Anyone who was at the Cannes Lions International Festival Of Creativity this week would have been able to hear Oscar-winning director, screenwriter and producer Oliver Stone talk about his new movie Snowden, which tells the story of Edward Snowden, the computer whizz who leaked huge amounts of classified data from the USA’s National Security Agency (NSA), his former employer, in June 2013.
Stone, who is not shy of tackling controversial political subject matter, was speaking during a session organised by Guardian News & Media. For him, the fascination of the Snowden story seems to be what it has to say about the power of the state and its increasing reliance on tools of mass surveillance, which he referred to as “Orwellian” on more than one occasion. For Stone, the terrifying world of 1984 and the Ministry Of Fear has arrived and Snowden, exiled in Russia, is one of the few to have kicked back.
Interestingly, Stone doesn’t see the current state of affairs as purely a product of government. In an analysis reminiscent of Noam Chomsky’s work on the military-industrial complex in Western societies, Stone railed against the expansion of the US military and its reliance on war (including the War on Terror) as a justification for its existence. He also implicated a number of other parts of the establishment for their role in normalising the current unstable state of affairs. With a few exceptions (such as The Guardian), he criticised the media for pandering to the state’s power and online companies for acquiescing to state-sponsored surveillance. He also took a pop at Europe, for its subservience to the US, and the US movie studios that collectively refused to back his latest feature film outing (it took German and French financing to get Snowden into production and a patchwork of 20 distributors to get the film to an international audience).
Outside his immediate fanbase, Stone is often thought of as a filmmaker with a loaded political agenda. But this is an accusation he refutes. Commenting on the detailed analysis that goes into his development, he said: “I’m a dramatist. I can’t take sides. I do a lot of research and tell the story that evolves. With my films on Nixon and Bush, I actually had complaints that I was too sympathetic.”
One of the big challenges with Snowden was taking a story that is, at its core, about a computer geek downloading information and turning it into a drama that could live on the big screen. Part of the way Stone did this was by building up the personal drama around Snowden and his girlfriend Lindsay Mills – dismissively referred to in the media as a pole dancer. He also looked at why a young man who had been so pro-establishment in his formative years would suddenly elect to become the world’s most famous whistle-blower (a story reminiscent of the journey in Stone’s film Born on the Fourth of July). “I had to walk in Snowden’s footsteps and try to feel what he was feeling. The end result, I hope, is a gripping political thriller.”
The lion’s share of Stone’s work has been in film – notably titles like Salvador, Platoon and JFK. His one outing into TV was a documentary series for Showtime entitled The Untold History of the United States, through which he shone a light on some of the less admirable part of US history.
The lack of scripted TV series from Stone may suggest he is more free to express himself through film. But there is a growing body of great work on TV that shows it is possible for writers to tell complex political truths on the small screen. Here are a few of the best examples that underline this point. Hopefully in the near future Stone will also be tempted to join the growing number of filmmakers who have decided to try their hand at TV series. Perhaps he could took take a break from fact-based storytelling and be the man to reimagine 1984 for the small screen…
House of Cards
Beau Willimon’s adaptation of Michael Dobbs’ novel for Netflix is a superb exploration of the Machiavellian nature of modern American politics. Starring Kevin Spacey, it shows the corrupting influence of the quest for power and raises questions over the extent to which policy decisions are driven by ambition.
An upcoming series from David Simon for HBO, this show will tackle the legal issues around porn and prostitution in 1970s and 1980s New York. However, it will also address other social issues such as the real-estate boom, the spread of HIV/AIDS and drug use. Simon is probably the closest thing the TV business has to an Oliver Stone – having previously written The Wire, Generation Kill, Treme and Show Me a Hero, the latter an exploration of social housing that aired at the end of last year.
Adam Price’s exploration of the rise of Birgitte Nyborg to become prime minister of Denmark is widely recognised as one of the best political series of recent years. Written for Danish public broadcaster DR, it provided a fascinating insight into party politics while addressing the challenges of being a female politician. Price is tackling the subject of faith in his latest show Rides on the Storm.
