery. The deal was brokered by Marie Jacobson, executive VP of programming and production at SPTN, and Peter Gerwe, a director for Pinewood Television.
Jacobson said: “As we look for alternative paths to expand original series development, Pinewood TV make for the ideal partners. We are look forward to developing projects with them that play both in the UK and on our channels around the world.”
Other high-profile dramas to attract buyer attention at the market this week included StudioCanal’s Swedish-French eight-hour drama Midnight Sun, picked up by ZDF in Germany, SBS in Australia, HOT in Israel and DR in Denmark.
Distributor FremantleMedia International licensed its big-budget series The Young Pope to Kadokawa Corporation in Japan, while Twentieth Century Fox Television Distribution licensed The People v OJ Simpson: American Crime Story to French pay TV operator Canal+.
Another show that enjoyed some success this week was DRG-distributed The Level, a six-part thriller that was picked up by ABC Australia, UTV in Ireland, TVNZ in New Zealand and DBS Satellite Services in Israel, among others. Produced by Kate Norrish and Polly Leys, joint MDs of Hillbilly Films, the show follows a reputable cop with a secret that is about to unravel. The show has previously been picked up by Acorn Media Enterprises for the US market.
Reiterating the growing interest in non-English drama, Global Screen enjoyed some success with Rivals Forever – The Sneaker Battle, which tells the true story of how brothers Adi and Rudi Dassler set up Adidas and Puma. France Télévisions acquired free TV rights and will air the series in early 2017 on France 3, while Just Entertainment in the Netherlands has landed video, pay TV and VoD rights. Other buyers included DR (Denmark), FTV Prima (Czech Republic), LRT (Lithuania) and HBO Europe (for Eastern Europe).
Turkish drama successes included Mistco’s sale of TRT period drama Resurrection to Kazakhstan Channel 31. Eccho Rights also sold four Turkish dramas to Chilean broadcaster Mega. The four shows were all produced by Ay Yapim and include the recent hit series Insider. This continues a good run of success for Turkish content in the Latin American region.
While Mipcom is fundamentally a sales market, its conference programme is also a useful way of tuning into international trends and opportunities in drama. There was an interesting keynote with showrunner Adi Hasak, who has managed to get two shows away with US networks (Shades of Blue, Eyewitness) in the last three years despite having no real track record with the US channel business. He believes the current voracious demand for ideas has made this possible: “This is a small business, where everyone knows everyone. If you create material that speaks to buyers, they will respond.”
Participant Media CEO David Linde also talked about the way his company is starting to extend its influence beyond film into TV and social media. Known for movies like An Inconvenient Truth, Food Inc, Snitch and Spotlight, the firm’s expansion into TV will see a new series about journalists breaking stories, developed by the team behind Oscar winner Spotlight.
For the past week, the British media has had a lot of fun hyping up the ratings war between ITV’s new drama Victoria and the BBC’s returning series Poldark (both of which, ironically, are produced by ITV-owned production company Mammoth Screen). But the truth is both sides can be pretty happy with their performances.
Victoria, produced by Mammoth for ITV and PBS in the US, debuted at 21.00 on Sunday August 28 with 5.7 million viewers. Keen to build on its momentum, ITV then scheduled the second episodes of the eight-parter on the following night, a bank holiday in the UK. This episode attracted 5.2 million, suggesting the show had done a good job of retaining the audience’s interest.
The direct clash between the two shows came the following week, when they were scheduled against each other at 21.00 on Sunday September 4. In this slot, Victoria secured 4.8 million viewers and then picked up a further 400,000 in a second showing an hour later on ITV+1. Poldark, meanwhile, attracted 5.1 million viewers to what was the first episode of its second series.
Different media outlets have interpreted these figures in different ways. For some, it has been an opportunity to attack Poldark by saying a) it was beaten by Victoria (with its amalgamated 5.2 million figure) and b) this year’s Poldark launch was weaker than last year’s, which attracted 6.9 million. However, neither of these interpretations should take away from the fact that it was a good opening for Poldark. The only meaningful comparison between the two will come after 14 to 28 days when we begin to get a sense of time-shifted viewing. By then, we’ll also have a clearer idea of whether Victoria can sustain its ratings.
Good news for both broadcasters is that the critics have praised the two shows. Both have scored 8.4 on IMDb, putting them at the upper end of audience approval ratings.
Looking to the long-term, the Victoria vs Poldark battle is likely to become a pretty permanent feature on the UK drama scene. Neither broadcaster wants to give up the 21.00 Sunday-night slot to the other but both have plans to run and run with their respective series. Poldark has already been commissioned for a third season and could easily run for five or six. ITV is also envisaging a similar life span for Victoria.
Congratulations are of course due to Mammoth Screen for pulling off a remarkable feat. And to ITV, which gets to distribute both shows to the international market (it has just licensed Victoria to ITV Choice in Asia and the Middle East). It’s also still something of a novelty for female screenwriters to run primetime dramas – so it’s a positive sign that these shows are penned by Daisy Goodwin (Victoria) and Debbie Horsfield (Poldark).
Another show in the news this week is The Young Pope – a Sky, HBO and Canal+ co-production that sees Jude Law play a feisty young American Pope. The ten-part series has been hyped up a lot in recent months by its distributor FremantleMedia International (FMI) –and it looks like it could turn out to be the hit the company has been hoping for. The first two episodes were screened at the Venice Film Festival and received glowing reviews from the media. The Telegraph was especially enthusiastic, reporting that: “The first, feature-length episode is like the skin-prickling opening to a game of chess played across a board of gold and marble – with each piece, from king to pawn, gliding enigmatically into place for the coming battle”. Law, says the Telegraph, is a “force of nature.”
FMI has also reported strong interest among buyers. Broadcasters that have already picked the show up include MNET (Pan-Africa), HBO (Pan-CEE), BETV in Belgium, OTE TV in Greece, 365 in Iceland, Sky in New Zealand and Hot in Israel. Nordic SVoD platform C More, which belongs to Sweden’s TV4 Group, has also acquired the series. As part of the latter deal, The Young Pope will also air on TV4’s free-to-air channel in Sweden. As for the partners in the show, Sky Atlantic will air it across its territories from October 27.
One of the most-talked about programmes of the last couple of years has been Netflix’s Pablo Escobar drama series Narcos – a double winner at the 2015 C21 International Drama Awards. This week, Netflix announced it had renewed the show for third and fourth seasons. It’s lucky that the creators called the show Narcos rather than Escobar – because the new series will follow the Medellin cartel after the death of the Colombian drug lord in 1993.
As we’ve noted on several occasions, Netflix doesn’t release audience figures – so it’s difficult to know how well the Spanish-language show does on the platform. However, a deal between Netflix and Univision means the show is also due to air on the US Hispanic network in the near future, so it should soon be possible to get a perspective on its appeal. Interestingly, Netflix and Univision are also partnering a series called El Chapo, which is based on the life of Mexican drug lord Joaquin Guzmán. In the US, this series will air on UniMás in 2017 before appearing on Netflix. Outside the US, the show will make its debut on the streamer.
It’s been evident in recent times that there is a strong audience in the US for scripted series that place black actors at the centre of the story (Empire and Power being a couple of the most recent successes). There’s more evidence of this from a couple of newly launched shows. The first is Queen Sugar, which has just debuted on OWN. Following the same pattern as fellow OWN drama Greenleaf, the Tuesday and Wednesday roll-out of Queen Sugar drew a healthy 2.42 million viewers. With The Haves and the Have Nots also doing well on OWN, the channel’s drama output is currently firing on all cylinders.
More good news for the black creative community has been the early response to Community star and rapper Donald Glover’s comedy Atlanta, which has just launched on FX. Set in the world of local hip hop, the show has been warmly received by critics and secured a promising 1.1 million viewers in its 22.00 slot. With an 8.9 rating on IMDB, Atlanta could shape up as one of the year’s surprise critical hits, though there was some grumbling among audiences that it was scheduled directly against the launch of Queen Sugar.
