First airing on RTL in Germany, Deutschland 83 became a worldwide sensation as audiences became gripped by the story of an East German spy’s attempts to uncover a plot – and keep his identity secret – in West Berlin.
Co-creator Anna Winger, who is also the head writer, tells DQ how she shared the labour of showrunning with husband Jörg Winger and how she used her background as a novelist to plot her first television drama.
Deutschland 83 is produced by UFA Fiction and distributed by FremantleMedia International.
A story of divided families and a divided city, Der gleiche Himmel (The Same Sky) unwraps several different strands taking place in Berlin in 1974.
East German agent Lars (Tom Schilling) is sent to West Berlin as a ‘Romeo’ agent on a mission to seduce high-ranking British intelligence officer Lauren (Sofia Helin). Elsewhere, gay teacher Axel (Hannes Wegener) takes dramatic steps to escape the oppressive East German regime, and Lars’s cousin Klara (Stephanie Amarell), a talented swimmer, proves she is willing to do anything to join the East’s Olympic team by taking pills that produce disturbing side effects.
Speaking to DQ TV, actors Helin, Schilling, Friederike Becht and writer Paula Milne reveal the origins of the drama and the challenges associated with producing this six-hour series.
It is produced by UFA Fiction, Rainmark Films and distributor Beta Films for German broadcaster ZDF and is due to debut next month. It will also air on Netflix.
Writer Paula Milne and director Oliver Hirschbiegel discuss their upcoming Cold War drama Der gleiche Himmel (The Same Sky), in which a ‘Romeo’ agent is sent on a seductive mission in 1970s Berlin.
When it was first released in cinemas, German feature Downfall was praised for its gripping portrayal of Hitler’s last stand and Bruno Ganz’s striking performance as the embattled Führer.
Twelve years on, however, Oliver Hirshbiegel’s film is largely remembered for one iconic scene inside Hitler’s bunker – in which he rants and raves at his officers – that has been parodied hundreds of times to comedic effect. A quick YouTube search can find the dictator angrily lashing out at news that he has been banned from Xbox Live or at the latest plot twist in Game of Thrones.
“That’s hard to top,” Hirschbiegel jokes. “I can be very proud of this phenomenon – it’s a first in film history where a scene has been used over and over again. The most recent one I’ve seen is about [British politician] Boris Johnson finding out the UK voted to leave the European Union – it’s brilliant and very funny.”
Whether the director’s latest project, six-part Cold War thriller Der gleiche Himmel (The Same Sky) for German broadcaster ZDF, can earn similar cult status remains to be seen. But on the back of smash-hit spy dramas Deutschland 83 and The Night Manager, it’s certainly tapping into a genre riding a wave of popularity.
Set in 1970s Berlin, the story centres on East German agent Lars (Tom Schilling) who is sent to West Berlin as a ‘Romeo’ agent on a mission to seduce high-ranking British intelligence officer Lauren (Sofia Helin, pictured top).
Elsewhere, gay teacher Axel (Hannes Wegener) takes dramatic steps to escape the oppressive East German regime, and Lars’ cousin Klara (Stephanie Amarell), a talented swimmer, proves she is willing to do anything to join the East’s Olympic swimming team by taking pills that produce disturbing side effects.
A story of divided families and a divided city, The Same Sky is written by Paula Milne (The Politician’s Wife) and produced by UFA Fiction, distributor Beta Film and Mia Film, in association with Rainmark Films. Netflix has picked up the series for multiple countries worldwide, including English-speaking territories.
The show has its origins as a passion project for Beta CEO Jan Mojto, who had been involved in 2006 Oscar-winning film The Lives of Others and was interested in commissioning a TV series focused on divided Berlin.
And Milne – who is no stranger to Germany, having penned 1990 drama Die Kinder (The Children) for BBC1 – was approached by Rainmark’s Tracey Scoffield to develop Mojto’s ambitions further. “It was very spy-orientated,” Milne recalls of the initial treatment, “but I felt it should have been more than that. So I re-pitched it and was commissioned to write the scripts. Originally it was going to be in English, but then ZDF got involved and it became German.
“Oliver did all the translations himself – during prep, he would take two hours off every afternoon and translate the whole lot. He would call me and say, ‘We don’t have a word for this, do you have another one?’
“He then printed the scripts with my English on one page and the German version next to it. We worked really well together and, because he was also directing, he was hugely loyal to the material as he was partly involved in delivering it.”
The Same Sky led the writer to immerse herself in research about the Stasi – the East German security force – and the use of Romeo spies. The discovery of a defunct NSA listening station on the outskirts of Berlin also gave Milne a location in which to plant Helin’s intelligence officer.
“We were able to put the characters in there and it opened up a whole new area of research into listening signals,” she says. “It transpired that domes found in the middle of this forest were used to disguise the direction in which the radars were facing, and they often faced West as much as East. That gave it a contemporary conduit [referencing whistleblower Edward Snowden’s 2013 leak of NSA surveillance practices]. It’s always important to look at what resonates with a contemporary audience because otherwise you’re just doing a curiosity piece about the past.”
Milne also stresses the importance of authenticity: “It’s crucial when you do a piece like this, set in the past, that you don’t have what I call ‘precognition with hindsight.’ You don’t write it knowing what happened. You have to write it in the moment and that really helps with the authenticity.”
Hirschbiegel says he was fascinated by the story and immediately hit it off with Milne. “She has a very good way of writing and describing the world and the characters,” the director reveals. “She hardly ever gave me notes and for me, it was irritating – she was totally happy with the results. She said I was brilliant and wonderful, but I kept telling her, ‘You wrote it. It’s a good script!’”
Behind the camera, Hirschbiegel says he tries not to over-stylise the look of a show, instead admitting that he’s a “slave to the story” and keeps his focus on how each scene progresses the plot. But for The Same Sky, strong visual consideration was certainly employed to capture the look and feel of the period and the disparity between East and West Berlin.
Contrasting colour palettes were used to represent the two sides of the city, with hand-held cameras used more often when filming scenes set in the East. Shots in the West, Hirschbiegel explains, were “more stately, more static.”
The director continues: “The idea was for the audience to immediately recognise whether a scene is set in the East or the West. But the challenge was not being able to use any real locations, as we shot in Prague. So you just look at lots of images and try to find matches where you’re shooting. I created my own Kurfurstendamm [a grand boulevard in Berlin], though it is actually smaller than the original.
“The East was easier. They had these eastern bloc pre-fab housing areas everywhere in the East and also in Prague, so we used those. But back in the day, West Berlin was not in good shape. There were lots of ruins and run-down houses, while in the East, all these pre-fab buildings were new because they were built in the 1960s and 70s. Going to Berlin or Prague now, all these old facades have been renovated, while the pre-fab buildings are all fucked up and run-down. So it’s a bit of a challenge to find the proper locations to match what it looked like then.”