The Honourable Woman
For the country that gave us James Bond and John le Carré, the UK doesn’t deliver that many dramatic exposés of the establishment. The original House of Cards, Edge of Darkness and State of Play are a few standout exceptions. Possibly this is because the Brits tend to fall back on period pieces or comedy satire when criticising politicians – though this may explain why the country is not very good at interrogating its political class. One recent show that stands out is Hugo Blick’s acclaimed drama The Honourable Woman, which beautifully explores the interplay between personal ambition and geopolitical conflict.
Created by Brian Koppelman, David Levien and Andrew Ross Sorkin, Billions is an intelligent attempt to get under the skin of the US financial sector. Starring Damian Lewis and Paul Giamatti, it tells the story of a corrupt hedge fund manager who uses insider trading and bribery to build his empire. With an IMDb rating of 8.4, the show has been well received and recently earned a renewal.
Hard-hitting Israeli series are now part of the landscape of the international TV industry (Homeland, False Flag). The reason YES’s Fauda stands out is that it is tries to bring both sides of the Israeli-Palestinian conflict to the TV screen. Created by Lior Raz and Avi Issacharoff, the series focuses on an elite undercover unit of combat Israeli soldiers who disguise themselves as Palestinians. It is regarded as the first time that an Israeli TV drama has depicted terrorists as people with wives and children.
The New Odyssey
Colin Callender’s production company Playground recently acquired the rights to Guardian journalist Patrick Kingsley’s book The New Odyssey – The Story of Europe’s Refugee Crisis. Throughout last year, Kingsley traveled to 17 countries along the migrant trail, meeting hundreds of refugees making their journey across deserts, seas and mountains to reach Europe. His book is an account of those travellers’ experiences. At the time of writing, no screenwriter has been attached to the project.
TV has a habit of treating politics as a period subject. Often this leads to interesting shows. But apart from a few allegorical references to the present, it doesn’t really cut to the quick of the contemporary debate. One exception is 1992, a series for Sky Italia created by Ludovica Rampoldi, Stefano Sardo and Alessandro Fabbri. The series looks at the political upheaval in the Italian system in the 1990s. However, similarities to the current situation in Italian politics give the show a particular resonance.
Korea is best known for its romance and historical drama, so KBS series Assembly is something of a novelty. It features a brave and honest shipyard welder who gets elected to the country’s national assembly. He is out of his depth until helped by an aide. The show is based on screenwriter Jung Hyun-Min’s own experience working as an aide for 10 years before breaking into TV.
This new political drama from Australian pay TV platform Foxtel is based on Chris Uhlmann and Steve Lewis’s novels The Marmalade Files and The Mandarin Code. Adapted for TV by the writing team of Belinda Chayko, Matt Cameron, Marieke Hardy, Alice Addison, Tommy Murphy, Kris Mrksa and Greg Waters, it follows a journalist who uncovers an international political scandal while investigating the death of a young man.
The US still dominates drama exports, but in the last Hit & Miss column of the year we take a look at some of the new shows from other countries that have punched above their weight in 2015.
The Sydney Morning Herald has just named Gallipoli as the best Aussie drama of the year – and they’ve probably got it just about right. Although the lavish WW1 epic rated badly on Nine Network, it was a strongly scripted and well-acted show that has had some profile internationally thanks to Endemol Shine International. Gallipoli’s Aussie rivals this year included biopic Peter Allen: Not the Boy Next Door, multicultural drama The Principal and undead series Glitch. But probably the best of the bunch outside Gallipoli was The Secret River, Ruby Entertainment’s adaptation of Kate Grenville’s novel.
2015 was a decent year for Canadian-backed drama. The high point was epic miniseries The Book of Negroes, which was back by public broadcaster CBC and BET in the US. The story of escaped slaves returning to Africa via Nova Scotia pulled in 1.7 million viewers for the first episode, making it the highest-rated original drama for CBC since 1990. Another strong debutante in 2015 was sitcom Schitt’s Creek, which also aired on CBC. This show was sold internationally by ITV Studios Global Entertainment to countries including New Zealand.
Top of the pile in China this year has been The Journey of Flower, a love story based on the fantasy novel by Fresh Guo Guo. Broadcast from June to August, it told the story of Hu Qian Gu, a girl born with magical powers. At age 16, she becomes the disciple of Bai Zihua, an immortal in charge of a magical realm – and promptly falls in love with him. The series has aired internationally in markets such as Vietnam.