Italian producer Wildside is targeting high-end international drama with Jude Law-starrer The Young Pope and the adaptation of Elena Ferrante’s Neapolitan novels. Michael Pickard reports.
Since establishing a TV division in 2014, Wildside has become one of Italy’s top drama producers.
Most notably, the Rome-based company is responsible for the Italian version of Israeli hit format In Treatment, which starred Sergio Castellito, and thrilling political drama 1992, which drew comparisons to The Sopranos, The West Wing and House of Cards.
Next up is The Young Pope (pictured above), which tells the controversial story of the beginning of Pius XIII’s pontificate. Described as a complex and conflicted character, his conservatism borders on obscurantism, yet he is full of compassion towards the weak and poor. He is also a man of great power who is stubbornly resistant to the Vatican courtiers, unconcerned with the implications of his authority.
Jude Law stars as the pope, with Diane Keaton playing Sister Mary, a nun from the US who is now living in Vatican City.
The eight-part series, which comes from director Paulo Sorrentino, is produced by Wildside, Haut et Court (Les Revanants) and MediaPro for Sky Europe, HBO and Canal+ in France.
With the show now in post-production, Wildside MD Lorenzo Mieli, an executive producer on the series, tells DQ the project has been one of the most interesting of his career.
“Our aim was to create a true piece of art in the form of a TV drama,” he explains. “It was highly ambitious and it was tough but we are really happy about the result.”
Mieli describes Sorrentino’s writing and directing style as “a unique combination between irony and drama, with a very personal identity. Plus he has great technical skill in shooting and visualising immediately what he sees.”
He adds: “Everybody in Italy and the US and elsewhere truly believed in the project since the very early stages of development, and gave Paolo all the freedom he needed as a result.”
But with The Young Pope due to air later this year, Wildside has already identified its next project.
In February, it struck a deal with fellow Italian producer Fandango Productions to co-develop and coproduce adaptations of Elena Ferrante’s Neapolitan quartet of novels.
The series portrays the gritty lives and friendship of Elena and Lila from childhood to motherhood, set against the social and political backdrop of 1950s Naples. The novels depict how the women’s relationship is shaped and often distorted over time by their social status, jealousy and tension amongst other female friendships, domestic violence and the changing conditions of women from marriage to motherhood.
The story will unfold over four eight-part seasons, with filming to take place in Italy.
“The huge success of the entire saga, both in Italy and worldwide, really aroused my interest,” Mieli says. “The last time an Italian novel was made such a fuss of outside of Italy was in the 1980s, with Umberto Eco’s Il nome della Rosa. In Ferrante’s case, we have a great description of 40 years of Italian history, which is a very good narrative material.
“Besides that, I really loved the architecture of those books – it’s compelling storytelling, plot-driven and accessible to everybody, and it’s literature in the purest sense of the word, in terms of going really deep into contradictory characters and depicting not just a story but an entire narrative world. These are the same elements on which contemporary high-end cable TV dramas are based. So I got in touch with Domenico Procacci from Fandango, who had already bought the rights, and everything went smoothly.”
No broadcasters have signed up for the series as yet, however, as development remains in-house.
“Everybody in the US already knows Elena Ferrante after Domenico got the rights, so lots of broadcasters from all over the world have been very interested in the project,” Mieli notes. “What’s happening now is that we’re developing the project internally, as we always do, so we can come back and present the whole package with the creative team and talent attached.”
Wildside was formed in 2009 by Mieli, Mario Gianani, Marco Martani, Faust Brizzi and Saverio Costanzo after the merger of production companies Wilder and Offside. The creation of an international TV division came in 2014 at the same time as another division was established to focus on feature films and documentaries.
The new company’s international credentials were given a further boost last August, when FremantleMedia acquired a 62.5% stake in Wildside. FremantleMedia International will distribute The Last Pope.
Cecile Frot-Coutaz, CEO of FremantleMedia, said at the time: “This is a key strategic acquisition for FremantleMedia as we continue to strengthen our primetime scripted presence. Wildside is fast becoming one of Europe’s most sought-after drama producers and will complement our existing primetime drama businesses in the US, Germany, Scandinavia, The Netherlands, Australia and the UK. The team have an impressive track record of attracting world-class creative talent and delivering award-winning drama so I’m really excited that they are joining our family of production companies.”
For Mieli, the next year offers Wildside an opportunity to take further advantage of coproduction opportunities and utilise the partnerships now available within the FremantleMedia group.
“We’re pushing a lot on coproductions in order to give wider visibility to our talent and IP internationally and to attract foreign talent into our own drama arena,” he says. “Our aim for the next year is to establish the Wildside/Fremantle partnership as a leading player in the European film industry.”
And the expanding Italian TV market is providing plenty of opportunities for Wildside to win commissions. Future projects also include adaptations of Emanuele Carrere’s book Limonov and Niccolò Ammaniti’s Anna.
Describing the TV landscape in the country, Mieli says: “On free-to-air channels there are some established genres (family dramas, comedies and crime procedural) representing the mainstream trend. Additionally, inside that trend, there’s the possibility to innovate in order to create new sub-genres or hybrids. This was the case with Don’t Kill, an interesting experiment we did on RaiTre. The pay/cable the market is more fluid, and so are the options in terms of language. Plus, we tend to find a wider opening to international coproductions there.”
Yet it’s The Young Pope that Mieli thinks will showcase the new kind of European coproductions taking place across the continent.
“I believe The Young Pope will demonstrate that there’s something like a ‘European way’ to do great high-end dramas that can travel worldwide,” he says. “In the last few years in Italy, broadcasters such as Sky Italia (for which Wildside produced 1992) have been major drivers in developing contemporary dramas, allowing openness to innovative content. But this spreading of sophisticated stories on cable TV has also had great repercussions on free-to-air channels, which are searching for more original drama.”
From talking the talk to walking the walk, UK pay TV broadcaster Sky has put its money where its mouth is in the search for compelling original drama.
It was in 2011 that Sky group CEO Jeremy Darroch said the UK pay TV giant would be investing £600m (US$909m) a year in original content by 2014 – an increase of 50% on its previous spend.
Now that money is being seen on screen in the guise of an enviable slate of original series, including You, Me and the Apocalypse, The Last Panthers and Fungus the Bogeyman, which aired over Christmas. New series coming up include The Five, created by crime author Harlan Coben, and second seasons of The Tunnel (pictured above) and Fortitude.
And as Sky moves into a new era of year-round drama commissioning across three channels – Sky1, Sky Atlantic and Sky Arts – there is only the promise of more to come.
“We are a pay TV platform so we have a mandate from our CEO to make sure we can provide drama that people want to pay for,” says Sky head of drama Anne Mensah. “What’s brilliant about that relationship with our customers is that it’s a mandate for distinction. Everything we do is about being the boldest, the most distinctive, the most innovative drama in the UK, specifically for our customers. We have one drama after another and they all have that ambition to be absolutely best in class, but also good fun and really watchable.”
Sky is best known for its acquisition of rights, predominantly for sport, movies and US television – in particular series from HBO. Last month, Sky tied up exclusive UK rights to content from Showtime, which will include Billions and the revival of Twin Peaks.
And Mensah compares Sky’s original drama ambitions to that of the film business: “We look at television like movies. In the same way you’re working really hard to get an audience to get out of their chair and go to the cinema and buy a ticket, you buy a ticket for Sky. We treat our customers in the same way, with the same production values, the same stars and the same sense of event.
“On Sky1, it’s a blockbuster experience; on Sky Atlantic, it’s more of an art-house cinema experience. But Sky Atlantic is not niche – it’s an art-house cinema experience with wine.”
Cameron Roach, Sky’s drama commissioning editor, takes the identities of Sky’s channels further by describing them in terms of how viewers watch them.
