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SEASON 8 1 3 THE EUROPEAN SERIES SUMMIT JULY FONTAINEBLEAU - FRANCE 2019 on whichmanyprofessionalsfocuson. and us to fundamental is that challenge a is reinvention and imagination as well as inclusion, and reflection for society in which they create. Ensuring that drama is a tool the also but audience, their to only not listen, to industry the for need edition’sthe of innovative aware are and and creativity daring European this for flag the flew broadcasters: speakers 120 producers, Creators, o er yousomefoodforthought,ifnotananswer. to hope we stories, and analyses speakers’ our through Minutes, viewers?these the In funders, the creators, the production: series of helm the at is Who audience? the money, the talent, the it is today: power of heart the at is rarely what down, deep But are collide. and multiply power of yet areas booming, is and that industry an omnipresent Within deciphered. are plays power camera, the behind and front in power.Both of idea the question to attendees invited we days, three the During European creatorsanddecision-makers. h ectn 8 exciting the This mantra, also a pillar of Série Series’ identity, steered TAKES CREATION th dto wih ruh tgte 700 together brought which edition POWER! with THESÉRIESERIESEDITORIAL COMMITTEE you again for the 9 the for again you European of heart seeing to forward look the we and inspiring be will creation to journey this that hope We Série Series haswelcomed. that changes the and editions 8 the throughout expressed of were that theme view of the points the through power, on as focusing reports, paper” the “white to opening a an o er and to horizons wanted also our have broaden we year, this time, first the For making these them availabletoall. and of context essence into them the putting convey conversations, to hope these we Throughout Minutes, Mercurio. Jed television, British in heavyweight fellow a with vision experienceher her and of spoke she where Wainwright’smasterclass Sally one, but name to conversations; rich particularly facilitated the particularly are have to proud are insight we year this we and Series Série of DNA and commitment Conversations with. and connected outlook whose people on light a shone we days, three the Throughout June to2July2020inFontainebleau,Île-de-France. MARIE BARRACO, director, Managing th season of Série Series, from 30 from Series, Série of season th

EDITORIAL 3 CONTENTS

CREATION TAKES POWER 5 CREATION TAKES POWER POWER TAKES CREATION TALENT TAKE THE FLOOR 13

SALLY WAINWRIGHT MASTERCLASS 14 VEERLE BAETENS MASTERCLASS 19 NICCOLÒ AMMANITI MASTERCLASS 22 ISOBEL WALLER-BRIDGE MASTERCLASS 26 MARIA KYRIACOU MASTERCLASS 30 SIMON CORNWELL MASTERCLASS 32 WALTER IUZZOLINO ONE VISION 35 DOV ALFON ONE VISION 38 JONATHAN GOTTSCHALL ONE VISION 42 CREATION 5 AN EVER-CHANGING LANDSCAPE 45 THE AMPERE ANALYSIS MORNINGS 46 TAKES POWER FOCUS ON FRANCE TÉLÉVISIONS & DR 50 DRAMA IN EUROPE: MODELS FOR FRANCE TO FOLLOW 56 DRAMA’S PERFORMANCE IN EUROPE IN 2018 60

SERIES IN FOCUS 63

WHEN THE DUST SETTLES 64 DARK MONEY 66 FLOODLAND 68 HIDE AND SEEK 70 45 REVOLUCIONES 72 HAPPILY NEVER AFTER 74 BACK TO LIFE 76 POLICHINELLES 78 THE WORKS IN PROGRESS 80 NEW PROJECTS, NEW VOICES 81 6 CREATION TAKES POWER within creation,noneofthemfeellike theyhaveit”. players di erent the ask we when And own. their on it has one No dispersed. her shared, during is “Power answer masterclass: clear a up o ered Kyriacou Maria creation?”,in power Tothe “today,has question who the on, andputsinmotion,thisecosystem. light a sheds Series Série few. a name to broadcasters, alchemy actors, directors, subtile producers, screenwriters, the between the a on within relies which cooperation system, and complex together come to players many requires it task, singular a not is series a Creating the ragetomorrow. warning signs, and even predict the trends that will be all the on light a sheds year each and practices, refine and conversations the deepen help days three these tank, the stakeholders in creation to Fontainebleau. A true think Since its first edition, Série Series has brought together all talent canblossomandpowerfulworkemerge. that ensuring ingredients essential the identify also but series, of a world the in areas” “power develop the of cartography helped has the Series and Série years discussions, the many Throughout another. one fuel can and something intertwined are start ideas these Clearly, to create. to happen, and make to defined capacity is the power other,as the in individuals; several or one on we domination one, and authority In of to”. form “power a emphasise or on” “power have can We each in present strata oftheseriesrealm. are plays power that fact the despite itself,creation of act the discussing when covered rarely is that theme but series, many a for plots of centre power; the at is of that idea the question to encouraged SÉRIE SERIESWHITEPAPER 20122019 CREATION TAKES POWER o ti 8 this For the ecosystem’s balancethatwewillseeEuropeandramabepowerful,dynamic,diverse, original,inclusive… ensuring by is It future. enjoyable and liveable a for catalyst the be can to drama that power so the creators, and give creation Let’s demand. a also is watchword, Series’ Série now is which POWER, TAKES CREATION th edition of Série Series, speakers were were speakers Series, Série of edition a breading ground for creative opportunities. Netflix, likeNetflix, opportunities. creative for ground breading a producer Netflix, having only produced two series, was not seen as executive declared and pessimistic clearly dearly!”,was trend The Lesage. Bénédicte it for paying are we and future, the ignored “We authorities. public and professionals the by anticipated been have to not seemed 2008, the since announced on being arrival despite market, its as especially threat, a posed Netflix totally disproportionate. was platforms and The channels traditional to. between subject battle are operators national that taxes and constraints regulatory numerous the avoiding consorts APA,Netflix’s its and platform the with competition unfair SACD, condemned, during a round table organised by the the of Director Managing Rogard, Pascal alarming. methods were and ambitions power, its market, French the on arrival thunderous its made Netflix year the 2014, In to deference. distrust from swaying feelings, contradictory instigated always have players these as aroused, have platforms borne new the and has Netflix that fears and event hopes the to the witness year, after Year debates. centre the the first at of been the has Since Netflix Series, industry. Série the of edition of drivers also now television, linear are classic to additions mere once were the changed SVoDthat The players, world. the in and Europe in game platforms streaming large of arrival The new of players thathelpmaintainthisfrenzy. arrival the by fueled – content new for always hungry is that audience an and series more and more with – content of abundance an bubble”: series “the call have many that cards phenomenon recent the the to due re-dealt been and changed has series of world The NEW OF PLAYERS? TRIUMPH THE BUBBLE”: SERIES “THE writers andoriginality.” the on solely relies Netflix produce. to refuse channels other the that series developing in consists added, she today have broadcasters French key the of none that view Landois atypical “an had Anne Netflix that recalled screenwriter first discussion, the series” during “Café year, following The context”. current selling, the in down turn in to dicult very therefore are that opportunities and producing “ o ered in also it opportunities year, 25 last the over France, in especially place, in put been had the that model production up shaking seriously were players new the that where out pointed creation Leclercq, Vincent CNC, audiovisual French the of at the head and during market”, identities 2016, international “Cultural In o er entitled development. conversation platforms its a these and that creation for opportunities new the highlighted have voices several editions, the Throughout satisfaction ratewithregardstotheirplatform. user high a indicated and year past the during platform study people had watched at least one programme on an SVoD has Médiamétrie SVoD A 17.3 changed. that stated 2019 French October million in market. published world have the stakes conquered the then, Since starting toproduceoriginalcontentthemselves. content, in order to analyse their users’ behaviour before purchasing on strategy their targeted initially Amazon, . “ ”. Its strategy, Its new new for itsownsake? nature of the series? Could the “series bubble” be too good the about what but immense, is produced content original of amount The budgets. production and exponential supply in growth an to leading and usage revolutionising by landscape series the changing is platforms of power The to itscatalogue. content European of hours 3 000 over adding obligations, new the to conform to have in therefore will services; Netflix France, streaming on content 30% “European” a of imposing quota at aimed regulations new of original favour in of voted has Parliament catalogue European removed, this, their Alongside content content. build licensed therefore their likely must of are and portion Amazon a and see Netflix to Disney), and (Warner conglomerates entertainment key by platforms streaming new of market the on arrival the With factors. several by explainedbe can producers and creators the for boon This content, notablyEuropeanseemsinsatiable. original for appetite Its creation. content for budget dollar platform announced that they will be dedicating a 15 billion the 2019, In SVoDs). regional other of amount the times 4 times the amount planned by large American networks and bewildering. are Netflix has announced the production of over 234 series (3 Analysis) (Ampere Bisson Guy by this presented year figures The creation. original of terms in to the opportunities that are created by their vast ambitions Today, Netflix’s influence on creation is widely accepted due

CREATION TAKES POWER 7 8 CREATION TAKES POWER to influence or even change the viewers’ tastes and and tastes viewers’ the consequences onthe market asawhole. change even or influence to ability reputation, acquired quality: shows in a criteria evaluating new recommends Iuzzolino Walter why is It season availableatonce)andquicklyforgotten. a of episodes all making by practice common watching binge made has platform (the quickly consumed are that series ‘premium’ of up made food, fast luxury of kind a invented e ectively has Netflix it). to back go not do we three weeks but then fades quickly and unavoidably (and life cycle is very short. its Indeed, the popular,viewers’ interest is very high for be may Netflix by o ered and content Amazon Facebook, Netflix), Guy Bisson demonstrated that where the original Apple, (Google, strategies programming GAFAN on presentation year’s this During encourage creativityandinnovation,quitetheopposite. always not do aversion, risk with hand in budgets, hand go which big that notes Iuzzolino Walter creation, and money between relationship complex the deciphers he As content. of homogenisation of kind a more o er,but on diversity real a to leading not is market the on series of growth exponential the lack Paradoxically, originality. cruel of a masks often nowadays, overused is widely that term, this But ‘premium’. so-say is are that which series costly market, with inundated is the platforms, SVoD the by explains, carried Iuzzolino Walter As lowering ofculturalstandards. sadder o er,on a series of standardisation a reality: even possibly Presents overshadow content original Walter in investments the of colossal the drama), non-English for in (specialised platform founder but explode; Iuzzolino, to costs Walter for is culture. today of tendency prism the The enthusiastic through less series at be looking to when perhaps needs industry The IS MONEYCREATIVITY’S GREATEST FRENEMY? hogot h eiin, e t ih h Broadcasters’ the with it be editions, the Throughout di erentiate themselvesinordertosurvive. that must they giants, audience, large these increasingly an of reaching are power the with Faced viewers. and resources of terms in both the platforms European as international field playing traditional same the on the not are audiences, broadcasters same the and with territories same the in coexist now they Although evening; Wednesday they’re fightingalosingbattle.” a on time prime during viewers million five to appeal to able be longer no will they that idea the to used get to have They system. broadcasting linear the the shattered that have digital all, by oered possibilities for and once understand, and tune their “ relevance. cultural form of a more but audiences, mass European be longer no would urging objective main the where strategies by new with up and come policy boat programming their update to the broadcasters Walter rocked edition, seventh Iuzzolino Series’ Série during 2018, In RESPONSIBILITIES EACH BROADCASTER HAS ITS PLACE… AND create ambitiousshows. and themselves support financially to order in markets di erent their between co-productions developed thus therefore have and Scandinavians 1990s, the collaborate Since power. share to… to strategies, new to them invent led financing to due constraints The winning a formula. into – money of lack – disadvantage a turn to able million been often 1 have below countries Scandinavian was euros! episode one for budget the that believe not could audience the preview, first its as 2012 When the that the quality of edition, a series first is not its proportional to since its budget. prove, to helped has Series Série Real Humans team came to present the show in The big channels must change change must channels big The Ruth Caleb success of local series such as such series local of success and creation the enabled has This process. creative the du throughout teams the to advice and training Ateliero ers fonds the while works, Belgian of number certain a finances RTBF- fund support the Bruxelles Thus, Wallonie Fédération talents. 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While French-speaking Belgium has traditionally poignant a is RTBF the respect, this In ecosystem. local the for tools are also they society, to to regards role with play important an have broadcasters public Where when theyarehighquality, candothis.” series, And eyes. their through world the see to and us, stories that reflect our society, of others and those next to the DR’s tell to broadcaster,is public others. a as commitment, of main and ourselves of vision our challenge and fuel that stories great is need does world the What “ unique o ering in society.to speak to series of power the duty also but content, channels’ service public the emphasising mind, same the of was Rank Christian DR, broadcaster public Danish on focus the year,during This good andmustspeaktoeachpartofsociety. ” democracy.“ strengthen television help must public that 2016, in talk inspiring her during C. Tone dialogue. genuine Rønning, Commissioning Editor for NRK (Norway), stated, a and thinking collective creating of capable ambitious, also but unifying, is that content o er to and diversity its all in society to represent responsibility a have they that emphasise European channels for drama during of year, Heads the Each conversations, their responsibilities. social great have broadcasters them public competitors: between commercial their and di erence natural, and fundamental, the is that Because service. public a as society towards occupy within this ecosystem, but also their accountability European they space the on reflect collectively to order in together time this key utilise the that a broadcasters, public become for with gathering has Series partnership Série Union, the Broadcasting or Conclave Today’s series bubble mainly benefits established established the cake; and the rise of new talents benefits raises questions. 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CREATION TAKES POWER 9 10

CREATION TAKES POWER in particular Karen’s husband’s mistress, far from the the from archetypes. far mistress, husband’s Karen’s particular in characters, secondary the all also but Karen, character, main the to applied only not stereotypes down breaking on work Her screens. our over all are that leads female perfect and submissive characters and the strong and icy the both to opposition in this, and women; flawed and real ordinary, create to wanted also she that explained Magnúsdóttir Kristín Nanna actress, lead and producer director,screenwriter, the been simultaneously has she year, presented she This when women. normal words: other in flaws; have that women complex play can she ensured has Baetens embodies and by bringing her female perspective, Veerle she characters the of creation the in writing, the during not are screen real; too perfect, they are not like anyone. By taking part, on see we women The lead. the plays for script the With writing. co-wrote she Dirickx, Christopher and start Gozin Malin-Sarah to decided she why reasons one the is of series. It today. observation from same the makes banished Baetens was ambiguity and imperfections for room no left represented were women leads in television were unnuanced and perfect. The way “female decades, for that, recalled Landois Anne series, the During were presentedaspartoftheselection. recognised artists or experts. Many series lead by women internationally them of all Studios; ITV for International of President Kyriacou, actress Maria as well Waller-Bridge, as Baetens Veerle Isobel composer Wainwright, Sally director and screenwriter by masterclasses depth in- hosting of privilege the had and stage centre women For its eight edition, Série Series was committed to putting directors areaclearminority. or screenwriters Female alarming. as are Britain Great of Directors’Guild the by published figures the Britain, In even more alarming. The situation is no better elsewhere. is composers for situation the And invisible). are women profession, a in proportion this (below 33% of threshold invisibility the below far still are directors female Indeed, women –, for directors there has been little improvement. between 2012 and 2014, 35% of TV drama was written by still is – women progressing is writers for situation low.the very Where of presence the but unequal, most the not is industry television The bleak. and are results The television film. arts, performing in women by works of number the for accounts which France in the sector cultural within have women place the on report annual published an has SACD the 2012, Since men. of business the often voices. too series, of female world the just particular beyond is, Power in voices, new need Series FEMALE POWER ANDVISIBILITYFORDIVERSITY session centering on women in in women on centering session series Café , a fantasy thriller in which she she which in thriller fantasy Tabulaa Rasa, , a series where where series a After, Never Happily Veerle ” in Norway. The series has an atypical character, that that screens: Scandinavian character,from absent been now atypical till up has an has series The Norway. in today like looks diversity cultural what of representation a o er and women” 16-year-old young “the back win to twofold: was objective series whose Norwegian), the in Norway, (“shame” of outside time first the for executive producer for the NRK, presented at Série Series Furevold, Marianne 2016, In representation. of evolution to order encourage the appearance in of di erent characters and flourishing the are initiatives other Elsewhere, promote to aims programme representativity andequalityinallitsaspects. this charters initiatives, various and and Through ethnic diversity… cultures, LGBT+socio-economic for visibility of disabilities, image with true people including equality, a Gender society”. British and representation relevant o ers content the “commissioned that within ensuring as parity well as and teams diversity both increase to which aims programme 5-year a implementing an for by set example has demand BBC The major ones. public a especially channels, now is diversity Representing 50 yearsold. over fact in is population French the of third a whereas series, in characters of 18% only represent 50 of age the over Characters channel). 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Therefore, half of the adult female population is to gradually reappear around the age of 65 to play grand- only maturity, professional full in being despite age, this reach they as soon as screens the from vanish actresses old, years 50 over is women French adult one two every Although in tunnel”. 50 subject, over this “actress’ on the battle rebuking fierce a waging are France) in ( AAFA The our from screens. disappearing of tendency a have characters who were also mature women. Because, after 50, characters, female female incredible create to able was Jack, with who, Wainwright Sally France and as Kingdom, such United the series recent We some characters. mention realistic female can and diverse to more portray regards to strived have they with decade, past the For progressed representation. have Series Rita in Denmark. 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e ect”). At the same time, series are also a a also are series time, same the At e ect”). Grace & “ (the homosexuality to regards in viewers many of like people that are a part of it – and our behaviours. A sitcom attitudes – how we perceive the world around us and the our change to power the have series, especially Stories, one thatisviableandbeautiful. write therefore should they advises Gottschall Jonathan world. Our storytellers are in fact the writers of our future. the change ultimately and things seeing of way di erent a show behaviours, and attitudes change to worse, for or better for power, the storytellers have they as society, into more integrating empathy. suggests create Gottschall can they Jonathan how and have can stories impact the analyses he all above But them. hear to and them create to needs he stories; needs sapiens) homo The us. surrounds that chaos the from us remove to power the have series According to Jonathan Gottschall, author and researcher, THE POWER TO CHANGETHEWORLD new voices,nomatterhowmuchriskitentails. other welcome and barriers overcome to vital is it this, achieve to to order in how, talking and horizons; widening and stories, audiences renewing stories, di erent attendees a reminded during Emile Barbara producer 2017, In and hasnowremakes inover10countries. phenomenon, international true a become since has and in believes herself and her religion. she choice; by veil the wears She woman. young intelligent and strong a is Sara tyranny, men’s of tendency of representing Muslim women as mere victims a had media Norwegian While girl. Muslim young a Sara, Will & Grace & Will session on the importance of telling telling of importance the on session Vision One contributed in changing the perception perception the changing in contributed (a term he prefers over over prefers he term (a fictus homo Skam has hit the nail on the head Will Will producer who has worked for the BBC for many years and 2017,In Caleb,Ruth prominent welcomed the festival the power. counter- true a as system democratic the within has BBC the role fundamental the defended has he media, public of advocate fervent A questions. di¸cult about think to them encourage and audience large a reach to order in tool powerful most the is drama out, pointed Kosminsky Peter as Because, controversy. fearing without debate State on new Islamic State recruits, take risks and fuel the like works, these ideas”, preconceived “without out carried is that research in-depth on Based us. around world up the make that reality conflicts geopolitical in in rooted often, political, most and, deeply is works his of one Each 2018. Series Kosminsky,Série Peterlike at speaker screenwriters committed to thanks notably Britain, Great out about the failures in the political and social systems in spokenback, holding without and continuously has, BBC British public broadcaster and its daring. It is true that the the praised speakershave many Series, Série of editions the Throughout BBC. the within established her was career of part as school good a to went Wainwright Sally of representation homosexuality. the furthered has she filter, no with homosexual) open an woman, and business sportswoman ruthless accomplished a England, century 19th in telling the story of Anne Lister’s life (a wealthy landowner thinking In mentalities. today’s with line again, in more be would tried it that Wainwright Sally but ago, years several rejected been fact in had project The changed. like series a written have never could she that convinced is Wainwright Sally and why is made That attitudes. are of evolution they the which in society the of reflection on the Israeli-Palestinian conflict or conflict Israeli-Palestinian the on Promise The had the view on homosexuality not not homosexuality on view the had Jack Gentleman Peter Kosminsky The The