At the forefront of the Nordic drama explosion, Denmark public broadcaster DR gave us series like The Killing and Borgen. In 2014/2015, it added the period drama 1864, which has sold to broadcasters including RTÉ Ireland, TV4 Sweden and Arte (France/Germany). Next up is Follow the Money, a thriller set in the world of economic crime. The show has been heavily trailed in 2015 but finally airs in early 2016. It has been picked up by BBC4 in the UK – a big fan of Scandinavian TV drama.
After the success of Spiral and The Returned, it was the turn of Witnesses to catch the international market’s attention. A noir thriller set in Northern France, the France 2 show was picked up by Channel 4 in the UK, NRK in Norway, RTBF in Belgium and RTL Crime in Germany. The series was produced by Paris-based Cinétévé and written and directed by Hervé Hadmar and Marc Hernoux, who were behind Les Oubliées (Forgotten Girls) for France 3 and Pigalle La Nuit for Canal+.
In terms of German drama, it’s impossible to look beyond UFA’s Cold War coming-of-age story Deutschland 83. The show aired on RTL in its domestic market and has been sold internationally to more than 20 territories by Fremantle Media International. Buyers have included Sundance in the US, Channel One Russia, TV4 in Scandinavia and Stan in Australia. UK VoD platform Walter Presents has also picked up the title.
Israeli spy series False Flag is continuing the good work done by previous drama titles such as Prisoners of War and In Treatment. In June 2015, the show was picked up by Fox International Channels for use in 127 countries worldwide. Fox is also adapting the series into English.
After Gomorrah forced the world to reappraise Italian drama, Wildside’s 1992 proved it was no fluke. The 10×60’ story of Italian corruption in the 1990s aired on Sky Italia before being picked up by the likes of Orange France, Canal Spain and Superchannel in Canada. In September, the show was also sold to Netflix by distributor Beta Film.
We looked at Korean drama a few months ago here. With the year over, the top show still looks like KBS’s The Producers, which aired in May and June. The story focuses on a group of young producers working in the variety department at KBS. It has sold to China, Japan, Thailand, Indonesia, Vietnam, Taiwan, Hong Kong and Kazakhstan, while digital streaming rights have been licensed to parts of Europe, the Middle East and North America. China’s online network Sohu paid US$2.4m for the show’s rights.
Latin America/Hispanic US
One of the hottest telenovelas of the year was Dueños Del Paraiso, starring Kate del Castillo, Adriana Barraza and Jorge Zabaleta. Created by Telemundo and TVN Chile, it tells the story of a woman who lives in poverty and whose ambition leads her to use drug trafficking as a means to become one of the most powerful women of her time.
The Netherlands is better known for its entertainment format exports than its drama. But it has given birth to series like Penoza, which was remade in the US as Red Widow. One of this year’s more interesting dramas was public broadcaster VPRO’s De Fractie, a politics-based series that combined fiction and current events. It did this by working as a fast turnaround production so that it could include new developments from the real world. A success at home, it’s the kind of project that could lend itself to international formatting.
Norway is starting to rival Sweden and Denmark when it comes to Nordic Noir series. This year’s big hit was Miso Films’ Acquitted, which tells the story of a man returning to his home town after a long absence – having been acquitted of murdering his girlfriend. A big hit for TV2, the show is distributed internationally by FremantleMedia International.
Spanish drama is going through its own golden age at the moment, with titles such as Grand Hotel, Velvet and The Time In Between. All of the above are period dramas, but this year the Spanish have shown that they are also pretty adept at making contemporary thrillers. A good example is Mediaset Espana’s miniseries Los Nuestros (Our Guys), which follows a mission to save two Spanish children kidnapped by a terrorist group while on holiday in Mali. Attracting 3.7 million viewers, it was one of the year’s strong performers and there is talk of a follow-up series. Another strong performer was Atresmedia’s Under Suspicion, in which a seven-year-old girl disappears from a small community, while Hierro won the copro series pitching competition at Berlinale. The latter will air in early 2016.
If we were talking about returning series, then pick of the bunch would undoubtedly be the third season of The Bridge. But among new titles, ITV Studios Global Entertainment-distributed Jordskott is the year’s standout. A supernatural thriller from Sweden’s state broadcaster SVT, the show has been sold to ITV Encore in the UK and to broadcasters across Scandinavia. TV4’s Modus, distributed by FMI, is another new title that looks set to do well abroad.