“On Sky1 we want to promote shared viewing in households, whereas Sky Atlantic is not about the overnights and is much more like reading a novel – you might watch two or three episodes at once,” he explains. “The on-demand platform (Sky Go) is really important for that viewing experience.”
But when viewers are watching Sky’s output in a variety of ways, how does the broadcaster measure success? Mensah says it’s about what the programme makers wanted their show to achieve in the first place.
“Some shows are built to be consumed like novels, to be massive critical successes and to talk to an audience that want to get into real think-pieces. Others are built to be super entertaining,” she says. “Everybody’s obsession with how you measure success is totally reductive because every show does something different. Particularly when you’ve got a pay TV platform – on a basic level our jobs are to bring people to Sky and keep them at Sky, and to give them a good experience of being Sky customers. That’s not one show, that’s the whole offering.”
As far as development goes, Sky doesn’t have a number of projects waiting in the wings. Instead, its drama team puts its money only on shows that are likely to make it to air, rather than taking scripts on and passing on them further down the line.
Mensah notes: “If we know we want to do a show, we think we shouldn’t put other things into competition with it. I would hope the talent comes to work with us and knows we’re backing their show and not slightly playing the odds like some other channels can do. It can be quite hard to get stuff into development with us, but once we’re in development with something, we’re doing it because we intend to make it.”
Roach adds that Sky’s drama team turns down lots of projects. “Before I started working with Anne, she said her ambition was to run a narrow slate,” he says. “Lots of people say that but it is genuine. We’re a small team but if something is in funded development with us, that means one of the team absolutely loves it. We’ve all got different tastes so it’s not necessarily everyone’s cup of tea, but we have an absolute ambition to see that show made and we will support that production company.”
Funding from the pay TV broadcaster is also dependent on the type of project in question. With its use of CGI, Fungus the Bogeyman required extensive research and development, while horror story The Enfield Haunting also required commitments in terms of research and script development.
Sky’s development process has also become slightly more complicated since Sky UK’s acquisition of Sky Italia and Sky Deutschland, creating a single company that broadcasts to 21 million customers in five territories across Europe.
Both Sky Italia and Sky Deutschland have retained their own drama teams, however, with forthcoming series The Young Pope, starring Jude Law, offering the first example of how the trio will work together.
“The Young Pope is a coproduction through all three but editorially it goes through Sky Italia, because what you don’t need is 7,000 voices on something,” Mensah says. “There’s one editorial voice but the backing of the whole weight of Sky. The Last Panthers was simultaneously transmitted across all of our territories, as was Fortitude. What you’ve got is the best of all possible worlds, which is clear editorial focus but with the weight of this massive company backing your show.”
Sky is also a committed coproduction partner, working with NBC on end-of-the-world drama You, Me and the Apocalypse, Showtime on horror Penny Dreadful and France’s Canal+ on cross-Channel drama The Tunnel and pan-European crime thriller The Last Panthers.
“We love coproductions but luckily with Sky, it’s not about the money as much as creativity. Working with Canal+, not only do we like them personally but they also brought creative talent to us that we couldn’t find ourselves. I’d never worked with Haut et Court (Les Revenants) before Panthers. The Warp Films-Haut et Court partnership is why Panthers is so unique. As for The Tunnel, we had worked with Kudos before but working in France with French directors was new to me.”
Looking ahead, Roach says The Five is a good example of how Sky wants to take an existing genre – crime, in this case – and give it a different hook for Sky1.
The show follows a group of four friends haunted by the disappearance of one of
their younger brothers some years earlier while he was in their care. The group is forced to revisit the past when the missing boy’s DNA turns up at the scene of a murder. It is written by Harlan Coben and Danny Brocklehurst and produced by Nicola Shindler’s Red Production Company.
“Anne and Nicola started talking about the hooky novels that come from the likes of Harlan Coben,” recalls Roach. “It was a really innovative development process and it was the same with Fungus and Lucky Man (now airing on Sky1), which was an original idea from (Marvel Comics’) Stan Lee.”
The prospect of year-round drama also looks set to create a new story for Sky’s channels, with their individual identities no longer being separated by strict boundaries.
“There has to be fluid boundaries between the channels, particularly as we’re aware of the growing importance of our on-demand offering,” says Roach. “We’re planning two or three years in advance and we’re not sure how platforms will emerge. Sky1 and Sky Atlantic have a very clear identity but as we go to year-round drama we can diversify our output.”
Mensah says anyone hoping to pitch a project to Sky should simply talk to her and her team. “A pitch should feel like a conversation,” she explains. “Too often people put too much emphasis on the formal pitch – anything we’ve got in funded development began as a conversation. People can over-think that process. We’re working with Graham Moore, who wrote The Imitation Game, and he simply called us. We bought the idea on the phone. He then won an Oscar. Equally, other people send us full scripts. There are seriously no rules.”
No rules, then, but if one were to offer potential partners some guidelines, it would be to avoid generalised stories and to throw caution to the wind in a bid to offer big, bold, epic tales.
“If you’re lucky enough to be a commissioner, when everybody else turns right, you should turn left,” says Mensah. “With The Five, everyone else was doing lovely, languid thrillers so we thought, ‘how can we do it as quickly as possible?’ It turns on a dime every five seconds and the producers have done such a good job.”
Ultimately, to have a drama land on Sky, you’ve got to reach for the stars. “If you feel a show could sit on ITV or the BBC, they’re brilliant so that’s the space it should be in,” Mensah adds. “We really do look for stuff that feels like it could only be us.”
Led by gritty series like the Mafia-focused hit Gomorrah, Italian drama is enjoying new levels of global interest. DQ finds out why.
The world has been watching great Italian movies for more than half a century. Following The Bicycle Thieves in 1948, films like La Strada, La Dolce Vita, 8½, The Good, The Bad and The Ugly, Cinema Paradiso, Il Postino, Life Is Beautiful, Gomorrah, The Great Beauty and Human Capital are past and present proof that superlative screen craft is a cherished component of Italian culture.
But until recently Italy’s TV business hadn’t achieved anything like the same profile beyond its borders. “The main free-to-air broadcasters, Rai and Mediaset, have a history of participating in continental European coproductions,” says Beta Film senior VP for international sales and acquisitions Oliver Bachert, “and there was the stand-out success of La Piovra (The Octopus), which sold around the world, but historically Italy has mostly focused on local productions that don’t attract much attention internationally.”
The roots of this insularity probably lie in a backlash against imported content that occurred in the 1980s. It took Italian TV producers until the 1990s to perfect their response, but when they did, they began to achieve real success with domestically produced soaps (such as A Place in the Sun and A Doctor in the Family) and police thrillers. Locally know as ‘giallo,’ the police titles included popular shows such as Marshal Rocca, Inspector de Luca and Inspector Montelbano. While they achieved some sales internationally, they didn’t spark the interest associated with, for example, the recent wave of Nordic Noir exports.
The catalyst for change has been the arrival in the market of pay TV platform Sky Italia, says Bachert, “which started commissioning dramas that are more in line with international trends. First came Romanzo Criminale from 2008 to 2010, and then Gomorrah, which we distribute.”
According to Bachert, Gomorrah, which was produced by Italian indie Cattleya, “took Italian drama to a new level.” The story of organised crime in Naples, told across 12 episodes, “won numerous awards and sold to 113 countries. It now has a second season coming up and has encouraged the international market to look more closely at Italian drama.”
Proof that Gomorrah was not a one-hit wonder came with the launch of 1992 in March of this year. Another Sky-backed project, the 10-episode series revolves around six people whose lives become intertwined with the political and social earthquake that swept away Italy’s post-war establishment.
Echoing its approach with English-language drama Fortitude, Sky was sufficiently excited by 1992 that it aired it across the UK, Ireland, Germany and Austria, in addition to Italy – a total market of 20 million homes. That, says Bachert, came in addition to sales in France (Orange), Spain (Canal+), Scandinavia (HBO Nordic) and Benelux (HBO Europe). Now there is talk of a follow-up series entitled 1993.