Describing The Same Sky as a “serial, not a closed series,” Milne is now preparing a story treatment for a potential second season – though the show’s future depends on how season one is received when it airs in early 2017.
“Ultimately,” she adds, “this is a story about ordinary people who are living in extraordinary times and are forced to make decisions perhaps none of us are confronted with today. It has a morality under it without, I hope, ever being preachy – but I don’t answer the questions, I just pose them!”
As for Hirschbiegel, the director admits he’s now turning down movie projects because he wants to work in television, and has already signed on to direct an episode in the second season of Showtime drama Billions. “It’s more cool right now and it happens so much faster,” he says of the small screen, “and often the scripts are way more relevant and daring. It’s much more of an adventure now to do television than it is to do a movie.”
Israel’s Keshet International (KI) looks to have achieved another major breakthrough in the scripted formats sector. After In Treatment, Homeland and The A Word (all based on Keshet formats), it has now teamed up with HBO in the US on a drama about the true-life kidnapping and murder of three Israeli teenagers in 2014.
The 10-episode series is the first project to be produced for HBO by its former boss Michael Lombardo, who has a production deal with the network. The creative team behind the show, which will be filmed in Israel, is headed by Hagai Levi and Noah Stollman.
“HBO has always been a home to me. I’m so thrilled to work with them again, and regroup with my good friends from Keshet,” said Levi, who also created hit series The Affair for Showtime.
HBO president Casey Bloys added: “We’re excited to work with Keshet and this talented and creative group led by Hagai Levi. We look forward to sharing this important story with our subscribers.”
The series centres on the disappearance and subsequent search for the three teenagers amid escalating tension and conflict between the Israelis and Palestinians. It will be distributed internationally by KI. Avi Nir, the head of KI’s parent company Keshet Media Group, said: “We are thrilled to partner with HBO, the ultimate quality TV powerhouse, and to bring together Israel’s finest in TV and film, led by Hagai Levi, Noah Stollman and Joseph Cedar [the director of the as-yet-unnamed series]. We are all ready for the challenging journey on which this extraordinary story will take us.”
Another interesting story on the format front is NBC’s decision to pilot Infamous, a legal drama based on a 2009 Icelandic series called Réttur. The new version is being written/executive produced by Eli Attie (House) and executive produced by the team behind This Is Us (John Requa and Glenn Ficarra).
Infamous centres on a hotshot attorney who is jailed for a murder he doesn’t remember, and believes he didn’t commit. Six years later, he’s released on a technicality and tries to juggle his day job with finding out what actually happened to put him in jail. The original, created by Sigurjón Kjartansson, ran for three seasons.
Still in the US, ABC is piloting a new series called Protect & Serve. The series centres on a city struggling to cope with the unrest that is stirred up when the police shoot an unarmed man. The show was created by Barbie Kligman and Aaron Kaplan, with Kligman and her husband Billy Malone writing the script.
This seems to be a popular theme for US TV drama at the moment, reflecting the number of high-profile incidents in which controversial police shootings have inspired riots and retaliation. Fox, for example, is working on Shots Fired, a drama that explores the aftermath of racially charged shootings in a Tennessee town.
Also within the ABC family, cable channel Freeform has commissioned a third season of drama series Stitchers. The show hasn’t been a huge hit for Freeform (season two averaged 387,000 per episode) but will provide some stability as Freeform’s top two shows Pretty Little Liars and Switched At Birth move inexorably towards extinction. For those unfamiliar with the show, it focuses on a female hacker who joins a government agency that investigates murders by hacking into the brains of the deceased.
Turning to Europe, UFA Fiction and ZDF began production this week on their new miniseries drama Heaven & Hell – Martin Luther (working title). Marking 500 years since the Reformation, the series tells the story of Martin Luther, the visionary reformer and one of the most important religious figures in history.
Filming commenced in Prague and the surrounding areas and will continue until early December. Executive producers Benjamin Benedict and Joachim Kosack of UFA Fiction said: “The radical perspective on those early days of the Reformation that Heaven & Hell – Martin Luther enables us to portray human inconsistencies, depths and conflicts. This is a story of a group of people alive 500 years ago whose internal convictions led them to forge a new path – one that ultimately changed the world.”
The show is the latest in a line of big-budget coproductions that have tackled pre-20th century European historical subjects. Others include Borgia, Versailles, 1864, Victoria, Maximilian and Marie de Bourgogne, Medici: Masters of Florence and the BBC’s literary adaptations such as Wolf Hall and War & Peace (and the in-development Les Miserables and A Place of Greater Safety) . The new Martin Luther project will be distributed by FremantleMedia International.
There has also been a lot of movement in drama acquisition and distribution business this week. Channel 4 in the UK, for example, has acquired the rights to ABC comedy Black-ish for its digital channel E4.
Dynamic Television, meanwhile, has acquired the global rights to Hulu original series East Los High, which tells the story of a group of inner-city high-school students in LA. Dynamic managing partner Daniel March said: “The series is a game-changer that has completely shattered the bar in the genre. This is a high-powered, emotional drama that speaks to the most sought-after youth audience by tackling everyday challenges.”
Also this week, German, UK and French on-demand services have picked up 12-part Norwegian drama Young & Promising from Nevision-owned distributor About Premium Content. The show, which follows a group of aspirational young urban women, will be streamed on ARD/ZDF-owned Funk in Germany, Channel 4’s Walter Presents in the UK and CanalPlay in France.
Laurent Boissel, joint CEO and co-founder at APC, said: “VoD platforms and broadcasters continue to look for quality drama targeted at millennials. With its strong female leads and a tone that resonates with our time, Young & Promising will appeal to this audience.”
Still in the world of streamers, US-based Acorn is partnering the BBC and All3Media International on Close to the Enemy, a Stephen Poliakoff drama set in a bomb-damaged London hotel in the aftermath of the Second World War. The drama, which Poliakoff discussed during last year’s C21 Drama Summit in London, follows an intelligence officer captain whose last task for the Army is to ensure that a captured German scientist starts working for the British RAF on developing the jet engine.
There’s also good news this week for Dori Media Group, which has licensed acclaimed series El Marginal to French pay TV channel Canal+. Nadav Palti, CEO of Dori Media, said: “Canal+ is a premium pay TV channel that provides its subscribers with access to the highest-quality content. The sale of El Marginal is, therefore, a ringing endorsement of the quality of the show.”
The series focuses on the story of Miguel Dimarco, an ex-cop who enters the San Onofre prison under a false identity as a convict. His mission is to infiltrate a gang of prisoners who have organised the kidnapping of a judge’s daughter. Miguel must discover the whereabouts of the girl and set her free. He meets the objective but someone betrays him, leaving him behind bars with no witnesses who know his true identity.