Turkey is such a prolific producer of drama that it’s hard to single out a particular title. But one show that merits a mention is Dirilis Ertugrul, better known as Resurrection. A period drama set in the 13th century, this was public broadcaster TRT’s response to fellow huge period hit Magnificent Century (aired on Show TV and Star TV). Resurrection (which debuted on December 10, 2014 and ran through 2015) did extremely well for TRT1, delivering ratings well ahead of the channel’s average. It has also been sold internationally to more than 20 territories. Also of note in 2015 was the launch of Magnificent Century sequel Kosem Sultan, which rated particularly well with the AB demographic.
The Brits produced a lot of good drama this year but it’s hard to look beyond Golden Globe nominee Wolf Hall for the country’s outstanding scripted show of the year. Based on Hilary Mantel’s acclaimed novel, the show was a success for BBC2 in the UK and also aired on PBS in the US and Arte France, among others. Wolf Hall also sold in Scandinavia and features on BBC Worldwide channels in markets such as Australia.
Led by gritty series like the Mafia-focused hit Gomorrah, Italian drama is enjoying new levels of global interest. DQ finds out why.
The world has been watching great Italian movies for more than half a century. Following The Bicycle Thieves in 1948, films like La Strada, La Dolce Vita, 8½, The Good, The Bad and The Ugly, Cinema Paradiso, Il Postino, Life Is Beautiful, Gomorrah, The Great Beauty and Human Capital are past and present proof that superlative screen craft is a cherished component of Italian culture.
But until recently Italy’s TV business hadn’t achieved anything like the same profile beyond its borders. “The main free-to-air broadcasters, Rai and Mediaset, have a history of participating in continental European coproductions,” says Beta Film senior VP for international sales and acquisitions Oliver Bachert, “and there was the stand-out success of La Piovra (The Octopus), which sold around the world, but historically Italy has mostly focused on local productions that don’t attract much attention internationally.”
The roots of this insularity probably lie in a backlash against imported content that occurred in the 1980s. It took Italian TV producers until the 1990s to perfect their response, but when they did, they began to achieve real success with domestically produced soaps (such as A Place in the Sun and A Doctor in the Family) and police thrillers. Locally know as ‘giallo,’ the police titles included popular shows such as Marshal Rocca, Inspector de Luca and Inspector Montelbano. While they achieved some sales internationally, they didn’t spark the interest associated with, for example, the recent wave of Nordic Noir exports.
The catalyst for change has been the arrival in the market of pay TV platform Sky Italia, says Bachert, “which started commissioning dramas that are more in line with international trends. First came Romanzo Criminale from 2008 to 2010, and then Gomorrah, which we distribute.”
According to Bachert, Gomorrah, which was produced by Italian indie Cattleya, “took Italian drama to a new level.” The story of organised crime in Naples, told across 12 episodes, “won numerous awards and sold to 113 countries. It now has a second season coming up and has encouraged the international market to look more closely at Italian drama.”
Proof that Gomorrah was not a one-hit wonder came with the launch of 1992 in March of this year. Another Sky-backed project, the 10-episode series revolves around six people whose lives become intertwined with the political and social earthquake that swept away Italy’s post-war establishment.
Echoing its approach with English-language drama Fortitude, Sky was sufficiently excited by 1992 that it aired it across the UK, Ireland, Germany and Austria, in addition to Italy – a total market of 20 million homes. That, says Bachert, came in addition to sales in France (Orange), Spain (Canal+), Scandinavia (HBO Nordic) and Benelux (HBO Europe). Now there is talk of a follow-up series entitled 1993.
1992 was produced by one of Italy’s leading indie producers, Wildside. Explaining how the company came about, co-founder Lorenzo Mieli says: “It was founded in Rome in 2009 as a merger between Mario Gianani and Saverio Costanzo’s Offside and Wilder, plus Fausto Brizzi and Marco Martani who joined the team at the moment of the company’s creation. Wilder was a company founded by me and some partners in 2001. Basically that was the place where everything started – we used to produce scripted and unscripted for Italian pay broadcasters.”