11 CREATION TAKES POWER 12

CREATION TAKES POWER the world. that needed, Proof,if work ofpublicservice. like drama A imprisoned. was he and rape statutory of guilty him found court The ago. years 40 committed acts the for justice to brought was o¸police the case), cer the to gave work the echo the of broadcast the after years Sixteen fivoice. them their helped nd who Drama broadcast. people the after shortly childhood from their in rape of victims testimonies were received Caleb Ruth viewers. million 6 by watched was children, for hospice Inspired by this story, the film, which was set in a religious testifithat victims the of himself.killed trial, the during ed £500,000. Six months after the verdict, a young man, one of sum the received he that ordered court the and case o¸The the rape. won statutory cer with after charged being libel for newspapers local the sued police o¸a who about story cer a read Caleb Ruth events. real on produced she ago, years Twentyher. scares subject No BBC. the on aired behind manyofthemostpoliticallyengageddramasthat Thank youtoallthespeakers andparticipantsthathaveyetagain fuelled fascinatingconversations andtaken partinwriting the historyofEuropeandrama. Creationtakes power! , a harrowing TV fi lm based based film TV harrowing a Care, creation has the power to change change to power the has creation (and in part thanks to to thanks part in (and Care is, in this sense, a a sense, this in is, Care art ofthe21stcentury”. “the as – reason with – describes Alfon Dov that genre a art, new a box, soap wonderful a power, unparalleled with media a found have creators series, television With future… shared a create and community a build to way the life, everyday of shackles the forever) or temporarily it (be free break to way best the emotions, and message in been always fact a convey to in way best the been always has has it power,that creation that likely is it – power? take it Should power? it give we Should – power And if some are unsure about the legitimacy of creation’s it changesus. our lives, broadening our horizons and our experiences… into coming by feel, us make and us captivate to power the with screen every on appearing world, the over won have everyone, with popular now to Series, tool. power cultural the least at power, incredible an is excite.awaken,Drama inform, entertain, a has and that shown is has creation Series Série seasons, its Throughout Anne Edyvan FLOOR TALENT TAKE THE

13 TALENT TAKE THE FLOOR 14

TALENT TAKE THE FLOOR CHAIRED BY ‚screenwriter :JEDMERCURIO showrunner) and SPEAKER :SALLY WAINWRIGHT ‚screenwriter, director producer and † WRITING TO KEEPONPLAYING SALLY WAINWRIGHT own and changing ours. The portrayals of these women are just as much portrayals of our society, as Sally as society, our of portrayals Wainwright’smuch dramaisneverfarfromreality.as just are women these of portrayals The her ours. forging thereby changing tone, and and own rhythm their in herself immerse to time the takes She women. exceptional of destinies the by fascinated is Yorkshire,Wainwright native Sally her by Inspired television. to love, first talents very her her up o“ered she generation. that naturally our very was it of so screen, screenwriters small a of respected front in and childhood her spent admired She most the of one undoubtedly is Wainwright Sally such as such series successful of showrunner,creator award-winning multi Mercurio, Jed success. popular and critical both known have which corpus televisual unique a up make and Valley Happy of the last few decades. Series like creator of some of the most fascinating television dramas Sally Wainwright is a screenwriter, director, producer and this masterclass. Bodyguard, , to name just a few, a just name to Jack, Gentleman and Duty of Line Last Tango in Halifax , is chairing is Critical, , MASTERCLASS stu up, you make stories with your friends. Writers are Writers friends. your with stories make you up, stu is like playing. When you’re young, it’s normal. You make point you become self conscious that it’s a bit certain silly.a at Writing think I that. of out grew never just I written stories. always I’ve stories. create and imaginative to be asked were we school, junior In 8. or 7 was I when writing started “I written. always has Wainwright Sally ON PLAYING BIRTH OFAWRITER:WRITINGTO KEEP then followed up with Sally advice, creation, first her Mellor’s broadcast ITV 2000, Kay In solo. go to decided Wainwright mentor her Following to thirty was do it.” I until wait to had just “I thirteen. of age on writing of dreamt had she that admits timidly and them of one is Wainwright Sally careers. screenwriters’ many started it that us reminds Mercurio Jed but series, the of influence the imagine to on ITV.on 1960 since broadcast soap irreplaceable It’s hard team screenwriters the joining before drama, radio popular very a Archer, The on 24 of age the at career her started Wainwright Sally first love, thatenabledhertofirsthoneskills. her television, was it and rare were opportunities scene, theatrical British the of richness the despite But thing!” my was it knew instantly I and thirteen, at time first the for theatre the to went “I theatre. for started write to first wanting she why That’s actors. life: to them bring that those and dialogue loves them”.she reading else, all Above actually than rather stories “seeing preferred Wainwright Sally you.” about worried are parents your “I admits. would she watch anything viewer”,and everything. To TV the point compulsive where a was I child a “As television. the of front in hours spent However,she reader. big a never was Wainwright Sally Surprisingly, you startdoingitinyourheadandwritingalldown.” So embarrassing. that’s because public, in that do can’t people who want to continue playing but they realise you successful, it was with was it successful, and accomplished sportswoman and proclaimed homosexual, “businesswoman”, ruthless owner, land rich A century. 20th the of figures historical English flamboyant most the of Lister,one Anne of biopic the is Jack Gentleman A MEETINGAT THECROSSROADS EXCEPTIONAL ANDFLAMBOYANT WOMEN: and HBO. BBC the by co-produced drama historical with a Jack, world the conquering is Wainwright Today,reputation. her earned really Valleyshe that Sally “ALL OF MY SERIES ARE PERSONAL. THEYARETHEFRUIT “ALL OFMYSERIESAREPERSONAL. OF IDEAS I’VECARRIED ALONG WITHMEFOR OF IDEAS TIME, ct & Bailey & Scott t oe ih h Braithwaites the With Home At Atog tee eis ee very were series these Although . SOMETIMES FROM MYCHILDHOOD.” SOMETIMES FROM Sparkhouse, Last Tango in Halifax Tangoin Last Coronation StreetCoronation the Street, Coronation Jane Hall, and Unforgiven Gentleman from the from Happy She . diaries, Icanreadthe code.” screen. But I’m glad it’s taken so long. I can now read the of became my bible. It’s taken me 20 years to get this on kind it was, Lister Anne who of hit big first my was “That 1998. in biography Lister’s Anne read Wainwright Sally discovered AnneLister. finally world The Liddington. Jill by written was - Fortune - biography first a 1994, In 1988. in journals the decoding it all, Helena Whitbread published extracts from mixes algebra and the Greek alphabet. After painstakingly female numerous her conquests in six distinct volumes, about all written in a code that wrote explicitly She Lister’s Anne life. of story day to day detailed the tell They publication. for destined never 49, of age the at death her until 15 of age the from written and words, million 4 over volumes 27 journals. Lister’s Anne given was and thesis her for interest of something for archives Halifax the asked Whitbread Helena historian 1983, However,in Anne Lister’s name could have disappeared into the ether. STRONG JOURNAL THE JOURNEYOFA4MILLIONWORDS scorned hermemory.” had Halifax such woman. transgressive by and exceptional owned and been had property the that learned I that 1990’s the until wasn’t it but Hall, Shibden about financial and cultural life of the town. “I thought I the knew everything in figure important an about was she literature Yet,her.” had no was which there Shibden but there, in been Lister always Anne of portrait a “There was memory. collective from erased been had she if as almost up, brought never was name her However, Lister’sproperty.”Anne Hall, Shibden outings at organised were school of lot a young, was I “When Halifax. in born both were they start, a For cross. to destined were paths Lister’s Anne and Wainwright Sally exception. no childhood.”my from sometimes time, “They are the fruit of ideas I’ve carried with me for a long “All of my series are personal”, explains Sally Wainwright. this eight-partseries. in justice story her does finally Wainwright Sally books. Too free, too ahead of her time, the she was left out of history panache. incredible challenged with era her of openly customs and habits and consistently Lister Anne is Jack Gentleman Female Female

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TALENT TAKE THE FLOOR gis ml hmsxaiy ee xrml svr at severe extremely were homosexuality male against laws the that remember to important “It’s Hall. Shibden in rooms the of one in walls panelled the inside them, found he where them hid the quickly he contents, by journal’s shocked but deciphered, was code the Burell, Arthur friend newspaper.his local of the help in the With extracts certain published he value, historical had diaries they the Convinced 1890. in diaries the discover to as first the was interest much themselves. John Lister, one as of the family’s descendants, almost sparked Lister’sAnne which in way The discovered were journals a very di erentway.”in seen be would this day one that sense some had she if wonder Youdo intelligent. highly was She paper. time-resistant durable, very on journals her wrote She death. her after destroyed be to them want didn’t she that idea an there’s So destroyed. be should e ect they the that to notes no left and journals the destroy to tried never She 1840. in prematurely died “She either! contrary the to evidence no is there but deciphered, be There is no evidence that Anne Lister wanted her code to could make foritsown stand-aloneseries. and discovery Lister’sAnne of and burying story fascinating a is journal repeated the of history the that Wainwright thinks Sally council. town Halifax the by process her in stopped was but again, process started transcribing the who Ramsden, Phyllis by 1960 in again found discovery, she hid the journal once again. It was only then Muriel transcribing the code. Feeling incapable of talking of her by rediscovered started who librarian, were Halifax a of daughter the Greene, journals the 1933, In diaries. the burning of advice friend’s his take didn’t that he today grateful be can journal we However, ancestor’s criminal. his was of content the Lister, John For that womencoulddo“thatsortofthing”. her to inconceivable seemed It exist. possibly couldn’t female homosexuality under the pretext to that such a thing reference law all erased a had sanctioning homosexuality, forbidding when Victoria, Queen that recalls Mercurio Jed unimaginable”,note, that On Wainwright. Sally was out points homosexuality Female time. the allowing the character to talk directly to the audience. the to directly talk to character the allowing Wainwright took the risk of having her talking to camera, Lister’sAnne to close Sally as person, be true to order In would haverecognisedherself.” she which in something Lister; Anne of portrait authentic most the create to wanted really I detailed. so dense, so is journal “The out. leave to what was thing hardest The time.” same the at enjoyable and fascinating although process, laborious a became it So consciousness. of flow a like erratic, and random very often is diary,which a It’s end. an and middle a beginning, Lister’s a with Anne novel a months. isn’t journal two me taking was it this With episode of an a contemporary show in less than four write weeks. normally can “I time-consuming. and di¸cult of process writing The DIVING INTO INTIMATE HISTORY was particularly was Jack Gentleman which wasverysuccessful.” on even that, known never hadn’tI’ve audiences. from “I series the chord. to response right emotional the the anticipated struck have to seems life turbulent Lister’s Anne of version Wainwright Sally The would allbeaccurate.” di erent dramas could be written about Anne Lister. They hundred A though. it, at crack fair a had I think I screen. on Lister Anne as singular as woman a complexityof the capture to impossible almost It’s out. leave and omit to had I everything realise I that second, the writing start to about I’m as series, first the re-watching only was “It landed ornot.” really they whether to as choices the made we edit, the in Then, doesn’t. she where one and camera to speaks Anne where one versions: two shot always I so cautious, speaking directly to you. So it felt justified. We were quite was she like journal, the reading her like was it me “For Happy ValleyHappy

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TALENT TAKE THE FLOOR Both series - series Both full offlawsandincredibleendearing. woman, vulnerable and strong a both complex, loves: mature, Wainwright Sally character of type the She’s o¸cer.police uniform honest and brave Valleya Happy , of heroine the Cawood, Catherine know to got we Jack, Before television. on seeing of chance the of the most beautiful portraits of women that we have had Through her series, Sally Wainwright has o ered us some PORTRAITS OFWOMEN, PORTRAITS OFSOCIETY the series). of title the for chosen name ironic the (hence tra¸cking drug is business viable only the and where misery Bridge, unemployment by Hedden ravaged town of mining Yorkshire old reality an the sadness infinite with explains Lewis, Jez director, the which in - away walk - documentary a in inspiration For ACCOMPLICE TO IT HE WHOSHOWS NOT VIOLENCEISAN reality. a is character, Lister, fictional Anne unlike Cawood, Catherine although respect, that In work. her of characteristics main the of one is authenticity fact, In characters. her to authenticity allows and singularity of language bit extra that give childhood to Wainwright Sally her in write to need This Northern in my disposal.” stories at are my language the of subtleties all the all Then, England. setting like I why subtleties. That’s its of all know don’t I inventive. more far is language American The ours. American to di erent very terrified. is culture was I America. in series a write to asked was I ago, years few “A subtleties. and nuances the all controls and knows she where childhood, her of language the in write to her allows for It Halifax. setting in Tango that chosen already had She from. is in Yorkshire, the northern county where Sally Wainwright Sly anrgt on hr first her found Wainwright Sally Valley, Happy and Jack Gentleman s o es otd in rooted less no is Valley Happy hd or er and tears your Shed Happy ValleyHappy set are - Gentleman Last have athirdseason.Unfortunately, itwillbeitslast. for As of season new a writing started the screenplay of the second season of finalising After woman. busy a is Wainwright Sally inflicted onwomenbecomeaccomplicestoit”. is convinced that “those who refuse to show the violence she violence, of job.”depiction their the It’sof to part As citizens. protect to danger in life their put o¸cers police in truth the to show women’s bodies”. Nothing could be further from used is films Sally in “violence often, that, debate. agrees Wainwright of source constant a is women violence towards of representation Fictional twice”. only said: she that like up beaten been ever had she if her asked I When shot. was scene that when set on there was “Lisa intention ofapologising,quitethecontrary. no has Wainwright far.Sally too gone have might series the saying some UK, the in divisive was scene That up. blows it when shocking particularly is which violence, latent a with infused is series whole The broadcast. BBC its during viewers many traumatised face, soaked blood of and bludgeoned being Catherine’s shot shows which last episode, after the The psychopath. dead a by for attacked left savagely Catherine shows first the season in scenes disturbing most the of One human nature. of aspects darkest the with face to face to come Wainwright Sally forces as possible be as to reality desire to This close way! her sent all it has Cawood people”.good Catherine to happen things bad “when is us, reminds she drama, A series. drama a as but thriller create didn’t Wainwright Sally fact, In to able been come upwiththosetwoscenesalone.” have never would “I life. her about him tries to stop a young man setting himself on Catherine fire by telling season, first the of scene first unforgettable the In su ering. its end to rock a with bludgeon to had she sheep wounded a of story unlikely an tells Cawood Catherine season, second the of scene opening So, the me.” in told had Lisa that stories unbelievable most the of two with seasons both start to decided o¸cer.“I police a Lisa, friend her from from anecdotes and fed experience was she series, the of lines plot the build To fans, no need to fret. The series will series The fret. to need no Valleyfans, Happy . “It was important to show that show to important Valleywas Happy “It . Last Tango in Halifax. in Tango Last Gentleman Jack, she as a as Valley Happy CHAIRED BY :HERVÉ HADMAR ‚screenwriter, director† SPEAKER :VEERLEBAETENS ‚actress, writer, singer† AT THECROSSROADS OFTHEARTS VEERLE BAETENS ako. wud ii hm I oe t dne" Her dance." studies to her from more loved stemmed actress an I as vocation him. mimic would I Jackson. a dull copy of real life. I liked music. I was a fan of Michael her. "I had never been drawn to acting. For me, it was just for vocation a Veerlenot was acting that admits Baetens THE RISEOFA360°ARTIST female characters. A directing. and writing to taken has she portrait of an as artist who does not bow want to be a her puppet, driven by an to intrinsic desire to create string strong and complex another adding is Today,she music. or making singing dancing, is she as who acting artist comfortable as an is As she sorts, world. of the jack-of-all-trades a conquer and to positivity radiates out set has Belgium, of country native her in star a Baetens, Veerle MASTERCLASS netie fo snig o acn a wl a acting. as "Acting suddenlyhitme. Irealisedthatitwasveryreal." well as dancing to singing from intertwine, disciplines and repertoires where art wholistic more A section. Theatre Musical the in Brussels of Conservatory Royal the at began Baetens Veerle studies, piano After than say a desire that she had throughout her childhood.

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TALENT TAKE THE FLOOR b Dmnk ol Se lo acted also She Moll. Dominik by Mars, planète la de in Damiens François alongside played has actress The Europe. in career a pursue to preferred she but done) has Schoenaerts Matthias Belgian fellow her as (just Hollywood to call the followed easily have could Baetens Veerle awards. César the at film foreign best won and Oscars the at life. nominated was Breakdown This her tattoos. changed in role covered incredible singer country Elise, as bluegrass her a discovered world The Groeningen. Van Breakdown Circle to Broken thanks exploded then career Baetens’ Veerle Sara, of that which allowed her to establish to herself further in Belgium. further be not could that role A male team. entirely an manages who squad, vice Ghent the plays a police o¸cer recently promoted to captain within on takes Baetens Veerle 2009, In NEVER WITHOUTMUSIC people whisper:"That’s Sara,that’s Sara." would be walking down a Flemish street, she would hear likecrowds Perón".the Eva she whenever on, then From to wave to balcony a on up me set They happening. was what understand didn’t I people. 000 25 by surrounded up ended I point, day"."Atone "Sara a organises Ghent admits Veerle. The character is so popular that the city of (itself a remake of a Columbian series). "It was madness". series American the of remake Flemish the in Flemish Belgium, she will always be in Elise as internationally role her for known mainly is Baetens Veerle While , in Breakdown, Circle Broken The a ogat l b Felix by film poignant a , , where she where 37, Code Sara, the young lead h Boe Circle Broken The e nouvelles Des Ugly Betty Ugly The Baetens as the lead in Veerledirect to opportunity Hadmar,the Hervé had who CHARACTER DISCUSSING METHODANDHOW TO BUILDA no. Idon’t seewhyeachcharacterIplayshouldsing." said I song. a sing to me asked also Bergeron, Edouard terre la de In scene. a for sing to me asked Luchini Emma in song a wasn’t there films. Initially their in song a sing to me ask directors of lot "A life. her in theme running a been has Music band. Dios Con Vaya the from singer the Klein, Dani play will she series the project, With upcoming songs. her key film’s the playing Breakdown, Circle of musicians the with Europe toured After she her. follow to love, continued first her has music, films, feature roles and series her both up in racking been has Baetens Veerle While Ardennes, afilmnoirbyRobin Pront. in Sylvie of role the on Luchini’stook then She Emma prometteur. in Payet Manu alongside over psychology. But, for me, a character needs to be built action prioritising of tendency a have People important. had not thought of. "I find the character’s psychology very themselves screenwriters the that elements discovering sometimes depth, them give to psyche their deep- into diving layers, through gradually characters her builds actress The ethic. work extraordinary an has she talent incredible her explainsArte,alongside for that produced , a film that will come out shortly,director,out the come will that film a , Beyond the Walls , but prometteur, début Un hss f h Past, the of Ghosts lbm Monroe, Alabama , a fantasy series h Broken The n début Un Au nom Au Les talents include acting, music, singing and dancing, she dancing, and singing music, acting, include talents her do bow,only her not to strings many has clearly She A WOMAN’S PERSPECTIVE should bewrittenthroughtheeyesof characters." story The paramount. are characters the think I actress, ‘moulded’ around the story, which I find frustrating. As an been have characters the feel you Often, characters. the "The two main elements to a screenplay are the story and writing. when method this on relies also VeerleBaetens well- rounded character." more a create which elements other discover to help can sign astrological character’s she a "Knowing interesting",adds. also is "Astrology profiles). (or types personality nine details which others, of and of self understanding the development, personal on that focuses method a Enneagram, the mentions also actress The injustice. and betrayal humiliation, abandonment, rejection, mental: or emotional physical, it be su ering, our all of basis the are that wounds fundamental 5 the wounds your Heal her own method, relying on various publications, notably developed has wounds".Baetens Veerletheir on based “FOR ME,ACHARACTER“FOR NEEDS TO BEBUILT by Lise Bourbeau. The book identifies book The Bourbeau. Lise by ON THEIRWOUNDS.” y on bhn te aea aatn te successful Lize SpitnovelItMelts. the adapting camera, the behind going by challenge new a on taken has Baetens Recently,Veerle just notinteresting." That’s perfect. are women films, many so In flaws. have who women play to want I ones. male the as way same the in written be should characters female and story the of part a carries character’sShe male storyline. a further Les Ardennes,astrongcharacterwhoisnotjustthereto in Sylvie like characters complex play to want I courage. mother the or mistress the whore, the played often I’ve perspective. "Women are rarely o ered interesting parts. female her least, very the at and, character a of creation the has to lot a she bring can she that characters feel does she play co-written, to want solely not While puppet." does a she like feel sometimes I actress, an As projects. of origin the at be to want "I it. do to need the feels she nowadays writing; in joy finds Baetens Veerle the lead,withMalin-SarahGozinandChristopheDirickx. co-wrote has now, successfully, started writing for the screen. She , a fantasy thriller where she plays she where thriller Tabulafantasy a Rasa,