Top-tier television writers are in short supply, so how are producers finding new voices for the small screen? DQ investigates.
If there’s a downside to the current boom in television drama, it might be the often-heard complaint from producers that there is a shortage of writers.
And while it might seem like a bizarre claim – with writing TV shows surely ranking as one of the most coveted jobs in the world – what Europe’s producers really mean is there is a shortage of writers who are trusted to deliver workable scripts for big-budget drama productions.
Given the eye-watering cost of making a TV drama, and the influence a writer can have on other areas such as casting, direction and financing, the emphasis on a chosen few is understandable, says Belinda Campbell, joint MD of UK-based prodco Red Planet Pictures.
“But it does mean brilliant A-list writers get very booked up,” she adds. “We’re fortunate to have good relationships with the likes of Sarah Phelps [Dickensian, And Then There Were None], as well as a CEO with a strong track record [Tony Jordan], but we have waited a long time for writers we wanted for certain projects.”
There is a similar assessment from Kate Harwood, MD of FremantleMedia-owned drama label Euston Films: “Broadcasters don’t tell producers which writers to work with. But when they are constantly being pitched the very best projects, they are bound to select the outstanding work they get from geniuses like Sally Wainwright [Happy Valley]. As a result, there is a lot of competition among producers to secure the services of a handful of talented and experienced screenwriters – though that isn’t always a question of money. If you have the rights to an interesting piece of IP, that can help.”
The challenge is to make sure producers don’t become reliant on a small group of elite writers and prevent new talent coming through, which leads to a second issue – how to get into the TV industry in the first place. Compared with most professions, there is still an air of mystery about how young writers can get their foot in the door, with the industry often accused of failing women, BAME, LGBT and working-class writers.
This lack of a clear pathway, coupled with the bottleneck at the top end, puts TV at risk of over-reliance on similar-sounding voices.
The US doesn’t seem to face the same blockages as Europe. In part, this is because there is such a large demand for TV drama writers from a broad array of networks that commissioners can’t afford to be so prescriptive. But there is also a better talent-advancement model in the shape of writers rooms, says Frank Spotnitz (The Man in the High Castle), a sought-after showrunner who came up through the US system, most notably on Fox’s The X-Files, and now plies his trade in Europe.
“A young writer in the US might start in film school, then write a spec script of a show they are interested in. If the producer of that show likes it, they may be invited to join the writers room as a junior member,” he explains. “Alternatively, some people join a writers room as an assistant and, if they are diligent, may be introduced as a writer after a year or so. On the whole, it feels like a merit-based system.”
From here, says Spotnitz, they will take on more responsibility until they are deemed ready to run their own show. “It took me three years from joining The X-Files until I was running the show – which is pretty swift. Regardless of the speed, however, writers aren’t just learning how to write in a writers room, they are learning everything they need to know about the overall production process to deliver a shooting script.”
This system of on-the-job training has spawned scores of great showrunners – such as Fargo’s Noah Hawley (who cut his teeth on Bones), Sons of Anarchy’s Kurt Sutter (The Shield), Power’s Courtney Kemp Agboh (The Good Wife) and UnREAL’s Marti Noxon (Buffy the Vampire Slayer). But the writers room model is rare in Europe, says Spotnitz, whose current slate includes Ransom, Medici: Masters of Florence and The Indian Detective. “I use writers rooms for shows that come through my company (Big Light Productions). But it’s still not very common here.”
The main reason for this seems to be production economics. In the US, drama commissions are generally 10 episodes and upwards – with a hardwired expectation/ambition that they will be renewed. By comparison, the majority of dramas in the UK still get produced at eight episodes or under – a number that makes it harder to justify running a US-style team of writers.
So how do writers build their careers in the UK, one of the most prolific TV drama markets outside the US? Caroline Hollick, creative director at Red Production Company, says: “A lot of writers in the UK progress through the soaps or returning drama series. We were fortunate to produce Scott & Bailey for a number of years and that was a great way to nurture talent. After Sally Wainwright [who started her career on soaps like Coronation Street] set the series up, we brought in writers like Amelia Bullmore and Lee Warburton.”
Competitions – although a bit of a lottery – provide another gateway into the business. Lionsgate UK has teamed up with Idris Elba’s Green Door Pictures for the Write To Green Light competition, designed to discover new voices in returnable TV drama.
Also up and running for the last few years has been the Red Planet Writing Competition. “We’ve certainly seen the benefit,” says Red Planet’s Campbell. “It introduced us to Robert Thorogood and gave us one of our most successful productions, Death in Paradise. As an aside, it also provided a platform for Daisy Coulam, a writer who came to us after working on soaps like Casualty and EastEnders. Daisy has now gone on to be the creator and lead writer on Grantchester.”
Sally Woodward Gentle, founder of Sid Gentle Films, says theatre is an increasingly important testing ground for UK TV writers. “TV has got so expensive that there aren’t many slots to try out new voices. But there are some good young writers in theatre who have grown up understanding the grammar of TV. And with the recent changes in TV drama, it is an exciting option for them.”
Examples include Abi Morgan, who went from plays to Peak Practice to acclaimed productions like The Hour and River. Mike Bartlett and David Farr are playwrights who have just delivered two massive hits for the BBC in Doctor Foster and The Night Manager respectively.
Euston Films’ Harwood says authors can also offer a fresh voice for TV: “The transition doesn’t always work, but then there are great examples like Deborah Moggach and Neil Cross, who we are now working with on Hard Sun.” Cross was a novelist before coming on board Spooks and then creating detective series Luther.
Other ways to catch broadcasters’ attention include teaming established authors with proven screenwriters (Harlan Coben and Danny Brocklehurst on Sky1’s The Five) and trying to ride industry trends. Buccaneer Media did this when it hired Nordic Noir hotshot Hans Rosenfeldt (The Bridge) to write ITV’s Marcella.
It’s also noticeable that more movie writers are being enticed into TV – a classic example being John Logan (Gladiator, The Aviator, Skyfall), who wrote Penny Dreadful for Sky Atlantic and Showtime.
“We have Neal Purvis and Rob Wade [Spectre, Skyfall] writing our adaptation of Len Deighton’s SS-GB for the BBC,” says Woodward Gentle. “Increasingly, film writers are attracted to writing TV series, which is a good development for producers.”
The recent success of German content in the international market with shows such as Deutschland 83 and the limited choice of local writers with international appeal has led Nico Hofmann, co-CEO of FremantleMedia-owned UFA Fiction, in search of foreign writers.
