Articles about Keshet International
Pieter Van Huyck, head of scripted at Belgian producer De Mensen, outlines how the company developed family crime drama Diamonds, which is set in Antwerp’s diamond district, with support from partners in Israel.
The Baker & the Beauty creator Assi Azar recalls how he was first inspired to write this Israeli romantic comedy about a pair of mismatched lovers that has sold around the world and sparked numerous international remakes.
Writer Gjermund Stenberg Eriksen, director Magnus Martens and executive producer Håkon Briseid introduce Furia, a Norwegian drama that explores the violent world of right-wing extremism.
Henriette Steenstrup, the creator, writer and star of Norwegian dramedy Pørni (Suck It Up), and producer Ida Håndlykken Kvernstrøm explain how they found drama and humour in the everyday life of a social worker and her family.
Exec producer Marcel Ferrer outlines a key scene in Spanish-language political drama Preso No 1 (Prisoner No 1), which is produced by Telemundo Global Studios for US network Telemundo. It was co-developed with Keshet International, which distributes with Telemundo.
The co-creators, writers and directors behind HBO’s Israeli drama Our Boys talk about the complex and delicate journey they undertook to dramatise and examine the tragic real-life events that led to war in Gaza in the summer of 2014.
Omri Givon, creator of Israeli drama When Heroes Fly, tells DQ about the origins of the action thriller and how he pushed his budget to the limit to bring this story of a rescue mission in the Colombian jungle to the screen.
Israeli writer/director Keren Margalit discusses the making of her latest drama Sleeping Bears, which tackles issues of trust, and opens up about the creative process behind her screen work.
Five ordinary people are accused of a high-stakes kidnapping in False Flag, the latest hit series to come out of Israel. As the thriller is rolled out around the world, DQ chats to producer Maria Feldman and writer Amit Cohen about weaving this tangled web of secrets and lies.
Writer-director Nikkhil Advani discusses the process of adapting Israeli drama Hatufim (Prisoners of War), which became Homeland in the US, for Indian audiences.
Writer/director Emily Diana Ruth tells DQ about her digital drama Cold, which is being screened as part of the Drama Series Days at the European Film Market.
Season two of The Missing has proved a worthy successor to its acclaimed forerunner on BBC1, while Showtime is in need of a new hit of its own. Andy Fry reports.
There’s evidence that US networks are still on the hunt for international formats this week following HBO and NBC pickups. Meanwhile, European historical coproductions also continue to attract investment.
Top-tier television writers are in short supply, so how are producers finding new voices for the small screen? DQ investigates.
HBO, FX and Netflix were the big writing winners at this year’s Emmys, sparking interesting discussions about the future of Game of Thrones and the issue of diversity
European dramas like Medici: Masters of Florence and Trapped are in the news this week. There also seems to be growing trend for the TV business to turn to feature film directors.
Israeli drama The Baker and the Beauty continues strong showing for Hebrew-language shows, but a new version of Conrad’s The Secret Agent proves too bleak for BBC1’s Sunday night audience.
Subtitles are now a familiar element of many TV dramas, but how are languages changing the stories we watch and the way these shows are made?
Writer Peter Bowker and director Peter Cattaneo describe their favourite scenes from the opening episode of The A Word.