1992 was produced by one of Italy’s leading indie producers, Wildside. Explaining how the company came about, co-founder Lorenzo Mieli says: “It was founded in Rome in 2009 as a merger between Mario Gianani and Saverio Costanzo’s Offside and Wilder, plus Fausto Brizzi and Marco Martani who joined the team at the moment of the company’s creation. Wilder was a company founded by me and some partners in 2001. Basically that was the place where everything started – we used to produce scripted and unscripted for Italian pay broadcasters.”
From Wilder’s perspective, the big step-change actually predated Sky Italia’s investments, though it was the same corporate family that was behind its expansion: “Wilder experienced dramatic growth with Boris, which was the first scripted show ever made by Fox International Channels in Italy. It was a huge success that was crucial to boosting the business.”
Boris was a comedy series that ran for three seasons in 2007, 2008 and 2010 (totalling 42 episodes). Towards the end of the show’s run, FIC commissioned Wilder to make another series, a six-hour serial killer thriller called The Monster of Florence. Both series were broadcast by FIC on the Sky Italia platform, effectively priming Wilder for the next phase of its development following the merger with Offside.
Today, says Mieli, “Wildside’s pipeline is a combination of Offside’s traditional expertise in feature films and Wilder’s TV background. At the moment, our catalogue spans from art-house movies and commercial/blockbuster comedies to scripted shows for both pay and free TV channels. Our main job is to deliver high-quality products, with a focus on talent-driven projects that have a strong international appeal. To do this, we work to build solid relationships with top Italian directors and writers, which is also a way to attract international talent.”
Like Bachart, Mieli gives a nod in the direction of Gomorrah, which he says “did a priceless job for the Italian production community. It demonstrated that an Italian way to make quality shows exists. Maybe a component of exoticism is helping Italian shows travel so much. But we do believe now that the global audience is ready for something different from US storytelling.”
According to Mieli, coproduction is currently Wildside’s key modus operandi: “Considering the work we’ve been doing in the last two years and what we’re currently developing now, it’s pretty clear that our product is closer to the anthological and talent-driven model.”
The best current example of this is The Young Pope, an ambitious English-language production that Wildside is making for Sky, HBO and Canal+. “The Young Pope is the most representative example of our strategy… a high-profile coproduction with a pure Italian creative core. And we are developing three scripted projects for the international market with a similar model. But we haven’t forgotten the Italian scenario – two shows for Rai and one for Sky are in production and couple of features are in pre-production.”
Starring Jude Law and Diane Keaton in her most high-profile TV production to date, The Young Pope was one of the year’s surprise scripted announcements. Mieli explains its appeal: “The story sounded amazing from the very first moment. The idea of a controversial pope born in the US and surrounded by daily life in Vatican City had evident ground-breaking potential. Plus Paolo Sorrentino’s writing was a stunning piece of literature from the very early stages of development.”
Mieli is convinced The Young Pope can have the kind of impact already made by shows like Gomorrah and 1992, and not just because it has HBO, Sky and Canal+ behind it. “The Young Pope’s distribution will be managed by FremantleMedia International and we’ve no doubt it will travel a lot. We have a great story, an award-winning creator, an all-star cast and a very fascinating, highly recognisable arena in the Vatican.”
As it happens, the Wildside story became even more interesting during production – when FremantleMedia decided to acquire a 62.5% stake in the firm. Commenting on the deal at the time, FremantleMedia CEO Cecile Frot-Coutaz said: “This is a key strategic acquisition as we continue to strengthen our primetime scripted presence. Wildside is fast becoming one of Europe’s most sought-after drama producers and will complement our existing businesses in the US, Germany, Scandinavia, the Netherlands, Australia and the UK. The team has an impressive track record of attracting world-class creative talent and delivering award-winning drama, so I’m really excited that they are joining our family of production companies.”
Being in the Fremantle family may also give Wildside an opportunity to take scripted formats into Italy. There have been signs in recent times that this side of the business, traditionally underdeveloped, is starting to pick up.
Wildside, for example, made Israeli format In Treatment for the Italian market, while Spanish period drama Velvet and French supernatural thriller Les Revenants (The Returned) have also been adapted. Utilising FM’s international expertise should allow Wildside to push this door open further.
Wildside, of course, is not the only Italian indie providing a bridge to and from the international market. Cattleya, which counts DeAgostini and United Pictures International among its shareholders, recently announced plans for season two of Gomorrah. It also has a deal with Canal+ to create an English-language series called ZeroZeroZero.
ZeroZeroZero is based on a book by Roberto Saviano, who also wrote the book on which both the film and TV versions of Gomorrah are based. The director is Stefano Sollima, whose credits include Romanzo Criminale and Gomorrah – all of which guarantees a solid international showing for ZeroZeroZero.
Fabrice de La Patellière, director of French drama and coproductions for Canal+, says: “We are delighted to be involved in initiating this international project driven by Roberto Saviano’s talent and commitment. This story, with the work of the scriptwriters Stefano Bises and Leonardo Fasoli and director Stefano Sollima, offers an uncompromising, in-depth look into the world of cocaine trafficking and the complexities of the system. This invaluable partnership with Cattleya offers the opportunity of a unique series for our subscribers.”
Cattelya is also exploring the scripted format business. It is remaking NBC’s Parenthood for Rai Uno, the first ever US scripted format to be picked up by the channel. At the same time, it has signed a deal with Atlantique Productions to turn two Italian properties into English-language TV series. The first will be a re-imagining of the cult western Django, which has its roots in the spaghetti Western tradition. The second is Dario Argento’s classic Italian horror film Suspiria, which will be reinvented as period horror series set in London and Rome between the end of the 19th century and the beginning of the 20th.
Cattleya president Riccardo Tozzi says: “Cattleya’s role on these series marks a further step in our plan to produce high-end English-language series. And, of course, we are extremely proud to be working with Dario Argento, a leading figure for an entire generation of filmmakers.”
It’s no real surprise that Sky’s international axis has provided the platform for Italian producers to reposition themselves on the global stage. But it’s notable that Mediaset and Rai are also exploring what might be possible beyond their borders.
Mediaset started to show some interest in the English-language drama market when it came in as a coproducer on , a Left Bank Pictures adaptation of Michael Dibdin’s detective novels that also had BBC, WGBH Boston and ZDF as coproducers.
That was very much an ad-hoc experiment. But last year Mediaset started to talk up the possibility of making international drama in a more systematic and strategic way. The first fruit of this came earlier this year when it joined forces with France-based Federation Entertainment to coproduce Lucky Luciano, a 12-hour miniseries about mobster Charles “Lucky” Luciano.
With Alessandro Camon on board as writer, Lucky Luciano will follow the life of the man considered to be the father of modern organised crime in the United States. “This is an extraordinary project based on the life of one of the most compelling figures in crime,” says Federation Entertainment’s Pascal Breton, who is producing the series alongside Stephane Sperry. “Lucky Luciano remains a mystery in many key facets of his life, especially in his relationship with the FBI. We intend to explore these mysteries and offer the most definitive work on his life that’s ever been produced.”
Mediaset’s perspective on the project comes from content MD Alessandro Salem, who says: “We’ve been looking for a long time for the right coproducer that shares our fascination towards the human complexity of such a criminal icon as Lucky Luciano. We’re thrilled to have found an outstanding partner for this miniseries event in Federation.”
Mediaset doesn’t intend Lucky Luciano to be a one-off. While it has yet to formally flesh out its strategy, the company says it is “devoted to pursuing international production as a new vector of development for high-profile, ambitious original scripted content together with world-renowned partners.”
For public broadcaster Rai, the challenge is how to engage with the international market while staying focused on the needs of the domestic market. Mattia Oddone, head of cinema and TV international sales at commercial arm Rai Com, says his parent company’s domestic channels are currently doing very well: “Drama works wonderfully on Rai, making Rai 1 and Rai 2 the leading channels in Italy. The key slots are on Sunday and Monday nights, primetime for miniseries and longer series.”
