Tag Archives: Wataha

Must CEE TV

With a number of drama productions from Central and Eastern Europe drawing critical acclaim in recent years, DQ finds out what’s coming next from the region and why it’s ripe for a breakout international hit.

While Scandinavia, Israel, Germany and Spain have been among the hottest territories for drama in recent years, a number of ambitious productions both in front of and behind the camera mean series coming out of Central and Eastern Europe (CEE) now demand closer attention.

Over the past decade, the region’s drama output has earned plaudits on the back of HBO Europe’s original production strategy, which has led to a number of notable series – Hořící Keř (Burning Bush, 2013) and Pustina (Wasteland, 2016) from the Czech Republic; Hungarian crime drama Aranyélet (Golden Life, 2015), based on Finnish series Helppo Elämä; Wataha (The Pack, 2014), Pakt (The Pact, 2015) and Ślepnąc od świateł (Blinded by the Lights, 2018) from Poland; and Romania’s Umbre (Shadows, 2014) and Hackerville (2018).

Earlier this year also saw the launch of the first HBO Adria series in the shape of Success, a Croatian drama about four strangers bound together by a violent event. But while HBO continues to ramp up its own activities, it is by no means the only company that is pushing the limits of the region’s creativity.

Czech drama series Pustina (Wasteland) aired on HBO Europe

One of the most ambitious projects coming out of CEE is The Pleasure Principle, which is billed as the first international production between three countries in the region – Poland, Ukraine and the Czech Republic.

The 10-hour series, produced by Apple Film Production and distributed by Beta Film, sees police investigators from each country work together after female body parts are discovered in Odessa, Warsaw and Prague, in a cross-border inquiry that leads to shady businessmen, lawyers for sale, corrupt politicians, professional killers and traces of a common past. Canal+ Poland, Czech Television and Russia’s Star Media are also on board the series.

Series producer and director Dariusz Jabłoński says it was his ambition to create a universal crime thriller using local talent and crew. Set across 10 days in the three cities, the project used different teams to make the drama in each country, all under the supervision of Jabłoński.

“We have wonderful roles for the greatest actors of every country and, after a very deep casting process that I personally attended, we have chosen the best actors. Nobody refused us,” he says. “Then we started to think about shooting. Usually, when you make films that take place in different countries, you use one crew. But we wanted to show the differences between these three countries and, because of that, we chose a more challenging path by using completely local crews.

“So every country is shot by a different DOP who created the lighting for their own city. Warsaw is rather grey, all steel and glass. Prague is more bourgeois, with yellow and beige. Odessa is green and blue like the sea. All of them came with a simple idea that was different from the others, so I didn’t have much to supervise to keep everything balanced.”

Poland’s Wataha (The Pack), another HBO Europe original

The team communicated in the common language of English across the 120-day shoot, with filming being completed in one country before moving to the next. “We didn’t make any compromise over quality. It was shot in 8K with two, sometimes four, cameras, cranes and every technical tool at our disposal,” Jabłoński says. “I hope this show will not only be exciting for the viewers but also present the technical facilities of our countries.”

Russian drama Storm, meanwhile, sees respected police detective Gradov turn to crime – and murder – to find the money to pay for his terminally ill wife’s medical treatment. When his colleague, Osokin, begins to suspect Gradov is behind a string of crimes, he becomes determined to expose him.

Produced and distributed by Yellow, Black and White (YBW) for streamer start.ru and directed by Boris Khlebnikov (An Ordinary Woman), the series focuses on a complex group of characters and the choices they make.

“It is a wholly original story that writer/director Natalia Meschaninova came up with,” explains YBW creative producer Irina Sosnovaya. “The goal we set with this story was to make a genre series that would thrill and entertain within the social context of contemporary Russia. As producers, we tried to give as much creative freedom to the talented crew as we could, not forcing them to stay within the boundaries of the genre but encouraging them to write a social drama we would be excited to follow.”

The rise of streaming platforms is fuelling the drama boom in the region, Sosnovaya says, with creators no longer bound by the restrictions of major TV channels. Daria Bondarenko, YBW’s head of international development, distribution and coproductions, picks up: “Digital services allow authors to be uncompromising, to be bold and to take risks without looking back, so that’s where the cream of Russian talent gravitates towards. Directors, writers and actors now work on the digital series with as much freedom as they allow.

Magdalena Cieślak

“Just 10 years ago, Russia was an unknown and unexplored market. Nowadays things have changed tremendously: we see more and more shows that travel globally, some of them awarded and recognised at prestigious TV festivals. Every new pickup of a Russian show outside our local market is a big success for the entire industry; it is the recognition that makes us noticeable as a film-producing country.”