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TALENT TAKE THE FLOOR CHAIRED BY ‚screenwriter :ANNELANDOIS executive and producer† SPEAKER :NICCOLÒ AMMANITI‚writer director and † tse o voec, rngeso ad o Culture. Pop and transgression violence, for taste a group This shared that authors young of handful a together brought 1996). in anthology published Cannibale” controversial “Gioventù the after (named movement literary “Cannibale” the of leaders the of one unbeknownst as him, to himself, establishing 90s, the in known became Ammaniti Niccolò writing, Italian in Renowned HOW TO THINKTHEUNTHINKABLE NICCOLÒ AMMANITI the blanks”. “fill to wanting always of where tendency current the avoid world and create to time this the take to speed, full in at is everything important, is it ever, than more now And, answers. the all us giving necessarily without not just write but also add something visual. To accept that good stories are those that make us question things power of images. Sometimes, novels are not the best format to tell certain stories; you have to change methods, solitary work writing a novel to embrace the collective adventure that is writing a series. There, he discovers the his aside set novelist, Italian depression?renowned for a cure Ammaniti, a Niccolò was series a writing if What MASTERCLASS a aatd n 03 y aree avtrs and Salvatores, Gabriele by 2003 in adapted was seller,best His screen. big the to adapted books his of many see to enough lucky was and years 18 international literary scene. He published seven novels in and transalpine the into step incredible an make to not, or it likes he whether him, enabled it movement, this to belonging his denied always Ammaniti Niccolò Although I’m Not Afraid Not I’m Me Me , are not enough. Blood is a colour, a light. The image of of image The light. colour,a a is Blood enough. not are alone Words seen. be must Blood blood. describe fully the novel was not the right format. Literature is unable to grace. “I began writing the story and quickly realised that its by bewildered are and statue the with face to face up body.dead a end find They will they convinced boot, the open to car the to rush o¸cers police Two tarmac. the onto and car the of out pouring is liquid red the where point a to blood, of litres crying starts Virgin the eating, their car, they make a pit stop at a gas station. As they are of boot the in it hidden bidder.Having highest the to o it selling of hope the with statue miraculous a stole who long time. He originally had imagined a story of two a thugs for “miracle” a of idea the had had Ammaniti Niccolò THIS ISMYBLOOD, THEPOWER OFANIMAGE discovery willturntheprotagonists’ worldupsidedown. statue of the Virgin Mary cries tears of human blood. This leader, mafia small Calabrian a a of den the In miracle. a of story the his tells series the suggests, with title the As line novels. in much very disturbing, and troubling is screenwriting and directing with into an 8-episode series that steps first his made has He Arte. and Italia Sky by a become with has creator series Ammaniti Niccolò novelist then, Since was wrote, himself rewarded theprestigiousStrega award. Ammaniti screenplay a on based Salvatores, by adapted also was which Commands, God and You was Bernardo Bertolucci’s last film. His novel, Il Miracolo Il (the miracle), co-produced co-produced miracle), (the As As spirituality and politics in Italy. Niccolò Ammaniti set the the set Ammaniti Niccolò Italy. in politics and spirituality in void the of image the up make protagonists these All dying. is mother whose researcher Biology uncompromising a an General; cult; strange a of part sitter baby Polish a alcohol; and sex to addicted a priest a unhappy; of midst the in political Minister and personal crisis; his wife, both unsatisfied and Prime a certainties: their challenge will that mystery a several with faced all protagonists, of journey the follows series the Virgin, the of in character main the Although DIVINE INTERVENTION TEARS OFITALY, POLITICAL INTRIGUEAND became theseries.” develop the pilot’s storyline across 8 episodes. “The pilot to decided he guard, story”.Takeno the of rest the of thought not had and episode first the written only had was series “I takensurprise. was by Ammaniti Niccolò greenlighted, the that him informed producer the When series.”the of think not did and novel my on working to the twoweeks whereIwrotethepilot.Then,wentback during fun of lot a had “I pilot. series a write and project his to return to ask to him to comes Bertolucci, Bernardo had already worked with on the adaptation of his novel by Several years later, an executive producer, with whom he and startswritinghisnewestnovel. project his abandons Ammaniti Niccolò way.” another told be to needed therefore story This shocking. is blood is the statue statue the is Miracolo Il

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TALENT TAKE THE FLOOR n cud ny xs wti m iaiain” However, imagination.” my within exist only could and I thought that such a situation would be totally improbable situation where Italy wanted to leave the European Union. Minister’s Prime character tobefacedwithacrisis.“Itherefore imagineda the want did Ammaniti wrong Niccolò a path.” taking was is that realised I religion. to linked conflict around a euthanasia, but the subject of imagined euthanasia is heavily had I beginning, the “At ago. years four over story the wrote he that recalls Ammaniti Niccolò Does hehaveahigherpurpose?” Why has God chosen him as opposed to another minister? true a with him? of asking God is What meaning? faced its is What miracle? when react person “How secular answers. a any would give to looking many without up brings questions series The Minister”. Prime Italian the case this in important, extremely someone by seen be to miracle the wanted “I secondary. is intrigue political The confirmed God’s science existence.” if as “It’s it. verifies community scientific the as of mystery The one. pagan more the one, stranger the miracle, of kind other those who are able to walk again.” or Here, he see deals with the to able being people blind of that faith, to linked are that miracles side, one “On miracles. of types several laws of existence.” As Niccolò Ammaniti explains, there are essential the all against goes blood of hectolitres produce to able is 2.5kg it. only weighs that with object an that faced fact “The directly people on have could Nature, a of impact the laws measure the all defies visibly that phenomenon, to supernatural a wanted written He having series. political denies Ammaniti Niccolò However, foreshadowing apossibleItalianBrexit. community, European the in remain would country the whether on referendum a before night the on storyline is even more prodigious prodigious more even is Miracolo Il way theyare.” the them like I But self-serving. little a is friendship Their paid. were they as long as me, see to willing were They teams. my with reunite to it did “I series. new a created answer me. I was jealous.” That’s probably why he quickly even didn’t they Sometimes, shootings. other on were busy all they but them, called I again. depressed became “I alone. himself found again once Ammaniti Niccolò and the end of the shooting, the team went on to other projects the less appreciated far workedwith.”I Unfortunately, people much. too at really Maybe were I imagined. peers I my than that disagreeable realised and director became I a project. my become greenlit to therapist decided “My director. and a idea the up gave quickly but bricklayer, a become could he thought he minute, a For like beingalone.” is one’sfish a air.with solitary Being a also is fish of care how to write and take care of my fish! Unfortunately, taking job. But I don’t know how to do anything else. All I know is isolating myself, to face others and therefore to change my stop to me advised medicine, some me prescribing after who, therapist a fell consult I to decided myself. I isolating depression. a of into to tendency starting a had was “I novelist thin. a wear of solitude the that admits Ammaniti as screenplay.Niccolò series a is that e ort group project the to writing novel solitary first from passage the about him Ammaniti’s asks Landois Anne Niccolò Naturally, director. and screenwriter is Miracolo Il MY PROJECT” WRITING OR“MYTHERAPIST GREENLIT THE ORDEAL:SOLITARY WRITING,GROUP Italy leavingtheEU. Itterrifiesme.” promoting been has party political a years, of couple last “Unfortunately, the fiction. over with up caught has reality experiences ofthecharacters. and feelings the on question rests then narration The closed. isn’t the And event? traumatic a such after live to Leftovers asks questions about grief: how do we continue that spawn questions without really answering them. ones the world’s are stories good him, the to According population. of 2% of disappearance unexplained and sudden the mystery after years three a unfolds plot of the as seeing talks also which series a Leftovers, The by influenced been having to admits Ammaniti Niccolò “has a flair for the grotesque which is missing in my work.” thinks he who and director excellent an be to considers he whom Sorrentino, admires Ammaniti Niccolò faith. is which of theme main the series, Sorrentino’sPaolo Pope, models. role and influences his about Ammaniti Niccolò asks Landois Anne A SERIESUNDERINFLUENCE the edit,Imanagedtoreshootsomeofscenes.” during Even lucky. very give was “I didn’t restrictions. any himself Ammaniti Niccolò sequences. dream and always surprising, constantly alternating between flashback, present tense is storytelling and styles di erent many through goes series The of. dream only directors of shooting the on freedom a given been having to admits freely Ammaniti Niccolò Nevertheless, myself whenIwrote.” on strict extremely also was I as way that be to myself allow I teams. my with strict very I’m Sometimes others. oneself. Series writing is a team e ort. So one can blame solitary. is but blame to mistake,one there’sa makesno one When writing “Novel advantages. its has team, a as work, collaborative However,set”. to on dragged be you’d deathbed, your on were you if Even stops. never director a of work day.The the It’swonderful. of rest the for nothing do and stop to decide I then hours, three or two for write can I write, I When tired. so been never I’ve exhausting. is director a of work “The freedom. that up give to had Ammaniti Niccolò director, a becoming By chooses. one rhythm the at to and wants freedom one when The write freedom. by defined is writing Novel THEY CONSTANTLY DEMANDNEWSERIES.ONENEEDS OF THEPROJECT. TODAY, THE TENDENCY ISTO JUST TIME TO TO RESEARCH, ESTABLISH THENECESSITY “PLATFORMS NOWADAYS ARE TOO GREEDY. eid hr of her reminds Miracolo Il TRY ANDFILLTHESPACE.” that that Miracolo Il h Young The The The at e yas with - years few last the For creation. series for ground breeding a is Europe THE SPARK INITALIAN DRAMA Thread). “I find him exceptional. I don’t even come close.” be Paul Thomas Anderson ( If Niccolò Ammaniti is to have one true influence, it would mute. We’ll see…” be They’ll blue. painted be all will They children. of lots with Sicily in place take will Filming humanity. of years four last the of story the tells series “The puberty. up until safe are Children population. adult the decimating apocalyptic series. A deadly virus broke out over Europe, Sicily.in post- the exploringgenre: is new he time,a This inspired by his last novel series, ambitious second into a of first directing and writing head the dove Ammaniti Niccolò Nevertheless, ‘do’, simply whicha ectsquality.”to wanting is risk The Italy. in high too is series for Demand space. the fill and try just to is tendency the Today,project. the of necessity the establish to research, greedy. to time needs too One series. new demand are constantly They nowadays Platforms them. time create necessary to the took creators the because beautiful series, some series produced has a “Italy of matured. writing be must the that us reminds he However, own its of productions.” quality the improve to but choice had other Rai no “the and demanding more became audience upmarket like series more sleeker, o ering started that channel paying a Sky, have to lucky was “Italy awakening. this in confirms Ammaniti “made Niccolò growing. series constantly is Italy” for buzz international The creation. series Italian of awakening of sort a witnessed have we Pope, , and more recently, more and Suburra, or Criminale Romanzo l Miracolo, Il Anna. Filming is set for autumn, There Will Be Blood .” The Italian Italian The Gomorra.” Gomorra, - Friend Brilliant My h Young The , Phantom Phantom

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TALENT TAKE THE FLOOR CHAIRED BY :CATHY VERNEY‚screenwriter director† and SPEAKER :ISOBELWALLERBRIDGE† ‚composer opsd, t s lo motn t smtms e part be sometimes to important also is it composed), be must and her to comes that music the to mind, her she can devote herself entirely to whatever runs through the required amount of musical time, in a dedicated space, has where she sure where makes (she job solitary that a such is creation out points Waller-Bridge Isobel music madeforaparticularlyexciting project. their decade to accept it and transcending live honestly. To rules, reflect this in the own their create to had they one another in a time where it was completely forbidden; for meant Virginia Woolf it and Vita Sackville-West what to commit to loving on notably Button, Chanya the with director length fully at spoke even she is instance, this script In or written. play the before start, very the the that explained from onboard often is similar.She she was process creative for, soundtrack the created film the For with canhaveincrediblecreativeresults. that having a close relationship with the people feels you work she and essential, is understanding mutual a members, but family amongst work to imperative not is it course, Of understandable. and honest more generally pretence. is without feedback and freedom, of work sense a gives can Disagreeing she that is appeal main family, her of lead actress with and creator the sister, lot her with a specifically more works Waller-Bridge Isobel MUSIC STEMS FROMASENSEOFFAMILIARITY ACHARACTERMUSIC, INITS OWN RIGHT ISOBEL WALLERBRIDGE In partnershipwith have tobe‘music’. always not does music that idea the defends and otherwise said be cannot what say must music that adamant Waller-Bridgeis Isobel be. never will what of emotions, of complexity the otherwise; said be cannot what says also it screen, on see we what pace or emphasise to simply there not is it voices, narrative the of one is Music , Phoebe Waller-Bridge. For her, the her, For Waller-Bridge. Phoebe Fleabag, , which Isobel Waller-Bridge Isobel which Virginia, & Vita “NEVER REPEAT WITHTHEMUSIC WHAT ISALREADY ONSCREEN.” that wascreated… music the modifying in issue no be would there fit, not does it if that knowing composes yourself.She question oneself and in others is crucial, as you need to be able to in confidence way, this work to that suggests also She written. to necessarily hopes not is what says music, her with and, it serve she script; the from works always therefore but be in line with what is on screen. Isobel Waller-Bridge divulge anything too early, not to repeat or be redundant the to not right, is rhythm the ensure step,to required are images next a as Then, something. be to initially "responding" to needs she though even say per images the need not does she therefore emotions, the to more but image the to react really not does she Waller-Bridgethat answers Isobel images. the seen having after or Cathy Verney asks whether it is easier to compose before WHEN ISTHERIGHTTIMETO COMPOSE? knows shewilleditalotofthingspost-recording. she However, excited. too nor overbearing too neither is she that sure make to tries She musicians. same the with works usually She themselves. of give they much has profound respect she for musicians, and is astonished at how that explains Waller-Bridge studio to Isobel approach recording. her about her asks Verney Cathy looses itsmagicalquality. never co-creation but disrupted, being without work to able be to vital is It structure. its within sit team, the of MASTERCLASS as aneventwhenwehearmusic. she cuts, felt be she to it for like would cuts".She silence. creates She cuts, she cuts, "she where follows that stage a always is there writes", she writes, she writes, she writes, "she music writing is she when if Moreover, but when writing music for a series, there is a danger a theatre, is there in series, a so for music Less writing when avoided. but be should that pitfall a certainly is There di erences? any there Are television. and film theatre, for music writes Waller-Bridge Isobel SILENCE! THERE’SALREADY SOMUCHTO SEE

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TALENT TAKE THE FLOOR unique storytellingtool. a create to looking always is She screen. on happening is what music the through recreate to not remember to key is it that narrative believes the Waller-Bridge Isobel of experience. part intrinsic an is music Thus, mind. character’slead the of that universe, parallel a up opens it if encounter,as of almost kind a like feels story,also it Fleabag’s music is, which is not only there to support the incredible how highlights Verney Cathy subconscious. a character in its own right: that of the main’s character’s almost is it play,as to part unique very a has also Music is, thelessmusicthereshouldbe. should not. Hence, for example, the more dialogue there there when and music be should there when "know" we that feels She dialogue. and music between balance the like just start, elements very the from these account into taken and be must drama a of that to di erent very is score comedy’s A series. drama a for same composing the as all at not is comedy a for music writing that question of bringing it to light. It is however worth saying a merely is It existsscreenplay. the in series entirely almost the already of pace the that emphasises Bridge particularly well written with little dialogue, of Isobel Waller- that like project a In already onscreen. is what music the with repeat and music, redundant, it making useless write Waller- to Isobel not is of concerns one main Bridge’s fact, in generally More music. elevator of kind some music, useless is series key in danger the concerned, is she as far As risk. real a is always which gaps, the fill to writing top, the over going of wt a tr ta is that story a with Fleabag, reo. h hps ht h vees nesad the understand intention. viewers the that hopes She freedom. score. Here again, the sense of trust allowed for creative electronic more much a for go to decided ultimately she music that would heavily feature, for example, the piano, match imagine and drama) intimate to and historical (a genre the tempting seem would it While relationship. their in freedom and modernity of sense the represent In season. play with the evolution of voices and ages throughout the to them enabled it and place, into fell everything voices, By going back to the music and recording it with youthful that it should start with something else than older voices. obvious was it reflection, Upon right. quite seem not did it adults, 6 or 5 by sang recorded, was music the once However, resistance. any of with met idea not was music her choir etc.) redemption, of sense the dynamics, family around revolving undertone, tragedy Greek clear a had (which episode first season’s the watch to table the music being recorded, when everyone sat around the to Prior voices. mature more with finally and teenagers then choir singing, children with on recording by starting decided music, Waller-Bridge Isobel love? of immense fears the face to prepare and adult an become to like is it what e ectively more said have surprising, we could how seem may process the although example, serves music In dialogue… that through said show be cannot what to opportunity the also is It STEPPING INFORTHEUNTOLD te ietr atd h msc to music the wanted director the Virginia, & Vita for Fleabag tde msc epoig ieet set, s h was she as aspects, di erent then exploring music, She studied films. for initially music, not write were that to pieces began short she skills, instrumental her in honing was she While pianist. concert a be to required it skill and discipline the loved and musician, piano the classical played she a much very was she started, she when that explains Waller-Bridge Isobel are, influences When asked about what sparks her interest and what her THE STAGE… TAKINGTOTO STUDIO THE IN COMPOSING FROM sooner collaborationstarts,thebetter. the that stresses She tight. is schedule the when helpful be also can filming to prior writing and that tempo adds She of tone. sense a give to order in music suggest Isobel Waller-Bridge says that she can sometimes initially scene. the set and to life accompany,bring can that but soundtrack, the in used be will that not music writing, necessarily is she when music to she access experience, having From likes project. their of end dialogue the reach to the music need writers paces that idea the music contemplates and that finds Verney Cathy MUSIC AT THEHEART OFTHEWRITINGPROCESS to pauses breath, whichtoherseemsabsolutelyvital. prevent can present too and over-worked polished, too is reality.that our Music is That unfinished. is what and complexity enjoys It way. that work not do brains Our everything. resolve to of need the importance feeling the not mentions also She silence. create can stop, be interrupted, that we can cut it and therefore, always it that also is her,music For of silence. virtues the not of one for case is a makes and music of it lot a have to necessary that explains Waller-Bridge Isobel humanity! they’ve all shown that with a few notes, we could change music… pop songs, war Religion, means. positive same it of possibility the the have not might which way harsher a in utilised being Despite people. connect to way wonderful a is music agrees: Waller-Bridge Isobel and level another on together us brings music that believes VerneyCathy to. like we’d where go to help or can motivate it state, the meditative a change create can can It think. music they way that know we but want, what they do People obviously! can, it says Isobel people. change can music that thinks she if asks Verney Cathy WHAT IFMUSICCAN CHANGETHEWORLD? hoping togetinthisnext venture. direct response, there is no communication, which she is screen does mean that you are not seeing the audience’s the for music on working fulfilling, creatively extremely on being it bow.Despite her to string perform a add will This stage. will she challenge: real and a terrifying, di erent is quite both she is which that adventure solo announce a to starting opportunity the takes She reinvented. be always could that transform tool storytelling could rich a she into music that realise to her enabled This music. with stories telling of way unique and writer the with dialogue this film, and music discovered she that University at was it but one; been always has she that become a musician, to which Isobel Waller-Bridge replies to choose she did point what at her asks Verney Cathy be soabstract… sometimes can ‘music’.Emotions be to have always not does music that convinced and rhythm about passionate