From Wilder’s perspective, the big step-change actually predated Sky Italia’s investments, though it was the same corporate family that was behind its expansion: “Wilder experienced dramatic growth with Boris, which was the first scripted show ever made by Fox International Channels in Italy. It was a huge success that was crucial to boosting the business.”
Boris was a comedy series that ran for three seasons in 2007, 2008 and 2010 (totalling 42 episodes). Towards the end of the show’s run, FIC commissioned Wilder to make another series, a six-hour serial killer thriller called The Monster of Florence. Both series were broadcast by FIC on the Sky Italia platform, effectively priming Wilder for the next phase of its development following the merger with Offside.
Today, says Mieli, “Wildside’s pipeline is a combination of Offside’s traditional expertise in feature films and Wilder’s TV background. At the moment, our catalogue spans from art-house movies and commercial/blockbuster comedies to scripted shows for both pay and free TV channels. Our main job is to deliver high-quality products, with a focus on talent-driven projects that have a strong international appeal. To do this, we work to build solid relationships with top Italian directors and writers, which is also a way to attract international talent.”
Like Bachart, Mieli gives a nod in the direction of Gomorrah, which he says “did a priceless job for the Italian production community. It demonstrated that an Italian way to make quality shows exists. Maybe a component of exoticism is helping Italian shows travel so much. But we do believe now that the global audience is ready for something different from US storytelling.”
According to Mieli, coproduction is currently Wildside’s key modus operandi: “Considering the work we’ve been doing in the last two years and what we’re currently developing now, it’s pretty clear that our product is closer to the anthological and talent-driven model.”
The best current example of this is The Young Pope, an ambitious English-language production that Wildside is making for Sky, HBO and Canal+. “The Young Pope is the most representative example of our strategy… a high-profile coproduction with a pure Italian creative core. And we are developing three scripted projects for the international market with a similar model. But we haven’t forgotten the Italian scenario – two shows for Rai and one for Sky are in production and couple of features are in pre-production.”
Starring Jude Law and Diane Keaton in her most high-profile TV production to date, The Young Pope was one of the year’s surprise scripted announcements. Mieli explains its appeal: “The story sounded amazing from the very first moment. The idea of a controversial pope born in the US and surrounded by daily life in Vatican City had evident ground-breaking potential. Plus Paolo Sorrentino’s writing was a stunning piece of literature from the very early stages of development.”
Mieli is convinced The Young Pope can have the kind of impact already made by shows like Gomorrah and 1992, and not just because it has HBO, Sky and Canal+ behind it. “The Young Pope’s distribution will be managed by FremantleMedia International and we’ve no doubt it will travel a lot. We have a great story, an award-winning creator, an all-star cast and a very fascinating, highly recognisable arena in the Vatican.”
As it happens, the Wildside story became even more interesting during production – when FremantleMedia decided to acquire a 62.5% stake in the firm. Commenting on the deal at the time, FremantleMedia CEO Cecile Frot-Coutaz said: “This is a key strategic acquisition as we continue to strengthen our primetime scripted presence. Wildside is fast becoming one of Europe’s most sought-after drama producers and will complement our existing businesses in the US, Germany, Scandinavia, the Netherlands, Australia and the UK. The team has an impressive track record of attracting world-class creative talent and delivering award-winning drama, so I’m really excited that they are joining our family of production companies.”
Being in the Fremantle family may also give Wildside an opportunity to take scripted formats into Italy. There have been signs in recent times that this side of the business, traditionally underdeveloped, is starting to pick up.
Wildside, for example, made Israeli format In Treatment for the Italian market, while Spanish period drama Velvet and French supernatural thriller Les Revenants (The Returned) have also been adapted. Utilising FM’s international expertise should allow Wildside to push this door open further.
Wildside, of course, is not the only Italian indie providing a bridge to and from the international market. Cattleya, which counts DeAgostini and United Pictures International among its shareholders, recently announced plans for season two of Gomorrah. It also has a deal with Canal+ to create an English-language series called ZeroZeroZero.
ZeroZeroZero is based on a book by Roberto Saviano, who also wrote the book on which both the film and TV versions of Gomorrah are based. The director is Stefano Sollima, whose credits include Romanzo Criminale and Gomorrah – all of which guarantees a solid international showing for ZeroZeroZero.