Rai produces around 400 hours of original drama per year with a budget of around €200m (US$223m). In terms of Rai dramas that cross over into the international markets, Oddone says: “Genre series account for most of our sales. One of our most marketable products this year has been new seasons of Il Giovane Montalbano (The Young Montalbano – a spin-off of the original Montalbano series), based on the popular protagonist of Andrea Camilleri’s acclaimed Sicilian crime novels.”
The Young Montalbano is one series that has ridden the wave of interest in non-English language drama, says Oddone, “selling to the US, the UK, France and Benelux.” More generally, “Latin America and Spanish-language rights for the US market are very important to us, as is Central and Eastern Europe. Crime series like the second season of Sfida Al Cielo – La Narcotici 2 (Anti Drug Squad 2) and La Catturandi (Palermo Police Squad, pictured top) have been in high demand there. Biopics on internationally recognisable figures such as Oriana, a dramatisation of the life of storied Italian journalist and campaigner Oriana Fallaci, have also performed very well.”
Oddone acknowledges there has been a change in the way TV drama is produced in Italy. But he also stresses that Italian success has so far been rooted in subject matter that is closely associated with the market. “Rather than making Italian content more international, we have seen Italian themes become more accessible for international audiences. Topics like the family and the Mafia are very much connected with Italy and the possibility to develop such stories has allowed Italian producers to tell them with more intelligence and subtlety.”
Given Rai’s role at the heart of the Italian cultural landscape, Oddone says there is no reason why Rai Com cannot also play its part in the growing international market for Italian drama. And there have been separate reports that the broadcaster is looking at a project about the Medicis and one based on Umberto Eco’s Name of the Rose. But Oddone also reiterates the point about not losing sight of the needs of the domestic audience. Rai is less likely, for example, to follow some of its Italian peers into English-language drama. “We are about to enter drama coproduction and we are seeking new projects. But it is a delicate matter and it also has to engage the interest of our channels, with which we are now working very closely.”
It’s worth noting that Italian scripted content has also started making ground in markets like China and Turkey, primarily as formats. But if there is one other big story worth following, it’s the arrival of Netflix in Italy this October. The subscription VoD platform’s chief content officer Ted Sarandos was in the country recently trying to win over the Italian industry with promises of investment in Italian-originated content that can travel.
Speaking at the Ischia Global Film and Music Festival, he said: “We think we can bring a large global audience to a local Italian show and that we will be able to invest at a higher level than an Italian producer would invest in a series or a film from Italy.”
Echoing the company’s approach in France, where it greenlit a major local series called Marseilles, Sarandos said Netflix is planning a major commission that will “represent probably 15% to 20% of our spending on Italian programming.”
With Netflix spending an estimated US$5bn a year globally on content, the company’s entry into the Italian market should provide a welcome boost to the country’s producers at this pivotal moment.
Mediaset feeling lucky
Mediaset’s Alessandro Salem and Federation Entertainment founder Pascal Breton discuss their new coproduction Lucky Luciano and outline how Italian drama is taking on the international market.
Alessandro Salem: “What is happening right now is the spotlight is again on the power of Italian stories and the success they are achieving worldwide. In Italy and abroad the national frame isn’t always appropriate to nourish the creative process and to grant the financing of ambitious projects, so international development is more and more crucial.
“Rather than cinema or television, today we should speak of talents who explore storytelling and, depending on the specific nature of the project, later take on a TV or cinema direction.
Pascal Breton: “We’ve witnessed a ‘Scandinavian wave’ these past few years, and I think we’re now seeing a French wave with series like The Returned and The Bureau, as well as Versailles and Marseille within the next year, along with a wave of highly talented directors, writers and producers. The meeting of TV producers with top talent from French and Italian cinema is bringing a new creative force into a field that’s been dominated by Anglo-Saxon series.”
Salem: “Lucky Luciano is a TV series with international DNA: Italian roots, American trunk and international branches. It is about one of the most famous, and yet less known, criminal icons of the 20th Century, Charles Salvatore Lucania, also known as ‘Lucky.’ The series discloses what’s behind the story of the kid from Sicilian sulfur mines who will organise the American mob as an actual corporation, and will leave a lasting mark on the story of our countries through the controversial collaboration with the American and Italian authorities.
“The locations, the renowned character, the popularity of the Italian organised crime stories in the TV and movie iconography, have made it natural for us to launch the project on an international scale, and have led us to look for partners who share our ambitious and transnational vision.”
Breton: “Lucky Luciano is a perfect example of a story originating in Europe that has had a deep impact on the history of the US, and the story’s potential is endless. We were looking for an opportunity to coproduce with Mediaset, and we couldn’t have found a better subject.
Salem: “Mediaset has ambitions to become a major player in the international drama market. Within the next three years the goal is to have a constant pipeline of international dramas. To this aim, on one side, Taodue – our in-house production company – is focusing its talent towards international production with several projects greenlit. On the other side, we are confident we can count on our distribution strength through our presence in Italy and Spain.
“We are aware that English is nowadays a sort of precondition for international drama – indeed, Lucky Luciano will be shot in English. An exception can be Spanish, when the story justifies it, because of the extent of Spanish-speaking markets. That’s the case of Taodue’s upcoming movie Call Me Francesco.”
French drama is evolving at an increasing pace, but while broadcasters and producers are widening their international horizons, the most dramatic changes are taking place at home.
Change is afoot in France, but while landmark international coproductions might be grabbing the headlines, traditional ciné movies and crime procedurals are being replaced by serialised dramas and a gamut of new genres on screen.
Tetra Media Fiction producer Emmanuel Daucé says French drama is in the middle of a revolution that dates back 10 years to when broadcasters shifted their focus from TV movies to series, inspired by the work of US premium cable network HBO.
Gritty crime dramas such as Braquo and Spiral subsequently broke through to the international market, and more producers are now trying to follow their lead as France seeks to capitalise on the increasing demand for global drama series.
One example is The Young Pope, which sees pay TV network Canal+ join forces with HBO and Sky to tell the controversial story of the beginning of Pope Pius XIII’s pontificate. The cast is headed by Jude Law and Diane Keaton, while all eight episodes will be directed by Oscar winner Paolo Sorrentino.
“It was HBO series, which not many people watched in France, that changed everything,” Daucé explains. “Telling stories through images is so important in France that we needed a cultural validation that TV could be interesting, and HBO helped a lot.”
Stéphane Drouet, producer and co-founder of MakingProd, says he is developing series for “almost every broadcaster,” as well as producing season three of cop show Cherif for France 2.
“Networks are still looking for self-contained episodes, but more and more they’re looking for serialised drama,” he adds. “Broadchurch did really well on France 2 and it may have accelerated the need for this kind of programme. They realised it would really work in primetime in France.
“Of course, there are still cop dramas. It’s a format that still works so well. But for a lot of years it was mainly procedural – now it’s more serialised, which is a good thing, and it also opens the door to more serialised dramas that aren’t about cops.”
Paris-based Ego Productions is behind TF1 series Alice Nevers, which will begin production on its 13th season this autumn, while new drama Zone Blanche, commissioned by France Télévisions, will begin shooting in April 2016. Ego is also responsible for the French adaptation of UK drama Doc Martin, which ran for four seasons on TF1.
Executive producer Pascal Wyn says French drama is playing catch-up to other territories by trying to broaden the international appeal of its stories, in the face of traditional series that still prove popular among domestic viewers.
“At the moment, the TV drama business is trying to create a revolution,” he explains. “French TV producers all want to make French television better and more international, as in Sweden, Germany and, of course, the USA. French producers want to make programmes with international appeal.
“Broadcasters say they are looking for new stories, but in fact they are very suspicious of new programmes because traditional French drama always works.”