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TALENT TAKE THE FLOOR CHAIRED BY director, :ALEXANDRALEBRET‚managing European Producers Club) SPEAKER :MARIAKYRIACOU ‚president, International, Studios ITV † the globalisation of the TV entertainment market, ITV ITV market, Studios set o on an active strategy of buying production entertainment TV the of globalisation from the arising opportunities the all of most the make to determined ago, years Seven genre). or format of terms their in be influence it (whether quota of to kind any set or refuses lines editorial ITV as great autonomy have creative companies These companies. production semi-independent and semi-autonomous 55 brings Studios together ITV landscape, television British the in A recent division of the ITV group, one of the major players ASSOCIATED PRODUCERS:UNIONISSTRENGTH includes over40 000hoursofprogrammes. catalogue prestigious whose GE), (ITVS Entertainment Global Studios ITV entity distribution international the of and America) Studios ITV for (including of formats development drama international of charge in also is She Australia. and Europe throughout companies production Studios ITV up heads Kyriacou Maria Disney, at years 15 everywhere."people with connecting Today, almost after the on we’re Whether and joy spreading are do. we it, of side creative or business we what That’s hearts. people’s into joy bringing are you day, the of end the at And changing. it’salways same, the never stays never it stops, it Because industry. best the is think I what hit I because lucky very was I Disney. at up came job a and 20s my in was I when chance by happened "It business! entertainment the in works she lucky: is Kyriacou Maria CREATION NOBOUNDARIES HAS MARIA KYRIACOU fully whenitisfreetodoso? most the of one owning currently Studios ITV prestigious content catalogues of the drama market. Could this be proof that talent in can only truly express itself resulting respect; mutual on based sponsors) and writers made up of international talent. The company guarantees a considerable collective amount a of up freedom (choice set of has projects, Studios ITV companies, production of network worldwide a through years, several For “SPOT THEBEST TALENT, TRUST THEMAND LET THEM EXPRESS THEMSELVES.”LET THEMEXPRESS MASTERCLASS strategy and culture at ITV Studios, even with regards regards with even Studios, ITV at culture and entire strategy the built is which on basis the is Independence INDEPENDENCE A COLLECTIVEOFTALENTS, ANANTHEMFOR Money, tonameafew). ( years 10 last the of series Danish biggest the of some behind and DR at Drama of Head was who Bernth Piv by up headed company new a TreeApple of backedcreation company the Productions, the example, For companies. production new create to support, financial specifically support, bringing build-up, the during role key a plays also Studios ITV acquisitions, company, notably heading up the production Italian an Cattleya, of acquisition recent the Profilage. A similar strategy has been utilised in Italy with français ( including catalogue a with drama French of producers independent largest the of one Studio, Media 2017,in France Tetrain stakein Thus, majority a took ITV and toletthemexpress themselves. them trust talent, best the spot to is philosophy Studios’ ITV together”. people talented most the bring to trying buyer strategic a are We group. capitalist venture a or Maria Kyriacou, “we are not an investment banking group explains companies” buying of buy sake the to for companies out set not do “We internationally. companies The Line ), The Les Hommes de l’ombre de Hommes Les and Killing The Gomorra series. Beyond Follow the the Follow Un village village Un ( ) and and Spin) records duringitsbroadcastontheBBC." financed have to proud very are "We adds. BBC",she the or 4 Channel with work to companies production our encourage "We the BBC, despite it being ITV’s main competitor in the UK. natural that his latest creation would be commissioned by therefore was It channel. public British the by broadcast remarkable as just the of that points out Kyriacou Maria BBC. the by commissioned was series can collaborate with partners of their choosing. Thus, the Studios ITV up make that companies production various the Likewise,like." they whoever from ITV commission other.can each with independently relatively operate We business. two production the is is which business Studios’ "ITV company. the mother and broadcaster commercial UK the its it’s businesses, group, ITV the to , that was co-financed by ITV Studios, ITV by co-financed was that Bodyguard, was created by Jed Mercurio, writer writer Mercurio, Jed by created was Bodyguard . The series smashed viewing viewing smashed series The Bodyguard. , which is also also is which Duty, of Line watch series! watch series! might They car? driver-less a in are they when do people It may well be that this becomes more extreme: what will they spendmoreandtimeinfrontofscreens. as expectations,audience’s the to responding BBC, and original of majority ITV like players traditional vast by commissioned are content the Kingdom, United the In the platforms only represent a small part of the equation. also taking their first step in the world of SVoD. However, are Warner and Disney is Amazon. and It Apple by Europe. followed in most content the of terms platform, in investor a important as become, has Netflix Today, begun". just only we’ve and services SVoD the helped has scripted think I entertained. be to desire audiences’ much of how reversal a see cannot I But there. overwhelming out is there content it’s Cannes in MIPTV to you if go content, of lot a is There soon. increasing. it anytime see can Europe I in dropping shows scripted ‘bubble’ or the drama for appetite the see to can’t "I drama. TV of subscribes theory partially Kyriacou Maria THE SERIESBUBBLEWILLCONTINUETO GROW

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TALENT TAKE THE FLOOR CHAIRED BY :SYDNEY GALLONDE ‚executive producer, Make ItHappen† SPEAKER :SIMONCORNWELL‚executive producer, Factory TheInk † mle. rdcn a eis s eoig increasingly becoming expensive. Simon Cornwell explains that three years ago is series a Producing smaller. production. progressively getting be film to seems budgets and in gap The series between in di erences fundamental are there whether asks Gallonde Sydney NEITHER IS TELEVISION CHEAPER NOREASIER THANCINEMA FOR PRODUCING to surprise. opportunity an all, in unique All view. of points unexplored o ering and identification, strong for allow These “characters”. and character with stories, sophisticated create to opportunity golden a saw brothers the that, In have seen a lot; they can compare and are very solicited. and culture broader a got they’ve choice; more far have sophisticated entertainment consumers. Nowadays, they very of up made are audiences Indeed, underestimated. be never audience the that insisting well as trait), family inherited an (potentially company the of heart very the at storytelling placed and Factory Ink The created They public. the with interact and shoot we way the change to going inevitably was this that thought then brothers industry and Netflix was starting to play to its fullest. The entertainment the in important increasingly becoming was delinearisation producing, started brother his and Cornwell Simon when So, opportunities. of full is danger However, dangerous. something as change see Some YOUR AUDIENCE! YOU’RE NOT ALONE, DON’TUNDERESTIMATE one successaftertheother. Howdotheyit? as industry, the up lined have they then, Since changing. was everything for time particular very a at together produce to forced joined they long: so for about talked or Eight had they what do to decided finally they ago, Chan-wook. years nine Park by directed Girl, Drummer Books like serial adaptations of their father -John Le Carré-’s books. successful very produced notably Factory,has Ink which Along with his brother Stephen, Simon Cornwell runs The TOPRODUCING GIVETHEPOWER TO CREATE SIMON CORNWELL One doesn’t havethatmuchsuccesswithoutknowingwhatoneisdoing… Sydney Gallonde is optimistic that Simon Cornwell will share his recipe for success. He’s got one, that’s for sure! The Night Manager or more recently The Little MASTERCLASS story. human a telling always is thread common the Cornwell, Simon For Korean. is director,who the of nationality the project, especially considering diversity of the actors and a such of complexity the about ask to Gallonde Sydney A screening of an extract of with cinemastandards. that 10 million dollars per hour is inevitable. This lines up him to seems it and rising keeps budget Today,hourly television. of hours six for dollars million 30 cost which time, its of series TV expensive most the in part took he io Crwl jks ht h hret hn fr him for thing hardest the that jokes Cornwell Simon book. a from work to hard is it if asks Gallonde Sydney TRUST AREESSENTIAL AND FREEDOM SCREEN, TO BOOK FROM GO TO were certainlynotlacking,norwassuccess! results all, in All story. the common serves best a that with one vision, forwards move to order in proximity close in worked team The broadcaster. the for also but producer,the for challenge a Korean was a director with loves He easy.working always it’sHence, not admits but risks. it, doing taking suggests also Cornwell Simon one shouldnevercutcorners. to take the easy options. However, to get the best results, tempted be easily can can one and years for last sometimes project a of development the when remember to virtuous a on a That’scycle. It’stalent. attracts talent because important o sets one material, extraordinary Simon talents. writing, strong many very with starting that so explains Cornwell attract to managed he how explain can he if Cornwell Simon asks Gallonde Sydney WHAT IFTALENT ATTRACTS TALENT? casting wasgenuine(except forthetwoleadroles). the all veracity, its and story the emphasise to order In person real complexand contradictions emotions. weaknesses, with a about It’s herself. find to trying woman h Ltl Dumr Girl Drummer Little The The Little Drummer Girl leads s h soy f young a of story the is udmnal ne mr fml srewies which screenwriters, female we more that need him fundamentally to seems it fact, In relevant. longer no is good very a in men by dominated entirely era an case, this In direction. sometimes change, things the that to back idea goes Cornwell Simon changes. these for reasons objective were there if asks Gallonde Sydney original book. the from comes meaning fundamental the that asserts episodes two last di er completelyfromtheendofnovel.However, he the because also but in era, set another is it because only not di erent, of considerably is example the Girl Drummer uses Cornwell Simon shape. with movementthatlifeappearsandthestorytakes simply commentary, no words, no with important it’s Sometimes an is choreography screen. the for directed being are stories when element the which to extent of extract Another dare tofollowthroughwithwhatthestoryrequires. the main protagonists’ personalities. One must therefore Changes are always necessary, sometimes even down to screen. on it putting and screenplay a to it adapting of in terms book in start a good only is but start, A great a always same. is itself the be cannot narration and subjects the as challenge, a certainly is series a to book a from author.However,going other any to talking than harder much found he which father, his to talking was as it is inspired by his father’s book, but book, father’s his by inspired is it as h Ltl Dumr Girl Drummer Little The h Little The hw the shows e oe that notes He the shiftinpowercanonlybedonestages. as time some take will this Cornwell, Simon For charge. in women more simply and directors female more need We realistic. more much characters female make would hs vraie rit aray nw o st things set how knew already artists versatile these us, teach to us, entertain to hooked, us get to had: order in Ages Middle the of storytellers that habits the of return the sees which movement, general more a is it Perhaps visual. more graphic, more become has writing his evolved; have books Carré’s le John times. the with book to screen, it could also be that writing itself evolves from change stories although that suggested also is It questions allthewaythroughproductionprocess. these answer to able be to useful very is it that proved first set of questions: why? And why now? Experience has a himself asks always he project, a starting before that, one’s time, if not even ahead of it. of In order be to never resolutely forget should one Cornwell, Simon to certain is mistake,thing fundamental one a if be because would This evolution? social of terms in times the behind bit a does it seem that producers and broadcasters are always idea that would give the story more strength. In fact, why contemporary. good very a like only seemed context di erent a in is it Setting actress- British liberated very and young -a protagonist main the addition, In much sense. make wouldn’t faithful, on and is unchanged it screen, as it Depicting evolved. has context The ago. years 35 born was it but book, remarkable a it’s 1983; h Ltl Dumr Girl Drummer Little The a witn in written was

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TALENT TAKE THE FLOOR nbe a lae cnesto, hn eesr, with necessary, when conversation, clearer of a enables clarity importance That do. to wants the one what with out front up being points also Cornwell Simon di erent stagesofaproject. the in part take re-explain, to need the or interruptions without therefore, can and other the from over take can ubiquity.one of Each form a to leads almost This values. and united tastes share and who and other strong each know a who team, build to them enabled has broadly, time More talents. own their develop to one each allows that alchemy subtle a collaborative, completely is work the practice, guy”.However,in “commercial the is he and guy” “creative the is brother paper,his on So, years. many for director a been has brother his that explains Cornwell Simon brother. he his with way collaborates the about and to project time each the with involved has get he if Gallonde Cornwell Sydney Simon asks development. therefore has in often projects company the starts multiple as team seeing the especially before by film, goes to time of lot a Often, alchemy, onecannotcreateateamnormasterpiece. subtle that Without ideas. personal truly any for ground the necessity of listening to one another: it’s the breeding of the key words of his “secret” for creation. He also adds one is trust Hence, understanding. better towards work which of course doesn’t exclude moments of dialogue to completely,support to is mission producer’s A freedom. have to have They seat. driving the in director the put to important equally is it that feels also Cornwell Simon KNEE DEEPINCREATION express who artists themselves ineverypossiblewayonceagain? multimedia these writers becoming Maybe are emotion. create to how movement, in “IT PAYS TO BEBOLD!” esn wy n st n h avnue n h first the in place. adventure the on o set one why the reasons forgetting never by and patience audacity, talent, better.spending and convincing without done be can’t It courage, ahead, creative seeing but more, own spending mean doesn’t which their on bet always they tomorrow that and today of series the create to want who those to suggests Cornwell Simon conclusion, of way By adding abitofaudacitytothecocktail. simply suggests Cornwell Simon passion”, or strength than more do time and “patience said: Fontaine La As years. few a for life your consume and processes long are projects because and team a create another,to one understand to necessary also is patience little a Maybe audiences almostalwayschoosecreativecourage. experience,From audience. the bores do others what or it’sstory.di erent very a Repeatingdone been has what dial”.Today,the of turn tiny “little a with success, year’s bold”.last be year’soften the would past, success the In competition and the answer is quite simple: “it pays to be Sydney Gallonde asks Simon Cornwell how he deals with " freedom -andtrulygetinvolvedinthecreativeprocess. it becomes easy to change then one thing or another objective,- with total the on agrees everyone and clear is the freedom necessary to any true creation. If everything for allows clarity however, all, Above broadcaster. the IT PAYS TO BEBOLD" CHAIRED BY :MARIEBARRACO director† Series ‚Série SPEAKER :WALTER IUZZOLINO ‚founder curator, and Walter Presents† AND CERTAINLY NOT QUALITY BUYHAPPINESS… MONEY DOESN’T POVERTY ISPOWER hlspy weey raiiy s las synonymous always is creativity whereby philosophy, joyful notably his During Series. Série of edition 2018 the during present entirely focused on foreign-language drama) was already the 4, Channel by financed service, VOD online (an platform of creator the Iuzzolino, Walter can sometimesbeadrivethatleadstoinnovationandoriginality. resources of lack the that highlights and great series makes what explores Iuzzolino creativity.Walter benefit to seem not does this never-ending, seems budget edge?Where lack series these do But norm. the becoming The next. the as ambitious as all are that series of flow constant a with age, golden new a through going is screen small The Money makes the worldgoaround,thatisafact. That includesthecreative world, especially that oftelevision. series, the hidden gem, which was once hard to come upon, is now plentiful, almost plentiful, now is upon, come to hard once was which gem, hidden the series, "premium h itoue hs own his introduced he Vision, One atr Presents Walter ONE VISION series: “povertyispower!”. TV of world the in consensus current the against goes that mantra a defend to stage the to took year,he This power,season, eighth up. the lighted Walterof Iuzzolino up with him in October to discuss the overarching theme met Barraco Marie When taking. risk and courage with

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TALENT TAKE THE FLOOR as that was really well crafted.” His platform put series such one find to series 20 and 15 between watch to had I that produced was quite di¸cult to find outstanding pieces in the sense drama great It Kingdom. United the and for States United the of outside looking was I Iuzzolino, it down. “When I founded of in the age world is booming. And nothing golden seems to be slowing fourth likely television, the number of series produced and a broadcast of speak some While drama. TV of that a as e¸cient discussing and profitable as market when “poverty”, praise for to taste certain controversy, a least at or nerve, certain a takes It PRAISING POVERTY INAWORLD OFABUNDANCE A CERTAIN TASTE FORCONTROVERSY: each frame. during seen been must it into put money expensive.The products.”luxurious as way same the in overtly are They content. “Many series, adds Walter Iuzzolino, are created over chosen is luxurious) the and flashy Often, quite had.”(always look been you’ve that realise You episodes on. the go as out fizzles this then But exciting. are series have absolutely incredible pilots. The soundtracks quality.for gauge a “Some longer no is “premium” word The boring. and glossy extremely fact in were be, may realised that the majority of series, as “premium” as they quickly He tactics. changed since has Iuzzolino Walter AND DOUBLEDOWN ONNEWNESS THE TIMEHAS COMETO CHANGETACTICS lack oforiginalityandcreativity. a masks sometimes and overused widely is “premium” word the nowadays, However,good.” as just be could series Czech or Italian French, that series, American for goes usually that consumer the show to wanted I me. to enough ‘premium’ seem not did that series all reject baseline the would “I series. a of quality the assessed he which upon were Series Showtime and series. HBO by “premium” developed words other in produced, well and filmed well acted, well written, well were that series popular selected He audience. select a targeted that works niche for go not did therefore he – origin of country their in successful been have to had series The criteria. of set a on research his based he platform, his fill hate to order always In contrary. the not quite “premium”, word did the he that admits Iuzzolino Walter is awordIdetest.” are desk my on land that series and Heartless, no h solgt “oa, l te drama the all “Today, spotlight. the into Valkyrien Deutschland 83, Deutschland Walter Presents, recalls Walter THAT BUBBLEISDANGEROUS.” “WE LIVEINABUBBLEAND Les Hommes de l’ombre de Hommes Les series, which series, premium and supportthanseasonedscreenwriters. guidance more need They autonomous. less much are screenwriters novice that true is It screenwriters. young biggest issue, in his eyes, is that no one focuse is willing to bet on ones), expensive more on writing. Walter Iuzzolino agrees, adding less that the the (often series some However,producing. and filming to going budget the of are often the ones to bare the brunt, with the largest part distribution within the chain of production. Screenwriters problem the that its more but such, as money of quantity the be not might mentions therefore Barraco Marie talent. exclusivity five-year or contracts. Because of four- this, there is no room left for young through loyalty buying bridges, golden building are Netflix, notably platforms, the within industry, that are known and established renowned. The leading VOD already are that and screenwriters creators for advantageous is It everyone. benefit not does situation current the but burst, to tendency an a in living bubble are a and that bubble is dangerous.” in Not only do bubbles have live We we so. think that don’t I time. exceptional told constantly are “We KILLS CREATIVITY A DANGEROUS BUBBLE:TOO MUCHLUXURY would bepossible. European GameofThrones a of dream could One content. tailored more o ering by audience their with relationships stronger create must Europe”, in discourse creative and artistic intellectual, of gatekeepers “the channels, national European The ecosystem. streaming online the in thrive only can they international the for Paradoxically,channels. national market,on work not do created that are convinced that is series Iuzzolino ‘global’ Walter although, the - on back table therefore is debate local’ vs ‘Global The want ittobeFrench.” I series, French a watching I’m If American. be to it want I series, American an watching I’m If point? the “What’s another. one mimic the to tend on series All based model. American series, of standardisation the out calls Iuzzolino Walter impression?! an just be this could But from. choose to array an have they like feels viewer the the satisfy to seems flow broadcasters, producers US, and creators. 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TALENT TAKE THE FLOOR CHAIRED BY ‚screenwriter† LEMARÉCHAL :CLAIRE DAVID DUSA‚screenwriter†, SANDRA OUAISS ‚executive producer, Elephant International† :DOVSPEAKERS KAMENETZKY LEORA ‚screenwriter†, ‚author,journalist†, ALFON After living the life of a secret agent, Dov Alfon moved moved Alfon Dov agent, secret a of life the living After So Iputitawayinadrawer.” say.to nothing had I understood quickly very chapter.“I first the writing about set Alfon Dov Therefore, novel!”. this write to me encouraged who ones the are they So idea. great a be would it actually that thought bunker,I that left I “When test. polygraph the passing therefore “No”, answered truthfully he so Alfon, Dov to occurred never had thought The 8200?” Unit in experience on your book a write to intend you “Do was: questions the of One friends?”). Iranian any got you “Have or drugs?” take you (“Do questions precise very of series a asked test.” was detector He lie a through put was I years, five year.“Afterevery month a for service intelligence the in o¸cer an as worked he There, 8200. Unit to case, this In his unit. reserve of a to posted end was he the service, mandatory at soldier, he Israeli service”, every military Like my explains. after ago, my years of thirty chapter novel first the wrote “I author. him an to becoming lead to seemed life Alfon’s Dov about Nothing ONCE ASPY, ALWAYS ASPY which wasusedinthenovel’s originaltitle. of name the hundred”), two “eight pronounce insiders (which 8200 Unit top-secret and famous the planet, the of the most sophisticated military intelligence services on intelligence services in the the Israeli army.of He worked member in one a was editor and author journalist, this life, previous a In series. TV a into adapted be soon will and languages 12 into translated was Hebrew, in wrote Dov Alfon is the author of WHEN DRAMAUNRAVELS THEMYSTERIES OFPOWER DOV ALFON series aretheartof20 culturally two di“erent, yet complementary screenwriters. Weof see here the talents portrait of a happy novelist, who the is convinced that combining therefore France, with co-produced be will series The excitingseries. most current the of some of source the at by been launched has that was groups, project audiovisual Israeli the main Thus, the series. of one big Keshet, a of elements the of all holds novel The duplicity. and lies by Night in Paris, a worldwide bestseller,novel, first takes author.the His reader from an Tel-Avivnow is to Parisand in a journalist dangerous universe, a governed then spy, a was He lives. multiple led has Alfon Dov A Long Night in Paris th century. ONE VISION , which he many years before and sat down to write a spy thriller. spy a write to down sat and before years many written had he draft first the up picked years. he sabbatical when That’s two take to decided then Alfon Dov worked forMI6. Carré Le John Navy.Royal the for o¸cer intelligence ex an was Bond, James of creator the Fleming, Ian spies. ex- often very are novelists espionage successful most The drama. his feed to 8200 Unit in experience his used of he course, time Of surveillance. a generalised and in cyberspace bodies, governing new its and world the show depict to to chose novelist wanted the So, works.” I world the tell. how to had suddenly I story “I a the politicians. understood meet and to leaders him of led number journalist large a as work Alfon’s Dov SHOWING HOW THEWORLD WORKS hoaxes andconspiracy theories. news, fake with overwhelmed world a in lies from truth distinguish to work spies and journalists both challenge: major a share they Today, information. matter: subject same the with work both They little. very fact, In spy? a and - journalist investigative an especially - journalist a other for but lives, people”, entire he admits. What one is the di erence between their being if for or ex-spy spying an continues is one whether is naturally”. question “very “The happened journalism to intelligence Haaretz’sthe from is transition ParisThis correspondant. Today, he year). 100th its in Israeli celebrating is which written Hebrew, of newspaper chief oldest (the in Haaretz editor newspaper then and head reporter, investigations important of an was He journalism. into A Long A tone of my book is very casual. It’s far from the Scandi Scandi the from far It’s casual. very is book my of tone by controlled is “The isn’t. book the but grave, spying is subject The algorithms. where and face to never face enemies meet where era cyber the European to Eastern Welcome an city. of streets dark the in prey their the spy thriller. Gone are the days of spies covertly tailing With international scale. an on conspiracy terrifying a of heart the themselves in entangled find heroes three our plant, reprocessing atmosphere. taught a When the young Israeli’s body is found lifeless in a waste in together investigate commissioner Léger and Abadi where Paris, in and superior her help to tries Talmor Tel- Oriana Lieutenant in where Aviv, levels: two on happens then investigation The police. French the on) help his forces like (more to help no his o ers and coincidence” “by airport with same the in 8200, was Unit woman, of o¸cer blonde an Abadi, Zeev young motive. apparent a by kidnapped is but… arriving at Roissy airport, a young Israeli startupper of plot The our era.I’mpartofthiswave, whichIinnowaystarted.” of award-winner biggest the undoubtedly is Americans series the knows everyone France, In years. 20 almost for forgotten been had that genre, espionage the of rebirth extraordinary an seeing been we’ve years few last the for that coincidence a not “It’s sense. perfect made era, “post-truth” our in which but fashion, of out fallen slightly had that genre a was It A Long Night In Paris, Dov Alfon attempts to dust o is hard to summarise, to hard is Paris in Night Long A . In the USA, the In Bureau. The The The daughter’s favourite series. “I was very flattered that that flattered very was “I series. favourite daughter’s created Kamenetzky Leora that fact the to due so more Even convinced. immediatly was Alfon Dov War of producers the of hands the in up ended project a such that surprising not It’s channel. the convincing problems no had Israel, in screenwriters in-demand most the of one Kamenetzky, Leora novel.” the of rights the buy to him convince Keshetto of drama of Head the calling was and hand my in phone my I had 11, page to got I time the By pages. ten first the read 2 Flag False ( series modern notable most the of some on written has who Kamenetzky, Leora seduced that tone significant plot and a deliberately and detached terrifying and a humorous between in contrast obvious the was It OVER CINEMA DELIBERATELY CHOOSINGTELEVISION look atyoursmartphoneordigitalkeys inthesameway. You’ll away.never miles of thousands located someone thinking about a world where anyone can be spied when on by shudder but help can’t they however, book, the closes reader the Once pages”. the turning reader keep the to way only the be would drama comical almost detached, that thought I that terrifying so is tell to have I that story “The laugh. a for here isn’t Alfon Dov that feel ParisLongIn A Night Indeed, page”. first the from instilled is fear where noir ), theseriesthatinspiredHomeland. , to name just two). “I bought the book and and book the bought “I two). just name to , isn’t lacking in humour.in lacking isn’t Yet also we Hatufim ( Prisoners of of Prisoners , his his Adumot, and and Fauda