“For example, we worked with British writer Paula Milne on The Same Sky and, through our FremantleMedia connections, were introduced to Australian writer Rachael Turk. Rachael is now developing an exciting mystery series with us, set in the beautiful area around Lake Constance in south Germany. We are also working together with Oscar winner Dror Moreh [The Gatekeepers] on an adaptation of Frank Schätzing’s bestselling thriller Breaking News.”
Hofmann is also looking beyond the TV industry for fresh voices: “A good example would be Philipp Jessen, with whom we are working on Giftschrank [Poison Cabinet], a drama series about the world of tabloid journalism. Philipp came to us from the world of journalism and has presented us with an authentic and exciting series concept.”
French firm Atlantique Productions’ co-MD Olivier Bibas takes a similar line with regard to France: “Atlantique is focused on TV series that can work in primetime for international TV networks, and there is a shortage of French screenwriters who can deliver those. So we are also looking at the international market for writers.”
Bibas, however, is keen not to get caught up in the bidding wars for high-profile UK or US writers: “We are coproducing a spaghetti western called Django with [Italian prodco] Cattleya in Italian. In that case we have selected three Italian writers for the job because we believe they have the right voice for the project. And in the long run it makes sense for us to invest in new talent.”
Atlantique has also partnered with Sweden’s Nice Productions on Midnight Sun, a thriller set in Sweden’s Arctic region. “This series is written by Måns Mårlind and directed by Björn Stein, two Swedish talents involved in the creation and production of The Bridge,” says Bibas. “In France it is airing on Canal+ [as Jour Polaire].”
Of course, the popularity of Swedish writers has implications for the domestic market. “Sweden is not a big country,” says Nice Productions head of international coproductions Stefan Baron, “so there isn’t a large pool of writers for productions.”
Baron says the squeeze on Swedish writers is, ironically, being made worse by the increased investment coming into Swedish drama. “There is more money for drama, which is good. But that means a lot more projects in development. So if I try to hire a writer for a project, he may hesitate because he has his own project in development and is waiting for an answer. We could all do with quicker decisions to help free up writers.”
Rola Bauer, CEO of StudioCanal-owned Tandem Productions, echoes that sentiment, while adding that Europe suffers from a writer brain-drain: “A lot of writers, when they reach a certain level of expertise, are tempted to go to LA – which offers a different kind of challenge and potentially high levels of rewards.”
Bauer has also brought in writers with real-world experience, such as ex-cop Ed Bernero who was the showrunner on crime series Crossing Lines.
There are examples like this across the industry. In the UK, Jed Mercurio (pictured top) was a doctor before coming to prominence with medical dramas like Critical. In Israel, war journalist Avi Issacharoff and former soldier Lior Raz created Fauda.
Keshet International (KI) head of global coproductions Atar Dekel says Israel has a number of “talented and prolific writers” who ply their trade across a number of related areas. “It’s a small market, so it’s not uncommon for writers to make money in a number of ways. They’re very entrepreneurial. So you have people who are TV writers, playwrights and journalists.”
A variation on this is the kind of formatted drama KI is so skilled at. “With the UK adaptation of The A Word for the BBC, we needed someone who was interested in the subject matter (child autism) but also knew the local culture,” says Dekel. “So we were fortunate that we secured Peter Bowker.”
Bowker spent 12 years working in a hospital before taking a creative writing course and joining medical soap Casualty. It then took him two decades to secure his place on the UK writer A-list – which underlines two points. First, most writers who make it to the top have learned their trade the hard way; and second, their value to producers lies in the fact that they will almost certainly deliver a decent end product.
With that in mind, the negative connotations of writer blockages in Europe need to be set against the fact the TV drama system is booming in terms of ratings and quality. At the same time, however, the strength of the business shouldn’t be used as an excuse to ignore the issue of diversity.
Most producers agree that, in partnership with broadcasters, they need to take more risks if they are to truly reflect their audience. Red’s Hollick would also like to see “more development money going into this area, not just schemes that go nowhere,” adding: “Channel 4, Lime Pictures and our company did some good work with Northumberland University and the Northern Writers’ Awards, attempting to identify raw and diverse talent in the north of England. We really need to get out into communities to find exciting new talent.”
The scripted TV business received another boost this week with the news that YouTube has moved into original scripted programming for the first time.
Unveiling a slate of six shows across a range of genres, it revealed that its paid-for service YouTube Red has ordered a TV adaptation of Step Up, the popular street dance movie franchise that featured Channing Tatum.
The series, to be made by Lionsgate TV, will follow dancers in a contemporary performing arts school. Tatum and Jenna Dewan Tatum, who starred in the original movie, will executive produce.
So far, the US$10-per-month service has focused on shows starring top YouTubers such as Felix Kjellberg, aka PewDiePie. However, YouTube CEO Susan Wojcicki has given a strong indication that scripted content will play an increasingly big part in her plans.
Unveiling the slate, which also included a scripted comedy called Rhett & Link’s Buddy System, she said original series and movies are one of the leading drivers of YouTube Red subscriptions, “with viewership that rivals similar cable shows.” Interestingly, more than half of people watching Red originals are doing so via mobile phones – suggesting there may be a future for vertical video.
Still in the world of streamers, SVoD behemoth Netflix announced that it is backing a true crime drama based on Margaret Atwood’s novel Alias Grace.
The novel follows Grace Marks, a poor Irish immigrant and domestic servant living in Canada who, along with stablehand James McDermott, was convicted in 1843 of murdering her employers. The six-part miniseries will be written and produced by Sarah Polley and will air on Canadian public broadcaster CBC in Canada. Netflix will stream it worldwide.
Also this week, JJ Abrams’ production company Bad Robot has linked up with US talkshow host Tavis Smiley on a miniseries about the death of music icon Michael Jackson.
The series is based on Smiley’s book Before You Judge Me: The Triumph and Tragedy of Michael Jackson’s Last Days. Abrams and Smiley are also working on a TV version of the Smiley’s 2014 book Death of a King: The Real Story of Dr Martin Luther King Jr’s Final Year.
Elsewhere, it has been a busy week for ITV’s pay TV channel ITV Encore, which has announced a series renewal and a miniseries commission. The renewal is for Rainmark Films’ well-received period drama The Frankenstein Chronicles, which stars Sean Bean and was created by Benjamin Ross and Barry Langford.
Billed as a “thrilling and terrifying reimaging of the Frankenstein story,” the first season followed detective John Marlott, a veteran of the Battle of Waterloo who was battling his own demons and is haunted by the loss of his wife and child. In pursuit of a chilling and diabolical killer, Marlott’s investigation took him into the most exalted rooms and darkest corners of Georgian London, a world of body snatchers, anatomists and scientists whose interests came together in the market for dead bodies.