Shifting west of Russia, TVP1 series Our Century marks the first period drama to come from producer Endemol Shine Poland (ESP). Based on the book by Albena Grabowska, it follows the fortunes of the multi-generational Winny family, woven through the most dramatic events of the 20th century.

Magdalena Cieślak, head of scripted at ESP, says she and her fellow creative producer on the show, Małgosia Retei, “were immediately taken by the story when we read the three-part novel back in 2016.”

She continues: “It was nearly a thousand pages of gripping literature, which we believed could serve as the basis for a great script. It took us some time, though, to convince the broadcaster, as period dramas seemed a very costly and risky genre at that time. What helped us was the involvement of one of the best Polish screenwriters, Ilona Łepkowska, who supervised the script development and ensured the project we pitched to TVP1 was outstanding in terms of storytelling.”

Other talent involved includes director Piotr Trzaskalski, DOP Witold Płóciennik and actors Kinga Preis, Jan Wieczorkowski and Olaf Lubaszenko.

The story begins in 1914 at the outbreak of the First World War and ends in modern times, covering almost 100 years of Polish history. Against this backdrop plays the story of one family whose lives are full of hidden secrets, passion, love, sacrifice and complicated relationships.

Certain book characters were cut to allow for greater focus on some of the more distinctive family members, while new scenes were created for the adaptation, which blends drama and tragedy with touches of comedy and some fantastical, dreamlike sequences that relate to one character’s ability to see the future.

Our Century is the first period drama from producer Endemol Shine Poland

Cieślak says shows like Our Century feed Poland’s current demand for homegrown series while also showcasing the “outstanding” quality achievable by the local production industry.

“Polish viewers prefer local stories and 80% of the dramas on air are created and produced locally,” she adds. “To find new ideas that will entrance the audience, we need to invest in local talent, beginning with script writing and development. Over the last two years, we have also seen more book adaptations making it to screen, so we are watching the publishing market very closely and searching for adaptation opportunities.”

Over in Croatia, the third and final season of Novine (The Paper), made by producer Drugi Plan for local broadcaster HRT and Israeli distributor Keshet International, is currently in production. Set in a busy newspaper office, the series presents a cocktail of political corruption, power struggles, crime and betrayal, with its characters navigating the blurred lines of morality and integrity. After exploring the media in season one and politics in season two, season three moves to the judiciary.

“If we take into consideration the size of the country and its capacity in terms of cinematography, and a specific language, we can say that Croatian high-end drama production is doing really well in European and even global terms,” says Nebojsa Taraba, producer of The Paper and creative director at Drugi Plan. “The Paper is globally available on Netflix, and HBO aired its first series from the Adria region this year, Success, which is also produced by us.

“There’s a lot being done in neighbouring Serbia – supposedly there are as many as 20 projects in different stages of pre-production and production, so high-end series are going through a real renaissance in the region.”

Nebojsa Taraba

When it comes to stories that will attract an audience, “there are no rules,” Taraba states. “People simply like strong stories they can relate to, regardless of the genre. People also like stories with some kind of social involvement and message. Luckily for us, or maybe unfortunately for us, the entire region of south-eastern Europe has many such stories, whether we tell them ourselves or someone else comes over and tells our stories. The best example of [the latter] is Chernobyl.”

Series like Chernobyl – made by the UK’s Sister Pictures for Sky Atlantic and HBO and focusing on the 1986 nuclear disaster – demonstrate that success can be found in unearthing previously unknown stories that are ripe for dramatisation or setting a fictional story against a specific historical backdrop. Germany has created several successful dramas fitting this description, including Babylon Berlin, the Deutschland series and Ku’Damm 56.

The makers of Czech drama Dukla 61 took a similar approach to history after discovering the true story of a mining tragedy that led to the deaths of 108 people. The two-part miniseries, set in 1961, takes place in the town of Havířov, home to the Dukla mine. It focuses on the Šlachta family, with father Milan and son Petr working in the mine, where the highest-quality coal is a commodity sought at any cost.

Blending family drama and disaster epic, Dukla 61 was inspired by a single line in a book. The project was then developed and produced by Czech Television.

“There was a book with a short sentence about some disaster that was in 1961; there was just one sentence that they brought in many miners,” says Czech TV creative producer Michal Reitler. “We started researching and realised nobody knew about this disaster. We focused on this for six months and then we developed the scripts.”

Director David Ondříček picks up: “The main reason why it’s so successful is that it has a great screenplay and is very authentic in tone and has a lot of emotions. We tried to tell a story without words, especially towards the end.”