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TALENT TAKE THE FLOOR the perfect opportunity to set up a co-production with with co-production a up set to opportunity perfect the is project this that realised channel the However,one.” Israeli an still is Paris,story in the mainly unfolds plot the Although view. of point Israeli the only using adaptation the started “I episode. first the wrote Kamenetzky Leora COMPOSING ADUET A FRENCH«ISRAELICO«PRODUCTION : of the 19 to be spoken by a medium of our era. If ballet was the art it wanted I ago. years 20 problem a wasn’t which world, intelligence the demagogical and politicians the media, the problem: of populism current a about speak wanted “I to plot. contemporary very a be to wanted he Alfon Dov However, screen. what to adapted more finds he which television, silver prefers the on it of putting view the with novel, his for rights the get and try to novelist the with flirting also was cinema of world The to selltherights.” longer bit little a waited had I if price better much a got have could he reckons He success. worldwide its before well Hebrew, in book my read wasn’t had Leora agent all. my at happy again, Then book. my was in Kamenetzky interested Leora as talented as screenwriter a drama istheartof21 AS NUREYEVSAID, ITHINKTHATAS TELEVISIONDRAMA th “IF BALLET WAS THEART OFTHE19 Century, as Nureyev said, I think that television IS THEART OFTHE21 st century”. Tel-Aviv, Leora Kamenetzky tried to delay the meeting, in to Dusa David get to trying was company production the As know.” don’t they someone with work to forced be to wants one No it. hated I screenwriter, French a with work to going was I told It was I project. “When baby”. series “her was this launched had who She one screenwriter. the another was with work to forced being of fan big a wasn’t she that admits Kamenetzky Leora intellectual misery whichunfortunatelyreignsincurrentpolitics”. and spiritual the into falling without world allows one to step in to a very cynical and extremely dark that tone magical “A novel: the of tone the by seduced instantly also was He dance. contemporary as well as photography, to cinema from genres, all in worked He’s director.and screenwriter multitalented and multilingual Dusa, David on backdrop),called Parisa she making just avoid therefore (and plot the establish the of properly aspect French to the order In Kamenetzky. Leora written by draught basing first the and novel, pitch the the on decision her read having the without seized opportunity, Ouaiss Sandra Nevertheless, English. translated into been hadn’t was still it book the project, and Israeli the 100% discovered Ouaiss Sandra When projects atElephantGroup, steppedin. international of head Ouaiss, Sandra how is This France. ST CENTURY” TH CENTURY, role was to highlight the hero. Furthermore, he was “too “too was he Furthermore, hero. the highlight to was role only whose stooge a just was character the novel, the in that thought Ouaiss Sandra woman. a to changed was commissioner French the Firstly, novel. original the with The screenwriters admitted to having taken a few liberties DIFFERENT JOBS NOVELIST ANDSCREENWRITER:TWO VERY works oritdoesn’t. You can’t planit”. is no software. There are no rules. It’s like a date. It either role, meet is a very strong moment, matchmakerit is also very risky. writers “There two that moment the the although that played us reminds who Ouaiss, Sandra a lotoffun,whichisveryimportant.” The dialogue between us is always creative. We also had view. of point our impose to try I, nor him, Neither way. same the in work We book. the on views same the have was a very nice man, but we also think the same way. We coming to Tel-Aviv. So, I met him. Not only did I realise he up ended he “But happen. never would it that hopes the start writingasecondnovel! to decided has he Indeed, be project. the in to involved more time the have actually doesn’t he as consultant silent as role his in comfortable more the all is Alfon Dov seems wrongandalmostarroganttome.” series of world the understand they claim to tendency authors’ other Certain to. belong don’t I world A world. be able to express their art. TV series writing is a to di erent need they any But them. make for there to always am I not mistakes, sure make to want they If complex. complete questions” he assures us. “The intelligence world screenwriters their is quite of any answer to disposal the their at am “I freedom. give the and in stay to background decided Alfon Dov start, very the From make themainantagonistFrench. plot had “bad guys” from around the whole world, was to the although change, big moaner.second grumpy The a words: other In French”. the see world, probably the of and rest the Israelis, the that way the in archetypal,

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TALENT TAKE THE FLOOR SPEAKER :JONATHAN GOTTSCHALL ‚author,researcher† being abletohelpit. us without shape, takes story a a and is suggestion takes simple it All narrative. or stories of man the fictus, homo a of more human) reasonable and wise intelligent, (the sapiens homo consider we suggests he why is This foremost and first are humans interpreters. Theynaturallycreatestories. that proof clear there is neuroscience, in advances recent by supported screen, Gottschall, Jonathan a For story. a on invents everyone shapes and geometric Simple of story. start love the see a even some and another by that jostled character is a others talking, beings two see some shapes: abstract these using “story” a creates person each that out points He triangles. and circles moving squares, with video short a shows Gottschall Jonathan books, Human (HoughtonMiÀinHarcourt,2012). seven written has He including media. the in of quoted terms in methods scientific Literature and Human Sciences. His research is regularly of application the in pioneer a considered is He Wilson. Sloan David biologist evolutionary specialist of direction the under English thesis in doctoral his written has of neurosciences, forefront and the art at researcher a Gottschall, Jonathan STORIES AREOURDNA HUMAN MAKE US THE STORYTELLING ANIMAL:HOW STORIES JONATHAN GOTTSCHALL humankind. of characteristic are that narration towards sensibility and for taste our stories, of creation incessant this it’s with this vision. Indeed, to her it seems that “God made man because he loves stories.” For Jonathan Gottschall, line in is that view of point a o“ered Actually,has man). Wiesel a narrative Elie the or man” (“fiction fictus of homo more speak could we him to seems it sapiens, homo a of speaking of instead clear: is vision Jonathan’s The Storytelling Animal: How Stories Make Us Make Stories How Animal: Storytelling The some money to help this “cause”,this help to money some him allows then which donate they that suggested then He hormone. empathy the - oxytocin of levels their in increase strong a noticed story.the He reading after and before students the from deeply.su ering father blood of amount small a took He child’sthe and death of verge the on is who child ill very a small neuroscience study. He showed them a story of a in part take to remuneration, laboratory,exchangefor in Paul of his to ones) poor (quite work students few a invited who Zak, the up brings also Gottschall Jonathan and livestheadventuresofpersonbeingspoken of. involved is it us, telling is someone what follow simply doesn’t brain Our passive. from or far is to story a listening watching are we when activity brain that shows therefore imagery and neuroscience of combination The as theonesdescribedtothem. sensations same the felt and action in were persons the if active be would that ones same the exactly are zones that the brain is never passive. On the contrary, the active observe can We stories. watch they while brains watch and stories read humans while brains read to us that allow scanners to thanks observable is this Nowadays, in them. showing us is another sets what following it simply never story; a of front movement. Indeed, humans in create (or co-create) and are passive is one no element: important one out points Gottschall Jonathan A STORY ISALWAYS ANADVENTURE ONE VISION In fact, studies show that some series have profoundly have series some that show studies fact, In We real. not it’s know I therefore starttoperceivetheamazing power ofstories. if even too, me to happens another to happens what that powerful so are Stories us to happening right now. really were it if as and real were it if as writing or images speech, by transmitted information treat Yet,we untrue. is ways, many in told, we’re what that know we fiction, with faced Logically,when is. that strange how forget sometimes we that him to seems It perception andourstateofconsciousness. our organise us allows story.It a of power cognitive the structure - that allows us to get rid of chaos. Nothing has best the least at - structure the is story the information, of full world a in that suggests also Gottschall Jonathan STORYTELLING ISORGANISING CHAOS a ect concretely behaviour. very stories that proof the lies Here latter The facts. understood the completely situation, but hardly donated any money. the a given simply in structure, information di erent same was the group to a parallel, subjected In study. the for received they remuneration the half was it average, On was. donation the higher the was, oxytocin of level the higher the that noticed also He generosity. (massive) their measure to “NOTHING POWER THECOGNITIVE HAS OFASTORY. IT ALLOWS TO US ORGANISE OURPERCEPTION AND OURSTATE OFCONSCIOUSNESS.” all those who tell stories and maybe we should actually should we maybe and stories tell who those all banish to want to harder lot a seem would it Nowadays, WRITING ISALWAYS WRITINGTHEFUTURE them, sellingtheirstoriesbyconjuringemotion… to listen that those of spirit and soul of the manipulating capable liars professional (dangerous) as qualified to wanted banish all those that told stories from the city. They were he and this know already to seemed Plato This is because stories change attitudes and behaviours. story isthebestvehicle. a broadly, touch to it for directions, all in quickly move idea an make e ectively,to spread to it for and emerge idea an make to order in Tolstoy… are, Hence, to they according powerful more the artist, the of feelings the by infected are we more The art. to of “value” us the allow judge that elements the of one actually is art of than one of pure “logic”. This amount of “contamination” infection”, which points to a di erent form of transmission worry an perhaps is “art said, he As art. of power contagious the about could we Tolstoy, to According itself. revealing power this about happy is everyone not But e ect”!), addiction,Muslims… Grace and “Will the of talks even (one homosexuals on Grace, -and durably- changed behaviours and attitudes. Mom, Little Mosque, have changed points of view Will and

43 TALENT TAKE THE FLOOR 44

TALENT TAKE THE FLOOR et o a hrce hv a iprat oe because structure the If believable. story the role make what are they important an have character a of depth problem, the even or (situation, outcome the of predictability layout the solution), narrative the Therefore, these on eye an stories. powerful build to order in elements grammatical keeping advises he regard, that In of grammar, thee¸ciency ofwhichisimpressive. form a is It information. fiof structure a foremost and rst fia is necessarily It not ction. indeed fiis story A ctional. always aren’t stories that out points Gottschall Jonathan THE POST«TRUTH SOCIETY as theyindeedare“influencers”. writers to responsibility gives this ever, than more that, considers Gottschall their Jonathan of However, charge consumption. in stay to able be to seems therefore person Each substance. without but... of consciousness, states change they as drugs to them compare also bulimic, could We notice habits. consumption we binge-like and though are addictive even themselves drug, a in actually stories not these Gottschall, are Jonathan arises: For question. open question an be still could another This addictive? stories series, TV of success phenomenal the to due notably television”, of age golden “new the as qualify some that time this In ARE WESTORY ADDICTS? so di not erent… and united together, being of sense that create to the others on rests it and communities our in storytellers big creates he and shamans this, few very have we Nowadays, doing community. In harmony. through community and his rhythm of heart the in stories telling shaman a of images few a screened Gottschall Jonathan are stories our actually thewritersofourfuture. of writers The behaviours. unwanted encourage also can it but one’sproblems, all to solution the be can story A worst. and best both is what be can stories fact in when entertainment”, “just are they that WeWeharmless. wrong. as are stories think see still still we power.often, Verytheir of awareness the with them with work and more them welcome more, them include e ects ofstoriesisreasonandvigorousmentalhealth! him, the Toonly thing that can work against stories. the non-desired to counter-curse a antidote, an developing by situation the of charge in stay we sure make to also but societies, our in storytellers include to best very do our we suggests he observations, these by up Backed Our braincalmsdown. alive. those keep to therefore necessary longer stories no It’s other quietens. of noise concentration The our preference. of and hold takes story their as chaos the calm on focus to story a create that produces Those stories. constantly brain Our relax. and rest us help to how knows best who one the simply is he/she maybe point another o of view on the storyteller: ers rather also than a manipulator, Gottschall Jonathan conclude, To YOUR STORY RATHER THANALLOFMINE particularly be must attentive, consciousandvigilant. we means This sense. most the comes first is no longer the truth, but what the story where that makessociety A society. post-truth a into evolved have we that suggests simply then Gottschall Jonathan reasoning –wasright. risked diverting us from what is important, from that logic and anything banish to wanted -who Plato proves this Perhaps importance. little hold sometimes that things in are interested we why explains what story”. actually to best is “the choose This simply often is what they to attention that their and call truth to the organised for definitively search aren’t minds our that feels Gottschall Jonathan facts. the checking than rather that of believe to prefer we that good so story a question is which news, the up brings member audience An one ofthemoste ective solutions. still is problem said of resolution the then and solution a for search the by followed problem the of exposition the in simplicity rigorous with sticking Hence, success. of element big a is structure of simplicity cultures, other to not suggests also in way,even deepest the He in touch to order in that forget it. with connect to hard be will it is, matter subject the as flinteresting is as awed, fake LANDSCAPE EVERCHANGING AN

45 AN EVERCHANGING LANDSCAPE 46

AN EVERCHANGING LANDSCAPE SPEAKERS : GUY BISSON, LÉACUNAT :GUYBISSON, SPEAKERS ‚Ampere Analysis† Dse, anr n 21 and Warner Disney, – conglomerates entertainment big the Thus, ambitions. clear have all that players new of arrival the with test the to put be soon might domination Netflix’s context, whose platforms new this In streaming crowded. increasingly become has major market the hit now has competition increased This loyalty. audience build to forcing the broadcasters to produce even more content Competition has led to a fragmentation of the audience, the creation ofmoreandnewcontent. favouring increased, has broadcasters between competition way.The its in come will nothing as come convinced that this movement will continue for years to is He is. it think to seem boomsome that bubble the a not and truly is it concerned, is Bisson Guy as far As series. TV in boom real a seen have years past These drama TV international creation. of future the into glimpse a give to production aims presentation His in aired. yet is not are have and presented that data series to the related that exclusively out points Bisson Guy WHAT’S HOT, WHERE&WHY? THE DRAMASERIESOFTOMORROW: THE AMPEREANALYSIS MORNINGS BOOM OR CONTINUOUS TELEVISION SERIES,THEBIGBANG temn, lblsto, dpain, eiiain n c-rdcin. hy lo eihr h rs i new in Analysis: rise the Ampere programming strategiesandcontentproduction. decipher by also presented They are co-productions. drama and TV feminisation adaptations, international globalisation, in streaming, trends key 5 The content. for calls Content produced being series lasting. be to more seems trend the but bubble a as and described quality.be higher could of It and varied more are more that are there world, the Across like? look series of future the does What rm itrc olwo suis cnet hc they which content studios; Hollywood historic rented from is which content licensed of up made largely are catalogues platforms’ leaders. major these industry today Indeed, undisputed the currently are who catalogues, Amazon’s and Netflix emptying gradually of be will market the on arrival their of consequence and intend televisionon enjoying their share of the pie. The initial of future the is streaming that understood st etr Fx have – Fox Century h goaiain f h pouto o oiia series original of production the of globalisation The the world across out spread production and Globalisation 2) the launchoftheirplatform. beforeeven this and players, major the of one become already has series, 35 of development the announced development, in currently Amazon is relying on big productions. Apple, which has series 79 With players). Chinese major the including other platforms, regional of SVoD volume the times 4 and networks of US volume major the times (3 series new 234 than more of strategy on quantity and has announced the production its focus to decided has platform Today,the credit. its to established series original 228 has with leader market the and as itself movement the started audience’s Netflix the fuelled growing desire for more high-end have (or premium) content. platforms Streaming 1) Streaming, tofulfileveryone’s desires Guy Bissondistinguishesfivekey trends. of series. content, therefore favouring a new boom in the amount coming leaders and are preparing their defence, creating more original market the still are in Amazon one and Netflix launching months. be will or on platforms available content the competing have already that groups to of belongs Netflix hours) (in 20% nearly that estimated is It real. their is threat via The sell platforms. own to content own their retrieve who to competitors prefer new these by stripped lose, could r c-rdcd I i wrh aig ht public that saying worth is channels, It linear co-produced. and are platforms streaming on both development, in series of 10% approximately Today, creation, television moment. of their having are co-productions international globalisation the by Driven being asignofthetimes collaborationprevalent, more are Co-productions 5) male leadsinUSdramasarecops. soldier,to lawyer to most doctor from careers, of kinds all have series, these in women, Although protagonist. female a have 32% channels, linear American the On 4) Feminisation,starpowerisshiftinggender novels. of adaptations are production in are that series of 49% content. pre-existing from adaptations are produced series new the of by.third come a Therefore,to harder the Paradoxically, same content one of exploitations multiple the or Adaptations, 3) by theUnitedKingdomandIndia. followed is It world. the in drama TV of States, United the behind producer, largest second the become has Latin America but mainly also Europe. States,Over the past few United years, China the of outside based are production in series the of 55% over and productions international on increasingly relying is example,Netflix For platforms. SVoD major the by driven mainly now is n eis ae originality makes series in boom h wrd Gy isn itnuse 4 e themes. key like series of success 4 the by Boosted distinguishes Bisson Guy world, the throughout production in series of sample a Relyingon POLITICS… SERIES’THEMESAREDIVERSIFYING NOSTALGIA, HISTORY, ROMANCE,SOCIETYOR last fewyears. reduced, despite it being such a popular genre over the substantially has co-produced were that science series fiction of number The series. youth or series crime either were 2018 of months last 6 the in co-produced them. In terms of genre, the majority of drama that was in interest an shown not have – States United the and Turkeyas such – markets bigger whereas productions, co- towards gravitating of tendency a have they this, to due therefore, enough, large is that market internal countries an "smaller" have not The do example) for country. countries, (Scandinavian the of size the to proportional inversely is co-productions of number the that shows Data networks. American the of ahead far national European, are two co-productions of 52% between channels. public partnership a of fruit the are co-productions current of 28% Indeed, counterparts. their with collaborating of tendency a have channels – thefourthandfinalthemearestilljustaspopular. series fantasy Finally, also interest. of wave are new a seeing comedies Romantic successful. extremely been also have (immigration) political or gender) and explore (sexuality that aspect social Series a with 50s. themes, or modern more 40s the in set are that series notably channels, to appeal to continue dramas Period theme. covered most the probably is nostalgia Stranger Things, Stranger

