What do you do if you can’t trust anyone, least of all yourself?
That’s the dilemma at the heart of Tabula Rasa, a nine-part drama about a young woman with amnesia who is locked up in a secure psychiatric hospital. A police officer believes she was the last person to see a man before he vanished, and won’t allow her release until he is found.
In order to solve the puzzle, Mie has to reconstruct her lost memories and find her way back through the dark labyrinth of her recent past. The more she remembers, the more she starts to distrust not only the people around her, but also herself.
Showrunner Malin-Sarah Gozin and actor Veerle Baetens, who is also among the series’ writers, reveal the origins of the story and talk about how the show was developed.
Gozin also talks about her role on the Flemish-language show, why viewers are drawn to stories featuring unreliable narrators and plans to turn Tabula Rasa in to an anthology series.
Tabula Rasa is produced by Caviar for VRT-owned Één and distributed by ZDF Enterprises.
Italian drama Maltese follows Commissario Maltese as he seeks the truth in a world full of corruption – only to put his life at risk when a murder investigation leads him to uncover a network of criminals and assassins working alongside powerful and untouchable citizens, including government officials.
German actor Rike Schmid co-stars as a newspaper photographer who also endangers herself with her attempts to make the Mafia visible through her work.
In this DQ interview, she reveals more about her character and discusses the challenges of learning Italian for the role and how that affected her approach to acting.
Maltese is produced by Palomar for Italian broadcaster Rai and distributed by ZDF Enterprises.
There’s a strong international flavour to drama commissioning this week, with plenty of action in terms of format deals, coproductions, acquisitions and plans for movie adaptations.
FremantleMedia, for example, has just announced that its Australian prison drama Wentworth is being remade in Flemish for Belgium-based commercial broadcaster. With a working title of Gent-West, the new 10-part drama will be coproduced by FremantleMedia Belgium and Marmalade Productions. Although the show doesn’t debut on Vier until 2018, it will be shown prior to that on Telenet’s paid cable channels Play and Play More.
Stefan De Keyser, MD of FremantleMedia Belgium, called Wentworth “an explosive drama filled with twists and emotion. Its suspenseful storylines and powerful female cast are sure to captivate Flemish audiences and we hope that Vier’s commission will build on the worldwide success of this scripted property.”
The Flemish version of the show will be the third adaptation following Celblok H (Netherlands) and Block B – Unter Arrest (Germany). Wentworth is also popular in its original form: to date, the show has aired in 141 countries worldwide and is still going strong on home soil after four series on SoHo.
FremantleMedia also revealed this week that the new Ukranian version of its New Zealand soap Shortland Street has started well. Known locally as Central Hospital, the 60-part drama is currently airing on channel 1+1 and is Ukraine’s number-one show. Central Hospital has also been sold on in its completed form to Georgia and Kazakhstan. Following the success of the show, Anne Kirsipuu, format sales director for CIS, Ukraine, Georgia and the Baltic States at FM, said: “We’re looking forward to introducing more local adaptations (of other FM shows) soon.”
Elsewhere in Europe, producer/distributor Beta Film has secured the rights for Light of Elna, a Nazi-refugee drama directed by Sílvia Quer (Velvet, Grand Hotel). The Spanish-Swiss coproduction tells the story of Swiss teacher Elisabeth Eidenbenz, who created a maternity home for female WW2 refugees about to give birth. Beta Film will serve as the worldwide distributor, having previously sold Spanish dramas Velvet & Grand Hotel worldwide.
Scandinavian crime drama continues to prove its appeal worldwide. This week, Germany’s ZDF Enterprises (a big supporter of Nordic Noir) licensed the third season of Bron (The Bridge) to Japan’s Tohokushinsha Film Corp. Under the terms of the deal, TFC gets VoD and DVD rights in addition to television rights. ZDFE and TFC have a longstanding relationship that has already seen deals for the first three seasons of The Killing and the first two of Bron. The latter has been a hit worldwide, selling in its completed form to 140 countries and being adapted in the US and UK/France.
Continuing with our globetrotting, there are also reports that leading Argentinian broadcaster Telefe has signed a deal with Diego Maradona to make a drama about the iconic footballer’s life. There is certainly plenty of on-field and off-field action to fill a series – as Maradona noted in a modestly worded statement: “Every month of my life has enough for someone to write 100 chapters. Everything that I lived exceeds any fiction. I’m happy and excited that Telefe is developing this project for the world.”
