The writers and producer of Swedish drama Kalifat (Caliphate) tell DQ how they crafted this story of five young women who become radicalised by religious fundamentalism.
From the production team behind Bron/Broen (The Bridge) comes Kalifat (Caliphate), the story of five young women whose fates are intertwined in an examination of how religious fundamentalism can seduce individuals and destroy lives.
Based on an idea from Wilhelm Behrman, who writes the series with Niklas Rockström, the eight-part drama is produced by Filmlance for Swedish broadcaster SVT and distributed by Endemol Shine International. It is directed by Goran Kapetanovic and filmed in Stockholm and Jordan.
Behrman and Rockström have also been nominated for the Nordic TV Drama Screenplay Award, which is presented tomorrow during Göteborg Film Festival’s TV Drama Vision event, supported by Nordisk Film & TV Fond.
Here, Behrman, Rockström and producer Tomas Michaelsson reveal how Caliphate was conceived, developed and brought to the screen.
What are the origins of the project? Tomas Michaelsson: This drama handles a very sensitive but hot topic: young people being seduced by violent extremism. Wilhelm Behrman pitched the idea to me in late 2014, when Isis were in every newspaper every day and they were releasing their extreme terrorism videos. We then pitched it to SVT, which immediately wanted to start developing it with us.
Why was this a story you wanted to tell? Michaelsson: Wilhelm’s pitch was probably the best I’d ever heard. I still remember how he told it and how I felt. This was a must-tell story dealing with the most complex issues – and at that time, we were still in the middle of it. The timing was right to explore the difficult and complicated topic and understand almost incomprehensible issues around how young Swedes are prepared to go as far as to go to a foreign country and go to war to establish a caliphate.
Wilhelm, how did your newspaper background inspire or influence the story? Wilhelm Behrman: I suppose I learned the importance of research when I was working as a reporter – and to use research from a lot of different sources. I also learned to always search for the individual behind the general story, to write about specific human beings and not ‘groups’ or ‘representatives,’ because one individual will never be the perfect representative of an entire group.
What were the themes you wanted to discuss in the series and how was this achieved? Behrman: The one big theme was: how does radicalisation work and how do we make it fit into the thriller format? People have been radicalised in thousands of ways and we wanted to show some of these different ways. Some have nothing to lose and get recruited in prison, some fall in love with the wrong guy, some find their way to Isis when they find out they share the same political views and enemies, and some just want the adventure.
How did you come to work together and what was your writing process? Niklas Rockström: We are actually cousins but we became friends as grown-ups. And it turned out we both wrote screenplays, so after some years talking about it, we began writing together. Our first project was Before We Die. We always create the storyline together in the writing room and, after that, mostly because of lack of time, we go our separate ways to write the episodes. Behrman: We’re cousins, but we didn’t know each other until we met on a train on the way to see our dying grandmother. We found out that we had chosen the same occupation and quickly became best friends, but it wasn’t until 10 years later that we dared to take the scary step and start working together. Now we have been doing that for eight years. Our process is that one of us comes up with an idea and, if the other one likes it, we build the story together and write a storyline. After that, the one who came up with the idea does most of the scriptwriting.
How much research did you do? What surprised you about the subject or changed the story of the series? Rockström: We did a huge amount of research, as much as possible, as this sensitive story needed a lot more work than any other project I’ve worked on. The research changed the story in the details sometimes, but, as I recall it, not in any bigger sense. Behrman: We have read tons of books and articles about Isis and radicalisation, listened to podcasts and watched documentaries. But most importantly, we’ve had the privilege to interview experts on these subjects and people from inside the Swedish secret service. The most shocking insight we got is how quick these processes can be. Sometimes it just takes a couple of weeks to radicalise a person to the point that he or she will be willing to leave everything and join Isis.
How realistic is the series in terms of the experiences of those living in a caliphate or dealing with religious fundamentalism? Rockström: Kalifat is, of course, a drama and not a documentary. None of us visited Raqqa during the time it was the capital of Isis. That said, the show is still quite realistic. For example, the life Pervin [one of the main characters] lives with all her restrictions is probably not far from the truth. Behrman: Quite realistic. It’s no documentary, of course, but I think we’ve managed to catch the atmosphere you can find in the secretly filmed material we have seen from inside Raqqa. And when it comes to religious matters, we have checked the story with experts on Islam to make it trustworthy.
How did you balance the stories of the five main characters? Behrman: What is important is that when you write the storyline, you work thoroughly so that each one of the lines has its own complete arc in every episode. That doesn’t mean they all have the same weight in all the episodes, but you have to think it through and be prepared to complete the storyline if necessary.
Writing a thriller, how did you try to create tension in the series? Rockström: That is a complex question! To keep it short, when writing the story, it was important to be clear about what was at risk for every character, which probably is the way every thriller is told but perhaps even more important when it came to Kalifat. Behrman: By always, always trying to surprise the audience. If an idea comes too easily to you, it’s probably a cliché and should be discarded.
What were the biggest challenges you faced, either in development or production? Michaelsson: The development was actually quite straightforward. Wilhelm and Niklas had such a well-developed storyline and the first draft of every episode was in really good shape. The production was a bigger challenge in many ways. Usually, a drama recreating the Middle East on screen would be filmed in Morocco or Southern Spain. Luckily, I went to Jordan to shoot a small part of a film in 2017 and established a very good relationship with Jordanian producer Rula Nasser. During the development of Caliphate, I told Rula about it and asked if she thought it would be possible to shoot a TV show about Isis in Jordan and make Amman look like Raqqa.
The biggest challenge was the casting. We, together with SVT, decided early on that we wanted unknown actors, as we were striving for a very authentic look. We didn’t want the audience to see famous faces from other TV shows. However, the actors still had to be top class. Most of the characters are also quite young. So, finding young, unknown, really top-notch talent is a challenge. We spent a lot of time in the casting process to get it right, and it paid off.
How do you hope viewers respond to, or engage with, the series? Michaelsson: I want this to be the most thrilling story they have ever seen. I also want the audience to cry and really feel for and engage with the characters, and for people to ask questions like how and why can someone join those organisations? I have learned a lot during this production but I still don’t really have the answer. To me, this was a show that had to be told with authenticity and the characters had to be multi-dimensional. We wanted the audience to feel they were in the middle of the story.
Swedish drama West of Liberty brings the first book in Thomas Engström’s spy series to television. DQ speaks to producer Gunnar Carlsson about making the English-language series, which is set and filmed in Berlin.
Once upon a time, the idea of an English-language Swedish drama set in Germany might have seemed impossible to realise, considering the number of potential partners involved and the logistics of pulling together such a collaboration.
But today, such considerations are water off a duck’s back to a producer like Anagram, which has offices in Sweden and Norway and has successfully completed series set as far away from Western Europe as Thailand and India.
The independent prodco’s latest series is West of Liberty, an action-packed, suspense-filled spy thriller that will receive its international premiere tomorrow as part of Berlinale’s Drama Series Days event.
The six-part drama centres on Ludwig Licht, a former Stasi agent and CIA informant who works as a freelance problem-solver and bartender in Berlin. When his old partner Clive Barner, head of the CIA’s Berlin office, asks him to come out of retirement and work a case involving Lucien Gell, the corrupt leader of whistle-blowing site Hydraleaks, Licht gets the chance to solve one last investigation.
Wotan Wilke Möhring stars as Licht, with Michelle Meadows as former Hydraleaks legal advisor Faye Morris. The cast also includes Matthew Marsh and Philipp Karner.
Produced by Lund-based Anagram for Sweden’s SVT and German broadcaster ZDF, West of Liberty is based on the first novel in Thomas Engström’s acclaimed book series. It will also air on TV2 Norway and YLE in Finland, with ITV Studios Global Entertainment distributing.
Anagram Sweden’s head of drama, Gunnar Carlsson, first came across the story when Engström’s agent gave him a copy of the book. “I read it very early and immediately I was interested in it,” he recalls. “Then I got to know this was the first of a series. We optioned them all and started work.”
The fact the story is set in Berlin was no deterrent to producing the show, with Carlsson embracing the project as the next “natural step” for a Swedish company looking to break into the international market. “It’s the next step – not doing Swedish shows sold abroad but doing international shows directly for the market. This is a very natural step to take,” he says.
In particular, it was the fact West of Liberty is a character-driven story, rather than a plot-heavy drama you might expect from the spy genre, that most appealed to the producer. “Of course there’s a plot there but it’s also very character-driven and this is something I liked very much,” he says. “There’s a lot of depth to the characters. So my interest in this was the characters, particularly the main character Licht, who is a former Stasi guy who double-plays with the CIA and now lives in Berlin where he runs a bar. He has a very interesting story.
“It also has a lot of action in the plot – they’re chasing a guy who’s running a Wikileaks-like organisation who is in hiding. This was written before [Wikileaks founded Julian] Assange ended up in the Ecuadorian embassy in London but it’s quite an astonishing coincidence. It’s very contemporary.”
With Sara Heldt (The Crown Princess, The Dying Detective) and Donna Sharpe
(The Team, Teufelsberg) on writing duties, the scripts were initially penned in Swedish by Heldt before she and Sharpe translated them into English. West of Liberty’s characters come from a variety of backgrounds, so English was the common language used on screen, though characters also use their native languages where possible.
Carlsson describes Heldt as “one of the best scriptwriters we have,” having previously worked with her while he was an executive at Swedish pubcaster SVT. “She’s very good on character. She was my absolute first choice and has written most of the script [in Swedish]. Sara is Swedish and she’s fluent in English but, at the same time, it’s different [speaking English as a second language]. So before we started shooting, we looked for an English writer. My partner, Bettina Went, had worked with Donna before and she followed the scripts through the whole production.”
Behind the camera is Barbara Eder (Thank You For Bombing, Tatort), who Carlsson says has used a hand-held style to film the series. “It’s not mainstream,” he explains, noting that this technique brings a freedom to the visuals, which also incorporate natural light where possible. The acting is also very natural, adding to the cinematic tone of the drama. “This is something we wanted from the beginning when we were looking for directors who had worked a bit like that, and that’s how we found Barbara,” he continues. “She picked Carl Sundberg, the DOP, who is also used to working this way. We put together a team that could do this a bit more advanced than a mainstream show.”
The majority of filming took place in Berlin, with additional scenes shot in Cologne and Bonn in Germany as well as Malmo in Sweden. But the story is entirely set in the German capital.
“This is the way international shows are done because you do it out of financial terms; you get support and have to spend money in certain areas,” Carlsson says. “Interior apartments in Berlin are shot in Malmo and so on. The beginning of the show is shot in Marrakesh, Morocco. It all starts there.”
In Germany, Anagram was supported by Hamburg-based Network Movie, a company with which Carlsson had also worked while at SVT on shows such as Bron (The Bridge). That Network Movie is owned by German network ZDF meant there was a natural connection to another broadcaster that could support the series with additional financing.
“We went to them and, together with them and the producer and their team, we started to plan how to put this together,” Carlsson says. “When you look at the style of the show, you don’t look at the countries, you look at the people. We found Barbara in Austria and Carl in Sweden. But then later on if you’re going to shoot 50 days in Berlin, you choose a team from Germany. It worked very well. It was quite easy. Then when we moved to Sweden, we shot in Malmo and the heads of departments [HODs] we had in Germany followed on but then we had a Swedish team there. If you have the same HODs and DOP, it’s no problem [to keep the same style or tone]. Even the culture in doing stuff in Germany and Sweden doesn’t differ that much. We talk the same, we understand the same stuff. It’s very easy.”
Anagram is suitably experienced in filming Swedish dramas overseas, with credits that include Thailand-set 30 Grader i Februari (30 Degrees in February) and Delhis Vackraste Händer (The Most Beautiful Hands in Delhi), which was shot entirely in New Delhi.
In comparison, there were few challenges filming in Berlin, a relative neighbour to Malmö, the largest city in Southern Sweden and close to Anagram’s base in nearby Lund. The geographical distance was short, for example, and there was no time difference, but working between two countries simply meant things such as financial reports took a little more time. Carlsson says this can cause a two-step development process, instead of one step, “but it’s not a problem as such. Sometimes we have a time delay if you need to make quick decisions. We didn’t have this problem, but you notice it. We have made shows in Thailand and New Dehli and then you have problems with the time difference and cultural difference. For us ,this was easy.
“One lesson we learned working with people from other countries is even though we are very much alike, we are different. You have to adapt to the culture and not work against it. That’s something you have to have in mind even if you go to Berlin. If you don’t work like that, you will have problems. As long as it’s possible, you have to adapt. That’s something you learn very quickly when you work in cultures that are so different from our European traditions. It’s something you can learn even if doing a production with partners in Europe.”
The series needed to be filmed in Berlin, however, as Engström describes the city as one of the characters in the story, demanding a level of authenticity that couldn’t be replicated in a studio or another European location. “The story couldn’t take place in a place other than Berlin because it has its traces in the Cold War, and these characters come out of that. Berlin is a very integrated part of the series,” Carlsson adds.
Engström followed West of Liberty with three more novels – South of Hell (2014), North of Paradise (2015) and East of the Abyss (2017). Writers are already working on the second book adaptation, with Carlsson in talks with potential Canadian coproduction partners, as South of Hell unfolds in Washington D.C. and rural Pennsylvania.
If the series’ success continues, Anagram will have further opportunities to flex its international coproduction muscles, with North of Paradise set in Florida and Cuba, while East of the Abyss plays out in Ukraine, Armenia and Georgia.
Two friends cause a stir in a small community where global protest movements have barely touched the surface in Systrar 1968 (Sisters 1968). Writer Martina Bigert and producer Emma Åkesdotter Ronge tell DQ about the period drama.
At a time when protest movements led by gilets jaune (yellow jacket) demonstrators have led to unrest in Paris, a Swedish period drama harks back 50 years to a period when the French capital was also struck by civil unrest.
Systrar 1968 (Sisters 1968), a three-part miniseries commissioned by SVT, tells the story of politically minded journalist Karin who is unable to land her dream job at a big Stockholm newspaper and instead lands a job at a small-town title. Armed with her typewriter and joined by rebellious artist friend Lottie, they each rent a room at the home of newspaper owner Georg – and within days they have caused a stir in the small community that is seemingly untouched by events in Paris that same year or similar protest movements in the US.
The origins of the project, produced by Anagram, lie in Group 8, a feminist organisation founded by eight women in Stockholm in 1968. They highlighted issues such as childcare and equal pay, and the group quickly spread across the country.
“I wrote this with my co-writer Maria Thulin because of them,” explains screenwriter Martina Bigert. “They did so much for Swedish women so I wanted to celebrate them, because some of them are now around 70 to 75 years old and some are no longer with us. We have had drama like this before but not from the female eye.
“This is really a fantasy about these women. I focus on two or three of them and have created my own story about them with Maria.”
Karin, played by Mikaela Knapp, is quite radical. After searching endlessly for a job in Stockholm, she finds herself in a small village with her friend Lottie (Maja Rung) and her boyfriend, who is a member of the Communist group NFL, where they begin to spread their message and cause upheaval.