47 AN EVERCHANGING LANDSCAPE 48

AN EVERCHANGING LANDSCAPE rmrl Nti ad mzn wl, n h coming the in will, European new the by disrupted profoundly be months, Amazon, and Netflix primarily platforms, American key of strategy programming The allocated tooriginalcontent(vs.50%in 2005). that 60% of European investments sayingby European channels are now worth is end, It 2013. since amount their similar dollars, On 2018. billion 24.8 than more 2018, in in invested, broadcasters billion 12.5 of broadcasters. Netflix andAmazonannouncedacombinedinvestment American the by are done investments These predominantly (up 2013). 2018 to in compared dollars 30% by billion 123 to including amounted (not sport) content audiovisual into Investments CHANGING PROGRAMMINGSTRATEGIES INVESTMENTS WITHNETGROWTH AND generations preferthrillersanddocumentaries. older horror, and drama comedy, in interested mostly are viewers younger while Thus, audience. new a to SVoD’s content their the adapt to on forced strategy, programming consequences substantial evolution had This has watching. binge as such younger generation, this of habits viewing the imitating are who old, years 55 over aged viewers subscriptions the from coming new are the Europe, in today generation, While SVoD has already been embraced by the younger 19% toaTVsubscription. SVoDand TV whereas only 20% subscribed only to SVoD and both to subscribed users Internet European of everywhere. For example, in the 2019 first quarter, 43% favour of SVoD o ers has not become common practice dead. from Indeed, far unlike the United State, is abandoning linear TV in television pay inexorable, is SVoD the by audience European the of conquest the Where platforms like YouTube. streaming video as well (SVoD)as services demand on video of types all covers OTT subscriptions. satellite or telephone cable, traditional bypassing internet, the via viewing television is over-the-top, OTT,or reminder, a As television. linear conventional of expense the at is the by rise considerable OTT,whose of seen breakthrough notable as di erently, it watching are they that show figures the However, 2016). watching in 4h18 day (vs a 2018 in 4h25 almost spent they since level "higher" a at television watch to continue Europeans specifically, oncontentdemands. more and, Europe Western in market television the on trends viewing new of impact the analyses Cunat Léa OF OLDVS. NEW? 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49 AN EVERCHANGING LANDSCAPE 50

AN EVERCHANGING LANDSCAPE and ALEX BERGER ‚executive ALEXBERGER and producer, TheOligarchs Production† CHAIRED BY :CAROLE ‚board BIENAIMɍBESSE CSA member, † CHRISTIAN RANK‚headof drama, DR† NATHALIE BIANCOLLI‚headof of international fiction, France Télévisions SENED DHAB‚headof digital fiction, France Télévisions) :ANNEHOLMÈS‚headofSPEAKERS nationalfiction, France Télévisions† mlmtc eis uh as such series emblematic some produced has broadcaster, public Danish the DR, THE PUBLICSERVICE NEW FICTIONALUNIVERSESFOR the share same ambitionsandhavefacedsimilarchallenges. do they today audiences, di erent to speak and territories di erent in operate groups, service public Although France Télévisions and DR, two major European ONFRANCETÉLÉVISIONS&DR FOCUS AUDIOVISUAL SERVICE A RENEWAL THEPUBLIC FOR RENEW, INNOVATE, TAKE RISKS… explore newuniverses. redefine their strategy,or programmes and positioning with regards to creating rea±rm drama, and to take new risks and to them required has markets domestic their in competition strong The revolution. a of midst the in currently are Denmark, and France in groups audiovisual public major two the DR, Télévisionsand France in Denmark in the 50s but television truly enabled it to to it enabled truly television but 50s the in Denmark in born was literature, of world the from originates which Noir’.‘Nordic movement, of This acclaim television the to contributed substantially having two latter the – Killing Borgen, and Broen The The have been seen as a sign. The new drama team were were team drama new The sign. a as seen been have could team, drama the of part large a by followed 2017 in previous Bernth, Head of Drama for DR and producer Piv of drama. original creating in of strategy terms their redefine entirely to also but services, radio and television their down shut to only not it forcing group, the of 20% of cuts Danish budget the imposed 2018, government in But Europe. of all of envy the was that image and position a enjoyed DR strategy, centric Backed by innovative series, stemming from their creator- setting forthrillers. traditional the shifting realism, raw a by series marked are that ‘noir’ to thanks world the of rest the in succeed † The Killing, leaving and Béatrice Dalle set in a psychiatric hospital), as such projects with the 2019/2020 season, and even somewhat strengthened Philharmonia. This strategy will be maintained throughout as such series of production the with year There was a – successful – first attempt at diversifying last to is ambition their diversify the drama programmes Todayon the group’s channels. tunnel-visioned. too group was television public French the that admits Drama, National of Head Holmès, Anne series. crime many too producing for criticism was there Télévisions France For Série at Series presented reflect this new impetus and renewed projects editorial line. The drama. qualitative for service’s ambitions public the down scale they to mean needed this does means no by concerned, is Rank Christian as far as but drama; national on focus to asked Romance, two fantasy series, which is a genre that is (a miniseries with with miniseries (a l’intérieur À The Last Wave or or Speakerine unexpected andoutoftheordinary. modern, are that projects developing voice, their finding by apart themselves set to able be only will ones, public the notably broadcasters, the and market series original market. The major American platforms are overtaking the European the on public, or private they be broadcasters, the result of the intense competition amongst the di erent also Télévisionsare France and DR by utilised Strategies LOVE RISKTAKING de Poitiers. Diane and Voltaire Gaulle, de Charles on miniseries new three of broadcast upcoming the with stage centre take will history Finally, film. 2017 Jean-Baptiste’s Lucien of child relationships) and relationships) child with the genre, di¸cult somewhat a comedy, to returning also is group The Télévisions. France by explored rarely miniseries (about the new parent- new the (about miniseries gosses des Faites Il a déjà tes yeux tes déjà a Il , an adaptation adaptation an ,

51 AN EVERCHANGING LANDSCAPE 52

AN EVERCHANGING LANDSCAPE projects that are presented to her are “stronger and and “stronger like are Just her stronger”. to presented are that projects the that adding Holmès, Anne explains itself” and questions disruptive is “Creation ‘work’. not would they that pretence misleading, generally the, with projects certain aside putting themselves, often censoring of have tendency a channels had traditional according The risks”, Holmès. Anne greater to take to Télévisions for allowed France has which eyes, viewers’ the opened has market European the on platforms SVoD of arrival “The Rai and ZDF. Three large European groups working on on working groups European large Three ZDF. and Télévisions, Rai France together 2018, bringing ‘Alliance’, in the launch, of the was strategy first this The of appeal. cornerstone international with strategy drama active develop an to introducing is and series premium France high-budget of raging, share its is increase content to intends Télévisions of war the where time a At storyline followsthreecoupleswhoselivescrosspaths. the where Daucé), Emmanuel and Krivine (Frédéric Line from the British show British the from at the heart of suggests, title its as Indeed, specialist. thriller great a being with, associated usually not is he genre a into foray first Hadmar’s Hervé creators. their by presented both were that Une belle histoire is a love story. also love is Lovea Romanceis and Romance by the creators of creators the by Feet Cold , an 8 part series adapted n ble histoire, belle Une is is Romance The The France TV Slash, a 100% free video media for 18 to to 18 for media video free 100% a Slash, TV France branches: digital two group’s the for series supply and develop to is missions Dhab’s Sened Therefore, drama. digital on banking also is Télévisions new France from platforms, competition unbridled the to response a As David Tennant andFrenchactorIbrahimKoma. the World in 80 Days The 2. Alliance’s France second large project is an adaptation of on time prime during 2020 February in broadcast be will series The Jaenicke. Hannes German and Standen Clive British Croze, Marie-Josée Canadian – episodes 52-minute six of up made series is espionage an Alliance of The production the enabled has them”.it as fruit bearing already for platform international an create and writers French France promote “to alliance, aims Télévisions European new Nathalie this For through partnerships.” Biancolli, other are to They look projects. to any free decline also or accept to free are countries three The operates. it way is the in flexible Alliance co-productions very The acquisitions. from even or projects, pre-purchases share to to months two every “meet Alliance this of members the that explains Biancolli Nathalie platforms. of arrival the to due threat’ ‘under considered be all could that markets comparable Mirage – directed by Louise Choquette starring Franco- by Jules Verne, a 6x52 minutes with Around Around (the viewers pay the fees to watch television), but it is is it but television), watch to fees the pay viewers (the important are figures viewing the that opinion the of is Holmès Anne viewers. the of fraction a only attracting of risk the at divisive, more are that series, niche broadcast Today, to Télévisionsinclined France likemore group is a and coveraspectrumofnewsubjectmatters. audiences targeted to speak to capacity the has drama digital Nowadays, Dhab. Sened insists manner” uplifting the but complex, screenwriters knew how to broach it is in both a truthful and subject “The still taboo. is a which considered subject this about conversation open an create and disorders mental around stigma the remove to aims and people” young a ect directly that subjects teenagers, for teenagers with Filmed life of four young patients in a children’s psychiatric clinic. everyday the follows and disorders mental of prism the through teens of world the explores series The Mental. with adults young to o ering its extended has Slash TV the of success the After to watchNetflixandAmazon.” TélévisionsFrance abandoning currently are that viewers in anchored France’slikely more the and reach fabric to socio-cultural more was which o er, complementary a of new platforms, public it was urgent for us, he admits, to create “generalist” emergence the the “With platform. France.tv, streaming broadcaster’s and olds, year 30 series, France France series, France Skam “talks about “talksabout Mental The attendees of the 8 the of attendees The the case. domestic abuse while the parents are adamant that is not of victim the be to claiming is daughter family,the where as renamed (since well as event; the of violence the silencing community,without small a on have can attack terrorist a e ects the depicts which ceremony, opening the during screened was which Settles, Dust the When being of afraid by shown not As viewers. their shocking even and disruptive is broadcaster Danish public the that proof are Series Série year’s this series during The presented risks. taking in e ort group’s Danish the to The series produced and broadcast by DR are a testament that’s lessimportant.” a audience, not wide a find not does it’sseries niche a success?If if entertainment, pure is which example, thriller, for a making in point the is “What projects. the depending on vary to figures viewing for understandable will criticise me for making it.” Incidentally, it is completely one No it. making regret never will I series. good very a was it believe strongly I However, audience. did its find ago, not years two Series Série at presented was that “The essential. longer no eis rae b Mre sebe n Crsin Torpe. 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53 AN EVERCHANGING LANDSCAPE 54

AN EVERCHANGING LANDSCAPE established model, that has led to its greatest national national greatest its to led has that creative model, established new up opening is well- their of most the make to continuing while horizons DR at team drama The thing theworldneedsisanewseries!” last “the stage this at that argues He produced.” were series 50 than more 2018, In Scandinavia. in produced on were series o er new 17 2015, “In on sense. any has market the series of whether development wonders never-ending he the However, strategy. its revisit to competition is good for creation. It has forced the channel that convinced is DR, for Drama of Head Rank, Christian and questionitself.” adapt to had it meaning channel, the to working of way previously worked in the United States and brought a new di erent areas that are probably riskier. “The creators had into venture to channel the allowed has Rank,it Christian For soul. human the within area grey the exploring when manichaeism all avoids series The Devil.” the becoming up end you God, for yourself taking by that realising up end to Only psychopath. neighbourhood their of rid get to murder perfect the plan and forces join town small a of “Citizens daunting: is it as simple as is pitch The dark. extremely be to glance, first at least at seems, Us Deliver reputation, global its DR gave that series the with line In service, which have driven them from the start. service, whichhavedriventhem fromthestart. the opportunity to reconnect with the values of the public DR like broadcasters gives market the of evolution the him, to According good. not are haste, in created often are that produced, series the of majority a that adds He series.”many that watch to time has one “No excessive. Drama, but Christian Rank believes the amount on o er is of Head a from coming especially surprising, seem can It REAFFIRMING THENOTION OFPUBLICSERVICE produce unique, meaningfulanduniversalworks. have shown that despite these injunctions, DR Drama is able to session this during presented projects ambitious and diverse the said, being That channel. the of heads and the of request budgets the per as their drama national on reducing refocusing by directions change to compelled been recently has Drama DR service. public of terms in plays drama role important the of understanding strong a having well as rooms), writers’ of creation and the stage development the for consideration the with (particularly conditions working ideal implementing and creators the trusting in-house), produced both Wolf, Cry for case the is (as production of part large a internalising successes: international and and Settles and Dust the When highlights that “the drama broadcast Holmès by the Anne public this, channels On Télévisions. France by done work the of heart the at also are service public the of goals The helped mefindmyplaceinsociety.” It today. am I person the become to me helped channel the up conversation.” open Christian Rank grew up watching DR. “The sense that in and them around world the understand and decipher to viewer the help should They captivating. and honest be our must of stories reflection These a society. be should tell DR that stories “The themselves. and others of have they view the strengthen and confront can that those stories; powerful for need a have always will viewers that sure is Rank Christian As “THE STORIES THAT DRTELLSHOULDBEAREFLECTION OF OUR SOCIETY. THEYSHOULDHELPTHEVIEWER OF OURSOCIETY. TO ANDUNDERSTAND DECIPHER THE WORLD THEM.” AROUND can changetheworld. that series series; impactful and original powerful, create and develop to opportunity the them gives It work. DR’s and Télévisions France to purpose give what are values series service’s Their public the dragons.”But more money.have always will more “American have market. always will entertainment platforms pure of major platforms the with directly compete to trying be way no in Christian Rank reminds us that the public channels should as incest, paedophilia,pregnancydenialandfatphobia. such di¸cult, be can that debates, subjects many societal program covering to continue will 2 France and world” contemporary the of reflection a be always must

55 AN EVERCHANGING LANDSCAPE 56

AN EVERCHANGING LANDSCAPE CHAIRED BY :PASCAL ROGARD director, ‚managing SACD† BÉNÉDICTE LESAGE ‚executive producer,† ShineFilm WINGER‚screenwriter,JÖRG executive producer† SÉVERINE JACQUET ‚screenwriter † LISELOTT ‚executive FORSMAN producer, international projects, Yle† :AUDESPEAKERS ACCARYBONNERY director, managing ‚deputy CNC† ytm fiacn te rtn o sre sil rns up brings still series of writing co-production the virtuous financing system, very a despite Nevertheless, Norway, Denmark, Sweden, IcelandandFinland.” meaning broadcasters, national Scandinavian big the with series 12 co-produce year will nextwe that adds, she decided, have “We projects. ambitious create thereby and financially other each help to area the in countries di erent allows which 1959, in up set system a through possible made were These co-productions. are channels public by produced series Forsman Liselott points out that decade. the vast majority last of Scandinavian the of series exciting most the of some behind been have which countries, Scandinavian towards turns naturally conversation the television, in creation of terms in practice good about talking When THE SCREENPLAY COMESFIRST! the rulesinplacetodayFrance. with faced are Europe in exist that practices the series, for plan support specific a setting of thinking is France As model. European one just not is creation. there Nevertheless, series for place diverse and rich a is Europe SACD DEBATE FRANCE TO FOLLOW? FOR MODELS DRAMA INEUROPE: way ofgivingwritersthemeanstowork. agree that screenwriters are at the heart of the process, it is still apparent that together we need to find the best makes us question the evolution of methods and the place held by authors in the creative chain. Although many The creative euphoria that has taken hold of the continent, fed notably by the arrival of the big online platforms, “SCREENWRITERS ARE PROGRESSIVELY“SCREENWRITERS RETURNING TO THEYDESERVE THEPOSITION TO BEIN WITHIN THECREATIVE PROCESS.” benefit from the strong competition which reigns today reigns which competition strong the from benefit also Screenwriters write.” to how know always doesn’t director a that understood finally We process. creative progressively are the within in be to deserve they position the to returning “Screenwriters Winger. Jörg says done”,be to work of lot a “There’sstill writing. on spent is improving and on average roughly 6% of the budget is situation However,the USA. the and Scandinavia in 10% the budget, whereas that number ranged between 8 and in years, Germany, the writing of For the script took up less than 2% of screenplay!”. screenplay, “screenplay, would film, answer that a there of was direction only one the thing about that Billy mattered: asked when quotes who, He Wilder essential. is writing Winger, Jörg For creative process”.the in possible as early as writing, should the towards investment put be of part sizeable a that colleagues cornerstone of creation. “We have learnt from our Danish the considered is screenplay the and shifting is balance the world, the in everywhere that seems detriment. it writers’ Nowadays, the to the often in director, the always of almost hands was power for creative the that, years, mentions Forsman Liselott questions. many Writers’ contracts for feature films stipulate 5 payment 5 stipulate films feature for contracts Writers’ seasons. The study also noted regular delays in payment. series. a for Favouring collective writing allows ten for continuity through and two between to compared film, feature a of writing the in part take screenwriters two average,people.On several by done generally is writing that was study the of findings main the of One piece. of type the to according phase writing the for pay of level the and modalities analyses and writers of outline the up draws study The series. TV and films feature French of phase writing the of model economic the on study a out carry to forces joined have SACD the and CNC The WRITERS out, FAIR PAY TO FIGHTPRECARIOUSNESS AMONG points Accary-Bonnery the overallbudgetofaseries. Aude of 5% than less represents remuneration screenwriters’ France, In per euros 17,500 of episode andwasthereforealreadyover7%ofthetotal.” minimum a be to had it precise: was screenplays towards put conditions. budget the di¸cult Nevertheless, in produced were Public, Ennemi like Series episode. per euros 260,000 roughly was budget the ago, years three launched was series Belgian French-speaking new for plan the “When example: Belgian the up brings then Jacquet Séverine send theirscreenplaystoover10broadcasters.” can they “Nowadays, market. audiovisual German the in and Trêve La development” stage - is very risky for both the producer the both for risky very is - stage development” - which Bénédicte Lesage compares to the “research and with pre-development the aim of presenting it to a broadcaster. This phase the project a on collaborate producer In a and writer a phase, phases. development and very are heterogenous. situations She sees a di erence in pre-development that out points Lesage Bénédicte the series wasbeingdeveloped.” by produced being the whilst contract a get to months 6 me took It channel. was which confesses, she series, important very a workedon recently “I uncertain. always indeed is paid The be will series. screenwriter a when a time that on work security they when of have lack screenwriters the confirms Jacquet Séverine might not be certain that their series will ever broadcast. it when stage, pre-development the as early as happen means, to is This better. better paid mostly and have recognised better are they that assure to and process creative the in position writers’ reinforce to is objectives by the of launched One creation. original French Plan” support to CNC “Series the new the to led study This carries alltherisk. time long therefore writer The project. a the of conception the after play into come often which instalments, For series, screenwriters’ pay is also spread over several project. the of launch the after years writing two almost the phase, of end the to at remuneration up their of paid third a are Screenwriters average. on deadlines