The new series has been commissioned for ITV by controller of drama Victoria Fea and commissioning editor Sarah Conroy. Production is set to begin in Northern Ireland in January 2017.
“We are thrilled to be working once more with Sean Bean in the role of John Marlott, who is a returning hero like no other,” said executive producer Tracey Scoffield. “With the continued support of ITV and (the show’s distributor) Endemol Shine International we want to be more ambitious than ever.”
ITV also announced a new two-hour crime thriller for ITV Encore entitled Dark Heart. In this production, Tom Riley (Da Vinci’s Demon, Monroe) plays Will Wagstaffe, a workaholic detective leading the investigation into the deaths of two unconvicted paedophiles.
The two-hour drama, set in London, is written by acclaimed writer Chris Lang (Unforgotten, A Mother’s Son) and based on the novel Suffer the Children by Adam Creed.
Dark Heart is an ITV Studios production for ITV Encore. It is executive produced by Lang, Kate Bartlett (Jericho, Vera) and Michael Dawson (Vera, Holby City). The producer is Chris Clough (The Missing, Stan Lee’s Lucky Man) and the director is Colin Teague (Jekyll & Hyde, Da Vinci’s Demons).
ITV Studios’ Bartlett said: “Chris Lang has written a truly compelling and atmospheric script. Adam Creed created a fascinating character in Will Wagstaffe with so many layers, and Chris has brilliantly brought him to screen. We’re thrilled Tom Riley is playing him.”
Still on the subject of novel adaptations, there are reports this week that Endemol Shine-owned drama label Kudos has picked up the rights to Robert Harris’s best-selling Ancient Rome-based Cicero Trilogy, which comprises the novels Imperium, Lustrum and Dictator. No broadcaster is attached and Kudos is yet to decide on the format of the adaptation, but the project is likely to attract interest given the calibre of those involved.
In a busy week for new production announcements, pan-European satellite broadcaster Sky and Germany’s Bavaria Film announced that they are developing a €25m (US$27.5m) TV series based on the classic wartime submariner novels Das Boot and Die Festung by Lothar-Günther Buchheim. The series is being set up as a sequel to the 1981 film version of Buchmein’s novels.
Set in 1942 during the Second World War, the eight-hour series will focus mainly on the German point of view as submarine warfare became increasingly ferocious. Tony Saint (Margaret Thatcher: The Long Walk to Finchley, The Interceptor) and Johannes W Betz (The Tunnel, The Spiegel Affair) have been signed up as head writers, while Oliver Vogel and Moritz Polter are attached as executive producers.
Christian Franckenstein, CEO of Bavaria Film, said: “The 1981 film Das Boot is unique, and we are approaching our work with the greatest of respect for this masterpiece. We want to build on the strong brand of Das Boot, telling the story in a contemporary manner by making use of every filmmaking and storytelling technique available to us.”
Still in Germany, UFA Fiction has just unveiled plans to make a film biopic based on the lives of magicians Siegfried and Roy, two of the few truly global celebrities Germany has ever produced.
The film, which will likely be extended into a miniseries for television, will be directed by Philipp Stölzl (Winnetou, Young Goethe in Love, North Face) and scripted by Jan Berger.
Nico Hofmann, UFA producer and co-CEO, commented: “The prospect of working with Siegfried and Roy is the fulfilment of a long-held dream. It’s not only the story of two Germans who became world famous but a plunge into the world of magic and illusion. The lifework of Siegfried and Roy derives from an almost inexhaustible store of energy and creativity. This is the story of two men who set new, never repeated standards in the tough world of show business.”
Siegfried Fischbacher and Roy Uwe Horn met on a cruise ship in 1960, where they developed their first joint show, driven by their shared passion for the art of magic and illusion. They had their international breakthrough in 1966 at a charity show in Monte Carlo. From 1990, they had their own show at the Mirage Hotel in Las Vegas featuring white tigers, which became their trademark. The spectacular Siegfried and Roy Show was one of the most elaborate stage shows ever. On October 3, 2003, however, the artists’ unique career was brought to an abrupt halt when Roy was critically injured by his favourite tiger, Montecore.
Alongside all of the above production activity, it has also been a busy week for distributors. ITV’s Maigret has been sold by distributor BBC Worldwide to broadcasters including Channel One in Russia, NRK in Norway, TVNZ in New Zealand, RTÉ in Ireland, Finland’s YLE and Prima TV in the Czech Republic. Simultaneously, StudioCanal has sold Section Zéro to Channel One Russia.
AMC’s international network AMC Global, meanwhile, today announced that it has acquired the upcoming anthology drama series The Terror, an adaption of the bestselling novel by Dan Simmons. Scott Free, Emjag Productions and Entertainment 360 are producing the 10-episode drama, which will premiere globally within minutes of its broadcast on AMC in the US.
Written for TV by David Kajganich, the series is set in 1847, when a Royal Naval expedition crew searching for the Northwest Passage is attacked by a mysterious predator that stalks the ships and their crew in a desperate game of survival.
“We’re very excited to bring this gripping dramatic story to AMC Global,” commented Harold Gronenthal, exec VP of programming and operations for AMC and Sundance Channel Global. “With a distinctive combination of science fiction and historical non-fiction, The Terror will complement AMC Global series as Fear the Walking Dead, Humans and Into the Badlands.”
Finally, there are reports this week that showrunner Bryan Fuller is still hoping to revive serial killer drama Hannibal. The show was cancelled by NBC after three seasons but Fuller said there might be room for a revival in late 2017 – once he has dealt with the small matter of a Star Trek reboot for CBS and Starz’ American Gods.
On the eve of MipTV 2016, German producer/distributor Beta Film sold a slate of German dramas to leading broadcasters in Scandinavia.
Among the titles picked up by DR Denmark, NRK Norway, SVT Sweden and YLE Finland were the right-wing terror trilogy NSU German History X and Tom Tykwer’s 1920s crime series Babylon Berlin.
The four networks also acquired Oliver Hirschbiegel’s spy drama The Same Sky and 15th century period drama Maximilian.
Historically, drama has travelled in the other direction – from Scandinavia to Germany. But the new deals are further evidence of the way German scripted content has started to appeal to international buyers.
Expressing the German industry’s newfound confidence, Beta Film’s director Jan Mojto – talking about Babylon Berlin – said: “Made in Germany is also a hallmark of quality in television. Due to the subject (of Babylon Berlin), the creative energy invested in the project, the names involved, its high standards and, not least, its budget, international reactions to the project have been very positive. Babylon Berlin doesn’t need to take second stage to any of the major international series.”
That view was endorsed by Stephen Mowbray, head of acquisitions SVT, who said: “German producers are now delivering world-class fiction, and partnering with Beta secures a raft of exciting titles for the Swedish public.”