Telefe contents and international business director Tomas Yankelevich added an equally measured summation: “This is an incredible challenge as a producer to think about turning into fiction the life of the best soccer player of all time, and probably the most famous person in the world. We think of an unprecedented super-production, and are looking for partners to join us. We expect to make a global show without borders.”
Notwithstanding the hype, Telefe is undoubtedly the right company to lead the project. Owned by Telefonica, it is one of the major producer/broadcasters in Latin America with activities that stretch across film and TV. Recent productions include Story of a Clan, Educating Nina and coproduction The Return of Lucas.
In the US, meanwhile, there’s some interesting news for sci-fi fans. Roddenberry Entertainment, the company set up by Star Trek creator Gene Roddenberry (who died in 1991), has created a project called Holoscape that has been optioned by Storyoscopic Films. Holoscape is set in the aftermath of World War III and the collapse of civilisation. Using a mysterious device from the war (the Holoscape), a group of survivors discovers they are part of a conspiracy that has shaped the destiny of humankind, but are given the chance to escape their present and save our future.
“Storyoscopic holds a unique place in the industry due to its strong ties to China and the international market,” said Trevor Roth, head of development for Roddenberry Entertainment. “That, along with its sense for strong properties and compelling stories, makes it a perfect collaborator for Holoscape.”
Also this week, US network Fox gave a put-pilot commitment to a Marvel action-adventure series that will tap into the latter’s rapidly-expanding X-Men universe. The pilot will focus on two ordinary parents who discover their children possess mutant powers. Matt Nix (Burn Notice) will write the script and executive produce alongside a bunch of X-Men and Marvel executives.
“Developing a Marvel property has been a top priority for the network, and we are so pleased with how Matt Nix has led us into this thrilling universe,” said Fox Entertainment president David Madden. “There’s comic book adventure, emotional and complicated relationships and a rich, existing mythology from which to draw. With the brilliant production crew behind this project, it has all the makings of a big, fun and exciting series.”
Other interesting deals this week include a Netflix order for a Chuck Lorre (The Big Bang Theory) comedy called Disjointed and a development deal between Endemol Shine Studios and acclaimed film maker Guy Ritchie, who will develop scripted series for the company. There are also reports that YouTube is talking to UK content creators about original content for its SVoD service YouTube Red.
Tabula Rasa producer Helen Perquy tells Michael Pickard about the show’s journey from Series Mania pitch to fully-fledged series ahead of its launch on VRT next year.
When the producer of forthcoming Flemish drama Tabula Rasa takes to the stage at Series Mania today, it will mark the completion of a two-year journey.
The psychological thriller was first pitched to industry executives at the annual Paris event in 2014, as part of the European Coproduction Forum.
Now the project has come full circle, with audiences inside the Forem des Images given the chance to see the first images from the series, which will make its debut on Belgian public broadcaster VRT in 2017.
Tabula Rasa tells the story of Mie, a young woman who is locked up in a secure psychiatric hospital. She is visited by Detective Inspector Wolkers, who is trying to solve a disturbing missing persons case when it transpires Mie was the last person to be seen with Thomas Spectre before he vanished.
It appears to be a cut-and-dry case for the experienced DI Wolkers – except his only witness is a woman suffering from acute memory loss. In order to solve the puzzle and find Thomas, Mie has to reconstruct her lost memories and find her way back through the dark labyrinth of her past.
Produced by Brussels-based Caviar, Tabula Rasa landed at Series Mania in 2014 on the basis of its script, which was written by Malin-Sarah Gozin (Clan).
The writing team was completed by Christophe Dirickx and Veerle Baetens – who is also the lead actress on the series. The rest of the main cast comprises Stijn Van Opstal, Jeroen Perceval, Gene Bervoets, Natali Broods, Hilde Van Mieghem, Peter Van Den Begin, François Beukelaers, Lynn Van Royen and Tom Audenaert. Jonas Govaerts and Kaat Beels are the directors.
“Tabula Rasa is a very human story,” producer Helen Perquy explains ahead of appearing on stage at Series Mania. “It’s a psychological thriller with an unreliable narrator. What Malin always says is it’s like a mind-fuck – and she’s right. As Mie goes through psychosis, she doubts everyone and it’s a bit of a whodunit, but you also question whether she did it herself. You doubt everyone, even yourself, and you feel that tension all the time.
“Sometimes it flirts with horror, but you also have some very recognisable family scenes where you see the love between a family as well as how family can be disruptive. Mie’s memory loss is also reflected in the dementia of her father. There are a lot of very recognisable themes. It’s not an easy story but it should be very captivating, powerful and emotional.”