57 AN EVERCHANGING LANDSCAPE 58

AN EVERCHANGING LANDSCAPE ht h RB, nprd y cniain n American and Scandinavian by out inspired RTBF, points the Jacquet that Séverine wait. shorter much a be often can this Belgium, In get broadcasters. from to feedback months 2 than more wait France, to have In often another. writers to country to one channel from and one and another from internally) massively produced vary is times it response when face to face or producers (via broadcasters to given are scripts way The a projectforperiodsofupto6monthsorevenyear.” money, dedicates all his energy, intelligence and time to of sum certain a writer,for a return that in demand can’t We process. this of acceleration the for allow to system a find the to need by We broadcaster. the first then and approval, successive producer script to and subject deadlines it of is stages as work, this the on of visibility duration little very have “We not time. and of “result” length a a to linked is remuneration a that writer’s fact the to mainly due question, complex the a is It that di¸culty main remuneration. writers’ indeed is has market audiovisual the Lesage, Bénédicte For secure financialmodel,forbothproducerandwriter. more much a in and up set producer then writer,is project trio: The broadcaster. a as done then is work the phase, development the before In out. sent even writer,ever are they and producer the between agreement mutual a on stage,based this at abandoned are projects series some fact, broadcaster.In the to presented be to it for enough completed be will that question in guarantees project the no are there because writer the and platforms, the arrival in Europe of which is leading to VOD leading is which around of Europe in debate arrival the platforms, the relaunches Rogard Pascal TO WRITINGPRACTICES CREATED CHANGEALLTHE WAY DOWN THE ADVENT OFTHEBIGPLATFORMS HAS to focusanddedicatealltheirtimeoneproject. screenwriters allows salary monthly a getting Forsman, Liselott For project. the of nature the to according varies that period a during to on carries also and salary project the of monthly a o er screenwriters. This is set up from the development stage to decided neighbours, Scandinavian their by inspired public Yle, the broadcaster Finnish that phenomenon this It tackle once. to at partly projects was multiple on work to have writers most living, a make to order in situation, current the In wait monthsbeforegettingfeedbackontheirwriting. to have sometimes writers and deciders many are there amount of intermediaries. In the big traditional channels, that reason the reducing by chain decision simple the optimised have they the for speedy, very online is of time platforms response the that notes Amazon, with worked has Winger,who Jörg directly. broadcasters the to speak to opportunity the have rarely writers France, in that says regretfully Jacquet Séverine broadcasters. and producers writers, exchange,amongst dialogue rich genuine on rests Creation them. to respond to free are to feedback Writers days. five than and less within writers and producers notes giving to committed models, a teeoe o wr eswee Bndce Lesage adds that the new collaboration methods Bénédicte imposed by the elsewhere. work not therefore can authors These years. several over contracts exclusive them o ering by fidelity complete guaranteeing is and world the across talents biggest the all up” “hoovering their “feudal” practices. A platform like Netflix is currently by criticises nevertheless he behemoths, creation writers TV these European to available made opportunities Although Jörg Winger is very aware of the many creative of copyright.” favour in reconsidered be will system rights writers’ the that risk a as well as disintegrate, could model creative feels there is a risk that “the French, and even European, he Nevertheless, work. 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59 AN EVERCHANGING LANDSCAPE 60

AN EVERCHANGING LANDSCAPE SPEAKER :NATHALIE SONNAC ‚board CSA member, † DRAMA’S PERFORMANCE IN EUROPE IN2018" INEUROPE "DRAMA’S PERFORMANCE LOCAL PRODUCTIONS ON INNOVATION, AND DIVERSITY SERIESMARKET:EMPHASIS THE TV series is the cause of these local series taking o“, it is also possible that local series have made their mark their made have series local that enough thattheAmericans(andnotablyNetflix)nowcometoEurope, especiallySpain,tobuy.possible also is it o“, taking series local these of cause the is series series are also dominating. Although one can possibly think that the temporary shortness of breath of American National series. new with to filled is hard figures viewing best then for ranking are notably,the Spain and and France in themselves dethrone, establish series certain Although diversity. genre growing a and turnover Looking atthenationallandscapeofTVseriesmarket, onecanseearealemphasisoninnovation,strong countries: France, Germany, Spain,ItalyandtheUK. Each year, using data provided by Mediametrie, the CSA publishes a comparative study of drama in 5 European the largestaudienceinyearistaken intoaccount. recorded that episode the only mini-series, and series study.the For in included not are animation and Cinema mini-series). and series films, (TV section drama the of all for viewers of terms in audiences best the measure rankings The institutes. measuring audience local with partnerships to thanks world the across television from database Mediamétrie’s a data audience Worldwide,collects which on department, international TV set Eurodata are by used provided figures viewing The as linearandnon-linearones. power the balance between public and private broadcasters also as well but studied, country the each territory, of each specifics in dramas national of position the light to bring to them allows data This channels). private and public paying, (free, landscape audiovisual the of structure the and drama national of terms in o er what they time), listening individual (notably, television consumption of terms in characteristics common their of (France, because chosen studied are UK) the countries and Italy Spain, The Germany, Europe. in performance drama the of concerns It 2009. since CSA the by out carried periodically is which study comparative a of results 2018 the presents exclusively Sonnac Nathalie within Europeanaudiences. is what has enabled American drama to reestablish itself is also the only foreign drama in the French rankings and akns r ld by led are British rankings the whereas series, drama German successful most the of rankings the of head the at been have - 110 - series crime two now, years few a For channel. national a by co-produced programmes or programmes national for exclusively years, previous as The 10 best drama audiences in Germany and the UK are, 2018, which shows a high turnover in French production. in launched were dramas these of Six 2010). and 2013 in in 5 to (compared productions national are 9 Top10, is it 2018 neighbours, the Amidst dramas. national by European dominated largely its Today, from USA. example the taking from especially series, imported on time,marketlong drama a French For the keenvery was MORE NATIONAL DRAMA INTHETOP 10 a srn i Iay n San de o h sces of success the to series due American Spain, and Italy in shrunk has rankings the in However,dramas national of number the series McMafia,producedwiththeUSA. as has been proved by the successful launching of drama drama, British in position important an hold productions The Good Doctor Good The and Who Doctor in both countries. This countries. both in and Tatort Co- Bodyguard. Police itiuin fr he t fu yas Sre like Series years. four mar, del Catedral to three for distribution, demand on video their for group the by produced series new the at look first a gets Netflix Studios. Atresmedia branch its by produced series to regards in Netflix with agreement framework a Atresmediamade group private 2018, July In market. Spanish the American with big have platforms the that interest increasing the explain The diversity of genres in demand in Spain could partially 16 of20themostsuccessfulprograms. up make series crime and rankings German the in seen are genres 3 only in coin, the of side other appreciated the On Spain. particularly seem science-fiction and soap Fantasy for countries. other the in absent success are which operas important an with in genres, rankings of eclectic terms most the have UK the and Spain and France, comedyisgainingevermoreimportance. Italy In spot. top the take clearly series crime Germany, and France In UK. the Italy,and studied: Spain countries 5 the of 3 in rankings the dominates genre drama The SCIENCE«FICTION… THEPOPULARGENRES DRAMAS, CRIMESTORIES, SOAP OPERAS AND launched onAntena3. was it when year last ranking the in first Papel, de Casa to linked undoubtedly is which series, TV Spanish with have platforms online American that interest deals the These show Spain. in groups private and public main the with deal similar a struck has Video Prime Amazon part, its For catalogue. editor’s American the in now are Apaches, and Farina Vivir sin permiso sin Vivir La La , got no new dramas on to the ranking. In 2018, only one only 2018, In ranking. the to on dramas new no got ZDF ranking, the on series 20 the of 16 broadcast they Although ranking. the in spot top the taken always has and ARD on 1970 since Sunday every broadcast been including 2000, before created were 20 top 2018 the in series Five old. years 15 over average on are rankings the in dramas German renewed. least Germany is the country where successful dramas are the on therankingin2018. Doctor Who, created in 1963, which took the second spot series science-fiction also is There 1972. and 1960 since and Street operas soap iconic notably rankings, the in dramas older much some of persistence the to linked is This programmes. older more has 2018, in dramas new 20). The British ranking, on the other hand, despite many top the within average on years (2.2 recent most the are and dramas 2017 successful the where country the between is Spain 2018, new in ranking of Spanish number the the in dramas in decline significant a Despite tied with7newseriesintheirnationalrankings. innocents. TF1 is closely followed by Rai 1 and BBC 1, both like shows also are them Among rankings. national its into dramas new most the get to managed that channel the countries, studied 5 the within is, TF1 20, top the amidst new of series new number 11 With 2018. in largest launched meaning - dramas the has ranking French The FEW ICONICDRAMAS ONTOP OFTHECHARTS INCREASING NUMBERSOFNEWDRAMAS ANDA Balthazar, rsetvl bodat n ITV on broadcast respectively Emmerdale, Le jour où j’ai brulé mon cœur mon brulé j’ai où jour Le , which has which Tatort, Coronation and Les

61 AN EVERCHANGING LANDSCAPE 62

AN EVERCHANGING LANDSCAPE Good Doctor, Good (The series American original that shows ranking 2018 the Indeed, series. American pu¸ of temporary out ng profia simply from have ted might series drama French French dramaontherise, butbringsupsomequestions. good audience results for TF1. The 2018 ranking still sees - story true a a was which fiTV Another share). audience 33.5% million, by inspired also lm, (8.8 viewers of number highest - a story true was recent it Sauvage , Jacqueline a 2018, from In adapted drama. programme, French TF1 a by taken has ranking been French the of fi place the rst 2015, Since FRANCE PLAYS TO THEFRENCH to population,Italytakes thetopspot. audiences drama compare we If Germany). in million 83 numbers these compared to the population (66 million in the UK against considering surprising quite is which 2018, in Germany of that surpasses actually audience than more million 3 is which viewers, million 14 to up racked series the of episodes the of one 1, BBC on Launched 2018. in However, established. already series British are that dramas the trump rarely Germany,launches and Italy,new UK In the set in2013thetwocountries. were that ratings high the reach to seem cannot series new these of success the Nevertheless, Papel. de Casa comedy the like are rankings fiTV mainly Contrarily,lms. series, only are they Spain, in Spanish and are they France, In dramas. new by French dominated regularly the 2013, Since NEW ANDTHEESTABLISHED BEST VIEWINGFIGURES:ABATTLE BETWEEN THE countries. 100 over to sold was It ARD. channel public free the on on GermanpayingchannelSky1,beforebeingbroadcast point out that the series was previously broadcast in 2017 ranking: German the to it made channel public a on series launched recently , the 2017 leader.2017 the Sherlock, drama UK best The - had very had - cœur mon brûlé j’ai où jour Le was an exception to that rule that to exception an was Bodyguard The Truth About the Harry Quebert AQuebert Harry the air, About Truth The r h nw famous now the or elitos de Cuerpo - which had the had which - moi ou lui c’était I’ itrsig to interesting It’s Berlin. Babylon appealing toSpanishviewers. very been have would which cast, being Cruz Penelope to due possibly was This audiences. great recorded also fiof season new the of episode rst series drama better.performed these 2018, in However, series. drama for 20 top the in placed series American 3 2017,only in like Just minutes. 70 last most and pm) 10.45 and 10.30 between (in countries European other in than later start that series drama programmes evening The launched. been in recently have interest strong a has public the The rankingofthemostwatcheddramasinSpainshows IN SPAIN, NEWISTHEBLACK Jacqueline Sauvage. like something for viewers extra 250,000 represent still they although comparison, in weak still are tablets) and smartphones (computers, screens other on audiences the However,later. week a J+8 the fiand broadcast rst the between in 27% by increase audience its sees which with especially TV, catch-up on or replay on lot a consumed are studied dramas three The types. viewing 4 the over audience highest the recorded that episode the analysed report the Doctor), Good The (Jacqueline Sauvage, ranking French 2018 the of dramas 3 top the of each For comedies, whichwerealotrarerthaninpreviousyears. Dramas and crimes series over-performed in 2018, unlike these programmes have a cast of very well known actors. years, previous in As ranking. the of thirds two up take and well fi perform TV lms and numbers. series audience launched Newly of top the at stayed has Marleau series 3 France 2017, Since programmes). (3 3 France by followed programmes) (17 TF1 by dominated In 2018, the ranking for the 20 best performing dramas is and programme Spanish a Insoupçonnable, adaptedfromBritishseriesTheFall. from adapted Rouges, series series, Norwegian a from adapted mini-series formats ranking: the foreign in appear from also adapted dramas viewers. French French Three amongst successful very are Gone), ranked second. The second. ranked Doctor Good The Le jour où j’ai brulé mon cœur and American Crime StoryCrime American h Go Doctor, Good The e Innocents, Les Les Bracelets Les Capitaine SERIES INFOCUS

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SERIES IN FOCUS CHAIRED BY Canal+† :PIERREZÉNI‚journalist, screenwriter†, ‚producer†, STINNA CHRISTIAN LASSEN RANK‚headof drama, DR† WITH :DORTE ‚co-creator, W.HØGH screenwriter†, IDA MARIARYDÉN ‚co-creator, has a specific, almost archetypal, role in the series: the series: the in role archetypal, almost specific, a has complexity,their equally.all paid character In were each all but faces, new are some and celebrities are them of Some them. play who actors the eight in the like important just series, equally all are characters eight The private lives. with this last character, the idea is to show their daily and Even justice. for minister the also and chef a a girl, young man, also old an It society: attack. of aspects the di erent by represents a ected less or its more and are who itself attack the protagonists ordinary eight on on instead but perpetrators, focusing not original of the choice makes series The attack. terrorist a after Settles Dust the When AN ENSEMBLEANDDECIDEDLY HUMANPIECE DENMARK WHEN THEDUST SETTLES follows eight people during and during people eight follows hands. Thisimpliesgreatresponsibility. someone, we briefly hold a little bit of their destiny in our meet we time each that said who Løgstrup, Ejler Knud philosopher Danish up bring They events. of series a by on impacted and linked are society a within individuals way the and world the of polarisation more the about aimed talk to project Their project. the of origin the at there remotely wasn’t attack terrorist a around plot focusing the of choice their that explain creators two The THE BUTTERFLY EFFECT expect followingsuchanevent. can one reactions diverse of gallery the up make they together All emotion. dominant a represents also them of Each etc. coward, the hero, the witness, the victim, W. Høgh, Ida Maria Rydén / Rydén Maria Ida Høgh, W. / Sig Lagt Har Støvet title: Når Original tell each of the stories. The series isn’t structured around being that it can be decided at which moment and how to The multiplicity of plots opens a whole lot of possibilities, for amulti-plotseries. had time to work on the edit, an absolutely decisive step team creative the Then, paused. was filming was finished, - series the of director” “concept Alami, Milad by overseen - set first this After 2. and 1 with along shot, be to first the of one was It moment. key a was 5 Episode the 9daysfollowingit. in them follow 10 to 6 Episodes attack. the before days 9 the through protagonists the follow 4 to 1 Episodes 5. episode in series, the of middle the the in - - attack plot terrorist the of crux the place to chose creators The AND SHIFTINGCREATIVE PROCESS " as wellthedetectives,arealmostabsent. not is meant to be its object, which explains why the attackers, it However, framed. is series the which around catalyst, a is attack The of about. came attack idea terrorist the the how That’s people. of group a of lives the with interferes most that one event, impactful most the about thought they themes, these approach to order In omn, ae-ie yse, ee Crsoesn Ain ahf Hnig esn Voa atne, Malin Martinsen, Viola Crepin, Adam Brix/ Format: 10x60’ Date ofbrodcast: January2020 Jensen, Henning Kashef, Arian Christo“ersen, Peter Mynster, Karen-Lise Lohmann, R rm / Drama DR Production: STRUCTURING CHAOS" , ANOPEN Producers: Directors: tna asn / Lassen Stinna Milad Alami, Jeanette Nordahl, Iram Haq / Haq Iram Nordahl, Jeanette Alami, Milad Original idea: Original Dorte W. Høgh, Ida Maria Rydén / Rydén Maria Ida Høgh, W. Dorte Broadcaster: tu pbi srie rjc. hs s eas a about thingsfromaperspectiveotherthantheirown. because is to This cohesion, speak about our world and to encourage social viewers to think showcase project. to is service role broadcaster’s public true a makes this Rank, Christian For between peoplearestrong,withoutusreallyrealisingit. links where society a show to is portraits, individual of gallery a through agree series, the of all matter subject the broadcasters that and producers creators, The MAKING SOCIETY dialogue. the spoke actors the once redundant became they as cut, were lines many that out point also They endings. character’sthe of one as well as stories, love reinvented the of one totally even made and they evolve that characters explain certain They creators. the out point at look we them and our desire to defend them obviously changes”, way the out, flesh characters the “Seeing edit. the during place took changes important Hence, cut”. “final the until way that stays It open. completely process stays creative the so end, and middle beginning, a R / DR Distributor: Composer: R ae / Sales DR hn h Ds Settles Dust the When Screenwriters: Maartin Dirkov / / Dirkov Maartin Jacob Cast: Dorte

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SERIES IN FOCUS CHAIRED BY Canal+† :PIERREZÉNI‚journalist, MARK PYBUS ‚executive producer, TheForge† BABOU CEESAY ‚actor†, WITH :LEWISARNOLD‚director †, h d tee w caatr mk sc a di¸cult a such make characters two these do why prejudices and to focus on an entirely di erent question: But ask themselves"WhatwouldIdointhat situation?" to inevitably is reflex producer,everyone’s famous a by their silence following the sexual molestation of their son who accept a considerable amount of dirty money to buy When following the story of these parents under pressure, GOING BEYOND VALUE JUDGEMENT UNITED KINGDOM DARK MONEY ucl ecuae u t g beyond go to us encourages quickly Money Dark o eape te hrces dge o emotional of degree characters’ intelligence, whichisexplored indepththescript. the example, for mentions he factor; one only on based never is decision accept the money. But, as Babou Ceesay points out, their to parents the convince to trying when factor deciding a is it as plot, the in element key a is context social The family andoneachindividualmemberofthefamily. a on situation devastating a such of repercussions and causes the understand to but morals study to not was goal Addai’s David creator,Levi series’ the As decision? Warne/ Format: 4 x60’/ Dateofbroadcast: July2019 Distributor: / Addai David idea: Levi Original weeklong the found psyche, therefore He character’schallenge. real a the was this on focus whom primary for a with Ceesay, role, Babou by played father, the with present particularly is entrapment of feeling This condition. social their of weight the under crumbling are and them, beyond is that play power a in stuck lost, are couple The which they themselves are sincere through their actions. to extent the show to sincerity,also with but anti-heroes these depict to team the for essential was It them. for somewhat empathy deep a create to manages it them, upon forced are that decisions take and weak turmoil are in who characters two depicts series the Although CREATING EMPATHY Production: l3ei Itrainl / International all3media The Forge, all3media International / International all3media Forge, The Screenwriter: Cast: ao Cea, il afen, ua Wkm, eec Fot / Front Rebecca Wokoma, Susan Halfpenny, Jill Ceesay, Babou Levi David Addai / Addai David Levi Producer: soon cometoFrance. will commentary social a with drama psychological this Kingdom, United the in Series Série after shortly Aired decisions These deepen theempathyviewerhasforcharacters. communicating. of incapable is and head own his inside locked man a is He coincidence. no is windows any without o¸ce cramped a having the father that fact the example for mentions Ceesay Babou sets: the in mirrored even are feelings character’s The when watchingthevideoontheirson’s phone). incident horrific the discover parents the where scene certain possible, as scenes were revealed at the very last genuine minute (notably the as were performances actors’ the that ensure to order In invaluable. rehearsal Erika Hossington / Hossington Erika Lewis Arnold / Arnold Director: Lewis Broadcaster: Composer: BBC One / / One BBC Sarah