Fabrice de La Patellière, director of French drama and coproductions for Canal+, says: “We are delighted to be involved in initiating this international project driven by Roberto Saviano’s talent and commitment. This story, with the work of the scriptwriters Stefano Bises and Leonardo Fasoli and director Stefano Sollima, offers an uncompromising, in-depth look into the world of cocaine trafficking and the complexities of the system. This invaluable partnership with Cattleya offers the opportunity of a unique series for our subscribers.”
Cattelya is also exploring the scripted format business. It is remaking NBC’s Parenthood for Rai Uno, the first ever US scripted format to be picked up by the channel. At the same time, it has signed a deal with Atlantique Productions to turn two Italian properties into English-language TV series. The first will be a re-imagining of the cult western Django, which has its roots in the spaghetti Western tradition. The second is Dario Argento’s classic Italian horror film Suspiria, which will be reinvented as period horror series set in London and Rome between the end of the 19th century and the beginning of the 20th.
Cattleya president Riccardo Tozzi says: “Cattleya’s role on these series marks a further step in our plan to produce high-end English-language series. And, of course, we are extremely proud to be working with Dario Argento, a leading figure for an entire generation of filmmakers.”
It’s no real surprise that Sky’s international axis has provided the platform for Italian producers to reposition themselves on the global stage. But it’s notable that Mediaset and Rai are also exploring what might be possible beyond their borders.
Mediaset started to show some interest in the English-language drama market when it came in as a coproducer on , a Left Bank Pictures adaptation of Michael Dibdin’s detective novels that also had BBC, WGBH Boston and ZDF as coproducers.
That was very much an ad-hoc experiment. But last year Mediaset started to talk up the possibility of making international drama in a more systematic and strategic way. The first fruit of this came earlier this year when it joined forces with France-based Federation Entertainment to coproduce Lucky Luciano, a 12-hour miniseries about mobster Charles “Lucky” Luciano.
With Alessandro Camon on board as writer, Lucky Luciano will follow the life of the man considered to be the father of modern organised crime in the United States. “This is an extraordinary project based on the life of one of the most compelling figures in crime,” says Federation Entertainment’s Pascal Breton, who is producing the series alongside Stephane Sperry. “Lucky Luciano remains a mystery in many key facets of his life, especially in his relationship with the FBI. We intend to explore these mysteries and offer the most definitive work on his life that’s ever been produced.”
Mediaset’s perspective on the project comes from content MD Alessandro Salem, who says: “We’ve been looking for a long time for the right coproducer that shares our fascination towards the human complexity of such a criminal icon as Lucky Luciano. We’re thrilled to have found an outstanding partner for this miniseries event in Federation.”
Mediaset doesn’t intend Lucky Luciano to be a one-off. While it has yet to formally flesh out its strategy, the company says it is “devoted to pursuing international production as a new vector of development for high-profile, ambitious original scripted content together with world-renowned partners.”
For public broadcaster Rai, the challenge is how to engage with the international market while staying focused on the needs of the domestic market. Mattia Oddone, head of cinema and TV international sales at commercial arm Rai Com, says his parent company’s domestic channels are currently doing very well: “Drama works wonderfully on Rai, making Rai 1 and Rai 2 the leading channels in Italy. The key slots are on Sunday and Monday nights, primetime for miniseries and longer series.”
Rai produces around 400 hours of original drama per year with a budget of around €200m (US$223m). In terms of Rai dramas that cross over into the international markets, Oddone says: “Genre series account for most of our sales. One of our most marketable products this year has been new seasons of Il Giovane Montalbano (The Young Montalbano – a spin-off of the original Montalbano series), based on the popular protagonist of Andrea Camilleri’s acclaimed Sicilian crime novels.”
The Young Montalbano is one series that has ridden the wave of interest in non-English language drama, says Oddone, “selling to the US, the UK, France and Benelux.” More generally, “Latin America and Spanish-language rights for the US market are very important to us, as is Central and Eastern Europe. Crime series like the second season of Sfida Al Cielo – La Narcotici 2 (Anti Drug Squad 2) and La Catturandi (Palermo Police Squad, pictured top) have been in high demand there. Biopics on internationally recognisable figures such as Oriana, a dramatisation of the life of storied Italian journalist and campaigner Oriana Fallaci, have also performed very well.”