Russian series Storm was made for streamer start.ru

The creative team credit the movement of film writers, directors and producers to the small screen with advancing the Czech drama industry, with Ondříček noting that television was considered a “dirty word” just a decade ago. “It was a filmmakers’ community, but it’s changed a lot,” he says.

Reitler adds: “It helps that money is coming to development first, so we can work with writers and then decide what we will produce. There becomes a system of how to develop scripts, how to find the right authors and how to work with them to find a way to tell a story that is understandable locally and globally.

“Everyone asks us if there will be a new Czech wave like in film in the 1960s. We can feel something in the air but we don’t know what it is. There are a lot of new producers. Our generation of directors is in good shape. We’ll see. I can feel that we try to make very authentic and very good-quality shows.”

As streaming platforms mature and creative talent find new places to tell their stories, there is ambition in the region to see its series go on to become as globally popular as projects from other countries. But as ever, financing looms large as the inevitable barrier to the most epic projects getting off the ground.

“The challenges we face are not of a creative but a financial nature,” says Taraba, noting that a Croatian series might cost six or seven times less than one produced in neighbouring Italy or Austria. “It is only financial restrictions, or the low intensity of production, that can stop the creative momentum of the Croatian and the regional market right now. For the price of an episode of an average drama series in the UK or Germany, you can produce an entire season of a series in the range of The Paper in Croatia.”

Croatian drama The Paper airs on HRT and is also available on Netflix

On making The Pleasure Principle, Jabłoński adds: “We used all the resources from Eastern Europe and we had to combine them because no single broadcaster was able to finance this show. So thanks to this combination, each of our partners got the show for their own exploitation, but we controlled everything to deliver a good show not only for our audience but the international audience.

“This is a trial to check if this combination will bring the quality that will make a difference and break the glass ceiling we experience as filmmakers from Eastern Europe because we feel we’re not able yet to make international audiences excited. I hope that will change.”

With the quality of drama and ambitious storytelling coming out of the region, coupled with the continuing demand for series worldwide, Central and Eastern Europe is well placed to smash that glass ceiling and become the latest global drama hotspot.

tagged in: , , , , , , , , , ,

Japanese and Polish dramas make headlines

Operation Love is heading for web platform Tencent
Operation Love is heading for web platform Tencent

Declining ad revenues mean Japanese broadcasters are increasingly looking to the international market to make money. And one of the areas they are keen to build on is drama exports.

One example of this is NHK’s fantasy adventure Moribito, created with the international market in mind, while Nippon TV’s recent sale of format Mother to Turkey – a first for Japanese drama – is another. Also significant is Fuji TV’s entry into the China market via a scripted content partnership with Shanghai Media Group (SMG).

Under the terms of the latter partnership, SMG is adapting a total of five Fuji dramas for the Chinese market. The second of these, Operation Love, began filming in Guangzhou this month with a view to airing on online platform Tencent from Spring 2017.

A light-hearted love story, Operation Love first aired in Japan in 2007 and has also been remade in South Korea as Operation Proposal. It follows an earlier remake of Dating: What’s it Like to be in Love?, which will air on SMG’s channels in 2017.

Another interesting drama story this week is the news that HBO Europe has commissioned a six-part Warsaw-set drama about a cocaine dealer planning a holiday in Argentina. Antony Root, exec VP of original programming and production at HBO Europe, said of the show: “We believe Blinded by the Lights, a story set in Warsaw’s demi-monde and showing off the city in a wholly new way, will not only appeal to Polish audiences but also to our subscribers all around the HBO Europe region. We are confident it will equally excite audiences internationally.”

Wataha (The Pack)
Wataha (The Pack) has been given a second series on HBO Europe

The show is part of a growing slate of original HBO Europe series that kicked off a few years ago with Burning Bush and was followed by Pustina. In addition to Blinded by the Lights, HBO Europe also announced a second series of Wataha (The Pack). This show tells the story of a border guard unit based in the remote Bieszczady Mountains on Poland’s border with Ukraine. “The Pack/Wataha proved its appeal to viewers having achieved huge ratings in Poland for its first season,” Root said. “It also played extremely successfully in the other HBO Europe territories and has sold in foreign markets. We are very excited by this new chapter and the way the writers explore the challenges now faced on Europe’s longest border.”

Also this week, Modern Times Group-owned distributor DRG announced it had renewed its first-look deal with indie producer Three River Fiction for a further two years. Three River has 15 to 20 projects in active development, including several adaptations. Its largest acquisition to date is a 15-book estate of Golden Age crime fiction, written in the 1930s by John Bude. Colin Bateman (Murphy’s Law, The Journey) is attached and has written a pilot script based on the crime franchise.