Another factor behind the changing face of the country’s TV drama, according to Endemol France MD Nicholas Coppermann, is the decreasing reliance on US series. As long-term output deals for series such as CSI: Crime Scene Investigation, Grey’s Anatomy, House and NCIS come to an end or the shows are cancelled, primetime slots are opening up for domestic series.
“The channels used US dramas as primetime shows and it was very difficult to compete using French scripted drama,” Coppermann says. “Although there are some very good US series now, they aren’t as mainstream or coherent with French tastes.
“The channels that previously thought it was expensive and risky to pay for local drama compared with US series now feel they need some strong local pieces. They are also ready to buy more series. All this combines to create a much more favourable environment for French writers, producers, actors and directors.”
Endemol label Leonis Productions was responsible for telemovie L’Emprise, which told the true story of a woman who was acquitted of killing her abusive husband. Coppermann says the project represented a leap of faith for TF1, which he says was rewarded with the highest-rating French drama since 2007, attracting 8.6 million viewers (and 9.8 million after seven days).
The film, which debuted in January, has since been sold to Antenna 3 in Spain.
“Our drama business is up and running and we recently signed a deal for a procedural with TF1, as well as a thriller miniseries called Le Domaine for M6,” Coppermann adds. “It is penned by writer/director Hervé Hadmar, who was behind the huge French hit Les Témoins (aka Witnesses), a drama that made quite some noise because it was sold to Channel 4 in the UK before its debut in France, which is quite rare.
“TF1 used to be sceptical about miniseries, but it’s more open to them now. There’s a movement towards more serialised miniseries in France because it’s easier to grip the audience’s attention with those. However, the main free-to-air channels still need some self-contained shows. So both those genres are required at the moment.
“Canal+ wants more miniseries because it wants to create an event with every show. I think it has come to realise that its returning series, no matter how good, are not making so much noise, so it needs to bring back miniseries. TF1 has a slot for procedurals on Thursday and it wants that to be strong, but it’s also open to miniseries. The time of ‘no serialised shows,’ which was making things complicated for the French creative community, is now behind us, so there’s room for all kinds of dramas.”
Canal+ is currently preparing for the fall launch of Versailles, a 10-part historical drama created by Simon Mirren and David Wolstencroft and produced by Capa Drama, Incendo and Zodiak Fiction.
But what is the cause of France’s late arrival to serialised series? Daucé says television in France has struggled to escape the shadow of cinema but, as in other territories, the tide is slowly turning in favour of the small screen. In particular, he credits another Canal+ series – breakout supernatural drama Les Revenants (aka The Returned) – for helping to improve the reputation of television series in France.
“Viewers weren’t very familiar with the format,” he says. “This is because of the importance of cinema in France. The biggest recent hit in France was Les Revenants. This is a brilliant TV series but its strength lies in its cinematic qualities. The filmmaking is brilliant. It was produced by Haut et Court, a production company that makes feature films, and was created by filmmaker Fabrice Gobert, not by someone from TV.
“Now, slowly, TV series in France are receiving hype. It’s only very recently that viewers and people in the industry have started to take more of an interest in television. There are two worlds in France — cinema and TV, and there’s still some friction between the two.”
Tetra Media Fiction’s slate includes period drama Un Village Français (pictured top), which will air its sixth season this autumn on France 3, with a seventh and final season due to begin production by the end of the year. It is also producing Les Hommes de l’Ombre, a political drama now in its third season on France 2.
Daucé adds that broadcasters are also now more open-minded about the type of series they broadcast. “Canal+ helped a lot, again with Les Revenants,” he explains. “This is a genre we never have usually. When I started Un Village Français, I was told period dramas were too difficult to produce and cost too much. But there have been a lot of period dramas since.
“Now we are, in a way, in a revolution of the way we think about TV series. Our problem is that for a long time we didn’t make TV series. We now have producers and writers who specialise in making them but this is still pretty new for us.”
With this shift in focus to television drama, the industry will only become more experienced, and this expertise will be boosted further by the surge of international coproductions being built in France.
In June, Canal+ and Swedish public broadcaster SVT unveiled Jour Polaire (aka Midnight Sun), the first ever French-Swedish drama copro. It follows a French detective who is sent to the far north of Sweden to investigate the murder of a French citizen.
Created by Måns Mårlind and Björn Stein, and based on an idea by Henrik Jansson-Schweizer and Patrick Nebout, it is produced by Atlantique Productions, Nice Drama and Filmpool Nord. The cast includes Leïla Bekhti and Gustaf Hammarsten.
Atlantique has also partnered with Keshet UK, the London-based production arm of Israeli distributor Keshet International, to develop English-language drama Crater Lake. The eight-part series, created by Ron Leshem, is described as a “life-affirming, character-driven show about death.”
Oliver Bibas, MD at Atlantique, says: “People are more and more aware of international coproduction opportunities. Canal+ has a strategy to do more coproductions. It is also focused on French drama, but there is a place for coproduction. It’s the same for Arte, and now we’re seeing what will be the next move for France Télévisions, which should also step up in this area.”
Bibas says Atlantique is now developing series it wouldn’t have considered as recently as two or three years ago. In particular, the company is remaking Django, a spaghetti western from the 1960s, and is also on board the reboot of science-fiction series Metal Hurlant with producer Jamie Mathieson. “They’re not something we would have done previously but because of online platforms such as Amazon, Netflix and Canal Play, there are so many new outlets that you can go deeper into a niche genre, which wasn’t the case three or four years ago,” he says.
“We’re trying to get some more niche shows into development. Western and sci-fi are not traditional genres for scripted drama in France. But we feel that when we’re pitching shows to the networks, there is an appetite for this. The market is changing – there’s new demand from networks, and you have to find shows that are in line with our times.”
In fact, Netflix is already in production on its first French-langauge drama, Marseille, with Gerard Depardieu playing the lead role of the city’s mayor in a political story of power, corruption and redemption.
Created and written by Dan Franck, the eight-part series is produced by Federation Entertainment and will launch on Netflix in 2016.
Franco-German network Arte epitomises the change in attitude towards drama among French broadcasters. Switching from
TV movies to serialised programmes, it was among the first to import European shows, most notably Denmark’s Forbrydelsen (aka The Killing) and Borgen, plus Swedish sci-fi series Äkta människor (Real Humans).
The channel is now forging ahead with its coproduction strategy. Launching this autumn is Occupied, a 10-part political thriller based on an idea by novelist Jo Nesbø and developed with Norway’s TV2.
It has also partnered with Denmark’s DR and Borgen creator Adam Price on a new faith-based series called Herrens veje (aka Rides Upon the Storm).
Alexandre Piel, Arte’s deputy head of drama in charge of international acquisitions and coproductions, says he’s not sure if what is happening in French drama is a revolution but admits the landscape is changing fast.
“Our behaviours have completely changed in the last five years,” he says. “We jumped from 90- to 52-minute slots; from mainly standalone collections to serial dramas. That’s a major change.
“Canal+ was one of the first to establish the strategy. Arte followed and we were very much open to European content as a pioneer channel. Now everyone has an eye on European content.
“From international acquisitions to French content, the standards have changed and everyone has to cope with it. Then we have to see in the coming months – in terms of international distribution and coproduction – if it’s a major change or just a short-term change.”
Arte’s coproduction strategy began with it working as a minor partner on Occupied, before co-developing Herrens veje. It is also onboard sci-fi drama Trepalium. Piel hopes Arte’s next copro will be a French project on which the network can take the lead.
He adds that Arte is open to new ideas, as it doesn’t want to run the same sort of shows that air on other channels.
“It means more risk-taking but the idea is to jump on originality, creativity and innovation, and to be able to offer something more audacious,” he says. “That’s really the keyword in terms of ambition.
“There are a lot of projects on the market. There are plenty of series but some are quite similar. I feel there’s less difference, creativity and innovation than a few years ago, but that’s normal. The industry is restructuring so we need new and different projects and a different way to work altogether.