Also upbeat is Tarmo Kivikallio, head of acquisition at YLE: “New German drama is strong at the moment in Finland. The way it deals with German history is unique and thrilling. I am sure Finnish audiences will enjoy these series and I am very happy about the co-operation with Beta.”
German drama was preivously known for being quite conservative in tone and style, targeted primarily at the mainstream free-to-air domestic market. But a shift in the market came with Generation War, produced by UFA and distributed by Beta Film. A hard-hitting, high-quality exploration of the Second World War from the perspective of five young German friends, it has sold widely around the world.
The success of this show was then repeated by Deutschland 83, another UFA, which that took a quirky, offbeat look at the end of the Cold War era. The story of a young East German spy who is sent to the West on a mission, it was picked up in English-speaking markets such as the US (by SundanceTV) and the UK (Channel 4) – a significant breakthrough for German drama.
All of which brings us to Cannes’ MipTV market, where Germany will be making a lot of noise as Country of Honour. The event will be hosting numerous networking and screening events throughout the week, as well as a series of conference sessions.
In terms of drama titles, the Beta Film titles mentioned at the outset will all be on show or up for discussion. There will, for example, be a screening of NSU German History X. Produced by Gabriela Sperl (Line of Separation) and Academy Award-winning Wiedemann & Berg (The Lives of Others), this drama explores the true story of a series of murders that, despite serious hints, were only exposed as right-wing terrorism 10 years after the first killing took place.
“In the aftermath of the fall of the Iron Curtain, a clandestine far-right German terrorist group called National Socialist Underground, or NSU, began operating in Germany by killing immigrants in cold blood, termed the Bosporus Serial Murders,” explains Beta Film. “It took the police and intelligence services over 10 years to hunt down the perpetrators. Beate Zschäpe, suspected to be a member of the NSU, is still on trial today.”
The 20th century has proved a strong source of inspiration for German scripted TV producers. Another project coming through from Beta Film, for example, is Hitler – a 10–hour event series based on the biography Hitler’s First War by historian Thomas Weber. The show, which promises to shed an unprecedented light on the most closely examined figure of modern history, has been pre-sold to French broadcaster TF1 and is likely to be the subject of numerous conversations with buyers next week in Cannes.
As is evident from the above scripted shows, Beta Film has played a key role in the new wave of German drama exports. But there will also be plenty of activity at MipTV involving the country’s other leading content owners. ZDF Enterprises, for example, has already had success with its crime drama The Team. And at MipTV it will launch Ku’damm 56 – Rebel With a Cause. A three-part drama produced by UFA Fiction for ZDF/ZDF Enterprises and written by Dorothee Schon, it is set in the 1950s and tells the story of young women of the era and their struggle for equality.
Also coming through is Blender, a six-part series that Tele München Gruppe is developing together with Friedrich Ani, Ina Jung and Dominik Graf. Based on a true story, the series centres on the head of a police drug squad accused of being involved in the drug world himself.
Global Screen, meanwhile, will continue selling its acclaimed TV movie Naked Among Wolves. Based on a novel about a three-year-old Jewish boy who is smuggled into the Buchenwald concentration camp in a suitcase, it has already sold to markets including the USA, Canada, the UK, Australia, Italy, Spain, South Korea, Denmark, Sweden, Turkey, France, Benelux, Poland and Lithuania.
The company will also present Rivals Forever – The Sneaker Battle, which tells the story of the battling brothers behind Adidas and Puma, set against the backdrop of the rising Nazi regime. The show has already been sold to Scandinavia and Eastern Europe.
One of the main sponsors of the Germany In Focus event is Red Arrow Entertainment, the content creation and distribution arm of ProSiebenSat.1 Media. For the most part, Red Arrow’s international strategy has been driven by participation in non-German scripted content (Bosch, Cleverman, Peter & Wendy, The 100 Code). But it does have a story to tell in terms of German scripted formats. Classic series The Last Cop has been adapted for France, Japan, Estonia and Russia, while Danni Lowinski was recently reversioned for the Netherlands Market.
In terms of future prospects for German drama, there is another development that points to a bright future – namely the emergence of SVoD platforms as content commissioners. Amazon, for example, has recently greenlit its first German-language series in The Wanted. Starring Matthias Schweighöfer as a Berlin convention centre project manager whose life is turned upside down following a mysterious hacking attack, the series will debut on Amazon Prime in Germany and Austria in 2017.
Netflix, meanwhile, has just unveiled plans for its first German original, a supernatural family saga called Dark. Commenting on that one, Erik Barmack, VP of International Originals at Netflix said: “Dark is an incredible German story that will appeal to a global audience.”
All in all then, it looks like we are only at the start of a boom time for German-language drama exports.
For more about Rivals Forever and an interview with Maximilian writer Martin Ambrosch, be sure to pick up the latest copy of Drama Quarterly in Cannes.
Fresh from the global success of Cold War drama Deutschland 83, Germany’s UFA Fiction is now exploring the political and sexual revolution of 1950s Berlin in Ku’damm 56. Michael Pickard reports.
A tree-lined boulevard filled with shops, restaurants and hotels, Kurfürstendamm is described as the Champs-Élysées of Berlin.
Dating back to around 1542, the 3.5km-long avenue – known as Ku’damm – is now home to an array of fashion houses and boutiques. But in the 1920s, it was the burgeoning scene of many theatres, cafes and nightclubs.
It is also the setting for a new German period drama that has dancing at its heart.
Ku’damm 56 tells the story of Caterina Schöllack (Claudia Michelsen), a dance school owner who has three daughters, Helga, Eva and the rebellious Monika. When Monika tries to break free from her mother’s strict social conventions, she begins a search for female equality during a time when women are becoming increasingly unwilling to simply stand by their man.
Produced by UFA Fiction for German broadcaster ZDF, the three-part miniseries is written by Annette Hess and directed by Sven Bohse.
UFA Fiction has been enjoying success on the international stage with Second World War drama Generation War (Unsere Mütter, unsere Väter) and Cold War spy thriller Deutschland 83, which became the first German-language series to air in the US after it was picked up by SundanceTV. It has now been sold to 20 broadcasters and online platforms worldwide.
The production company’s latest story is set in 1956, between the events of those two shows, and focuses the changing role of women 11 years after the end of the Second World War.
Nico Hofmann, CEO of FremantleMedia-owned UFA, says: “This is the first time a show has focused on women and tells the story of sexual liberation in the 1950s completely from a female perspective.
“I think we will start a huge debate in Germany when it airs because this is a topic nobody has ever had on their agenda. It’s not just a dancing school adventure, it’s about society in those days. It’s very critical, very sharp, and how you deal with sex and how we were educated in those days is the key issue of the whole show.”