“This group of women, Group 8, was the inspiration for the story, but the show is totally fictitious and it’s really these young female characters that drive the story,” explains producer Emma Åkesdotter Ronge, speaking with Bigert to DQ at Série Series earlier this year. “Two of them come from Stockholm to this small village in the south of Sweden. They are intellectual and radical and they know how to grab things by the horns. In the house where they live, there is a girl who is the same age, in her early 20s, and they start to influence her and also her mother, a housewife.”
Bigert reveals she has been working on the project since 2011, but notes its timeliness in the age of #MeToo and heightened awareness of sexual harassment. “In Sweden when I talked to the younger generation, I found out they don’t know so much about these women,” she says.
Ronge picks up: “It’s definitely a relevant topic and I think it’s good that we’re reminded that others fought for the rights that we might now take for granted.”
Setting the drama largely within the confines of a family environment also draws the themes and issues of the story into sharper focus. “Everything is so small, it’s not a big drama,” Bigert notes. “But from a female perspective, it is a big drama. So if you put it in the right setting, you can make a big drama from just the small details and I find that interesting. They don’t have to kill each other.”
The three-part miniseries debuts on SVT on Christmas Day and will also air across Scandinavia on YLE (Finland), NRK (Norway), DR (Denmark) and RUV (Iceland). “We really want to reach young girls because they’re the ones who are driving the story and they can watch it together with their mothers, fathers and brothers as well,” Ronge adds.
Bigert and Thulin had previously written together on Swedish drama Gynekologen i Askim, which won the Kristallen award for best drama in 2008. In developing Systrar 1968, they collaborated extensively to construct the storyline. And with Bigert based in Paris and Thulin in New York, they were able to write around the clock thanks to the fact they were based in different timezones. “I wrote one day and she wrote the next, so in the end we don’t know who has written what. It’s a really good way to work,” Bigert says.
The project came to Anagram in spring 2017, and director Kristina Hulme (Before We Die) came on board and collaborated on the script before shooting began on location in southern Sweden.
“It’s a challenge to do a period drama. We’re shooting everything on location,” says Ronge. “We have a fantastic art department that dresses all the sets on location but it’s been a challenge to find the settings and make them look right. The local authority has taken down signs and everything.
“Costumes are a very big thing because we have 200 or 300 extras and all of them have to come in for costume and make-up. We have a big room just filled with costumes and wigs.
“In a lot of period dramas, you have this gritty, brown, smoky feel. But one of the things that made me want to produce this was that the visuals would be light and airy and would have the feel of summertime.” The series was previously titled Summer of 68.
Bigert and Ronge are now imagining a second season that follows Karin into the 1980s, where she might rise into a management role, leading to an exploration of being a female boss during that decade.
“What would be interesting would be to follow the main character, Karin, and how she develops in her work at the newspaper because she becomes a boss in that period,” Bigert says. “It would also be interesting to see what happens to these people when they are young and radical and then some of them change because of money.”
Regardless of whether that next season emerges, Systrar 1968 is latest drama to tap into a trend across Europe that sees countries look back on their own history, such as fellow SVT series Vår tid är nu, known internationally as The Restaurant. It’s proof that as we move forward, there is still much to learn from the past. http://dramaquarterly.com/preparing-a-feast/
International coproductions are nothing new, but as more globally ambitious dramas are emerging, DQ speaks to the producers behind some of these long-distance series to find out how stories spanning multiple countries are made.
The global boom in international coproductions has seen the rise of new cross-border partnerships as technological advances and greater working collaborations mean previously untold stories can now be brought to the small screen.
But when it comes to telling a story set in multiple countries, whether it involves creative talent from across Europe, Asia or on opposite sides of the world, how do the various players involved ensure they are all working to tell the same story?
Retelling myths and legends from numerous different countries, HBO Asia’s original horror series Folklore is surely one of the most imaginative and challenging productions of recent years.
The six-part anthology series sees each episode tell a new story set across six Asian countries – Indonesia, Japan, Korea, Malaysia, Singapore and Thailand – via a modern adaptation of that country’s folklore, featuring supernatural beings and the occult. Each episode also has a different director.
“I have always seen the series as a celebration of Asia’s diversity. So from the start, I wanted the episodes to be in their native language so that the richness of the different territories can shine,” explains showrunner Eric Khoo (pictured above on set), who also directs episode three, Nobody, which is set in Singapore. “I would have liked to include other countries such as the Philippines and some of the other emerging markets. But as it was our first step into doing a series of this scale, we decided to just do six and not be too greedy.”
Each director worked with their own production team, though several producers from Zhao Wei Films came on board to oversee the production. “We had total trust in the directors to assemble their local team,” Khoo says.
Filming in multiple territories meant collaborating with local producers, with Khoo noting that communication was key. But the biggest challenge? “My producers said the paperwork was a nightmare,” the showrunner reveals.
That Denmark and New Zealand are worlds apart was what appealed to producer Philly de Lacey when Screentime NZ partnered with Copenhagen-based Mastiff for eight-part series Straight Forward. Set in both Copenhagen and Queenstown, the series is described as an intricate and entertaining mix of crime caper and a voyage of discovery as a Danish woman attempts to leave her criminal past behind by moving to a small Kiwi town to start a new life.
“We couldn’t get more polar opposite, and that’s part of the beauty of it,” de Lacey says. “Although we’re culturally similar in a lot of places, there are lots of differences to play on too.” When Screentime revealed its plans for the multi-national drama, fellow Banijay Group-owned firm Mastiff jumped on the idea straight away. Nordic SVoD service Viaplay will screen the series locally, with TVNZ coproducing in association with Acorn Media Enterprises and Acorn TV in the US. Banijay Rights is handling international distribution (excluding New Zealand, Scandinavia, North America, the UK and Australia).
“We don’t think anyone’s done a Danish-New Zealand copro before,” de Lacey says. “It’s challenging because you’re dealing with two different languages, but the story really lends itself to working across two countries, so it’s perfect. It’s exciting for our Danish partners because they get to tell a Danish story that goes out into an English space in a natural way. And it’s exciting for us to be able to tell a New Zealand story that goes out to the world in a natural way as well.”
Filming took place for more than four months, with studio space in Auckland and a second unit in Queenstown, before another unit travelled to Denmark to get the key Copenhagen elements. Though Screentime took the lead on decision-making during production, de Lacey says they were in constant communication with Mastiff.
“We did a lot of script work right through production, particularly once the Danish cast came on board,” she says, revealing how integral they were in ensuring an accurate portrayal of Danish culture. “It was critical for us that, when the show goes out, the Danish audience really believes the authenticity of the Danish elements of the show. Their input was invaluable.”
Across the Tasman Sea separating New Zealand and Australia, Scottish producer Synchronicity Films filmed scenes from BBC four-part drama The Cry in Melbourne before heading to Glasgow to complete the story of a couple’s distress when their baby mysteriously disappears. Jenna Coleman and Ewan Leslie star in the series, which is distributed by DRG.
Having considered using South Africa to double as Australia, executive producer Claire Mundell says the authenticity of the story, which was based on a book itself set in Melbourne, demanded the production head down under. That meant a lot of preparation was needed, as Synchronicity had never filmed in Australia before, meaning reconnaissance work, reaching out to local producers and undertaking a casting search. The decision to film Melbourne first before moving on to Glasgow informed the hiring of Australian director Glendyn Ivin and DOP Sam Chiplin, with December Media becoming the local production partner.
Challenges included overcoming differences in working practices, the fluctuating exchange rate and the higher cost of living in Australia, which makes it an expensive place to shoot compared with the UK. Scottish department heads also travelled to Melbourne so they could work on both sides of the shoot, and Mundell estimates the production spent at least £1m ($1.3m) on travel and accommodation alone.
Perhaps unsurprisingly, and unavoidably, the time difference between the UK and Australia – ranging from nine to 11 hours during the production on account of daylight savings switches – was one of the biggest challenges, with Mundell conferencing with Australian broadcaster the ABC when in Scotland and then with the BBC while on location in Melbourne. “There’s been a fair old amount of times we’ve been working 20 hours round the clock between an early morning call, doing your full day’s shoot and then doing stuff at night,” she says. “It has been really demanding.”
Over in Europe, Swedish producer Anagram headed to Germany for spy thriller West of Liberty. Based on the novel by Thomas Engström, it centres on Ludwig Licht (Wotan Wilke Möhring), a former Stasi agent and CIA informant who is brought back into the game when he is given the chance to investigate the corrupt leader of a WikiLeaks-style whistle-blowing website.
“It’s a natural step for us,” producer Gunnar Carlsson says of making the Berlin-set English-language drama. “We have done Swedish series airing in Scandinavia. It’s the next step – not doing Swedish shows sold abroad, but doing international shows directly for the global market.”
Produced for pubcasters ZDF in Germany and SVT in Sweden, the six-part series is being distributed by ITV Studios Global Entertainment. The scripts were penned by a Swedish-British writing team of Sara Heldt and Donna Sharpe. Filming took place in the German capital, as well as Cologne, Bonn and Malmö in Sweden, though the story is set in Berlin. Several opening scenes were also shot in Marrakesh, Morocco.
When he first picked up the rights to the book, Carlsson immediately identified a German partner in Network Movie, having previously worked with the company when he was an SVT executive. “They are also owned by ZDF so they have a connection to the channel, which helps with financing,” he says. “We went to them and together we started to plan how to put this together. We found [director] Barbara Eder in Austria, but if you’re going to shoot 50 days in Berlin, you choose a team from Germany. Then when we moved to Sweden, we shot in Malmö and the heads of department we had in Germany followed on to join us.”
Though the distance between Sweden and Germany pales in comparison to those confronted by the producers of The Cry and Straight Forward, Carlsson says the key to a successful production experience is to adopt the culture of the country you are working in, no matter how similar you might think you are. “That’s something you have to have in mind even if you go to Berlin,” he says. “As long as it’s possible, you have to adapt. That’s something you learn very quickly when you work in cultures that are so different from our European traditions. It’s something you can learn even if you’re doing a production with partners in Europe.”
Anagram has previously worked overseas, in Thailand for 30 Degrees in February and India for The Most Beautiful Hands of Delhi. “Then you have problems with the time difference and cultural difference,” Carlsson notes. In comparison, West of Liberty “was easy,” he adds.
Elsewhere, under head of drama Jarmo Lampela, Finnish public broadcaster YLE is expanding the range of drama series it is commissioning by seeking out local stories told on an international scale. Among these is Invisible Heroes, the story of a Finnish diplomat in Chile who decides to hide hundreds of Chilean dissidents during Augusto Pinochet’s coup in 1973. Set in both countries, the show is a copro between Kaiho Republic in Finland and Parox in Chile for YLE and Chilevisión.
Finnish writer Tarja Kylmä spent several weeks in Chile working with local scribe Manuela Infante to set the series outline, which is based on a true story that was only recently uncovered in a book. Lampela gave the book to Kylmä, who immediately set about developing the story for television. “I went to Chile during the outlines, visited all the places in the story and got into the mood of 1970s Chile,” Kylmä says. “Since then, it’s been daily communication with Manuela, and the producer in Chile, Leonora González, has been reading everything and commenting carefully. With the time difference, I work morning and afternoon in Finland and then the day starts in Chile and they start sending questions. When I wake up in the morning, there are more questions.”
The series features the Spanish, Finnish, Swedish and German languages, meaning multiple translations of the script are required. But Liselott Forsman, executive producer of international projects at YLE, says the drama is evidence of two small countries uniting to tell one story: “Of course there are language problems, but nothing major. Things have changed in Latin America, notably the acting. Previously in melodramas, the acting was very different. It was not as naturalistic as we are used to in the Nordics. But now when you put actors from two cultures together, you can find the right approach.”
Another Finnish project set across a vast distance is The Paradise, which is produced by YLE and Spain’s Mediapro. Due to air in autumn 2019, most of the show’s action unfolds in the Spanish town of Fuengirola, the “Finnish capital of Spain,” where a 60-year-old female police officer must uncover how a group of pensioners died amid suspicious circumstances.
Filming will take place in Finland in December, with production moving to Spain at the end of January. Described as “Mediterranean noir,” the show was created by David Troncoso, who sought to take the darker elements of Scandianvian dramas and set them against the warm sunshine of the Costa del Sol. He then partnered with YLE’s Lampela, writer Matti Laine and Mediapro head of international development Ran Tellem to develop the series.
The group spent time together in Fuengirola to study the Finnish community there before beginning to write the series, which revolves around Hilkka Mäntymäki (played by Riitta Havukainen), a senior criminal investigator from Oulu who goes to Spain to find out what happened to a missing family, before becoming embroiled in a potential murder investigation.
Development was split between Spain and Finland, with showrunner and director Marja Pyykkö joining the team. The production will be largely filmed in Fuengirola, where some of the streets have Finnish names, giving rise to the moniker ‘Little Helsinki.’ The story will unfold in Finnish, Spanish and English, with YLE distributing the drama in Scandinavia and Imagina International Sales selling to the rest of the world.
“Coproductions are the best part of the job,” Tellem says. “I have the privilege of working with writers across the world – we are involved in projects in Mexico, Italy, England and many other places. The ability to do creative work with people from other countries and other cultures is the best. There are different styles of storytelling, but everybody’s talking about human beings and the way they deal with things in their lives.
“But I do insist on meeting people. For me, this is essential. Never start the creative process before you spend some quality time with people.”
Through Pyykkö, the series will be told from a Finnish perspective, with most of the crew and the main characters also coming from Finland. Tellem says that, regardless of the partners involved, the viewpoint of the series is most important, as trying to split the creative process 50/50 doesn’t work. “The show needs an anchor in the ground,” he adds. “You need to make a decision: is this a Spanish show with a Finnish touch or a Finnish show with a Spanish touch? Once you decide that and understand who is making the calls, that’s the first step to success.”
Screentime’s de Lacey sums up the trend for multi-national dramas when she says barriers to non-English language series have been pulled down, paving the way for increasingly ambitious stories to be told against an international setting. Her production company is already developing another story with a German partner. “There’s a lot of stuff we’ve learned about the translation of languages,” de Lacey says. “You can’t translate the New Zealand script directly into Danish, because Danes don’t speak the same way. Direct translations don’t work. If we do a season two, we’ll bring in a Danish writer much earlier into the process.”
Synchronicity’s Mundell says the challenges of any coproduction will always be time differences and different working practices and relationships. “That’s a daunting task, but you have to approach it in a professional way,” she adds. “If you choose carefully and do your research into who you’re working with, hopefully things work out well for you, which is what happened with us.”
After four seasons starring in Swedish/Danish smash-hit series Bron/Broen (The Bridge), Sofia Helin is setting up her own shows and helping to coordinate a protest about the way women are treated in the film and TV business in Sweden.
As Nordic noir continues to ride a wave of global popularity, one show still stands taller than the rest. Wallander and Forbrydelsen (The Killing) came before it and new dramas will surely follow it, but until something repeats its international success, Broen/Bron (The Bridge) is arguably the biggest hit to come out of the Scandinavian crime genre.
Central to its success has been Sofia Helin’s star turn as Saga Norén, a brilliant yet unorthodox Swedish detective who teams up with her Danish counterpart to solve a series of gruesome murders discovered around the Øresund Bridge that links Malmö in Sweden to Danish capital Copenhagen.