Perquy says she wanted the series to be challenging for audiences: “The best series make you think and get involved, and this is definitely one of those series. You never know if it’s going to be a success, but all the ingredients are there.”
Broadcaster VRT, which has signed on to the series alongside distributor ZDF Enterprises, will certainly be hoping those ingredients have been blended successfully – as will ZDF Neo in Germany, which will also air the drama next year.
But Perquy, whose credits include Eén series Quiz Me Quick, says Tabula Rasa represents a leap of faith for the Belgian broadcaster – one that sees it follow in the footsteps of several other European networks of late that have shown signs of more risk-taking in this on-demand age as they battle to stand out on the increasingly crowded EPG.
“This is a stretch for them,” she says of VRT. “I know them very well and I went to them because I wanted to have freedom for the authors, the directors and the whole process. But it is a stretch in the sense they haven’t done anything that remotely flirts with horror. Even psychological thriller isn’t a genre that has been presented to the public before.
“It’s really going to be a mind-fuck. It’s really scary sometimes; it’s also very emotional and a little weird.”
The producer says television must continue to take risks in storytelling if it hopes to avoid the problems facing the movie business, whose output Perquy believes has become formulaic and stale.
“We have a lot of talent in Belgium but we always keep telling the same Flemish stories,” she says. “Tabula Rasa is not a Flemish story – it’s a Flemish story as much as it is a British story, a German story or a Scandinavian story. We should, from time to time, not give the audience what they expect. If you don’t do that, things like True Detective don’t happen, but it’s not an easy road for the audience.
“Film studios are using a formula by finding what they think works – such as helicopters, boobs and everything that goes fast – and putting it all in the same movie to make a hit. If you do that over a short period of time, you’ll get an audience; if you do it long term, you’re dead. Movies are going down, but series are going up because the authors make them complicated, they get good actors because they know there’s flesh on the plate. We should do that in Belgium as well.”
Two years after its first pitch, guests at Series Mania will now see the first clips from Tabula Rasa. Projects being presented at this year’s European Coproduction Forum – including Warrior (Miso Film, Denmark), Flight 1618 (MakingProd, France) and The Illegal (Conquering Lion Pictures, Canada) – will hope to replicate its success.
Like a plot from Doctor Who, Scandinavian crime drama The Bridge has regenerated for its third season without its leading man. Michael Pickard hears how the cast and crew overcame this change to keep the hit series on track.
For fans of Bron/Broen – aka The Bridge – the relationship between leading characters Saga Norén and Martin Rohde has been the centrepiece of the compelling crime drama.
But after Kim Bodnia, who plays Danish detective Rohde, announced he was leaving the series after season two, the cast and crew faced the dilemma of whether they should replace him – and, if so, how they could do it.
And while everyone on the Danish/Swedish coproduction was forced to deal with the emotional impact of Bodnia’s decision, there was also the practical issue of writing out the show’s leading man.
“Kim Bodnia decided to leave the show in April or May and we were shooting in September and had already done the first four scripts with a storyline with him still in it,” explains series creator and writer Hans Rosenfeldt, who is currently working on his first UK series, Marcella, for ITV.
“That was a huge problem for us. But it forced us to think about what The Bridge could be without Saga and Martin. It gave us really good energy and a feeling that we could use it as a chance to see what new situations we could put Saga in and what a new could partner give her that Martin didn’t, as well as seeing other sides of her and a new relationship.”
To ensure Saga’s new partner, Henrik Saboe (played by Thure Lindhardt), wasn’t immediately compared to Martin, the show’s creators decided to delay introducing him until the second episode – a tactic Rosenfeldt describes as “a blessing in disguise.”
“We got a lot of good things out of it,” he continues. “We’d already planned the third season to be very much about Saga because Martin had huge personal stories in seasons one and two. So before this, we decided season three should be very much about Saga, her history and her backstory as her mother comes back to haunt her.”
Sofia Helin, who stars as Swedish detective Saga, describes Bodia’s departure as “a hard and difficult process. But when we accepted that, it was a gift because suddenly I had my character. She had failed at being a girlfriend and failed at being a friend, so she’s almost alone, and I could use that so much to put her in a very vulnerable place. Now I see it as a gift. It also gave us new energy. Suddenly we were on our toes. It was good.”
Launched in 2011 on Denmark’s DR and Sweden’s SVT, The Bridge opened with a body found on the Øresund Bridge, exactly on the border between Copenhagen and Malmö that links the two countries. Norén and Rohde were subsequently paired up to solve the case, a relationship that continued into season two, which aired in late-2013.
