Articles about Keshet International
Point of no return
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.
How we made Our Boys
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.
Flying high
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.
Open secrets
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.
Raising the Flag
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.
Home from home
Writer-director Nikkhil Advani discusses the process of adapting Israeli drama Hatufim (Prisoners of War), which became Homeland in the US, for Indian audiences.
Out in the Cold
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.
Missing accomplished
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.
Israeli and Icelandic formats crack US
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.
Writers block
Top-tier television writers are in short supply, so how are producers finding new voices for the small screen? DQ investigates.
Game of Thrones and OJ dominate Emmys
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 get backing from buyers
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.
Channel 4 cooks up first Hebrew drama
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.
Watch your language
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?
The A Word
Writer Peter Bowker and director Peter Cattaneo describe their favourite scenes from the opening episode of The A Word.
A matter of time
US cables shows like The Shannara Chronicles and Colony are seeing their audiences double thanks to time-shifted viewing, a situation that encourages caution when deciding whether to renew.
Out with the new, in with the old
As more original dramas are produced than ever before, DQ finds there’s still a place for classic series to find new audiences.
Mipcom 2015: The peak of drama’s golden age?
Michael Pickard reflects on Mipcom 2015 and finds that while the huge supply of television drama shows no sign of abating, the business is getting much more complicated.