Helin is now well known around the world thanks to her iconic role in a series that will conclude after its fourth season, which began on New Year’s Day on Denmark’s DR and Sweden’s SVT.
“Of course I cried on the last day [of filming], we all did. It’s been an amazing journey, a long journey, a deep journey, a hard journey,” Helin says of working on the show, which first aired in 2011. “My daughter was one year old when we started and now she’s eight, so it’s been a [significant] period of my life and it has opened so many doors. I learned so much from it. It feels good to say goodbye but I will always have it very close to my heart.”
The actor says she is now considering what to do next. She has already crossed borders to star in The Same Sky, a German-produced spy thriller set during the Cold War. “That’s where I am now, thinking what can I do with this platform. I’ve come to the conclusion I love being a storyteller and I love being a part of the process.
“I’ve learned so much by developing The Bridge more and more each season that I feel now I have to move on and use that, so that’s what I’m doing. I’ve also been longing to work together with other female actors. For a long time, the industry has looked like five men and one woman in the middle like a jewel, so I look forward to working with my female colleagues.”
To that end, Helin is already developing two new projects. The first, Get Naked, is described as a comedy about female sexuality, particularly focusing on older women. Miso Film is producing alongside distributor FremantleMedia International.
“After a certain age, women just disappear,” Helin states. “If you go into a store and you see all the newspapers, you see there are no mature women. They’ve just vanished. Mature women’s sexuality is just invisible, but we have it and it’s a strong power.
“Our inspiration for that show is [HBO hit] Girls, which does the same thing but with younger women. It’s about four characters and they are all having problems and issues. It starts with them being all by themselves thinking about this topic, and they come together to talk about it and do something about it.”
The second project, Heder (Honour), is a thriller set in a law firm that works with victims of sexual crimes. Helin created the series with fellow actors and executive producers Julia Dufvenius, Anja Lundqvist and Alexandra Rapaport, who all star. It is produced for Discovery by Bigster and distributed by Eccho Rights.
“They have a common past that brings them together for life that they try to avoid,” Helin explains of the show’s characters. “The big philosophical question is: is it possible to pay for your guilt or what you’ve done by doing good things? Also, the word ‘honour’ is chosen specifically because when you are harassed or raped, someone takes your inner honour from you, and when you say, ‘That’s not right what you did to me,’ it’s a redemption process.”
Honour is a particularly timely piece, coming in the wake of the sexual misconduct allegations coming out of Hollywood and elsewhere in the film and television business and the #MeToo campaign on social media, both of which have had a big impact in Sweden.
Helin has been a particularly vocal supporter of the #tystnadtagning (#silenceaction) movement, which saw almost 600 Swedish actresses sign a letter calling out the Swedish film and TV industry for failing to protect women from sexual abuse.
“It started with #MeToo and then, after a while, a few of us actresses felt we had to say something publicly about what it’s like in our business,” she recalls. “We started writing on Facebook, just like 10 of us, and then in 36 hours we had more than 1,000 members. So many horrible stories were written on this group, so we realised we had to do something more – to tell the world about our world – so we started a revolution, you could say.
“We want to change the industry from the ground up. Just stop behaving like that. For all of us, it’s a new way of looking at the world so we have to learn together. It’s not a matter of us and them, it’s about doing it together. Hopefully it’s going to spread throughout the world so we can start talking about this without just blaming and having a war.
“But I’m a bit worried that it will soon be yesterday’s news, which is why we have to keep working and take responsibility for this, what’s happened. I think at least in Scandinavia this is a revolution, and I think it is in Hollywood also.”
This isn’t the only movement taking place in Sweden, however, with Helin identifying another change in society that has come to light through the making of The Bridge.
“This season is about identity and it’s been so amazing, and sad also, to go through this period because when we started the show, the bridge was a symbol of gathering,” she concludes. “It was an open bridge where you could go between countries. The cities of Malmö and Copenhagen were growing together and there was a very positive feeling around the bridge.
“Now it’s a bridge we use to close the border, to control our countries. It’s where many tragic events happen because people aren’t let in. It’s a completely different situation to when we started so this season will reflect that, of course. It’s still The Bridge, but you have to move with society.”
As the battle for the best projects becomes ever more fierce, leading drama commissioners and producers open up about their own development processes and reveal how they work to bring new series to air.
For television drama commissioners, the development process must feel a lot like spending their working hours at the races, looking for the right horse on which to bet and willing it to cross the line in first place.
The financial power of SVoD platforms has changed the game for those picking up series for their networks, with the battle for projects now increasingly fierce as partners come together earlier in the process than ever.
Meanwhile, producers are reaping the benefits of an increasing number of buyers looking for original, brand-defining shows. But how is the development process changing at both broadcaster and producer level, and what challenges do they face in the new television landscape?
Anna Croneman, SVT’s newly installed head of drama, admits very few of the Swedish broadcaster’s scripted series are developed in-house. Instead, writers or writer-producer teams will pitch her ideas and SVT will then board a project from the start. But Croneman says her development slate has been slimmed down to ensure viable projects are singled out early on.
“Last year we cut the development slate significantly, which means we can spend more time on things we really believe are right for us,” she explains. “We lose some projects to the international players, but there is really no other broadcaster doing what we do in Sweden, in the Swedish language. But once again, getting the right talent is an even greater challenge now.”
That challenge is amplified by the competition from Netflix and HBO Nordic, which is starting to commission local original series. “I see companies trying to tie down writers by employing them, or doing first-look deals on ideas,” Croneman adds.
HBO Europe pursues projects from both single authors (such as Štěpán Hulík’s Pustina) and those that use writers rooms (Aranyelet). “In some cases we go through quite a lot of storylining processes; other developments go to first script very quickly,” explains Steve Matthews, VP and executive producer of drama development at the firm. “Sometimes we will polish a pilot through a number of drafts, sometimes we will commission a number of first drafts. It all depends. There is no set system; every project grows organically – we are proudly writer-led in our developments and do our best in each case to find the best support we can bring to the process.”
The company seeks to join projects as soon as possible, and Matthews says there are no rules about what materials it needs to consider a pitch. “We like to be involved early so that we can offer support in that crucial inception,” he says. “That’s when we can help the team understand our needs as a broadcaster and, crucially, for us to understand what the writer is trying to do or say and so support them in that process. A shared vision early in the development fosters a sense of joint ownership and collective focus on the core idea.”
When its original-programming operation was in its infancy, HBO Europe’s attention centred on adaptable formats. But Matthews says the network group wanted the same thing then as it does now – shows that feel fresh and relevant in the territories for which they are made, whatever their origins.
“The results include shows that are based on formats, like Aranyelet [Finland’s Helppo Elämä] and Umbre [Australia’s Small Time Gangster], but that push ahead into new stories that are entirely authored by our local teams,” he explains. “Furthermore, adapting formats has proven an excellent training ground. Our brilliant teams in the territories have nurtured stables of writers who have learned their craft on series like our various versions of In Treatment and are now showrunners passing on their knowledge to the next groups of talent we bring in. So we feel we have the experience and confidence to no longer rely on formats. For our new slate in Adria, for instance, we decided at the start we would only develop original ideas from local talent.”
UK broadcaster Channel 4 is known for its eclectic drama output, from topical miniseries The State and National Treasure to shows that take an alternative approach to familiar genres, like Humans (sci-fi) and No Offence (crime).
“We have regular conversations with producers and writers and have a realistic development slate,” explains head of drama Beth Willis. “We don’t want to flirt unnecessarily with projects we don’t love – it’s a waste of time for the producer and the writer. So we will be clear from the off about whether we think it’s for us. And if we do say we think it’s for us, we really mean it.”
As a commissioner, Willis says she will offer her thoughts on early drafts and throughout production, and that the increased competition for scripted projects means her team is now more conscious of the defining characteristics of a C4 drama. However, like Croneman, she notes that “the biggest competition is in securing talent for projects rather than specific projects themselves.”
“We receive hundreds of pitches a year from independent production companies,” says Rachel Nelson, director of original content at Canada’s Corus Entertainment. Her team read and review each piece and have bi-weekly meetings where they determine what might be suitable for Corus’s suite of networks, which includes Global and Showcase.
“We work mostly with producers, rather than with a writer only. We are open to ideas and will accept any creative, from scratches on a napkin to full scripts,” she says, adding that Corus’s focus now falls on projects within targeted genres. “We’ve also learned how important it can be to take risks and not be afraid of doing that when we feel strongly about specific projects. We experienced this first-hand with Mary Kills People. We received the script, read it right away and were so impressed that we moved to an immediate greenlight on this show by an unknown writer, pairing her with an extremely experienced team.”
Fellow Canadian broadcaster Bell Media – home of CTV and Space – is also open to developing projects that arrive in any form, though a producer should be attached fairly early in the process, says director of drama Tom Hastings. That said, its development process hasn’t radically changed in recent years, even as the company moves with programming shifts such as the trend for shorter serialised dramas.
“We take a ‘steady ship during stormy weather’ approach,” Hastings says. “As our channels have strong brands and identifiable audiences, we remain committed to developing drama programmes that best fit those brands and work for those specific viewers. We remain very selective about what we develop and we take our time, demanding the best of everyone, including, most especially, ourselves.”
Arguably the biggest battleground in the world of development is the race to secure IP, with producers scrambling to pick up rights to films, stage shows and, in particular, books – often before they have even been published.
Transatlantic producer Playground Entertainment is behind new adaptations of Howards End and Little Women, and has previously brought Wolf Hall, The White Queen and The White Princess to the small screen. But adaptations, like every development project, are not a “one-size-fits-all process,” says Playground UK creative director Sophie Gardiner. “Sometimes we will commission a script before going to a broadcaster – maybe because nailing the tone is crucial to the pitch and you can’t do that in a treatment – but more often we prefer to work with a partner in the initial development.
“Not only does this mean you are on their radar and they are invested in it from the get-go, but they can often be genuinely helpful. However, there’s no doubt the SVoD firms are looking for material to be pretty well developed, and more packaged [compared with what traditional broadcasters want].”
The Ink Factory burst onto the television scene with award-winning John Le Carré adaptation The Night Manager in 2016 and is following up that miniseries by adapting two more Le Carré novels – The Spy Who Came In From the Cold and The Little Drummer Girl. Both are again with Night Manager partners AMC and the BBC.
“Relationships with broadcasters are vital, and it is via those connections that we get to know each other and forge a sense of where our taste synthesises – and, from there, opportunities evolve,” explains Ink Factory head of development Emma Broughton. “Sometimes we will work on the seed of an idea and build it ground-up with a broadcaster. Some of our projects have broadcaster attachments before they have a writer or director. On other occasions, we will develop an idea ourselves to one or two shaped scripts and take those – with a series bible and, potentially, a director and cast attachments – to a broadcaster.”
Broughton says the development process has become “more innovative and collaborative,” thanks to opportunities to build stories not confined to the UK. But increasing competition means The Ink Factory must be more distinctive, original and bold in its ambitions, she adds.
“It’s a terrific challenge,” the exec continues, “from bringing passion and vision when pitching in a highly competitive situation to secure a book, or developing projects that attract the most exciting and creative on- and off-screen talent. It’s all about the excellence of the work, being collaborative and honouring authorship.”
A “fairly traditional” approach to development is employed at Komixx Entertainment, which follows the tried-and-tested method of sourcing existing IP with a built-in audience and using recognised writers and producers. Keeping the original author of the IP closely involved is also seen as an important step to stay true to the material, in an effort to remove as much risk to broadcasters as possible.
What is different about Komixx, says Andrew Cole-Bulgin, group creative officer and head of film and TV, is where the company sources its IP, using both recognised authors such as Robert Muchamore (the Cherub series of novels) and new content from non-traditional publishers, such as self-publishing community Wattpad.
“As a young-adult producer, it’s crucial to consider that Generation Z is an audience made up of digital natives, so the best content comes from within their digital roots,” Cole-Bulgin argues. “Transitioning and retaining this audience from one digital platform, like Wattpad, to another, such as Netflix, is easier and more successful than pursuing a linear broadcasting approach.”
Komixx now has a raft of projects in development simultaneously, instead of focusing on a select few. Cole-Bulgin also believes the increasing power of SVoD platforms has transformed the production landscape, providing huge opportunities for producers. “As they look to quickly expand their libraries of content, we have to adapt our development method to fit their needs,” he notes.
Feature producer Vertigo Films has built its reputation on the back of Football Factory, Monsters and Bronson but is now breaking into TV with Sky Atlantic series Britannia. The epic Roman-era drama is set to debut in the UK early in 2018. Co-founder James Richardson says the firm is regularly “idea led,” often by the talent involved. “But every show needs to be somehow off-kilter – commercial but never straight,” he adds. “And we like projects that we feel we haven’t seen before, or that are tackling a subject we have seen before in a completely different way. Britannia, for example, subverts the historical genre.”
Vertigo has also had Sky pick up Bulletproof, a crime drama starring Ashley Walters and Noel Clarke and showrun by Nick Love. “Going from film to TV has been such an exciting transition creatively and I am in awe of execs in the TV world for creating shows over such a long space of time, since we have just had to make 90-minute films for most of Vertigo’s lifetime,” Richardson adds. “The process – and why we want to make a project – is the same, but there’s just more story, much more story.”
Looking forward, Richardson believes the development process for television drama, which can already take several years, will take even longer. “Getting projects to a place where they are ready before shooting – the film model – will become the norm for many shows. It makes a big, big difference.”
Komixx’s Cole-Bulgin concludes: “With companies like Facebook launching into the broadcast market, it will be fascinating to see how producers deal with the increasing demand for shortform scripted content for the audiences who are consuming their content via mobile platforms.”
Ten years after Forbrydelsen (The Killing) first aired and with the final season of Bron/Broen (The Bridge) starting next month, Nordic crime drama has dominated the international landscape for a decade. But what does the future hold for the genre and where will those who make it go next?
The impact of Nordic noir has changed the landscape of television drama forever. It gave audiences around the world a taste for serialised TV beyond what comes out of the US, and spawned thousands of imitations, including high-profile Hollywood remakes such as AMC’s version of The Killing (based on Denmark’s Forbrydelsen) and FX’s version of The Bridge (originally Swedish/Danish drama Bron/Broen).
But in an industry that prides itself on ingenuity, the region does not want to be seen as resting on its laurels. In the small town of Lubeck, northern Germany, the film festival Nordic Film Days recently showcased the latest attempts to reboot the crime genre.
“We were nervous about the reviews,” says Bjorn Ekeberg, writer of Grenseland, TV2 Norway’s new series about an Oslo cop who goes to visit his home town only to find his family is implicated in a local murder. But much to Ekeberg’s delight, the reviews were very positive. One newspaper gave it a top rating, though the title of the review read: “Makes you forget you’re watching Nordic noir,” underlining the point not only that audiences at home are sometimes harder to please than foreign ones, but also that the backlash against genre is significant
Ekeberg, who had worked on Valkyrien, another hit from Norway, believes audiences and reviewers received Grenseland well because they were not merely watching a crime series. It’s a “family drama at its core,” he says. “The crime story is the ‘wrapping,’ so to speak.” This twist on the genre was noticed by Sky Deutschland and Netflix, which have bought the rights to air the eight-part series.