Oddone acknowledges there has been a change in the way TV drama is produced in Italy. But he also stresses that Italian success has so far been rooted in subject matter that is closely associated with the market. “Rather than making Italian content more international, we have seen Italian themes become more accessible for international audiences. Topics like the family and the Mafia are very much connected with Italy and the possibility to develop such stories has allowed Italian producers to tell them with more intelligence and subtlety.”
Given Rai’s role at the heart of the Italian cultural landscape, Oddone says there is no reason why Rai Com cannot also play its part in the growing international market for Italian drama. And there have been separate reports that the broadcaster is looking at a project about the Medicis and one based on Umberto Eco’s Name of the Rose. But Oddone also reiterates the point about not losing sight of the needs of the domestic audience. Rai is less likely, for example, to follow some of its Italian peers into English-language drama. “We are about to enter drama coproduction and we are seeking new projects. But it is a delicate matter and it also has to engage the interest of our channels, with which we are now working very closely.”
It’s worth noting that Italian scripted content has also started making ground in markets like China and Turkey, primarily as formats. But if there is one other big story worth following, it’s the arrival of Netflix in Italy this October. The subscription VoD platform’s chief content officer Ted Sarandos was in the country recently trying to win over the Italian industry with promises of investment in Italian-originated content that can travel.
Speaking at the Ischia Global Film and Music Festival, he said: “We think we can bring a large global audience to a local Italian show and that we will be able to invest at a higher level than an Italian producer would invest in a series or a film from Italy.”
Echoing the company’s approach in France, where it greenlit a major local series called Marseilles, Sarandos said Netflix is planning a major commission that will “represent probably 15% to 20% of our spending on Italian programming.”
With Netflix spending an estimated US$5bn a year globally on content, the company’s entry into the Italian market should provide a welcome boost to the country’s producers at this pivotal moment.
Mediaset feeling lucky
Mediaset’s Alessandro Salem and Federation Entertainment founder Pascal Breton discuss their new coproduction Lucky Luciano and outline how Italian drama is taking on the international market.
Alessandro Salem: “What is happening right now is the spotlight is again on the power of Italian stories and the success they are achieving worldwide. In Italy and abroad the national frame isn’t always appropriate to nourish the creative process and to grant the financing of ambitious projects, so international development is more and more crucial.
“Rather than cinema or television, today we should speak of talents who explore storytelling and, depending on the specific nature of the project, later take on a TV or cinema direction.
Pascal Breton: “We’ve witnessed a ‘Scandinavian wave’ these past few years, and I think we’re now seeing a French wave with series like The Returned and The Bureau, as well as Versailles and Marseille within the next year, along with a wave of highly talented directors, writers and producers. The meeting of TV producers with top talent from French and Italian cinema is bringing a new creative force into a field that’s been dominated by Anglo-Saxon series.”
Salem: “Lucky Luciano is a TV series with international DNA: Italian roots, American trunk and international branches. It is about one of the most famous, and yet less known, criminal icons of the 20th Century, Charles Salvatore Lucania, also known as ‘Lucky.’ The series discloses what’s behind the story of the kid from Sicilian sulfur mines who will organise the American mob as an actual corporation, and will leave a lasting mark on the story of our countries through the controversial collaboration with the American and Italian authorities.
“The locations, the renowned character, the popularity of the Italian organised crime stories in the TV and movie iconography, have made it natural for us to launch the project on an international scale, and have led us to look for partners who share our ambitious and transnational vision.”
Breton: “Lucky Luciano is a perfect example of a story originating in Europe that has had a deep impact on the history of the US, and the story’s potential is endless. We were looking for an opportunity to coproduce with Mediaset, and we couldn’t have found a better subject.
Salem: “Mediaset has ambitions to become a major player in the international drama market. Within the next three years the goal is to have a constant pipeline of international dramas. To this aim, on one side, Taodue – our in-house production company – is focusing its talent towards international production with several projects greenlit. On the other side, we are confident we can count on our distribution strength through our presence in Italy and Spain.
“We are aware that English is nowadays a sort of precondition for international drama – indeed, Lucky Luciano will be shot in English. An exception can be Spanish, when the story justifies it, because of the extent of Spanish-speaking markets. That’s the case of Taodue’s upcoming movie Call Me Francesco.”