“That’s why we’re doing a lot of pre-buys on series including Wolf Hall, Indian Summers and Danish series Norskov. We’re trying to understand the way some channels and producers are working so we can work with them in the future.”
Meanwhile, MakingProd is developing Destination Mars, about an expedition to the red planet, with Russia’s Star Media, Laurence Fishburne’s Cinema Gypsy Productions and Poland’s Synergy Films. It is also producing Salazar, a period coproduction with Spain’s Plano a Plano and distributor Eccho Rights.
But while Drouet acknowledges that international coproductions are gaining traction, he says networks are still predominantly focused on homegrown drama.
“French drama is becoming more and more attractive for partners and producers, so we have a lot of people coming to us saying they would like to make international coproductions,” he says. “A few years ago it wouldn’t have been possible but now it is, and it shows the success of TV drama in France.
“There will always be a strong demand for domestic drama but even now the pure French TV series are getting better and better. And even if it’s a purely French series, we have interest now from foreign countries to get shows like The Returned or Witnesses. It shows there’s a new era of TV series in France.
“Even though the shows are taking place in France and are spoken in French, now they interest foreign markets more and more because the stories we tell are more international and more universal.”
Bibas agrees that domestic drama is still the model in France. “We have a very traditional setup,” he explains. “It’s nobody’s fault – this is the way the French system has been for the past 20 years – but now more and more producers and networks are opening up a bit to something that is more modern in terms of French drama, and it’s a very good thing. We’re on the right track but it takes time to change the market.”
Michael Pickard reports on the latest Hollywood star to join the cast of Sky and Canal+’s The Young Pope, the most recent in a long line of papal dramas.
Diane Keaton has become the latest Hollywood star to make the move to television after signing up for a new HBO drama that will be coproduced by Sky and France’s Canal+.
And while her decision to head to the small screen is another nod towards the current appeal of television drama to traditional film actors, the show she will star in extends another trend among international series.
In the latest in a series of dramas surrounding popes, The Young Pope will see Keaton will play Sister Mary, a nun from the US now living in Vatican City. Also headlining the series is another actor known for his feature career, Jude Law, who will play Pius XIII.
Other members of the international cast include Silvio Orland, Scott Shepherd, Cécile de France, Javier Cámara, Lidivine Sagnier, Toni Bertorelli and James Cromwell.
The series comes from Paolo Sorrentino, who will direct all eight episodes. Production began last week.
It is produced by Wildside and coproduced by Haut et Court TV and Mediapro. The executive producers are Lorenzo Mieli, Mario Gianani, Caroline Benjo, Carole Scotta and Simon Arnal.
The series focuses on the beginning of Pius XIII’s Pontificate. Born Lenny Belardo, he is a complex and conflicted character, conservative and yet full of compassion towards the weak and poor. Described as a man of great power who is stubbornly resistant to the Vatican courtiers, he is unconcerned with the implications to his authority.
During the series, Belardo will face losing those closest to him and the constant fear of being abandoned, even by his God. He is not, however, afraid of defending that same God and the world representing him.
Listing some of the show’s themes, Sorrentino said: “The clear signs of God’s existence. The clear signs of God’s absence. How faith can be searched for and lost. The greatness of holiness – so great as to be unbearable when you are fighting temptations and when all you can do is to yield to them. The inner struggle between the huge responsibility of the head of the Catholic Church and the miseries of the simple man that fate (or the Holy Spirit) chose as Pontiff. Finally, how to handle and manipulate power in a state whose dogma and moral imperative is the renunciation of power and selfless love towards one’s neighbour. That is what The Young Pope is about.”
As Sorrentino describes it, it’s hard to resist this blend of good versus evil, temptation, power struggles, politics, faith and morality. So perhaps that’s why The Young Pope is just the latest in a number of dramas to be set in and around Vatican City.
Most recently, US premium cable network Showtime ordered a pilot called The Vatican. It starred Kyle Chandler as Cardinal Thomas Duffy in a contemporary thriller about spirituality, power and politics, set against the modern-day machinations of the Catholic Church.
Bruno Ganz (Downfall) was cast as Pope Sixtus VI, while Anna Friel, Sebastian Koch, Matthew Goode and Ewen Bremner were also set to star. Paul Attanasio (House) wrote the script, with Alien director Ridley Scott behind the camera.
However, Showtime decided not to move forward with the project in December 2013.
Then, of course, we have rival series The Borgias (pictured top) and Borgia. The Borgias, also from Showtime, launched in April 2011 headlined by Jeremy Irons as Rodrigo Borgia, the manipulative patriarch of the Borgia family, who builds an empire by bribing, buying and muscling his way to become Pope Alexander VI.
Created and written by Neil Jordan, who also directed a handful of episodes, it became Showtime’s biggest new drama series for seven years, running for three seasons until 2013.
Borgia, meanwhile, was a European series similarly about the rise of the infamous papal dynasty during the Renaissance, overseen by showrunner Tom Fontana. It was produced by Atlantique Productions, EOS Entertainment, Beta Film and Canal+, with Germany’s ZDF and Austria’s ORF and Sky Italia among the broadcasters. It was also picked up by Netflix.
Borgia, which also ran for three seasons, between 2011 and 2014, boasted a cast including John Doman (The Wire), Mark Ryder, Stanley Weber, Isolde Dychauk, Marta Gastini and Art Malik.
The Borgias was also the title of a 1981 television drama produced by the BBC and Italy’s Rai, starring Adolfo Celi as Pope Alexander VI.
As both The Borgias and Borgia showed on screen, dramas involving the papacy can provide writers and directors with a rich tapestry of colourful characters, lashings of intrigue and a host of plots to keep even the most difficult-to-please viewers in front of the TV.
Audiences can find out whether The Young Pope will take the crown among papal dramas when it hits screens in 2017.
At MipTV, Jeremy Darroch, CEO of European pay TV broadcaster Sky, gave a keynote interview during which he talked about the company’s ambition to increase its investment in scripted content. A key focus of his attention was the UK-based channel Sky Atlantic, which deals primarily in high-end scripted content.
Sky Atlantic launched in 2011 on the back of a wide-ranging content supply arrangement with HBO in the US. This was renewed and expanded last year, with the two companies announcing their intention to coproduce “epic” dramas.
Running in parallel with this partnership, Sky Atlantic has also assiduously built relationships with other key players in the international drama arena. In 2013, it coproduced The Tunnel with Canal+ in France (a detective drama based on acclaimed Swedish/Danish copro The Bridge). Soon after, it partnered with Endemol on arctic thriller Fortitude – a series that, despite a slightly indigestible narrative and the puzzling under-use of actors Christopher Eccleston and Stanley Tucci, did a good job of attracting new viewers to the channel and secured a second run.
In the last couple of weeks, Sky Atlantic has given further insight into its drama ambitions. First came the news that it is to coproduce The Young Pope, starring Jude Law, with HBO and Canal+. And now it has announced that it will partner NBC on 10-part plague drama Patient Zero (w/t). Like Fortitude, Patient Zero will be produced by Fifty Fathoms and will also star Tucci. It will tell the story of a global pandemic that turns those infected into predators, addicted to violence.
Underlining the scale of the channel’s ambition in drama, Patient Zero is being written by Graham Moore (The Imitation Game) and directed by Marc Forster (World War Z). Commenting, Sky head of drama Anne Mensah said: “As we continue to bring our customers more original drama, I am delighted to be partnering with two creatives at the top of their game (Moore and Forster) in a thriller that will grip from the outset. We’re excited to be expanding our relationship with NBC/NBC Universal and it’s great to be working with Fifty Fathoms after the huge success with Fortitude.”
For the last couple of years, there’s been a gradual trend towards Hollywood movies being remade as TV series. There’s a commercial logic to this, because it means the spin-off shows can launch with in-built brand awareness. But creatively this trend has the potential to be quite claustrophobic, with films that only just managed to fill 120 minutes being stretched out across 10 hours.