Innan vi dör (Before We Die) experiments with a different narrative style from what viewers are used to in Nordic crime. In the series from Sweden’s public broadcaster SVT, detective Hanna Svensson discovers a new threat from a restructuring of power in Stockholm’s underworld.
But the story does not start with a spectacular murder that is then investigated over 10 episodes, a structure familiar to many crime drama viewers. “This is different,” says director Simon Kaijser. “It’s not relying one on question – who did it? – It’s relying on constant tension.”
“The fast pace is different to much of Scandi noir,” adds the show’s writer, Niklas Rockström. “Every scene is moving the story forward. In Wallander [a show for which Rockström also wrote episodes], the audience is always told how you get the information that then leads to the next scene. In Before We Die, we’re trying to jump to the next plot point. The Americans are good at that; we’re trying to use their way.”
Stella Blómkvist (pictured top) is the first original Icelandic show ordered by regional SVoD service Viaplay and was the most dramatic move away from the world of Nordic noir to be shown at Lubeck. “It’s noir,” says director Oskar Thor Axelsson, “but it’s not Scandi noir.”
The femme fatale character of Stella (who is based upon the heroine of a series of books by a mysterious and anonymous author rumoured to be part of Iceland’s political establishment), electronica soundtrack and neon visual style of the show give it an air of film noir on steroids rather than nordic noir’s naturalism. The world has its own rules that are not our reality. “You can get a crazy idea and throw it into the world and it will be fine, because that’s the world,” says Axelsson, a successful feature film director who also directed episodes of 2016 Icelandic hit Trapped.
Grenseland uses some of the familiar visual tropes of Nordic noir, such as beautiful shots of the forest on the border between Sweden and Norway, and thus eases the viewer into a world they are familiar with – but then gives them something different. Other shows, meanwhile, actively shun these tropes.
Before We Die does not make use of the famous aerial shots of lush Nordic landscapes or impressive settings (the classic example being the bridge between Malmo and Copenhagen in The Bridge) that have come to define Nordic noir.
“We did not want to do that. The story is told from the point of view of the mother and son, shot on the ground, from their point of view,” says Kaijser, who is also a feature film director. Kaijser made the acclaimed film Stockholm East with producer Maria Nordenberg, who collaborated with him again on Before We Die.
Hassel, a Swedish series (also from Viaplay), is based on as series of pulp-fiction novels about a cop investigating serious crime in Stockholm. The books were adapted for the small screen in the 1980s and the recently rebooted version is very much in the trend of moving away from the visual style of Nordic noir.
“We have used a warmer colour palette, using reds instead of blues that form the colder world of Nordic noir,” says the show’s writer, Henrik Jansson-Schweizer. “Much of Hassel is shot on location, in particular around the bridges that connect the famous, beautiful old town of Stockholm to the less wealthy suburbs. Again, this is a statement that we are in a different world with different characters.”
“Hassel is not at home drinking scotch and listening to opera,” says director Amir Chamdin, a former musician and music video and feature film director. “He came from the streets, from the same neighbourhood as the bad guys. He’s not a desk cop, he’s a street cop. He’s going to be even badder than the bad guys to get the job done.” This also reflects Chamdin and Jansson-Schweizer’s influences, which include classic 70s films such as The French Connection and Mean Streets as well as the TV cop shows they fondly recall from their childhoods, such as Baretta and Kojak.
Chamdin’s musical background provides an exhilarating operatic rhythm to the show that is in obvious contrast to the moody, brooding and ethereal soundscapes of Nordic noir. Hassel’s hard-boiled titular character, played by Ola Rapace, is certainly taking cops in a new direction from the heroes and heroines of the genre. Symbolical of the changing of the guard, one of Rapace’s early career breaks was playing Wallander’s junior officers in the Swedish series, in which Krister Henriksson played the grouchy detective.
Ironically, however, the show is similar to traditional Nordic noir in that it reflects social issues in Sweden right now. “There’s a big debate going on that the police don’t get enough pay, so we tried to reflect that,” says Jansson-Schweizer. Chamdin adds: “They are not wealthy people. It’s not a fancy lifestyle, it’s a commitment. Cops are struggling, man.”
But not all crime shows screened at Lubeck were trying to escape the Nordic noir tradition. NRK’s Monster is instantly recognisable as pure Nordic noir – the atmospheric and beautiful Norwegian Tundra landscape, the missing girl, a lone female detective. Even the cinematography is done by Jørgen Johansson, who worked on the genre’s most iconic series, The Bridge and The Killing. But somehow the combined storytelling skills of writer Hans Christian Storroston and director Anne Sewitsky have created something completely new.
“We have to keep the strengths but also see where can we push the archetypes, push the conventions, push this art form into something new and figure out where we can go next,” says Storroston. International broadcasters were quick to snap up the rights to air Monster, with buyers including US cable channel Starz.
Crime drama from the Nordic region is certainly going through a transitional period. Some writers and directors are pushing at the familiar tropes of Nordic noir to come up with something new, whie others reject them completely. The level of creativity and experimentation on show at Lubeck makes it clear the Nordic industry is in rude health. It seems Scandi crime drama is on a thrilling journey that viewers from around the world will no doubt be keen to watch.
Swedish period drama Vår Tid är Nu (The Restaurant) begins in 1945 with celebrations to mark the end of the Second World War. At Djurgårdskällaren, a high-end restaurant run by the Löander family in the heart of Stockholm, oldest son Gustaf (played by Mattias Nordkvist) has managed to keep the restaurant afloat by somewhat dubious means and intends to carry on down that path.
But when middle son Peter (Adam Lundgren) returns home from the war, he discovers changes are needed to keep the business from bankruptcy. Meanwhile, a brief encounter with kitchen hand Calle (Charlie Gustafsson) leads to untold consequences for daughter Nina (Hedda Stiernstedt), who has designs on opening a nightclub in the restaurant banquet hall.
In this video, stars Hedda Rehnberg (Suzanne) and Gustafsson reveal how the mix of drama and comedy drew them to the project, which has filmed two seasons and has been recommissioned for a third.
They also describe the “bold” decision made by broadcaster SVT to heavily invest in an epic period drama that charts the growth of the Swedish welfare state and discuss why it stands out against the ever-popular Nordic Noir crime series.
The Restaurant is produced by Jarowskij for SVT and Viaplay and distributed internationally by Banijay Rights.
Swedish comedy-drama Bonusfamiljen (The Bonus Family) became an instant hit when it debuted on SVT this year. With a third season already commissioned, co-creators Clara and Felix Herngren reveal how the series was inspired by their own relationship and why they think it can repeat its success overseas.
In Sweden – surely one of the most politically correct countries in the world – it’s no longer appropriate to say ‘step dad’ or ‘step mum’ because the phrases are seen to have negative connotations. So the term ‘bonus dad’ or ‘bonus mum’ has become common parlance.
Bonusfamiljen (The Bonus Family) is a Swedish comedy-drama that follows four characters who have gone through separations as they start new relationships with new partners and all the challenges this entails, from moving in together, coping with exes, raising each other’s kids, having new kids and so on.
Clara Herngren had the idea for the show, which launched earlier this year, when she found herself in this situation with husband and co-creator Felix Herngren, a famous Swedish comedian, actor and director, whose company, FLX, also produced the series.
Finding the pressures of sharing two families immensely challenging, Clara went to see a therapist and this eventually inspired her to fulfil a lifetime’s ambition: to become a therapist herself.
Overwhelmed by the number of people in bonus families who came to see her with the same problems she had faced, she soon realised it was a subject that resonated. “I thought, ‘Oh my God, I have to do a TV series about this,” she recalls, speaking at the Berlin Prix Europa festival, where The Bonus Family was nominated in the best drama series category. “I’d spent so long looking for the perfect drama and here it was, right in front of me.”
With Felix directing and collaborating with Calle Marthin and Moa Herngren (his sister), who is also in a bonus family, they formed a writers’ room and set to work. The result is a beautifully executed bitter-sweet comedy that opens a window on modern family life.
At the centre are Lisa and Patrik (played by Vera Vitali and Erik Johansson), a couple who both have children from previous relationships and now live together to create their own family. Viewers also meet their exes, played by Petra Mede and Fredrik Hallgren, and Lisa and Patrick’s therapists, played by Johan Ulveson and Ann Petrén.
It has proved very popular on Sweden’s public broadcaster, SVT. Such shows usually get between 700,000 to 800,000 viewers but Bonusfamiljen drew around a million, closer to the expected ratings of crime shows that traditionally are more popular in Sweden. Netflix distributes the series, which returns for a second season in January, to more than 100 countries outside of Scandinavia.
Making Bonusfamiljen, which is filmed in Sundbyberg, just outside of Stockholm, created a new set of issues for the husband-and-wife team. “We tried to work together once and we fought immediately, so we promised each other not to work together again,” admits Felix, but this time the process was different and turned out to be therapeutic. “This had a healing effect, because we could talk about someone else’s relationship that was exactly like ours, but not ours,” he continues. “From being a bit horrifying at first, it went to being something we talked about every minute; when we were waking up, eating breakfast, until late at night.”
“We get into character, we scream, we cry,” says Clara. “Felix was almost crying sometimes when he directed as it was so close to our real lives. Talking about these characters and asking, ‘Why did you feel like that?’ or ‘Why did you do that?’ I think gave both of us a better understanding of each other.”
Like all great ideas in the TV industry, Bonusfamiljen will get the remake treatment. NBC, which aired Welcome to Sweden (another FLX production, from US comedian Greg Poehler, about his experiences of moving to his Swedish girlfriend’s homeland) is developing an English-language version. It will be written and executive produced by David Walpert, (who has worked on series such as New Girl and Will & Grace). In Europe, the remake rights have also been sold into Germany and France.
The success of Bonusfamiljen abroad will also be interesting in the context of the region’s most famous export, Scandi noir. Can Swedish comedy travel in the same way that crime shows such as Wallander, Beck and Arne Dahl have?
“Not pure Swedish comedy,” says Felix, “because it’s too local, but a mixture between the two, drama and comedy, could work abroad I think.” He certainly knows this area, as he is very well known in Sweden for Solsidan (The Sunny Side), a series he starred in and co-created that revolves around Alex (played by Felix) and his partner who are expecting their first child as they move to Alex’s childhood home.
He has also had success with the film The 100-Year-Old Man Who Climbed Out the Window & Disappeared, which he directed, and its sequel. Both were coproduced by Netflix, which streams the films outside of Scandinavia and Germany.
Swapping the male leads of the original 80s Swedish series and an earlier book on which it is based, The Simple Heist taps into how gender roles have changed over the years, in the same way Bonusfamiljen explores how family life is changing.
“Comedy that circles around how humans are, how families and relationships work, can travel quite well,” Felix believes.
Clara, meanwhile, is too busy with her real bonus family and the upcoming third season of the series, which will begin filming in April and air in 2019, to worry about success overseas. “I have no time and fall asleep by nine o’clock immediately,” she says. Besides, she was never a big fan of Scandi noir: “You don’t need murders and stuff like that; everyday life between people is so interesting.”
This autumn, Swedish pubcaster SVT is serving up what it describes as one of its biggest drama productions ever. DQ hears from head writer Ulf Kvensler and director Harald Hamrell as they prepare to launch Vår tid är nu (Our Time is Now), known internationally as The Restaurant.
In the clamour to make their dramas stand out from the crowd, broadcasters often resort to increasingly hysterical hyperbole. Some are labelled groundbreaking, while others might be variously described as cutting edge, thrilling, subversive, twisted or simply as a landmark in scripted television – at a time when every other commission is for an ‘event series.’
But when Swedish pubcaster SVT describes its forthcoming period drama Vår tid är nu (Our Time is Now) as one of its biggest drama productions ever, this is no understatement.
In fact, the series, which has been renamed The Restaurant for international audiences, is as brave, bold and ambitious as they come. A sprawling ensemble drama that opens in the aftermath of the Second World War and runs across two decades, it is an emotion-filled family saga that charts the fortunes of the owners and staff of Djurgårdskällaren, a high-end restaurant in the heart of Stockholm.
It could also be described as a state-of-the-nation drama, but one that examines contemporary Swedish society from the perspective of the post-war years and through the emergence of the country’s welfare state.
Recognising the potential scope and scale of the project, SVT gave the show an initial 20-episode order, to be split across two seasons that will air this autumn and in 2018. Season one begins on Monday, October 2.
“It is huge,” admits director Harald Hamrell. “We do 20 hours, it’s a big budget. That means we could build a huge set for this restaurant. We had the money to do the things we wanted but, of course, you have to be careful as well when you’re spending money.”
The Restaurant is created by head writer Ulf Kvensler, Malin Nevander and Johan Rosenlind, with the latter initially developing the series based on his own experiences in the restaurant business. SVT found a lot to like in the premise, as the network happened to be looking for a show both about a restaurant and one that could dramatise the growth of the welfare state after WW2.
“So this project was spot on,” Kvensler says. “They asked me if I wanted to work on one of the biggest Swedish drama projects ever, which is going to follow characters over 25 years and talk about how the Swedish model of society came into being and, of course, I said yes.
“It’s a unique project, a once-in-a-lifetime experience, so I jumped on it. It’s a love story, there’s intrigue and fighting within the family [that owns the restaurant] but at the same time we have all the classical drama elements – and the restaurant is also a metaphor for Swedish society. I thought the scope of that and the ambition was something I really loved.”
The series begins in 1945, with the opening scenes taking place during confetti-covered street celebrations as news spreads throughout Stockholm that the war has ended. By the end of season two, events will have moved forward to 1962. A potential third and final season would then continue the story between 1968 and 1971.
“Then we will have followed these characters and this restaurant for 25 years. And during these 25 years, Sweden as we know it, and the welfare state we have now, came into being,” Kvensler says. “That’s a big part of this show – to show how these changes in society affected people. You can see it in the way some of the characters are very pro-change, while others are hesitant and negative about change. It’s like a tug of war inside the family.”
The family in question is the Löwanders. Oldest son Gustaf (played by Mattias Nordkvist) has managed to keep the restaurant afloat by somewhat dubious means and intends to carry on down that path. But when middle son Peter (Adam Lundgren) returns home from the war, he discovers changes are needed to keep the business from bankruptcy. Meanwhile, a brief encounter with kitchen hand Calle (Charlie Gustafsson) leads to untold consequences for daughter Nina (Hedda Stiernstedt), who has designs on opening a nightclub in the restaurant banquet hall.
As the family descends into conflict, matriarch Helga (Suzanne Reuter), with assistance from head chef Backe (Peter Dalle), watches over the family business.
The series is produced by Jarowskij, in partnership with SVT, Viaplay and Film i Väst. It is distributed by Banijay Rights.
After joining the project, Kvensler identified Calle, originally given a tiny role, as the potential hero of the story, who could work his way up from underappreciated kitchen hand to open his own restaurant.
“That’s the kind of hero’s journey you want in a story,” Kvensler explains. “Also, the love story with Nina is a timeless story that you want to have in a show like this to carry the interest of the audience.”