Following Bodnia’s decision to leave, the writers opted to leave Rohde languishing in prison at the beginning of season three as Norén teams up with a partner to solve a new spate of chilling murders after a Danish woman is found murdered on a Malmö construction site.
“It is a good place to start if you’ve never seen it before; you could easily start with season three,” says Rosenfeldt. “You quickly understand where Saga is, you don’t need the backstory, you don’t need to have seen Martin and she will get a new partner and things will develop from there. We don’t look back much. Season two was much more dependent on season one than this one is (on season two).”
One thing that does continue from previous seasons, however, is the show’s brooding visual style that mixes bleak landscapes with the often dark and grey skyline.
Producer Anders Landström says: “We’ve been working a lot with the style of the show. We started it on season one and have adjusted it over the series. Shooting in Scandinavia in the winter is very dark and grey so we go with that and try to do something really nice with it.”
Director Henrik Georgsson continues: “Our ideal time (to film) is November with no leaves on the trees. We don’t like anything that’s cute or picturesque. There’s no architecture from the 19th or early 20th century – only from 1930 onwards. It’s always glass, concrete or other hard materials.
“We try to make a cold world around the actors and characters. The visual world is very harsh and gloomy – in a good way, we think. We have a filming style; we don’t use wide angles close to the characters and a lot of the time we have things in the foreground and the camera is not high up, it’s always low. We think about it as if we’re doing cinema, not television, so we try to be cinematic. We try to make pictures for the screen rather than for the television.”
The new season also deals with contemporary themes and topics such as gender equality. One character is also a prominent video-blogger who records hate-filled rants in the opening episodes before being told her targets are later found dead.
Rosenfeldt says Scandinavian broadcasters demand these storylines outside the main plot. “It’s a requirement from our broadcasters that we should have something called the second story,” he explains. “When we pitch it, we say ‘this is what happens to our characters, this is the plot,’ but then they also want to know why it should be shown in 2015 and not five years ago or five years from now. And you always have to have an answer for that, which is good because it makes it very contemporary.”
With distributor ZDF Enterprises sending the series around the world, including to the UK where BBC4 launched season three this month, The Bridge is a bonafide international hit. But what’s behind its global appeal?
“We’re quite fortunate that we have done good stuff for a while and the rest of the world has caught up to us doing it,” Rosenfeldt says. “We have a long tradition of crime storytelling, both in books and films. We are and have been very good with characters. Plotting is the easy part of a crime show; it’s the characters you carry with you after the show and we’re quite good at creating compelling characters in Sweden and Denmark.
“I also think we are looked upon as a little eccentric. We don’t have curtains for our windows. Saga is quite free about her sex life, there’s her leather trousers, her Porsche. Maybe this isn’t so much the case in England, but I know that in Germany they love our crime shows and novels because there’s an image of us as the perfect society from the 1960s and 1970s where social security works perfectly and no one has to suffer. But those crime series show us that’s not really true. It’s another side of the story. It’s not the elks and small houses and everybody’s not jumping along singing happy tunes. It’s not Pippy Longstocking.”
Indeed, Cassian Harrison, channel editor of BBC4, says The Bridge is one of the most successful foreign-language series ever to appear on the channel.
“It’s an incredibly successful drama series worldwide and has done incredibly well for us here in the UK as well,” he says. “We’re incredibly proud of The Bridge and of being able to show it on BBC4. It’s a series on which we are only but one of many partners – (the others being) Filmlance International, Nimbus and ZDF.
“The Bridge is one of the most successful foreign-language dramas we’ve had on BBC4 and it’s been one of the real unique calling cards of the channel. Since 2006 when we started to run foreign-language dramas, particularly on Saturday nights, we’ve had some brilliant properties – Arne Dahl, The Young Montalbano, Hostages, 1864, The Bridge. Next year we’ve got some stunning new series, including a really brilliant thriller from Iceland.”
So can fans look forward to crossing The Bridge once again for a fourth season? Rosenfeldt says this has not yet been confirmed but believes the show can run and run.
“We can go on as long as we think we can do slightly better than or as good as the last season,” he says. “So we have to come up with stories worth telling and find the best way of telling them. From my point of view, we can do it for as long as it feels fun.”
A fourth outing is also likely to depend on Helin’s commitment to the show. “I have a hard time seeing The Bridge without Saga,” Rosenfeldt adds. “We managed to stay alive losing one of our main characters. I think it would be very hard to lose the other one as well.”