Alexander Coridass, president and CEO of ZDF Enterprises, which distributes the series internationally, continues: “It’s the beginning of the sexual revolution. Don’t forget 1956 is only 11 years after the war – even some prisoners of war had only just returned.
“Directly after the war, women had to take over the country. Then the men returned and they wanted to take up their old roles again. Partly, at least, I experienced that myself and it was extremely interesting. On one hand, women were pushed back slightly but they became aware they didn’t have to accept it. This clash of two cultures – pre-war society and the dawn of a new era – led to political and sexual liberation. That’s a unique, spicy, sometimes funny and sometimes dramatic mixture.”
Hofmann is no stranger to using his series to start debates, following the controversy that surrounded Generation War’s depiction of the Nazi era and the subsequent conflict. Now he hopes the story of women finding their way in post-war Germany will spark new discussions.
“It’s a huge topic in Germany,” he says. “It’s very unique because you had a situation where you can say modern Germany was founded by women. There were no men. It wasn’t the same situation as in France or the UK. You had a lot of POWs coming back 10 years later. There were six million men killed. It’s a female society.
“We had a very controversial debate over Generation War. We had a month-long debate in Germany – and in Poland as well. We will have the same with this show because it’s a topic that’s never been seen. I’m amazed no one has done it before.”
Beyond the role of women, Ku’damm 56 – which will likely be called Berlin 56 for international viewers – also offers an opportunity to look at other emerging trends of the era, such as new fashions and the rise of rock ‘n’ roll music.
“The fashion was great,” says Coridass. “It was conservative but stylish. At that time, the fashion and rock ‘n’ roll would still have been forbidden but, after the war, we were focused on other things. This was also the first sign of the rise of the German economy after the war. There are so many aspects that come together that we are pretty sure this will be a unique story.”
Hofmann adds: “It’s a very sharp and very critical portrait of society of those days. It’s not easy to watch. The most important thing about Annette’s script is the accuracy with which she’s portraying these women. It’s about our families, our mothers. A lot of it portrays my own mother in those days. It will have a similar impact to Generation War in terms of debate.”
While German drama has often looked back on its own history, Hofmann says the way these stories are told is now changing. “They’re moving away from kitsch and melodramatic structures and getting to a very sharp, analytical way of showing society,” he explains. “That’s why we’re proud of Deutschland 83 and Generation War, which have opened doors for me in other countries. It’s a game-changing moment for the industry in Germany. We’re now talking to (US cable channels) AMC and SundanceTV about new projects, and with Scandinavia, Italy and France about coproductions.”
In particular, Hofmann also says he plans to work more closely with Jens Richter, the CEO of distributor FremantleMedia International, and other drama producers within Fremantle’s production group.
“It’s the best time in my life,” he adds. “We have six shows on the way and made nearly €50m (US$57m) in revenues last year. We are having some very good conversations talking about what we’re doing after Deutschland 83 with SundanceTV.”
Other projects currently on UFA’s slate include three-part spy drama The Same Sky; Breaking News, about a war correspondent operating in Israel in the 1920s; and Hitler, an eight-hour biopic examining events from the Nazi leader’s rise to power to the Second World War. Based on the book Hitler’s First War by Thomas Weber, it has already been pre-sold to TF1 in France.
Another UFA drama, Nackt unter Wölfen (Naked Among Wolves), which tells the story of a three-year-old Jewish boy who is smuggled into the Buchenwald concentration camp in March 1945, has been sold by Global Screen to networks including SVT in Sweden, Spain’s TVE, DR in Denmark, Mediaset in Italy and KBS in South Korea.
In recent years there has been a small but significant trend for non-English-language drama to be aired in its original form in English-speaking markets. This began with the export of Nordic scripted content, such as Borgen, but has since expanded to encompass French, German and Italian shows – including Les Revenants, Generation War and Inspector Montalbano respectively.
For the most part, this trend has involved the sales of shows to British broadcasters and subscription VoD platforms. But there was a major breakthrough earlier this year when US cable channel SundanceTV picked up the original version of Deutschland 83, an eight-part drama from UFA Fiction set in during the latter years of the Cold War.
Nico Hofmann, producer and chairman of UFA Fiction, said of the deal: “Never has a German-language series received so much attention before broadcast. Sundance TV’s reputation for exceptional series is yet further confirmation of Deutschland 83’s high quality. This is a milestone for German TV production.”
The arrival of Deutschland 83 in the US brought a lot of mainstream PR and a positive critical response. For example, Variety called it a “taut spy thriller” that “mixes coming-of-age material for the protagonist and intrigue from the tense political climate that Germans on both side of the (Berlin) Wall faced in the 1980s.”
It also scored well on IMDb, securing an 8.6 rating out 10. To put this in perspective, it is higher than Orange is the New Black (8.4) and Sense8 (8.5) – albeit based on a much smaller voting sample.
Deutschland 83’s positive reviews, however, haven’t transformed into very high ratings for Sundance. With the last episode airing on August 8, the website ShowBuzzDaily has the show’s ratings coming in at around 70,000-100,000.
Clearly, caveats need to be made regarding time-shifted viewing, repeat airing and the ferocious competitiveness of the US market, but this figure suggests the US cable audience isn’t quite ready for non-English language drama.
To compare with the UK, an equally competitive but much smaller market, this kind of content would probably secure an audience somewhere in the region of 500,000.
Deutschland 83’s ratings may have been impacted by the fact it is at the forefront of a new wave, and Sundance is to be applauded in this respect. So it may be that the AMC Networks-owned channel will need to persist with foreign-language drama in order to build up a loyal audience base. In the meantime, the best bet for foreign-language producers will continue to be the formats route.
All of this shouldn’t, however, have a negative impact on Deutschland 83’s sales performance elsewhere in the world, where language is not such a barrier.
Distributor FremantleMedia International has, for example, sold the series to Canal+ France and numerous mainstream broadcasters across Scandinavia.
Still with the AMC family, this Sunday will see AMC air the last episode of Humans. A bona fide hit for Channel 4 in the UK, which recently renewed the show, Humans has proved a steady but not spectacular performer for AMC. After debuting with 1.7 million viewers, it has been running at about 1.1-1.2 million ever since. AMC is already on board the second season.
Meanwhile, this was a big week for ABC Family’s long-running hit series Pretty Little Liars, with Tuesday’s Game Over Charles episode involving a big reveal. For six seasons, the show’s central characters have been hounded by a mysterious enemy, whose identity was finally revealed this week.
The result was a two-year ratings high for the show among its target 18-34 and 18-49 demographics. With 3.1 million total viewers and 1.8 million viewers among 18-49s, the show was also the top performer across all US cable viewing.