Working with co-writers Nevander, Rosenlind and Jonas Frykberg, Kvensler broke down the initial story outline and then built up the scripts episode by episode. “It was a long and tedious process,” he admits. “We started all over again a couple of times because it was hard to find the balance between telling the history of Swedish society and the restaurant business. We learned a lot about it to write it; we read a lot and talked to people. But then what you have to do is throw all that away and just tell the basic story. It’s not going to be very interesting for the audience if it’s a history lesson. We try to find the balance, and hopefully we did.”
Hamrell joined the series when there were scripts in place for the first and last episodes, “but nothing in between,” he says. “It’s a huge project and was a great task to take on, from the cinematography to building the sets. It’s been a great journey.”
He worked alongside fellow directors Molly Hartleb in season one and Anna Zackrisson and Andrea Östlund in season two, and says his aim was to make a modern drama, despite The Restaurant’s post-war setting. The budget afforded him the chance to build the restaurant and kitchen sets across several hundred square metres, which gave him the space he needed to keep the camera work looking fresh across 20 episodes. The set also embodies class boundaries in 1940s society, with the working class confined to the kitchen while the wealthy and powerful enjoy fine dining yards away in the opulent surroundings of the restaurant.
The biggest challenge, however, both on set and in the writers room, was figuring out how to seamlessly advance the story across several years without alienating the audience. For Hamrell – who was the conceptual director on Äkta Människor (Real Humans), the inspiration for Channel 4/AMC sci-fi series Humans – the task of keeping his cast on their toes for 276 shooting days meant he could never let them relax.
“They didn’t do it, but when you know your character so well, it’s so easy sometimes to lean back and not deliver,” he says. “On the other hand, the script was always changing so they couldn’t relax. They also had to deal with the language – how to find the correct tone. It was a challenge not to be too modern but also not too old.”
With such a large ensemble cast and multiple plot points in play from the outset, Hamrell also needed to find a way to hook viewers from the start. “So I took a lot more shots in the first two episodes than in three and four, to keep the pace up,” he explains. “By the third and fourth episodes, the story starts working by itself because, by then, you’re interested in the characters. But you have to catch the audience and bring them in before they switch off.”
Time jumps were something Kvensler had never previously had to content with in a series. In one case, four years pass between two episodes in season one.
“The challenge then is when you come back [after the jump], you need to tell the audience what has happened, and that bogs down the episode for the first two acts,” he says. “The other thing is it’s been four years, so you want something to have happened. You don’t want the feeling that, ‘OK, they say four years have passed but this could have happened the next week.’ So finding the balance between that has been really tough. It’s been always the episodes that have come after the time jump that we’ve had to work on the most.
“When we start on season two, we’ve moved five more years, so we start in 1955 and then we end season two in 1962, so there are more time jumps within that season. It’s been a real challenge.”
Perhaps the biggest time jump the series makes is one to the present day, as both Hamrell and Kvensler draw parallels between post-war Sweden and contemporary society.
“We have challenging times now, there’s a lot of uncertainty,” notes Kvensler, who developed The Restaurant alongside another SVT drama, snow-covered thriller Svartsjön (Black Lake). “In Sweden, the discussion we are having is can the welfare state we have survive? I think a story like this can bring a little hope because if you go back to 1945, you can see it was a much harder society and a lot of people lived rougher lives.
“Everything that has changed from then to now is the result of hard work and political decisions. Do if they could fix their problems, probably we can fix ours. We just need a little positivity and hope.”
Swedish crime thriller Innan vi dör (Before We Die) stars Marie Richardson as Hanna, the fading star of Stockholm Police’s organised crime unit, whose son Christian (Adam Pålsson) has disowned her after he was jailed for drug possession.
When her lover and colleague is abducted, Hanna must take over his undercover investigation of a criminal biker gang and protect an infiltrator. But to prevent a brutal takeover in the criminal underworld, she must fight for her son’s life and break another family to save her own.
Here, actors Richardson, Pålsson and Alexej Manvelov tell DQ about their characters and explain why this 10-episode drama, which debuted on Sweden’s SVT earlier this year, is more than just a police story.
They also discuss the process of working with multiple directors and how the show pushes Scandinavian crime dramas beyond The Bridge as the professional and personal lives of its characters begin to blur.
Before We Die is produced by B-Reel Films for SVT and Germany’s ZDF and is distributed by ZDF Enterprises.
James Bond screenwriters Robert Wade and Neal Purvis imagine a world in which the Nazis occupy Britain in the BBC’s adaptation of Len Deighton’s alternative-history novel SS-GB. DQ visits the set.
At first glance, the set of the 1940s-era London police station looks unassuming and inconspicuous. A map of the River Thames hangs on one wall, beside a board displaying the details of ongoing murder investigations. A telephone switchboard stands in another part of the office, while adjacent tables are laden with an assortment of maps, newspaper cuttings, mugshots and used ashtrays.
‘Wanted’ posters show the faces and details of eight people sought for a train robbery, while a steam train calendar displays the dates of November 1941.
Yet look a little closer and unusual details start to emerge – notepaper headed with the word ‘Metropolitanpolizei’ sticks out from the top of a typewriter sitting on one desk, next to notebooks embossed with Nazi insignia.
Stepping outside the office belonging to Detective Superintendent Douglas Archer, ‘Metropolitanpolizei’ appears again, this time on a sign hanging over the doorway, while Nazi banners hang in the stairwell of a nearby spiral staircase. The scene is jarred further by the sight of soldiers standing in khaki SS uniforms.
This is the setting for SS-GB, the forthcoming BBC1 drama based on Len Deighton’s 1976 alternative-history novel that imagines the Nazis won the Battle of Britain in 1940.
Set in Nazi-occupied London, the story follows DS Archer (Sam Riley) who is working under the brutal SS regime. But while investigating what appears to be a simple black market murder, he is dragged into a much darker and treacherous world where the stakes are as high as they were during the war.
US actress Kate Bosworth stars alongside Riley as American journalist Barbara Barga, who becomes inextricably linked with the murder case Archer is investigating. The cast also includes Jason Flemyng, James Cosmo, Aneurin Barnard, Maeve Dermody and Rainer Bock.
The five-part series, produced by Sid Gentle Films, has been adapted from Deighton’s novel by Bafta-winning writers Neal Purvis and Robert Wade – most famous for writing five James Bond features, including Spectre, Skyfall and Casino Royale.
The drama received its world premiere this week at the Berlin Film Festival, ahead of its UK debut on Sunday February 19. Distributor BBC Worldwide has also sold the series to broadcasters in Germany (RTL), Croatia (Pickbox), Sweden (SVT), Greece (Cosmote), Israel (HOT/Cellcom), Iceland (RUV) and Poland (Showmax), while it will also air on BBC First channels in Africa, Australia, Benelux and the Middle East, as well as UKTV in New Zealand.
It is directed by German director Philipp Kadelbach, whose credits include Naked Among Wolves and Generation War. Sally Woodward Gentle, Lee Morris, Purvis, Wade and Lucy Richer are executive producers. The series is produced by Patrick Schweitzer.
As fans of Deighton, Purvis and Wade were instantly drawn to the series, which marks their first move into television, when they were approached about the project by Woodward Gentle.
“It’s a pretty faithful adaptation,” says Purvis of the screen version. “The biggest challenge was [in the book] we were following Archer from his point of view. The fact he can’t trust people means it’s very difficult to talk to other people about what he’s thinking, so it was all about making it comprehensible because it’s quite a complex plot and nothing’s straightforward. The Resistance has got in-fighting and the German army and SS are opposed to each other, so it’s just finding a way to navigate through the story in an intriguing but understandable way.”
Wade picks up: “I think I understand it now – but we had to simplify it. Since Len wrote the book, there’s a bit more now known about what was going on in Britain to prepare for an invasion, so we were able to access those sources and that gave us background for the British Resistance and the real mechanisms that were set up in event of an invasion. But really our main job was to make the most of the drama within the story and, for that reason, we made a few changes that kept certain characters alive longer than they were in the book.”
Already an established genre in the world of fiction, alternative history is becoming a hot topic in television, with SS-GB following hot on the heels of Amazon’s The Man in the High Castle, which plays out in a world where the Axis powers won the Second World War and America has been split between Japanese and Nazi rule, with a buffer zone separating the two.
Wade draws a distinction between the two series, in particular describing the Amazon drama as closer to science-fiction because the events it portrays weren’t ever close to happening. SS-GB, however, was within the realms of possibility.
“With The Man in the High Castle, which is set in 1962, you’re talking about the consequences [of the Second World War]. But in this you are actually living through the Occupation and the game isn’t necessarily over. It’s not a historical result, history is alive.”
Wade and Purvis co-wrote films Let Him Have It (1991) and Plunkett & Macleane (1999) before being asked to write Bond movies The World Is Not Enough, Die Another Day and the super-spy’s four most recent outings starring Daniel Craig. Other credits include 2003’s Johnny English, a spoof of the espionage genre starring Rowan Atkinson.
“We’ve written together for a very long time,” Purvis says. “We do that because we enjoy it. There’s more to it than just writing; you’ve got to go abroad and it can be quite pressured. So having two people has always been good because when things are going well, you can always go down the pub together – and when things are going badly, you can go down the pub together! It gets the job done well to be able to discuss things.”
With scripts approved by Deighton, the writers say they haven’t felt the need to be on set every day, but have kept in touch by watching the daily rushes. They were also consulted during casting and say they were very pleased by the decision to put Riley in the lead role. “We wanted someone who was a film actor – this is his first television job so it’s just that thing of trying to keep it like a big movie,” Purvis notes. “It gave it a bit more oomph to have someone like Sam.”
If Riley’s DS Archer is akin to Sam Spade, the protagonist of Dashiell Hammett’s noir thriller The Maltese Falcon, then US actress Kate Bosworth is firmly in the femme fatale role.
“She’s an American journalist who has just arrived on the inaugural New York-London Lufthansa flight, which is one of Len’s nice touches,” Wade offers. “She’s a femme fatale. She might be working for the Resistance, she might be a spy for the Germans, she might be an agent for the Americans – you don’t know. She’s someone who’s attractive to Archer and attracted by Archer. So it’s a dance. He’s trying to figure out whether she’s involved in this murder and she’s trying to figure out what she can get out of this guy.
“We balance her with Maeve Dermody, who plays a girl caught up in the Resistance and who is quite messed up. She’s an English girl and her parents were killed during the invasion. But she’s actually spying on Archer.”
But how did their experience on SS-GB compare to scripting a Bond movie? “It’s easier in the sense that there’s a book and you don’t have massive expectations,” Wade admits. “We’re very proud of this but we were able to write it in a free way. Hopefully there are some real surprises in this.
“With a Bond film, people are expecting certain things. The other aspect for us, as it’s our first TV series, was that having that large canvas to be able to tell a story with twists and turns over five hours is great fun, and you get the freedom you don’t have in an hour-and-a-half movie.”
Purvis adds: “We have been approached by TV a lot but we’ve always said no to everything. This was the first time we said yes. It’s a genre one can feel comfortable with. Len’s a great writer. It just seemed to be appealing and something we could do.”
For locations manager Antonia Grant, the toughest part of her job on SS-GB was finding appropriate exteriors around London for the show’s wartime setting. “It’s always a challenge for a locations department to remove the modern world,” she says. “We rely on the art department as well to help us so it’s very much a combined effort.
“There will be some things that are quite obvious [locations] as per the script that you have to go and look for. But then otherwise it’s coming up with different options to put to the director and designer and it’s a lot of driving around, photographing different places, chatting to people, persuading people to let us film.
“It’s always lovely looking for new locations but, on period dramas, there’s a limited amount because more things are changing and being modernised. I’ve shot on several new locations in this. Also, the nature of SS-GB, being alternative history, means you’re looking for quite different locations compared with those used for The Hour and certainly Call the Midwife [both also period dramas on which Grant has worked].”
After piecing together a 300-page script and bringing Deighton’s story to the screen, Wade and Purvis have one eye on their next big-screen feature – but tease that this might not be the end of the story for SS-GB.
“History is still in play, it’s not ended,” adds Wade. “Some characters have died, some have grown. I’m very pleased with the way it ends and there could be more.”
Nordic drama has made its mark on the international stage over the last few years. But what’s coming next? A good source of information is the Nordisk Film & TV Fund, which provides regular updates on shows in development, production and distribution. So this week we look at some of the latest developments from the region.
Next Summer: Bob Film is remaking Norwegian comedy Next Summer for Kanal5/Discovery in Sweden. The original version aired on TVNorge/Discovery and was one of the country’s most popular local TV dramas. The Swedish remake, which will air in 2017, centres on a man who shares a summer house with his wife and in-laws in Stockholm’s archipelago. Bob Film also remade the Finnish drama Nurses for TV4 Sweden. That show, known locally as Syrror, launched on October 19, attracting an audience of one million. It’s part of wider trend of local Nordic adaptations that also includes Gåsmamman and Black Widows. Bob Film is also working with Sweetwater on a crime drama called Missing (Saknad) for CMore and TV4, which focuses on the investigation into the murder of a young girl in a Swedish Bible-belt town.
Bonusfamiljen (The Bonus Family): Nordisk Film & TV Fond has just allocated a total of NOK9.4m (US$1.14m) to a slate of new film and TV projects. One of them is season two of The Bonus Family, a comedy drama about a recomposed family and the complications that go with it. Season one is due to air on SVT in 2017, as well as on NRK, YLE, RUV and DR. Season two, granted NOK2.4m (US$290,000), started filming in September and will continue until February 2017.
Downshifters: This Finnish series has just secured a French sales rep (ACE Entertainment) while Sweden’s Anagram has optioned remake rights for its own market. The 10-part comedy from Yellow Film & TV has been generating a good buzz since it launched on OTT service Elisa in late 2015. More recently, it aired on YLE2 and established itself as the second most watched programme. The series tells the story of a couple who face financial problems and are forced to cut down on their extravagant lifestyle. A second series, Upshifters, will launch on Elisa in December 2016.
The Rain: News of this Danish show has been doing the rounds in the last couple of weeks. Produced by Miso Film (Dicte, 1864, Acquitted), The Rain is a dystopian drama commissioned by Netflix. The series is set in Copenhagen 10 years after a biological catastrophe that wipes out most of the population in Scandinavia and sees two young siblings embark on a search for safety. Guided only by their father’s notebook about the virus and the hazards of this new world, they start a dangerous journey through the country and join up with a group of other young survivors. Miso has had a busy few months, with the second season of Acquitted recently launching on TV2 in Norway.
Midnight Sun: This Swedish/French crime show recently debuted to 1.39 million viewers (38.1% share) on SVT1 in the Sunday 21.00 slot. According to the channel, this performance is comparable with The Bridge (Bron/Broen). Midnight Sun also trended at number two on Twitter – and online viewers, which are still to be added to the count, could pass 200,000. The show also secured strong reviews in the Swedish media, with five stars out of five in Aftonbladet. Elsewhere in Scandinavia, Midnight Sun will premiere on RUV on December 5. DR, NRK and MTV3 are likely to air the show, which is distributed internationally by StudioCanal, in early 2017.