Richard Madden in Medici: Masters of Florence
Richard Madden in Medici: Masters of Florence

According to DRG, there are two further projects in development, including a dark re-imagining of the Robin Hood story. With Mark Skeet and Matthew Faulk (Titanic: Blood and Steel, Vanity Fair) attached to write, the series will be “a vibrant, venal and complex post-watershed saga set in a bloodstained 12th century England,” said the distributor. The other is a sci-fi series, created and written by Richard Smith (Trauma,) exploring how an isolated community is torn apart by secrets and lies following the crash landing of a UFO.

On the distribution front, Netflix has acquired rights to Renaissance period drama Medici: Masters of Florence for a select number of territories. The Rai-backed drama, which is distributed by Wild Bunch TV, will air on Netflix in the US, the UK, Ireland, Canada and India from December 9. It has already been picked up by broadcasters and streamers in France, Germany, Australia and Japan. The fact Netflix has done a deal for a limited number of territories is interesting, because it suggests the international drama market may be moving away from a model where Netflix attempts to secure the rights to series on a worldwide basis.

Also this week, Deadline is reporting that Amazon has struck an exclusive SVoD deal for USA Network’s new supernatural thriller Falling Water. The show, which tells the story of three unrelated people who discover they are dreaming separate parts of a single common dream, hasn’t rated that well on USA. But Amazon’s involvement will make it easier for the network to back a second series – an increasingly common scenario in the US TV business.

Falling Water looks to be on its way to Amazon
Falling Water looks to be on its way to Amazon

This week has also seen some interesting strategic insights from Eurodata TV Worldwide as part of its Scripted Series Report 2016. Based on feedback from 103 channels, Eurodata found that networks, on average, devoted 32% of primetime to series.

Within this total, local series are the biggest hits. “They represent no less than 84% of the primetime top 15,” said Eurodata. “Imports, and consequently international hits, appear less often in rankings of the top programmes. Despite this, broadcasting these imports remains a winning strategy for smaller channels. As an example, The X-Files succeeded in placing among the top shows for M6 (France), Pro7 (Germany), TV3 (Sweden) and Channel 5 (the UK). US imports are challenged by series imported from countries geographically closer to the channel. The latter occupy a minor place in schedules: 15% of the channels studied broadcast a significant amount of these imports in primetime. Most of all, they are an alternative for small markets and smaller channels.”

There is also a trend towards greater exposure, Eurodata added. “In addition to longer availability thanks to catch-up opportunities, a series is now more available over various platforms in a single country. Traditional players and OTT platforms play with the various windows possible for their content. The multiplatform strategy is often a winning one. For example, Zwarte Tulp (NL Film), a new show in the 2015-16 season for RTL4, is a hit in the Netherlands. Five months before its launch on the RTL Group’s first channel, the series had been streamed on Videoland, the group’s SVoD platform. The series Black Widows (DRG) was broadcast simultaneously on the TV3 channels of the MTG group in Sweden and Denmark, and also on the group’s SVoD platform. It is among the channel’s top three shows in both countries.”

Black Widows
Black Widows, distributed by DRG, is a top show in both Sweden and Denmark

According to Eurodata, examples of collaboration between TV and SVoD services are on the rise. “Whether to reduce production costs, grow a viewer base or [increase] international visibility for their content, or fill their schedules and catalogues, players from the various groups are working together in production and distribution. One example, the series Narcos, was recently broadcast on Univision in the US after its distribution on Netflix. In the future, El Chapo will be coproduced by Netflix and Univision and Britannia (Sky Vision) will be a Sky/Amazon coproduction.”

Other trends include a shift towards short formats and adaptations. Eurodata explained: “Short formats have proven popular. They are often conducive to quality series, as they encourage participation by well-known actors, screenwriters and directors. The Night Manager (WME/IMG, The Ink Factory), adapted from John Le Carré’s eponymous novel, immediately earned fourth among series in the UK and fifth in Denmark. Adaptations, meanwhile, allow inspiring characters and stories to reverberate further. Many of the season’s hits are adaptations of series that exist in other countries. Among the European countries covered in the report, the proportion of local adaptations launched has doubled with respect to those in the 2014-15 season. Some channels particularly count on these to appeal to their viewers. This is the case with the Dutch channel SBS6, whose top three series are exclusively local adaptations of foreign formats.”

Avril Blondelot, international research manager at Eurodata TV Worldwide, said: “True international hits are appearing less and less in the national top rankings.”

However, the international stage is playing a growing role in the development of local series. “More and more new series have been adapted from foreign formats,” commented Eurodata media consultant Léa Besson.

tagged in: , , , , , , , , , , , , , , , ,