Whether this movies-as-pilots-for-TV-series trend can work at an industrial scale will become clearer by the end of this year, because there are so many examples coming through at the US networks. CBS, for example, has greenlit Rush Hour and Limitless, while ABC is developing Uncle Buck (based on the 1989 John Candy comedy of the same name). Fox, having already announced plans to adapt Minority Report, has now revealed that it has given a script order to Urban Cowboy, a drama based on the 1980 romantic movie starring John Travolta. Craig Brewer (Hustle & Flow) will write, direct and executive produce the drama.
Interestingly, this movie-to-TV trend is also beginning to catch on outside the US production system. In the UK, Buccaneer Media has announced plans to make a TV series based on the 2014 indie sci-fi film Robert Overlords (produced by Tempo Productions). The plan is for the spin-off series to target a family audience – along the lines of BBC Worldwide’s international hit Doctor Who. Buccaneer will work with Tempo on the project, which imagines a world in which humanity has been enslaved by robots. Tempo’s Piers Tempest, who produced the film, said: “This series will really expand the canvas of the robot occupation and we are aiming to make an explosive show that the UK will be very proud of.”
Alongside movies, graphic novels/comics have become an increasingly important source of ideas for scripted series (see Michael Pickard’s feature about this trend). The latest idea to get a pick up is The Wicked + The Divine, from Kieron Gillen, Jamie McKelvie and Matt Wilson. An award-winning series about a group of people with superhuman powers known as The Pantheon, the property has been picked up by Universal and will be developed by Matt Fraction and Kelly Sue DeConnick via their company Milkfed Criminal Masterminds. MCM signed a deal with Universal in February to make TV shows based on comics.
Finally, BBC1 has announced plans for a new pre-watershed period drama series, to be written by Barry Devlin (Ballykissangel, Darling Buds of May). Titled My Mother and Other Strangers, this 5×60’ series follows the fortunes of a rural family, the Coynes, when a huge US Air Force airfield is built in their parish. Set in Northern Ireland during World War Two, it will be made by BBC Northern Ireland with funding from Northern Ireland Screen.
Commenting on the project, Barry Devlin says: “I wanted to write a series that had an exotic love story at its heart but that was set in a place I recognise. So I’m delighted the BBC has commissioned the series. It’s really great to be part of a story about Northern Ireland that is entirely originated and filmed here.”
In other scripted news, UK broadcaster ITV has acquired Poldark producer Mammoth Screen. Check out C21 Media for details.
NBC has generated a lot of headlines in the last few weeks for culling so many of its “freshman” shows – those that have only aired for one season. But one NBC show that has built up decent momentum is Grimm, a police procedural fantasy hybrid now in its fourth season. With ratings currently on a high, it was an easy decision for NBC to greenlight a fifth series in February this year.
Grimm’s success is not really surprising when you realise that one of the show’s co-creators, David Greenwalt, has a credit list that includes iconic series such as Buffy The Vampire Slayer and its spin-off series Angel. Working with Buffy creator Joss Whedon, Greenwalt wrote, directed and produced large chunks of the first three seasons of Buffy before working with Whedon on Angel. At this point, he brought in Jim Kouf, an old screenwriting buddy whose credits up until that point included the movie Stakeout.
Angel ran for five seasons (110 episodes) on WB Network before being killed off in 2004, much to the shock of its adoring fans. Whedon himself was mortified, comparing the cancellation of the show to a “healthy guy falling dead from a heart attack.”
Roll forward a few years and the idea of a Brothers Grimm-based contemporary drama was first mooted by Todd Milliner (co-founder of production company Hazy Mills). Milliner met with Greenwalt to discuss the idea and Greenwalt immediately called up Kouf. Along with Stephen Carpenter, they devised what would become Grimm. Carpenter was credited on the first episode of season one, but since then Grimm has very much been a Greenwalt/Kouf enterprise. Although other writers have penned episodes, Greenwalt and Kouf tend to write the early and late episodes of each season and also an episode somewhere in the middle.
Grimm isn’t Mad Men or Breaking Bad, but it does a stalwart job for NBC on Friday evenings while also getting positive reviews from critics. During season three, The New York Times said: “Grimm is not a profound show, but few are more purely entertaining, engaging, clever, tense, funny and well-paced…”
Not to be overlooked is the fact it also does well in markets like Germany, France and Australia. The earlier series have also just been picked by Amazon for use in markets like the US and UK.
So what morals can we draw from Grimm? Well, there’s clearly a message here about the power of screenwriting partnerships, and also about the enduring nature of certain story archetypes (Grimm is, in some ways, an upgrade on Angel). And it’s interesting that Greenwalt and Kouf are 65 and 63 respectively – age clearly hasn’t prevented them from writing a show that is proving a regular ratings success among 18- to 49-year-olds.
Last week, we looked at British screenwriter Sally Wainwright and the way her mature works have focused on her home county of Yorkshire. Until now, Wainwright has focused on contemporary drama. So this week it’s worth noting that she is to write a two-hour special about 19th century novelists the Bronte Sisters (Charlotte, Emily and Anne) and their troubled brother Branwell.
Operating under the slightly unwieldy title To Walk Invisible: The Bronte Sisters, the production will be filmed in and around Yorkshire, where the sisters lived their brief lives (Anne and Emily were dead by 30 – and there were actually two more sisters who died as children). Commenting, Wainwright said: “I am thrilled beyond measure that I’ve been asked by the BBC to bring to life these three fascinating, talented, ingenious Yorkshire women.”
The project was commissioned by BBC1 controller Charlotte Moore, who added: “The Bronte sisters have always been enigmatic but Sally Wainwright’s brilliantly authentic new BBC1 drama brings the women behind some of our greatest literary masterpieces to life. It’s an extraordinary tale of family tragedy and their passion and determination, against the odds, to have their genius recognised in a male 19th century world.”
The BBC’s broadcasting rival ITV has also decided to delve into the 19th century, commissioning an eight-part series on the life of Queen Victoria from Mammoth Screen. Based on Victoria’s diaries, the series will focus on her early life as she ascends the throne at age 18. Given that Victoria lived until the age of 82 and her diaries run to a total of 62 million words, there’s plenty of potential for this project to run and run if it appeals to audiences.
The writing task has been handed to Daisy Goodwin, best known within the TV business as a producer, having run indie company Silver River until last year. The Victoria project is Goodwin’s screenwriting debut – though she has carved out a successful career as a novelist in recent years.
Explaining the appeal, she says: “I’ve been fascinated by Victoria since I started reading her diaries at university. She’s a woman whose personality leaps off the page – a tiny 4’11” teenager who overnight became the most powerful woman in the world, and her candour and spirit makes for an irresistible heroine.
“Victoria was the first woman to have it all; she had a passionate marriage, nine children and was grandmother to most of Europe’s royalty. But she also had a job, being Queen of the most important nation in the world. It wasn’t easy; her reign was beset by scandal and sleaze, and it was only by sheer force of personality that she prevailed. Her diaries give an astonishingly vivid picture of her transformation from rebellious teenager into, to my mind, our greatest queen.”
Another standout project revealed this week is The Young Pope, an HBO/Sky/Canal+ coproduction about a fictional Pope starring Jude Law. Production on The Young Pope will begin this summer and continue into 2016, with filming predominantly in Italy. The eight-part series will be directed by Italian Paulo Sorrentino, who will also write in collaboration with Tony Grisoni, Umberto Contarello and Stefano Rulli.
Sorrentino is quite a catch. His career to date has primarily been focused on feature films. His film The Consequences Of Love was nominated for the Palme d’Or in 2004 and he went on to win the 2008 Prix du Jury with Il Divo. More success followed when his film The Great Beauty won the Oscar for Best Foreign-Language Film in 2014. Sorrentino has recently started to work in English. His film Youth, starring Michael Caine, is currently competing for the Palme d’Or at the 2015 Cannes Film Festival (winner to be announced on Sunday May 24).