Nobel: Trapped and Nobel were among 26 European fiction TV series selected for the Prix Europa Media awards last month. Trapped, an Icelandic crime show, won Best European TV Series while Nobel, a Norwegian political/war drama, won Best European TV Movie/Miniseries. Nobel was described as “a precisely crafted original script, perfectly executed and directed, that takes the viewer on a journey into a world of lies, betrayal, mistrust and political games.” Produced by Monster Scripted for NRK, Nobel secured 800,000 viewers for its first episode across NRK1 and NRK streaming service NRK.TV. Both Trapped and Nobel were supported by Nordisk Film & TV Fond. Nobel was directed by Per Olav Sørensen, who also directed The Heavy Water War.
Heartless: In a recent interview with The Nordisk Film & TV Fond, SVoD service Walter Presents’ curator Walter Iuzzolino said 25-30% of the platform’s shows are from Scandinavia. In terms of titles doing well, he mentioned Heartless: “Our curated programme goes way beyond the tradition of Nordic Noir that has been established by the BBC. I would say that 30% of our audience is 16 to 34, the rest 35-plus. The sexy Danish vampire series Heartless, for example, was a huge hit among 16-24s. Normally I hate fantasy and sci-fi but it’s elegant, poetic, cleverly done and an interesting portrayal of a family – a sort of vampire version of The Legacy. It was a huge success, pushed only by word of mouth.”
Watchdog: At last month’s Mipcom market in Cannes, ZDF Enterprises announced an exclusive first-look rights deal for all scripted content from the Finnish producer Fisher King. Matti Halonen, Fisher King MD and producer, said: “ZDF Enterprises is a well-established company that can give a lot of support to a smaller player like Fisher King.” The first joint project that ZDFE is working on is the upcoming political thriller series Watchdog. Set in present-day Helsinki, The Hague and London, it’s described as an adrenaline trip into the heart of European justice policy and security regulations concerning source protection and privacy insurance. Fisher King is also behind Bordertown, which is represented worldwide by Federation Entertainment and has been sold to Sky Deutschland and CanalPlay France, while English-language series Crypted is also in its pipeline.
Deadwind: Paris-based financing and distribution boutique About Premium Content (APC) recently picked up Finnish crime drama Deadwind. The 12-part series is about a detective in her 30s who is trying to get over her husband’s death when she discovers the body of a young woman on a construction site. At Mipcom, APC launched Norwegian drama thriller Valkyrien, which is produced by Tordenfilm for NRK. It also distributes another Norwegian show, the youth-oriented Young & Promising, which was recently sold to the UK, Germany and France and has a US deal is in negotiation.
Dan Sommerdahl: This autumn it was announced that Nikolaj Scherfig (The Bridge) would be co-creator/head-writer on Dan Sommerdahl, a new series based on Danish author Anna Grue’s bestselling book series. Distributor Dynamic Television (Trapped) is pre-selling the series on behalf of Germany’s NDF and Denmark’s Nordisk Film. TV2 Denmark is attached and a German broadcaster will soon be announced. Scherfig said the project is different from classic Scandi noir: “It is a tight, clean crime series reflecting on life outside cities understanding how modernity and social development affect life in the province.” Klaus Zimmermann, Dynamic co-MD, told nordicfilmandtvnews.com: “NDF originally acquired the rights to the books and wanted to make it in the tradition of a German crime series with German actors for an international market. But then we felt it made more sense to make it as an original Danish show with a Danish writer and Danish actors. It’s simply the right way to tell the story.”
Hassel: Speaking to the Nordisk Film & TV Fond about Viaplay’s strategy for coproducing original content for the Nordic region, CEO Jonas Karlén said upcoming original Nordic scripted series on Viaplay include Swedish Dicks, Svartsjön/Black Lake, Hassel, Our Time Is Now and Occupied season two. Hassel is a Nordic noir starring Ola Rapace as the iconic detective created by author Olov Svedelid. The show is produced by Nice Drama in coproduction with Beta Film, which handles global sales, and is due to launch in late 2017.
Spring Tide: Eight brand new Nordic TV dramas have been selected for The Lübeck Festival’s Nordic Film Days. “TV drama is the big new thing. It was time for us to open up our festival to TV series, as Germans are so fond of Nordic noir,” said the festival’s long-time artistic director Linde Fröhlich. Shows to be introduced include Splitting Up Together (DK), Living with my Ex (FI), Trapped (IS), Nobel (NO), and Modus, Hashtag and Spring Tide (SE). The latter crime drama, based on the novel by Rolf and Cilla Börjlind, is about two cops who come together to solve the murder of a pregnant woman. The show is distributed internationally by Endemol Shine International.
Below the Surface: This is a new drama based on an idea by Adam Price (Borgen) and Søren Sveistrup (The Killing) – now principals in Studiocanal-backed firm SAM. The thriller series centres on an operation to rescue 15 hostages from a Copenhagen subway train. Price and Sveistrup said: “There is something both eerie and fascinating about [taking hostages] as a criminal act. The close and complex relationship between the hostage and hostage-taker immediately opens up strong character-development possibilities and can also put a number of highly topical issues about our time to the forefront, such as fear of terrorism.“ The eight-part series has received DKK14m (US$2.08m) in production support from the DFI’s Public Service Fund and will air on Kanal5/Discovery Networks.
Skam: Cult Norwegian youth series Shame (Skam) launched on NRK and was recently acquired by DR3 for Denmark. Danish newspaper Politiken called it “a youth series about high-school life that makes Norway cool for the first time.” Steffen Raastrup, director of DR3, said: “The series’ premise is that when you’re young, you should not be ashamed of who you are but stand up for yourself and deal with the fear that many feel during their formative teen years.” Skam – which is now up to three seasons in Norway and is a strong performer on social media – has also been acquired by SVT in Sweden and RUV in Iceland.
Interference: This is an eight-part English- and French-language sci-fi thriller in development by Stockholm-based Palladium Fiction. Palladium, which is minority-controlled by Sony Pictures Television (SPT), is producing the show alongside Atlantique Productions. SPT is distributing the show internationally. The Palladium team was also behind the critically acclaimed drama Jordskott, and is now working on a second season of the show. Palladium is also developing an English-language project with UK writer/producer Nicola Larder.
Established in 1990 and based in Oslo, the Nordisk Film & TV Fond’s primary purpose is to promote film and TV productions of high quality in the five Nordic countries (Denmark, Finland, Iceland, Norway and Sweden). It is funded by 17 partners: The Nordic Council of Ministers, five national film institutes/funds and 11 public service and private TV stations within the region. Its annual budget is approximately NOK100m.
These days, a lot of emphasis is placed on the audience’s ability to time-shift TV. But there’s no question there is still an important role for dramas that can do a job in a particular slot.
Right now, for example, The Durrells (based on Gerald Durrell’s classic Corfu Trilogy of novels) is doing a brilliant job for ITV in the UK at 20.00 on Sunday evenings.
Although the show is only three episodes old at time of writing, it already feels like it has been sitting in ITV’s schedule forever – offering exactly the kind of escapism many of us crave the day before the working week kicks in again (depending, of course, on the country where you reside).
Not that The Durrells should be regarded simply as popcorn TV. It is beautifully adapted by Simon Nye and the acting is really, really good. Keeley Hawes, who plays the mother (Louisa) of author Lawrence Durrell, naturalist Gerald Durrell and their two siblings, is superb, displaying immaculate comic timing and eye-watering sensitivity. Also impressive is Daisy Waterstone as Gerald’s sister, Margo (none of which is to disparage the other cast members).
The show is currently scoring a rating of 8.0 on IMDb, which is pretty good – and it is proving popular with critics. Gerard O’Donovan in The Telegraph applauds it for its “warmth, nostalgia, beautiful locations” and calls it a “gem.” Christopher Stevens in The Daily Mail gives it five stars, adding: “Perfect Sunday night viewing requires period costume, exotic locations, a dash of sex (but nothing explicit) and lashings of laughs. Sounds simple on paper… but it’s pretty near impossible to achieve on screen. But The Durrells was a masterclass in ideal Sunday telly – never too demanding, and yet completely satisfying.”
All of this positive feeling is backed by great audience figures. The first episode launched with 6.4 million viewers, making it ITV’s best-performing new drama since Cilla in September 2014. It has since consolidated to 8.2 million viewers (33% share) – showing that it is also possible to transfer the Sunday night feeling to other times of the week.
ITV knows it’s on to a good thing and has commissioned a second season from producer Sid Gentle Films. Sid Gentle CEO Sally Woodward-Gentle said: “The combination of Gerald Durrell’s warm, witty stories and Simon Nye’s brilliance at adapting them meant we knew that we had created something special. The reaction has been fantastic and I am delighted we are able to continue the story and reunite the fantastic cast and crew who have become a close-knit ‘family’ on and off screen.”
Filming on season two will take place later this year in Corfu. In other news, the show has been picked up by SVT Sweden, which may have been tempted by the fact that one of the central characters is a hunky Swede called Sven (Ulric von der Esch).
In the US, AMC’s Breaking Bad prequel Better Call Saul finished season two on April 18 with a season average of 2.16 million viewers across 10 episodes. The show stayed pretty solid around the two million mark for the whole season and has been rewarded with a third season during which Breaking Bad’s urbane drug dealer Gus Fring will return.
In terms of comparative performance, the show rates better than Mad Men (which ran for seven seasons) and Hell On Wheels (five). It also has an impressive 8.8 rating on IMDb.
Last week, we looked at the success of John Le Carré adaptation The Night Manager on BBC1 in the UK and asked how it would fare when it switched to AMC in the US. The show has now started airing stateside, where the same-day showing of episode one attracted 0.93 million.
This is a fairly modest opening that suggests it isn’t going to make much impact with US audiences. As a comparison, Humans debuted with 1.73 million on AMC after a strong showing on Channel 4 in the UK. It then fell to around the 1.1 million mark for episode two and stayed there for the rest of its run.
In other words, its retrenched position was stronger than The Night Manager’s opener. The Night Manager also scored quite low with the 18-49 demographic on its AMC debut.
Of course, a modest US opening shouldn’t detract from the quality of the show. It may just be that AMC’s audience is attuned to a different style of scripted content.
It’s also worth noting that The Night Manager has been sold to networks all around the world. The latest deals for the show include agreements with Chinese streaming service Youku Tudou and French public broadcaster France Télévisions. The drama has previously been sold to the likes of Tele München Gruppe for German-speaking Europe, C More and TV4 for the Nordic territories, DR for Denmark, Sky Italia for Italy, BBC First and SBS for Australia, TV3 for New Zealand and AMC International for Iberia, Eastern Europe, Russia, Asia (excluding Japan), Latin America, Africa and the Middle East.
This week has also seen MTV in the US renew its fantasy series The Shannara Chronicles, despite the fact that the series has not achieved especially high ratings. The first run of 10 episodes came in at about 890,000 on average, with the back end occasionally falling below the 800,000 mark.
Mina Lefevre, executive VP and head of scripted development at MTV, said the production team “delivered a beautiful, ground-breaking show with compelling stories and character journeys, which brought in new viewers.”
Further underlining Lefevre’s ‘new viewer’ argument, part of the reason MTV is sticking with the show is its performance on digital platforms, “where it garnered 16.6 million streams across all MTV’s digital properties and brought significant traffic growth to the MTV app,” according to the company. “The series also ranks as the highest-grossing digital download for a single season on MTV ever.”
As we’ve reported in previous weeks, a number of shows see their performance improve dramatically when time-shifting and digital viewing are added to the total. American Crime Story: The People vs OJ Simpson on FX had a huge three-day ratings gain for its finale episode (up by 2.91 million viewers to 6.18 million).
In the UK, it was a similar story for new Sky1 crime drama Stan Lee’s Lucky Man, starring James Nesbitt. Episode one of the 10-part series launched in January and delivered an overnight audience of 600,000. But the total figure for the episode rose to 1.74 million as the audience took the opportunity to watch via Sky+ recordings, On Demand and Sky Go.
This increase of 1.14 million was the biggest growth in viewing figures that the first episode of any Sky original drama series has ever achieved in the week after transmission. It also made it the best performing original drama series launch on Sky1 for nearly four years. This underlines the point that, in the new TV economy, there are some shows that are perfect for certain slots (such as The Durrells) but others seem to work well as schedule-neutral programming.
Klaus Zimmermann and Clive Bradley reveal how they kept crime thriller Trapped grounded in its Icelandic setting while navigating the tricky waters around this intricate international coproduction.
While international coproductions perhaps no longer seem the terrifying prospect they once were, the story of how Trapped came to air may still send shivers down the spines of some television executives.
With nine different broadcast partners on board, making the series – created by renowned director Baltasar Kormákur (Everest) – looks a frightening task from the outside. But executive producer Klaus Zimmermann (Borgia) and writer Clive Bradley (The Killing Gene) say those fears are misplaced, as all partners worked together to create an authentic Icelandic drama that takes the popularity of Nordic Noir into new territory.
The 10-part series opens with snow falling as a ferry from Denmark pulls into a small Icelandic port. With 300 passengers stranded until the storm passes and with the main road into town impassable, a mutilated and dismembered body washes up on the shore – leaving a local police chief convinced a killer has arrived. As word of the death spreads, order descends into chaos as the ferry’s passengers and the town’s residents realise they are all possible suspects and that a killer is trapped among them.
Produced by RVK Studios and distributed by Dynamic Television, Trapped stars Ólafur Darri Ólafsson, Bjarne Henriksen, Ingvar E Sigurðsson, Ilmur Kristjánsdóttir, Nína Dögg Filippusdóttir and Björn Hlynur Haraldsson.
Zimmermann joined the show in 2013 when Kormákur approached him with a project that he couldn’t get off the ground.
“I looked at the material he had worked on and the general idea was already there,” Zimmermann explains. “I took on the development and started to look for a team of writers who could make this more international without breaking the authentic charm of the show.
“Besides the original Icelandic writer, I identified Clive, with whom I’ve worked before. We went to Iceland and worked from scratch by imagining what a show needed to please an international audience. It took us a while to go back to the material, to develop the strong story arcs and strong characters, and after two months we had a new script.”
Several broadcasters had already turned down the project but, undeterred, Zimmermann went back to them with the new script. Germany’s ZDF joined as a coproducer, with plans to air the show in its popular Sunday evening Nordic Noir slot. France Télévisions also came on board, followed by the BBC.
They joined Iceland’s RUV, SVT in Sweden, DR and DRK in Denmark and Finland’s YLE, while The Weinstein Company took rights for the US.
Trapped launched in Iceland in December 2015 to a 90% share of the audience – the biggest in the country’s TV history. Launches followed in Norway in January and France and the UK in February this year, while March saw the show’s arrival in Sweden and Denmark. The German debut is set for this autumn.
“The idea was never to make an international show set in Iceland, like Sky did with Fortitude,” Zimmermann says. “We wanted to do something that specifically made the audience come to Iceland and witness how people live, what the troubles are; to create a really authentic drama.”
Trapped had originally been plotted in Icelandic, the language in which the show is filmed. But an English treatment was written up and sent to Bradley. He then wrote the script in English as part of a mini writers room that also included Zimmermann, French writer Sonia Moyersoen and the original Icelandic writer Sigurjón Kjartansson – who translated the finished scripts back into Icelandic for filming.