The ABC group has established a good reputation for its ability to build social media buzz around its shows, and Pretty Little Liars is a prime example. With 1.6 million tweets, the latest episode became the third most tweeted-about scripted show in cable TV history, accounting for 50% of all TV tweet activity for the day.
Significantly, the only shows ahead of it in this list are also episodes of Pretty Little Liars. All told, the show has three million Twitter followers and 3.4 million Instagram followers.
Commenting on the programme’s social media performance, Jenn Deering Davis, editor-in-chief of social analytics firm Union Metrics, said: “Pretty Little Liars’ finale was a true Twitter triumph. ABC Family continues to innovate in how it encourages fan participation across social media, never content to let its social strategy stagnate. Before the finale even started yesterday, Pretty Little Liars fans had already posted more than two million tweets about the show, breaking previous all-day records. Pretty Little Liars still has one of the most active and engaged Twitter fandoms in existence.”
Perhaps not surprisingly, ABC Family has already commissioned two further seasons.
There was also good news this week for The Last Ship, commissioned for a third season of 13 episodes by US cable channel TNT. According to the channel, the Sunday-night show is “basic cable’s top scripted series this summer with adults 25-54.”
The programme is currently nine episodes through its second season and is a steady performer with ratings of around 2.9 million. TNT has also set things up so that authenticated users can watch all previous episodes of the show on an on-demand basis.
This summer the series is “reaching an average of nine million viewers across TNT’s linear, VoD, digital and mobile platforms,” according to the channel.
Based on William Brinkley’s novel, The Last Ship chronicles a global catastrophe that nearly destroys the world’s population. Because of its positioning, the navy destroyer USS Nathan James avoids falling victim to the devastating tragedy, forcing captain and crew to confront the reality of their new existence in a world where they are among the few remaining survivors.
We’re only a few weeks away from the all-important autumn season and a lot of buzz is building around NBC’s new scripted series Blindspot. The show focuses on a mysterious tattooed woman who has lost her memory and does not know her own identity. On her back is the name of an FBI agent, who soon learns that the other tattoos on her body contain clues to upcoming crimes.
The two-minute trailer shows the lead character, played by Jaimie Alexander (Thor), being found naked in a holdall in the middle of New York’s Times Square. So perhaps not surprisingly it has racked up millions of views on YouTube. The big question now is whether Blindspot can sustain the narrative beyond an intriguing opening premise.
The show was created by Martin Gero and Greg Berlanti, who recently discussed it at the Television Critics Association’s summer press event. Gero’s enigmatic assessment was that Blindspot is “a procedural for people who don’t like procedurals, and a character drama for people who don’t like character dramas.”
He added: “There is an overarching mythology to this show week to week. You’re going to get some great resolution by the end of the year – you’re going to get some great resolution by the end of episode two. As we come through this mythology, there are a lot of twists and turns.”
A spokesman for FremantleMedia International, which distributes Deutschland 83, has provided further viewing figures for the show on Sundance. She said: “Over its eight episodes Deutschland 83 significantly outperformed the Sundance slot average share across several key demographics and more than doubled the average in the channel target audience adults 25-54 (Live+3D). Deutschland83exceeded the Sundance slot average share by 83% for total individuals 2+, 109% among 25-54s, 73% among 18-49s and 59% among women 18+ (Series 1, Live+3 Days).”
Two members of the creative team behind German Cold War thriller Deutschland 83 have revealed all about working between television markets in Germany and the US. Michael Pickard reports.
On the back of scripts mostly written by Anna Winger alone, Deutschland 83 became the first ever German-language series to air on a US network when it debuted earlier this year – yet the co-creator says she prefers working alongside other writers.
The show, which is produced by UFA Fiction for RTL, is described as a suspenseful coming-of-age story set against the real culture wars and political events of Germany in the 1980s.
The story follows Martin Rauch (Jonas Nay, pictured above) as a 24-year-old East Germany native who is sent to the West as an undercover spy for the Stasi foreign service. Hiding in plain sight in the West German army, he must gather the secrets of NATO military strategy.
“The whole development was extremely condensed,” explains Winger, an American novelist who worked alongside her husband, German producer Joerg Winger, to bring the series to life. “I started writing the pilot just before Christmas 2013 and we finished shooting just before Christmas 2014. One year, soup to nuts.
“German TV isn’t set up financially to support an American-style writers room, where writers work full-time on a show. Four other writers came on after I had written the pilot and the season arc, all friends: Steve Bailie, Andrea Willson, Ralph Martin and Georg Hartmann. We brainstormed together for about a week, which was great. Then each of them wrote one episode and I wrote the other four. After a few drafts, I took over all the scripts to bring the season together into one voice. Then the two directors came on board as we started to prepare for production.
“Joerg was involved from day one, of course. He’s a really experienced showrunner, so I couldn’t have had a better partner my first time out. This project has been a great collaboration for the two of us. And because I wrote the original scripts in English, he did the German polish.”
In future, however, Winger says she would much rather work with a writers room, where she enjoys the sense of collaboration.
“I have my writing office in the former Tempelhof airport terminal – the (former) fourth biggest building in the world – where sometimes I don’t see anyone else for a week,” she says. “So I loved working with other people on this project: producers, directors, actors and especially the other writers.
“If budget would allow for it, I would always work with a writers room. Stories get so much richer through collaboration.”
Meanwhile, Edward Berger, who directed the first five episodes of Deutschland 83, has opened up about the differences between German and US television.
“In Germany, television production has traditionally been very focused on 90-minute movies,” he says. “The idea of serialised drama that was started in the US was completely overslept by the German TV industry. I remember situations from just a few years ago, where we tried to pitch an idea for a series with a horizontal storyline, and the producers and networks kept saying, ‘This doesn’t work in Germany. People want a finished plot at the end of the night. They don’t want to worry about how it continues.’
“All the while shows from Denmark, Sweden, England and the US were having massive success around the globe. I couldn’t believe it. So Deutschland 83 is part of a fairly new development in German TV.
Writer/director Berger joined the series at a very early stage after he was contacted by Joerg Winger. He adds: “I really liked the characters – they seemed very real and vivid to me. So I said yes, and from then on we had continuous story meetings while Anna kept writing the scripts.
“It’s great to have a writer whose style you can trust. I can sit back and relax and wait until I get the next draft to critique. I can keep my distance and really judge the script from an outside perspective. When I write and direct, the danger is that I get too close to the subject matter. What I can’t stand, however, is to sit around and wait for that writer to appear. So, in the meantime when I don’t meet someone like Anna, I spend my time writing.”
FremantleMedia International secured the landmark deal to send Deutschland 83 to SundanceTV, which launched the eight-part series to US viewers on June 17.