Bradley, who describes joining the project as a “no-brainer,” explains: “Klaus set up a fantastic system where, after I wrote two episodes, we’d meet for a week and plan the next two, and then I’d go away and write them in English.
“Sigurjón was always the one to check what I wrote. In my first draft, I had some people with umbrellas because the weather was terrible – but apparently people in Iceland don’t use umbrellas. There were other interesting points, like if you write that a cop goes home and has a glass of whisky – well, no, he doesn’t in Iceland. Instead, he has a glass of milk, which is a lovely detail. Because it was an Icelandic project in the first place and because of Sigurjón’s involvement, we were always grounded in Icelandic reality.”
Zimmermann adds: “We worked out the stories together and then Clive would execute the script. We would all comment on that and once the English script was finished, it was translated into Icelandic by Sigurjón. There were some changes because of the translation. Icelanders speak with fewer words – there’s one scene where there’s a big drama and lots of dialogue and the actor just makes a ‘hmm’ noise. This is the translation, but it works.”
Despite the number of broadcast partners, Zimmermann says the success of the series’ development came down to the amount of time the four-strong creative team spent in the writers room. “We had eight months to write 10 scripts, in a team of four with Clive doing the writing,” he says. “Every two months we spent the week together and two or three times we went to a small cabin in Iceland. In the evening we watched TV shows and in the daytime we plotted terrible things happening in Iceland.
“This atmosphere and working structure is part of how this project was generated. The show has a very nice pace. It starts slow but it picks up more and more speed, and in every second episode there is something happening you wouldn’t have imagined – someone jumping out of a helicopter or an avalanche coming down on the village, for example. Hopefully the audience will wonder what will happen to the town and the hero in the next episode because they’ll be thinking it can’t possibly be more terrible than what has already happened.
“It was quite an unusual development process but it’s an encouraging example of how television works today where you have a very original story, setting and a solid first script, with everything you expect for a primetime drama. In Iceland the production process is terribly complicated but the price is quite competitive. Part of the equation was that we weren’t asking broadcasters for a fortune. We were asking for a reasonable proportion of the risk to be taken by several parties at the same time, and that’s how the budget slowly came together.”
Costing more than double the average production in the country, Trapped wasn’t cheap by Icelandic standards but Zimmermann says the results justify the outlay: “A normal Icelandic production can be produced for as little as €300,000 (US$326,200) an hour, and this is more than €750,000 – but the standard of the production is comparable to any high-end Scandinavian drama.
“The reason for that is the production company behind this is owned by Baltasar, who is mainly a feature film director and only works to the highest quality standards available. So the equipment was top, there was enough time to produce and some of the actors have international careers. The lead actor, Ólafur, is working with Steven Spielberg on The BFG so it’s the crème de la crème of Iceland on screen.”
Key to getting the broadcasters on board was convincing them Trapped would be unlike anything they had seen before, and the combination of Kormákur’s back catalogue, the Icelandic setting and Zimmermann’s experience in international drama completed the package.
“They were not commissioning broadcasters. Their level of commitment was below the commission, with less control, but the process was still very collaborative,” says Zimmermann, revealing how the broadcasters fell into the production process together.
“The director does his cut, I give my input. You send it to a few of the broadcasters and you get a feel for who wants to be more involved. A channel like BBC4 expects something authentic. It doesn’t have the infrastructure to be hands-on, so it relies on the mechanic to work.
“ZDF, however, was very hands on. The slot where it wanted to air Trapped is very competitive. We also had a lot of discussions with France Télévisions, which has similar needs for its audience. It came to rough-cut screenings, so that was the heart of the process in the end.
“We had some difficult moments, especially when things became very Icelandic. We had a comment on the first rough cut where someone said there was too much snow. The weather starts to get very bad after the first 10 minutes because the village is trapped by an ice storm, so there’s really terrible weather in the rest of the episode.
“The first reaction was, ‘We can’t have all this snow,’ but it looks fantastic with the effects, sound and music. We had to go through that process of saying this is a winter show, an Icelandic show.”
For Bradley, Trapped marked his first venture into a writers room, and he says he would happily repeat the process – perhaps during season two, which is under discussion. “The four of us would be in the writers room for several days. In the UK, you don’t do that. More and more projects are starting to have a version of the American writers room but it’s still quite rare. It was the first time I’d done anything like that. Rather than spend several hours with producers and script editors, spending days thrashing out the details was one of many things about the experience that I want to repeat.
“It’s an incredibly productive way of proceeding with developing a story. I’d never done 10 hours before and it’s amazing having that length of time. Obviously you have to find a story to fill it but to then have characters you can develop compared with an hour-and-a-half running time, it’s a great experience.”
It’s 50 years since sci-fi adventure series Star Trek launched as a TV series. Since then it has given birth to seven TV series and 12 films – and that’s not the end of its intergalactic journey.
This summer there will be a new movie, Star Trek Beyond. And then in 2017 comes a new TV series, to be aired on CBS.
The CBS show is being co-created and produced by Bryan Fuller, who is also the showrunner. Fuller, whose major credits to date include Hannibal, revealed this week that he has invited Nicholas Meyer onto the writing team of the show.
Meyer is widely acknowledged to have re-energised the franchise with his work on the 1982 movie The Wrath of Khan and his subsequent involvement in the fourth and sixth films.
Fuller said: “Nicholas Meyer chased Kirk and Khan around the Mutara Nebula and around Genesis’ flames, he saved the whales with the Enterprise and waged war and peace between Klingons and the Federation. We are thrilled to announce that one of Star Trek’s greatest storytellers will be boldly returning as Nicholas Meyer beams aboard the new Star Trek writing staff.”
It’s too early to know how CBS plans to evolve the show (a female captain on the USS Enterprise, maybe?), but you can guarantee it will be a focal point in terms of international distribution during the coming year.
The last TV iteration of the franchise, Enterprise, aired on The UPN Network (a precursor to The CW) in the US from 2001 to 2005. Internationally, it was mainly restricted to science-fiction-themed channels. But the new Star Trek series feels like it has potential to have a greater impact on the global market.
The most likely outcome is that it will end up on a mix of pay TV and mainstream TV channels (though it is the kind of show that might just sneak into weekend teatime slots on some of the world’s bigger free TV broadcasters). But there are a couple of other possibilities.
One is that CBS might use the show to try to brand its international networks, in the way AMC is now doing with AMC Global and Fear The Walking Dead. Another is that CBS might get an irresistible offer from Netflix or Amazon, both of which have aired the Star Trek back catalogue on their platforms.
Whatever the outcome, expect to see a lot of Star Trek activity at Comic-Con International in San Diego in July.
Meanwhile, four episodes in and American Crime Story: The People vs OJ Simpson has seen its audience slide from 5.1 million to 2.99 million on FX. That’s still very good, however, and has already led to a renewal. For anyone wondering what the subject of the next series might be, FX CEO John Landgraf has been telling the US media it will focus on 2005’s Hurricane Katrina and the devastating impact it had on the people of New Orleans.
In an interview with The Hollywood Reporter, Landgraf said next season won’t focus on a singular crime “but there were a series of pretty serious crimes that took place in and around Katrina. Part of what Ryan [Murphy], Nina [Jacobson] and Brad [Simpson] want do with this franchise is use these compelling and entertaining stories to delve into what lies beneath the surface of crime and of our society.
“Katrina is really an interesting decision in that regard. It’s a big, epic story. On one level, it’s a disaster story with all the sort of human scale and tragedy and interest that any story might have, but then inside it there are all these other fascinating sub-stories. Why were the levees flawed? How did they get that way? Why were there hospitals where life-support systems were being turned off? How did a bunch of people end up inside the Superdome, essentially living in squalid conditions?”
One point not raised in this comment is that Katrina brings with it the same background of racial tensions and media frenzy that swirled around the OJ case. Initially, African Americans were accused of committing a series of criminal acts under cover of the storm, but subsequent investigation found that this was the kind of hysterical misinformed rumour that often accompanies such tragic events. Instead, the real story of Katrina was the number of black deaths that took place at the hands of white gun-toting vigilantes. So it will be interesting to see how FX steers through this subject.
Spike Lee previously looked at Katrina for HBO in the documentary When the Levees Broke: A Requiem in Four Acts. Released in 2006, this was a superb, award-winning piece of work but one that focused primarily on personal testimony related to the storm. It came out before stories about the vigilante killings had been properly investigated and accepted as genuine.
Other noteworthy stories this week include the news that multilingual video-streaming site Viki is partnering with The Walking Dead creator Robert Kirkman on a new scripted series. Five Year is an original story about a family living under the threat of a deadly meteor hurtling toward Earth.
In an interesting twist, the 16-part show is being produced as a Korean drama by Kirkman’s US-based company Skybound Entertainment.
“This has been a story I have wanted to tell for quite some time, but David [Alpert, production partner and Skybound president/co-founder] and I wanted to make sure it found a proper home where it could grow and breathe creatively. Looking at what Viki has done in not only the dramatic series space, but transforming the way viewers consume and translate media, we knew immediately Five Year had found its home.”
US-Asia TV collaborations are still rare but Viki CEO Tammy Nam believes this is changing: “We’re thrilled to be working with the creators of one of the most popular TV series of all time. The fact that David and Robert wanted to make Five Year as a K-drama is a testament to the popularity and quality of Asian programming. In many ways, Viki and Skybound represent the future of global entertainment, particularly with Hollywood-Asia collaborations and VoD platforms like Viki leading distribution and fan-building.”
In Europe, the biggest greenlight news of the week has been the BBC’s decision to give Red Planet Pictures’ Guadeloupe-based crime drama Death in Paradise a sixth season. Claimed to be the third highest-rating UK drama of 2015, it is also the fourth best-selling British drama export, having been sold to 237 territories.
Also in the UK, BBC2 has ordered a second season of Touchpaper TV’s confessional drama series Murder. The Bafta-winning series was co-created by Robert Jones and Kath Mattock and written by Robert Jones. Continuing with the same format, Murder uses confessions to revisit the missing moments leading up to a death, in search of the truth. Jones and Mattock spent months in the public galleries of the Old Bailey researching real-life murder cases for inspiration and authenticity.
Intercut with CCTV footage, live action and forensic evidence, the show sees protagonists speaking to the camera and giving their version of events. But where does the truth lie when different versions don’t add up?
Elsewhere, SVT in Sweden has ordered a multi-generational drama set at the end of the Second World War in and around a family-run restaurant. Our Time is Now is a 20-part series that explores the lives of the family members and delves into their ambitions following the end of the conflict. The show is set to air in late 2017 and is being coproduced by SVT, Modern Times Group-owned Viaplay and film fund Film Väst. The main writer is Ulf Kvensler and the story is based on an idea by Johan Rosalind.
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.”
Jonathan Brackley and Sam Vincent tell Michael Pickard how they transformed a Swedish sci-fi thriller into Channel 4’s biggest original drama for 20 years.
From spies to Synths, Sam Vincent and Jonathan Brackley can now be considered among the top writing talents in the UK after building a career across television and film.
Best known for running BBC1 spy drama Spooks for its final two seasons, they also brought the series to the big screen earlier this year in Spooks: The Greater Good.
For their latest project, the longtime collaborators are behind Humans, an eight-part sci-fi thriller that has become Channel 4’s biggest original drama in more than 20 years.
Based on the Swedish series Real Humans (aka Äkta människor), it is set in a parallel present where the latest must-have gadget for a busy family is a Synth – a life-like humanoid.
Featuring a cast including William Hurt, Katherine Parkinson, Gemma Chan, Colin Morgan, Emily Berrington and Neil Maskell, the debut episode drew a consolidated audience of 6.1 million viewers.
The drama represented an interesting challenge for Vincent and Brackley, who were brought on board by Kudos (Spooks, Broadchurch) to pen the series after the producer won a battle for the format rights. US cable network AMC later joined the series as a coproduction partner, with the show debuting stateside two weeks after its UK launch on June 14.
Brackley says: “We’ve worked with Kudos for the last couple of years, doing the last two seasons of Spooks and the Spooks movie. We got a call from (former Kudos CEO) Jane Featherstone, who said they’d just won a rights battle to this Swedish series about robots and wanted to know if we’d be interested. So we said yes.
“They gave us the first season to watch and we loved it. It’s so full of fascinating, interesting ideas, and approached in such a genuinely new way that we really wanted to have a go at bringing our own take to the show.”
In particular, Vincent says it was the drama’s unconventional take on artificial intelligence and how this could be placed at the heart of a family drama that attracted the pair to the series.
“Putting it right in the heart of the home was really fresh,” he says. “Usually these stories would be about the origins of the technology or a dark conspiracy surrounding its use, but this was about one ordinary family and how the strains and stresses that are already present open up into chasms by the arrival of this machine. That was the real creative coup of the original concept.”
Vincent and Brackley watched the first season of Real Humans twice, and then pushed it aside, fearful of relying too much on the source material and simply translating the original series, rather than putting their own stamp on its themes.
“If you compare the first episodes of the original with ours, you’ll see a lot of similarities,” explains Vincent. “You’ll see scenes that are the same and the key characters, but as we developed the story, it very organically grew into its own thing and you move further and further away (from the original) as the series progresses, so by the season end you’re in a very different space. It was all fairly organic and natural.”
The writing pair had not adapted a foreign-language drama before, but compared the process to joining Spooks after it had already been on air for eight seasons – taking over an established set of characters and taking them in a new direction, while retaining the show’s original spirit and tone.
That’s not to say they dispensed with Real Humans altogether, however. Brackley says: “There are individual moments that we really liked from the original that we kept, but in broader terms the narrative goes in a completely different direction by the end of the season. And if we’re lucky enough to get a second season, we’ll be carrying on from the end of ours.”
A second season is yet to be confirmed, but the ratings success of the first season suggest it’s more a matter of when than if. And it’s that success that Vincent and Brackley believe justifies the decision to remake Real Humans in the first place.
“We always knew there would be a few people saying ‘why remake this?’ but it’s not really an argument we have much sympathy for, because you only do it if you feel it’s creatively worthwhile,” says Vincent. “You feel you’re changing it for a different audience, growing it, developing it. We felt we were in conversation with the original and could do things in a slightly different way and build on certain aspects. There’s certainly room for both.”
Brackley adds: “There’s always a place for remakes as long as it’s doing something different, if it’s not just retreading the same territory in the same way then there’s always a place for an adaptation or translation into another country or another format.”
Having previously adapted another Scandinavian drama, the worldwide smash hit The Killing (aka Forbrydelsen), AMC was a natural US partner for Channel 4. Vincent admits he and Brackley were slightly overwhelmed at the prospect of working with the network, which counts Mad Men and The Walking Dead among its biggest hits, but says AMC were “incredibly supportive” and were fans of the show’s UK identity – ruling out fears that the show might suddenly be transplanted to a US location.
“The only concession we made for the American market was that we removed ‘milk float,’” he reveals. “We weren’t even told to do that, people just kept asking us what milk float meant.”
As for the key to making a successful remake, Vincent says writers have to steep any adaptation in cultural relevance: “Real Humans has a great universal concept but a lot of it is quite culturally specific. We wanted to turn the lens of the concept onto an English-speaking culture and Britain today, and that produced a lot of subtle and interesting effects and differences.
“You have to ask whether it’s truly worthwhile – are you just reheating something, or are you actually refreshing it, reinvigorating it, changing it for a different audience and bringing a lot of yourself to it? If you’re not, you really have no business doing it. It would be madness trying to adapt something you weren’t passionate about in the first place. If you’re as passionate about the source material as we were about Real Humans, then it can be a really fantastic process.”
Before putting pen to paper, however, Brackley and Vincent both met with the show’s original creator, Lars Lundström, to discuss the series and how they might adapt it for a new audience.
Lundström says the idea of blurring lines between humans and robots was something he’d been working on for several years, and had pitched to a few producers before it was picked up by Swedish pubcaster SVT. Real Humans first aired in 2012, running for two seasons.
“I have no idea where the idea for it came from, it just popped up in my head,” he says. “SVT were willing to take a chance on it because they saw it not as sci-fi but more as a drama or thriller.”
Of his meeting with Brackley and Vincent, Lundström says: “We spoke about the DNA of the show, but the storyline is up to them. We were speaking about what I thought was the bottom line of the show, and it was very fruitful. They’re two very intelligent writers so they picked it up and shaped it nicely.
“One thing to be clear about is the hu-bots (as Synths are called in the Swedish version) are neither bad nor good. They’re just something humans have created, so it’s not like other AI shows where they are purely bad and we have to destroy them. That makes it a bit more complex and complicated than other similar shows, and that was very important for me. It’s a show that explores interaction with technology and what it means to be human. It’s not really about robots; it’s about humans.
“I had full confidence in them and I knew they would do something great with it. When I read the first couple of scripts, I was just happy. It’s fun that it gets a new life in the English language.”
Lundström – who is now working on new “mystical thriller” 1001 for Gaumont International Television, Matador Film and Eyeworks Scandi Fiction – has written a storyline and some scripts for a third season, but says these are now unlikely to come to air.
Instead, he hopes Humans will pave the way for more series to be adapted across borders. “I hope broadcasters will dare more with their shows,” he adds. “Sci-fi is hard because it usually doesn’t hit big numbers, but now we’ve proved it can. In the US they have done lots of shows like The Walking Dead that prove genre can be big and broad.”
As the popularity of Nordic noir shows no sign of waning, DQ asks Scandinavian drama’s key players where they plan to take the genre next.
Ever since the massive global hit that was The Killing, Scandinavian drama has been punching above its weight, winning over critics and viewers internationally as well as influencing its European neighbours.
The latest Nordic noir success story is Sweden’s The Fat and the Angry (Ettor och nollor), which scooped another international award for the region when it picked up best non-English-language drama at the inaugural C21 Drama Awards last November. It came a close second earlier in the year at the Seoul Drama Awards with a Silver Bird gong in the TV movies category.
Based on true events in Gothenburg’s criminal underworld, the two-part show, which premiered locally in Sweden in February 2014, joins a long list of award-winning Nordic dramas with international careers, including Lilyhammer, The Killing, Wallander, Borgen and The Bridge – as well as Mammon, which has been the subject of speculation about a BBC remake.
The Fat and the Angry highlights an important feature of Scandinavian dramas: coproduction. Made by Göta Film and Swedish pubcaster SVT, its partners included Finnish pubcaster YLE and Swedish film prodco Film i Väst.
With a few exceptions, Scandinavian drama’s international partnerships came out of necessity, says SVT head of drama Christian Wikander. “The hourly cost for drama has gone up, which means we’re all searching for new money, and this drove the producers and the broadcasters to reach out and broaden the network.”
If anyone can find success with this approach, it’s the Scandinavians, as Liselott Forsman, executive producer of international drama projects at YLE, explains: “We’ve been coproducing since 1959. It’s really good for Nordic drama that we have subsidy methods and two important funds within the Nordic countries.” One of these is the Nordisk Film and TV Fond, where Forsman sits on the board.
“There’s much to be gained by having a lot of smaller funding and regional funding contributions, even though they don’t pay very much,” agrees Stefan Baron, executive drama producer at Nice Drama. Baron left SVT in 2014 after 21 years to join MTG-owned Nice Entertainment Group, where he’s now an exec producer heading up international coproductions. “The trick is to not have too many partners at the script stage,” he says. “When you have a couple of scripts, then you bring in distributors and coproducers from around the world.”
Beyond the region, Nordic drama’s international appeal has grown thanks to increasingly sophisticated, social media-savvy audiences and their expanding tastes, says Wikander – adding that this has also helped prise open the door to the UK, a notoriously closed market for subtitled, non-Anglo Saxon fare.
“I think audiences are very well educated and used to all kinds of storylines, plots, dramaturgy and also language,” says the SVT man. “Because social media is so borderless, we share so much in our personal networks – and one proof of that is the success of Nordic drama on BBC4. Ten years ago, if someone had told me two million Brits would sit down to watch a subtitled drama, I wouldn’t have believed them.
“The fantastic upside for all of us working in Scandinavia today is that we’re approached by broadcasters and international producers in a way we’ve never seen before, and that’s a great opportunity for us.”
SVT is Scandinavia’s largest drama commissioner and producer, with an annual output of four longform drama series (10×60’/10×45’) and four miniseries (3×60’) across crime, family drama and comedy, on a budget of around SEK320m (US$46.6m).
Around half its output is coproduced, largely with its longstanding Nordic partners such as DR, NRK and YLE. But it has also attracted a growing band of Europeans and North Americans interested in remake rights to shows like The Bridge, and ‘hubot’ drama Real Humans, with Shine-owned Kudos’s remake of the latter, simply called Humans, now airing on the UK’s Channel 4 and AMC in the US.
Piodor Gustaffson, co-founder and producer of independent production company Another Park Film, and former drama commissioning editor at SVT, says that despite smaller budgets and limited development funds in the region, he’s noticed an overall increase in the quality of drama series over the last few years. “That’s about competing with not only the rest of the world but also your neighbours, as well as occasionally using the same talent,” he says.
At SVT, Gustaffson pushed for a broader range of drama output, leading to projects such as The Bridge and Real Humans. Meanwhile, Baron greenlit Nice’s family drama Thicker Than Water. The show aired in spring 2014 to a million-plus viewers, selling internationally via Germany’s ZDFE. A second season is now in the pipeline.
There’s widespread agreement that Nordic noir has opened doors for Scandinavian producers, themselves refusing to have their output pigeonholed as simply Nordic noir. With crime at its core, the programming stretches far beyond into an exploration of society and human motivations, offering a strong identification with and empathy for characters along the way. It also embraces other genres such as suspense and mystery, and fish-out-of-water crime comedy. And now producers are moving into new areas, exemplified by DR’s family inheritance drama The Legacy.
“Of course it’s about crime – it’s Nordic noir – but it’s always been character-focused,” says Jonas Allen, producer and co-founder of Danish prodco Miso Film. “We care about the characters. It’s not only about fascination with them, but also identifying with the characters, and I think that’s the basic core to all the shows.”
Now majority-owned by FremantleMedia, Miso Film counts local hits such as Those Who Kill and Dicte for TV2 Denmark, as well as the historical drama 1864 for DR, among its productions. Crime reporter series Dicte (10×45’) returned for a successful second run last autumn, with a third season now in development. It includes TV4 Sweden and TV2 Norway as coproducers, and received support from regional Danish regional funds, the EU’s MEDIA programme and DFI’s Public Service Fund.
For Scandinavia’s public broadcasters, at least, another quintessential ingredient of Nordic drama is how it reflects society. “It’s our duty to tell all our audiences something about what’s happening in society today. It’s imperative that we entertain, but we should always enrich at a deeper level, too,” says Forsman.
Even though Nordic drama appears gloomy and dark, Forsman says one of the reasons Danish drama travels so well is that the characters care about each other. “You can feel it within 10 seconds of watching. You have to have a lot of empathy, no matter how harsh the subject.”
YLE Drama’s latest show is the thriller Tellus, scripted and directed by JP Siili. The 6×50’ drama deals with a group of eco-terrorists, exploring an “important ethical question” of how far individuals will go to fight for their ideals, according to Forsman.
NRK and SVT are coproducers and ZDFE is distributing it internationally outside of Scandinavia, making it “a typical Nordic coproduction,” Forsman adds. The drama opened to 27% shares on YLE1 in the autumn, continuing on 25%, with a second season greenlit before the final episode aired in December.
Pubcaster NRK’s latest traditional Nordic noir, Eyewitness (Øyenvitne, pictured top), which debuted on NRK1 last autumn, is also imbued with socio-cultural commentary. “It’s been a real success among critics and audiences,” says NRK head of drama Ivar Køhn, who’s also the current chair of the Nordisk Film and TV Fund.
It was scripted and directed by Jarl Emsell Larsen who, as the original father of Nordic noir in Norway, has 30 years of TV drama under his belt. “For the last 15 years he’s been really into social drama, when he discovered he could make crime and talk about society and also make it popular,” Køhn says of the director.
Eyewitness follows two adolescent boys who meet secretly in a forest, where they witness a violent murder. The story follows the events that build after they fail to report the crime to the police. It has already sold internationally in both finished (including to Germany) and scripted format forms.
But NRK is also keen to evolve its drama. Its ‘Nordic humour noir’ show Struggle for Life (Kampen for tilværelsen) “is not so much a ‘fish out of water’ story as a ‘tigers in silent waters’ one – the complete opposite,” says Køhn.
Following in the mould of series like Welcome to Sweden and Lilyhammer, Struggle for Life centres on a Pole who travels to Norway in search of his father. Although a linguist, he can only find work as a carpenter, which exposes him to a Norwegian middle-class life of self-made problems.
“It’s a really original story and a brave one for us,” says Køhn. The project was completely controlled by scriptwriters, and co-written by Erlend Loe, Per Schreiner and Bjørn Olaf Johannessen – “some of the most exciting writers we have in Norway,” says Køhn. NRK has greenlit two seasons of the eight-part comedy drama.
Miso Film is also evolving the Nordic noir genre. “It’s one of the things going on right now,” says co-founder Allen. “A lot of creatives who we’re dealing with are looking for and trying to tell new stories.”
One of its latest offerings is NOK65m (US$8.8m)-budget mystery drama Acquitted (Frikjent) (10×45’), made for TV2 Norway and launched in March this year. The project, which received NOK10m funding from the Nordisk Film and TV Fund, became TV2’s biggest drama premiere, pulling in a 46.6% share of its 20-49s target group and a 38.8% overall share (12 years-plus).
Scripted by two female writers, Siv Rajendram Eliassen (Varg Veum) and Anna Bache-Wiig, the drama is inspired by a real rape and murder case in Norway. “They were very interested in the character, and it was always about finding out about the man who was acquitted, why he came back to his hometown, what he was looking for, and the forces that drove him back. That’s the core of the development of the show,” says Allen.
SVT’s Wikander, too, is keen for producers not to come to him with the next The Bridge. “I think we need to be brave. Take Real Humans, for instance – that’s an example of being brave, and for a public broadcaster today that’s extremely important,” he says.
“We need to try out new stuff but, of course, without abandoning the established crime formats. We’re going to see a third and probably fourth season of The Bridge, but we need to balance that with bravery, and we’ve started a lot from scratch, finding stories relevant to a Swedish audience because that’s our mission. When you have that mission, you can then go into the international market, but not as a first step.”
One of SVT’s newest dramas, Jordskott (10×60’), takes the pubcaster in yet another new direction. It’s made by established Swedish commercials prodco Palladium, which formed new division Palladium Fiction, headed by producer Filip Hammarström, for its first TV drama. The show, which launched on Monday February 16, opened to 1.6 million viewers and has since averaged 1.4 million so far across its debut run.
The story follows a detective who returns to her small home town to work on the case of a missing boy, 10 years after her own daughter disappeared, and tries to find links between the two mysterious incidents. Wikander calls it a “Nordic crime meets mystery” drama.
After four years developing the idea, Palladium brought a 10-minute tape to SVT. “If they hadn’t had that 10 minutes, we would have said no, because the company had never produced a drama series before,” says Wikander.
The UK’s ITV Studios came in on the project very early, he adds, making it possible to take it to the next level of production, and is distributing the series worldwide. Finland’s Kinoproduktion is also a coproducer and the series has been pre-bought by YLE, TV2 Norway and Iceland’s RUV.
“The biggest difference of the last two to three years has been an increase in the amount spent on development, alongside international companies investing in or acquiring Nordic companies and increased budgets at the TV channels. More projects are now very well developed even before they reach the commissioning editors,” notes Another Park’s Gustaffson.
SVT has upped its development budget to help develop more new projects, a challenge many countries without the US-style showrunner/writers room approach face. “The best writers are occupied so we also need to focus also on the writers beneath them and on finding ways to get them together with producers to lift them,” Wikander explains.
Another Park is currently busy developing a number of (as yet undisclosed) film and TV projects across a range of genres, working with top writing talent. “We will go out to the market when we’re ready,” Gustaffson says. “We wanted to have that freedom when we created the company. But, obviously, we would also be open to start earlier with some partners if we shared the same vision at the development stage.”
However, Gustaffson says a key challenge for Nordic drama is the “limit to how much Swedish-language drama the local market can finance and consume.”
He adds: “There’s a bigger appetite for Nordic and Swedish drama than what TV stations commission, and that’s caused a bottleneck. A lot of interesting projects will come out of the increase in development money but this won’t result in more Swedish-language drama series – and it could mean some of the top talent start to write for companies in other countries because what they develop here won’t be financed.”
Yet Scandinavian producers remain unfazed by growing international competition in foreign-language drama from countries such as France, Spain, Israel and Turkey. Rather, they see greater potential synergies developing.
NRK is no stranger to global partnerships. It was the first Scandinavian broadcaster to strike out when it joined forces with new entrant Netflix to coproduce the crime comedy series Lilyhammer by Rubicon TV, which premiered in early 2012. Season three of the drama returned on flagship NRK1 last October, with the broadcaster this time taking a leaf out of Netflix’s book by also making the entire series available straight away on its online streaming service. Meanwhile, HBO Europe picked up remake rights to NRK’s six-part thriller Mammon.
“We were all taken and shaken by Netflix and House of Cards, when the whole series was made available on day one, while Netflix rose extremely quickly to around 650,000 subscribers in Sweden,” says Wikander. “But that has now levelled out, and one of the reasons for that – not unique to Netflix – is that 98% of its catalogue is old titles. The audience has now gone through it, and an output of four new titles a year, whether you’re a broadcaster like us or a Netflix, is too little to keep a subscriber audience with you.”
There’s another reason why distribution platforms like Netflix and HBO make interesting bedfellows: they can do niche drama, because ultimately they can aggregate lots of smaller audiences, says YLE’s Forsman. “In other countries where we have really strong public service companies with good audience shares and very well-educated audiences, we can do that too,” she notes.
“It’s really great to see channels like France’s Canal+ doing the same,” adds Forsman. “They want their drama to have deep characters and to speak about society in a new way, to be brave, risky and so on – all imperatives for public service broadcasters. We could have written the same words, yet they’re a commercial broadcaster.”