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SERIES IN FOCUS CHAIRED BY :CAROLINE PALMSTIERNA ‚consultant, Shoot for theMoon† ELLY VERVLOET ‚broadcaster, VRT† SENDARJASMINE ‚actress†, MYLENEVERDURMEN‚broadcaster, AVROTROS † PETERBOUCKAERT Film†, Column ‚producer, Eyeworks Drama†, &TV Film WITH :RIKD’HIET‚co-creator, screenwriter†, CHANTAL VAN DERHORST ‚producer, audience. It was an image,an likeaudience.was It the brought that vision, a Belgian and Dutch the both to speak would that story a by the very specific culture. They had the idea of creating Both writers grew up in this region and were surrounded to shedalightonmysterioushumantra¸cking case. try psychiatrist Belgian a and detective Dutch a setting, strange this In Dutch. nor Belgian truly neither isolated, are people where and harsh and wild is nature land where unfamiliar an border; Belgian-Dutch the by river, a of edge the at universe, particular in set is Floodland WRITERS’ VISION BELGIUM, NETHERLANDS FLOODLAND in mind as the female lead when they were writing. Erik writing. were they when lead female the as mind in clear vision for their two heroes, and had Jasmine Sendar weaving a storyline full of cli -hangers. The writers had a characters, of gallery a is there plot, the of centre the at detectives two the around one: classic a remains series the of structure the universe, particular very this Within style. Noir Nordic the replicate to not order in humour of touch a adding register, right the find to wanted They specifically storyline. the shaping started they that magical, something with imbued vision, strange this from was It boat. drifting a on girl black young a of that life: to story a dr os, ee Buket / Bouckaert Peter Horst, der van / Bruyn / Grenslanders title: Original from the Flemish broadcaster VRT, Vervloet, came onto the Elly project work. team true this appreciated deeply and project, the of start the from involved was Avrotros, Mylene Verdurmen, head of drama for the Dutch channel always easy. behind the camera, where mutual understanding was not desire to have the two cultures cohabit, both in front and true a and series the for vision unique a had producers the strong creators, the a Alongside project. had this with co-production meaning the means, a of Beyond involved. question equally were producers two The CO«PRODUCTION, AMUST«HAVE her character. for attitude a precise and suggested embodiment physically series, certain the directed also who Bruyn, de Herwig Ilegems, Nico de Vries, Anne-Laure Vandeputte, Adanna Unigwe, Robin Boissevain / Boissevain Robin Unigwe, Vandeputte,Adanna Anne-Laure Vries, de Nico Ilegems, Herwig Cast: Date ofbroadcast: August 2019 Jasmine Sendar, Koen De Bouw, Wim Willaert, Monic Hendrickx, Sebastien Dewaele, Fedja van Huêt, van Fedja Dewaele, Sebastien Hendrickx, Monic Willaert, Wim Bouw, De Koen Sendar, Jasmine Erik de Bruyn / Bruyn de Director: Erik rk e ry, i DHe / D’Hiet Rik Bruyn, de Erik idea: Original Production: VORS En / Eén AVROTROS, Broadcasters: Column Film, Eyeworks Film & TV Drama / Drama TV & Film Eyeworks Film, Column netimn, hc dsrbts h sre, o finally to reach over5millioneurosfor8episodes. series, the distributes which Entertainment, Federation by and broadcaster, Belgian the and shelter tax the by completed was it reached; being from far was budget final the started, filming When around! working to used are directors and producers Belgian and Dutch the that challenge complicated A conditions. weather with long distances requiring to travel and unpredictable outdoors, filmed were scenes many that fact the to due notably insu¸cient, be to out turned quickly which 52’), (for € 000 500 at was episode per budget the Initially, real a was available. budget which limited very a had team the as hurdle, demanding, visually is series The take onthesubjectthroughdrama. to broadcaster public a for interesting is it and Belgium, in topic important an is example, for tra¸cking, human of theme The it. to meaning of lot a found but on, later Distributor: Screenwriters: eeain netimn / / Entertainment Federation i DHe, rk de Erik D’Hiet, Rik Producers: Format: 8 x 50’ / / 50’ x 8 Chantal

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SERIES IN FOCUS CHAIRED BY :PHILIPPETRIBOIT ‚screenwriter, director† OLESYA LUKYANENKO ‚creative producer, Film.UA† WITH :IRYNA GROMOZDA ‚director†, KRUTKO SERGEY ‚director of photography †, new opportunitytobe explored. tensions, political of context a is co-production European found. be must alternatives current the to due but and Russia have a Ukraine longstanding tradition of similarities, co-producing, linguistic and cultural their to Due on a low budget but with a strong international potential. a town, industrial in Ukrainian Filmed disappearances. mysterious of sequence her father in a locked apartment. This is the first of a long with seek and hide playing is she whilst girl young a of this to point starting disappearance inexplainable the is thriller The psychological genre. dramatic its to due Hide and Seek is quite an atypical project for the Ukraine, ALL POINTS EAST UKRAINE HIDE ANDSEEK Hide and Seek and Hide was produced was n cnoiaig h bde ad pnn u new up opening and international perspectives. budget the consolidating on, later project the the joined from Enterprises ZDF hand channel. helping ICTV a with funds own company’s For France, and adaptedinJapan. including countries approximately50 in sold Snier, The was which amongst series, and and animation films, feature short both to produces stage Film.UA development post-production. the from process, production entire the cover that companies twenty approximately public together brings 8 and group production of largest country’s up the made is Film.UA platforms. local private is no and channels, industry TV Ukranian The pouto ws anhd n the on launched was production Seek, and Hide Kobzar, MikhailTroynik / Format: 8 x60’/ Dateofbroadcat: October2019 / (executiveMirsky Viktor KaterynaVyshnevska(co-producer), producer), / producer) Production: Original title: set withinanadministrativesetting,the‘system’. is scene the when blue or anxiety, with filled moments the during often back coming grey with meaning, of full are example, for colours, The budget. limited the within decision making, and there was special attention paid to the sets, artistic the of most in part took of photography director The actors. the by conveyed emotions the to came it when images, subtlety certain a the maintain to order through in elements dramatic the to looked express team The for editing. also and but cinematography view, the of point screenplay a from drama, psychological a as approached truly was storyline The already is violent enoughasitis!" in live we country "The upfront. it showing never violence, to came it when modest somewhat be series’ standards.Theteamexplains thattheywanted to crime the from away steers and cinematographic, very sense, this in is, It sub-themes. the and characters the into deep-diving rhythm, particular a follows series The secrets. their and characters the into pretextdeeper delve a to is takes another direction into drama. The investigative plot Seek and Hide AT THEFRONTIERBETWEENGENRES D Etrrss / Enterprises ZDF Distributor: imU / Film.UA Pryatki / starts o as a thriller, but progressively but thriller, a as o starts Original idea: lsa uynno cetv poue) Adi Rzayk (executive Ryzvanyuk Andriy producer), (creative Lukyanenko Olesya Producers: ui Adl atk, yt Rkv Vahsa Dvhno Aleksandr Dovzhenko, Vyacheslav Rykov, Pyotr Fattakh, Abdel Yulia Cast: Simor Glasenko / Screenwriter: success internationally. find should which series qualitative a creating genres; with around experimentplay to and them enable project the around confidence and collaboration of sense This day oftheshoot! she found the idea on how to close the last episode... the that recalls Iryna improvisation. for space substantial left they and adaptations, project, and rewrites the multiple were of there stage every during opinion his give to able was them of each processes: and methods main specific place in 4 put to the enabled team creative amongst the of confidence members of sense total The after havingseenthefirstteaser. role the leading the playing pushed actress the replace they to creators example, For project. the of stages di erent during involved was company production The thrillers. with experience limited their despite blanche, them gave producers previous the on why is together which projects, worked had team The to filming. screenplay the writing from creation, series’ stage the each of throughout other each alongside worked producer) creative and photography of director, (screenwriter,director project the behind quartet creative The AN EIGHT«HANDS PIECE Simor Glasenko / ICTV Ukraine Broadcaster: ICTV Director: Iryna Gromozda / carte

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SERIES IN FOCUS CHAIRED BY Canal+† :PIERREZÉNI‚journalist, DAVID PINILLOS ‚director† &GUIOMARPUERTA ‚actress† NEIRA‚co-creator,WITH :GEMARODRÍGUEZ screenwriter † aspects thatechoourcurrentdecade. certain recognise and era an of pulse the take to viewer the allow to rather o a but history, to er of intended transcription not faithful is it series; the writing when inspiration of source inevitable an was producer female roll & rock fiSpanish the rst as journey Callejo’s Mariní musician Robert. prodigious the and Maribel young of help the with label, roll & rock a creating project: crazy own his launching is dictatorship. Guillermo, an old timer in the music industry, in Franco the by roll muzzled country & a 60s, the rock during Spain of boom the portrays Revoluciones 45 PAINTING APICTUREOFANERA SPAIN 45 REVOLUCIONES through awhirlwind ofemotions. viewer the takes and throughout, felt is – dreams their fulfito l also but shackles, the from escape to urgency at some points even fast-paced. The sense of urgency – an rhythmic, is series dazzling This protagonists. its of The series runs to a rock & roll beat and follows the whims SOUNDTRACK A DAZZLING SERIESWITHAROCK&ROLL the darktimesinSpanishhistory. the from pulling series, from away shying energy,without infectious characters’ joyous a create to decided and questioning in Spain. The writers of debate of source the still is screen on dictatorship the of representation the and subject, sensitive a remains fiin ction matter subject a as period Franco Today,the 45 Revoluciones Production: Orea, David Molina, S. Salvador Chacártegui, Javier Curro Serrano, DC Torallas, Fernández, Moisés Gómez / Paula Rustarazo, José Mª Neira, R. Gema title: International of sense a and life who of lease Guillermo, new a renewal. embodies older, is and freedom for hungry is that generation young a depicts series the music, in it of social norms, and Robert, who is on a mission to make pressures the escape to trying is who Maribel, Through YOUTH ANDRENEWAL clear. and fast both was it ensuring elocution, their on work fito prior to rehearsals notably rare, quite is which lming of worth month’s a in part take to able were They work. fiand in-depth actors’ the through also but stages, lming writing the throughout built course of was rhythm This ads / Valdés Cuevas, GuiomarPuerta, IvánMarcos/ Format: 13x50’ Date ofbroadcast: March2019 nea T (temda / (Atresmedia) TV 3 Antena Broadcaster: Bambu Producciones / Producciones Bambu 45 rpm / rpm 45 Ramón Campos, Ramón / Screenwriters: Neira R. Gema Campos, idea: Ramón Original Sara Gonzalo, Marta Miró, Ramón Campos, TeresaFernández- Campos, Ramón Miró, Marta Gonzalo, Producers: Sara Directors: Distributor: David Pinillos, Gustavo Ron / today’s struggles are often similar to those of yesterday... mentions, Puerta Guiomar as all, After similarities. highlights their and yesterday’s of that with today of youth n tmls tension, timeless and universal very ultimately as this Through youth. at well chance as second a generation, for looking are who Guillermo, like just younger collective those, and the individual of the aspirations and world locked this between tension the around entirely revolves series The music industry. which he sees as both a revolution for himself and for the project, his into himself throws boldly He emancipation. temda nentoa Sls / Sales International Atresmedia oncs the connects Revoluciones 45 Composer: Federico Jusid / Carlos Cast:

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SERIES IN FOCUS CHAIRED BY LUNDSTRÖM :LARS ‚screenwriter, producer† producer, actress† WITH :NANNAKRISTÍN MAGNÚSDÓTTIR ‚creator, screenwriter, director, break fromtheproject. a take to divorce, own her through going was she when this However, series. work is not autobiographic, the which is why Nanna decided, writing was she when own her as well as the her around from happening divorces inspiration various took she as a importance on greater took aspect dramatic This tragic. quite divorce clearly is of subject chosen the explains, Magnúsdóttir Kristin Nanna creator as but present, aspect certainly comedic most is The genres. between lines the blurs infidelity. husband’s her out about finds she when apart falls world whose therapist, The series revolves around Karen, a mother and couple’s THE ART OFCREATING A DRAMEDY ICELAND HAPPILY NEVERAFTER apl Nvr After Never Happily a fo te ns n olwo, hs ae a Nanna as are, jokes, "Icelandicstyle", these rawandveryreal. Hollywood, in ones the from far this, of proof a screens, are scenes sex The TV Iceland. in including our on disarmingly see is rarely we Karen, Something series, natural. the in lead female The FEMALE HEROINES creating astrongempathytowardsthecharacters. way, day-to-day and realistic a in broached are aspects dramatic These drama. of realm the into more series the sub-themes, lead divorce, The a after up behaviour.back yourself building and notably attitude her lead, female the to linked intrinsically are comedic series the in scenes the all and humour the out, points Nanna As Composer: Magnúsdóttir, Huldar Breið¿örð, Sólveig Jónsdóttir / Date ofbroadcast: September 2019 abaegr / Pabblahelgar title: Original place in the small Icelandic ecosystem. It was particularly her finding in vital For is roles di erent these series. on her, screenwriter,taking the of creator, actress lead and the producer director, simultaneously is Nanna A ONE«WOMAN ORCHESTRA bombshell thatKaren wasexpecting. witless the mistress, nor evil, of husband’s embodiment the neither is the who notably characters, other female the on working involves also stereotypes down all her weaknesses are put under the spotlight. Breaking In ordinary,and heartless. is character main the often After, Never Happily are that series, in more and more an alternative to the strong create female leads that we are seeing to wanted also She her. consistently to up have o ered been that characters victimised or stuck love- the to di erent was that character female a create to wanted Nanna series, the in acting also was she As an Kitn ansótr poues, hr iujnsn eeuie rdcr / producer) (executive Sigurjonsson Thor (producers), Magnúsdóttir Kristín Nanna Enet / REinvent Distributor: Gísli Galdur / Production: Cast: an Kitn ansótr Sen Óau Gnaso / Gunnarsson Ólafur Sveinn Magnúsdóttir, Kristín Nanna rgnl idea: Original Zik Zak Kvikmyndir, Ungar kvikmyndafélag / an Kitn ansótr / Magnúsdóttir Kristín Nanna Directors: Nanna Kristín Magnúsdóttir, Marteinn Thorsson / funding tobereleasedbytheIcelandicFilmFund. the for wait to need will production but development, in is 2 Season Iceland. in October early air will 1 Season requires somedi¸cultdecisionmaking. the edit, which is for her the most challenging stage as it during particularly project, the of stage di erent each in involved being enjoys and producing explains,loves she herself she As REinvent. company Danish the and RÚV the support of the Icelandic Film Fund, the public channel the series with her own company, CUBS Production, with produced She lot. a her taught who woman, younger a (it was suggested that she worked with a man) as well as hers of friend male a with episodes some co-wrote she as project, this on alone means However,no by was she Nanna which for received manyrejections. project, original this for necessary Producers: Birgitta Björnsdóttir, Screenwriters: Broadcaster: x 5 / / 45’ x 6 Format: an Kristín Nanna Ú / / RÚV

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SERIES IN FOCUS MARIKE MUSELAERS ‚co-CEO, Lumiere†CHAIRED BY ‚co-CEO, :MARIKEMUSELAERS WITH :AMYCHAPPELHOW ‚Script Editor, Two Brothers Pictures† stage oftheproject. each at heard are voices their that and work best their Their role is to ensure that the writers are putting forward fiproduction, development, from editing. stage, to lming each during present is editor script editor.The script of role – varied extremely – the details Chappelhow Amy A ‘HOW TO’ ON SCRIPT EDITING normal lifewhilehercrimeisstillthetalkoftown? a live and on move she can how But parents. her at live and friendless, she has no other choice but to go back to jobless thirties, late her In crime. terrible a for prison in fisentence having her after nished life day to day Miri’s follows that dramedy a who character,is lead the Haggard, plays also Daisy by created is which Life to Back UNITED KINGDOM BACK TO LIFE gave roomforimprovisation. therefore and project the and actors the between ties the strengthened which set, on was actress, and creator the both is who Haggard, di Daisy somewhat as erent With respected. is vision and the production, in order to guarantee that the writers’ editor then becomes the link between the screenwriter(s) script The conversation. the within voice distant more a being and coherent is built have they that structure that the require, the they research that the ensuring to access writing, have the writers on eye close a editor script keeps the concerned, is development as far As , the situation was situation the Life, to Back James, Jamie Michie, Souad Faress, Frank Feys, Jo Martin, Liam Williams, Adeel Akhtar / Akhtar Date ofbroadcast:April2019 Adeel Williams, Liam Martin, Jo Feys, Frank Faress, Souad Michie, Jamie James, / Williams Harry Composer: / Haggard idea: Daisy Original certain flair tothecharacters andtheirbehaviours. a and story the to eccentricity an adds Daisy and storyline, characters on based comedy of art the mastered aspects: where Laura, thanks to her time in America, has comedic two create to able were and complementary due to her living in Los Angeles. The two writers are very constraints logistical the despite Solon, Laura with work to chose Haggard Daisy screenplay, the writing When BBC Comedy. convinced which tone, series’ the show to order in on early very created was teaser 10-minute an A stage. at early involved all were who director, Sweeney, Chris and executiveproducers, Williams, Harry and Hammond Sarah with her around together came team creative A a ect anentirelife? decision split one can how mistake: a of consequences the the on something write of to wanted She together. one work Williams, to wanted they and Pictures, Harry Brothers Two of founders knew Haggard Daisy A WELL«OILED MACHINE Solomon Grey / Grey Solomon BBC Three / Three Broadcaster: BBC Two Brothers Pictures / Pictures Brothers Production: Two Daisy Haggard, Laura Solon / Solon Laura Haggard, Screenwriters: Daisy all3media International / International Distributor: all3media ol ti ma tee ih b a osbe second possible a be season? might there mean this Could them. of all not but answered, be will questions Some dreadful crime, a which such are committed revealed at Miri the why end reasons of seek episode the 2. understand we to episodes, 6 the Throughout "Whydunnit?" a of more but start, the from guilty is character main the The seriesisnotatypical"Whodunnit?"asweknowthat and thriller the of art Twointrigues. the at perfected producers have the Brothers background, comedy a more from comes Haggard Daisy whereas members: team complementary the to thanks masterfully balanced all Back to Life is a mix between comedy, drama and thriller, ONE STEP FROMCOMEDY TO MYSTERY of source great inspiration fortheteam. a were unfolds, mystery the way the and pace their podcasts, Judicial released. are you once and prison gave in life on which anecdotes various Haggard ex-prisoners, Daisy with held were Interviews Sarah Hammond, Jack Williams, Jack Hammond, Producers: Sarah Christopher Sweeney / Sweeney Director: Christopher Cast: Daisy Haggard, Geraldine Haggard, Daisy Format: 6 x 30’ / 30’ x 6

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SERIES IN FOCUS CHAIRED BY ‚producer, :BÉRENGÈRELEGRAND Septembre Productions† ‚producer, LABOULANDINE THÉO Melocoton† Films WITH :SANDRA PARRA ‚creator, actress†, ADRIENPALLATIER ‚editor† h to raos atd o eeo te characters, the develop to wanted creators two 1-minute The short a in shape film, took initially project The to same-sex couples,thechildisalwaysplanned. of subject wanting a child; as there are no accidents when it comes the broaching of way poignant a particularly be to seemed director). couple gay a the on focusing (also of idea The Robin Armand and Parra Sandra start a family. This theme resonated with the two writers, Polichinellesto looking are who couple lesbian a follows GENESIS OFTHEPROJECT FRANCE POLICHINELLES cetd o te oie im Festival. Film Mobile the for created moi, et Toi the past2years. for series the of production the on working been they have whom with Films, Melocoton from Laboulandine Théo met creators the There, award. Cristal the de received Plume and sreenwriting of festival Valence at the presented was project the developed, was it Once fears. Polichinelles, a6x3’30 serieswasborn. their and desires their lives, own their from inspiration took then and depict, to wanted they that relationship a in moments keyfi the They of DNA. project’sthought rst the of part was that format short the maintaining while Sandra Parra, Armand Robin / Robin Armand Parra, idea: Sandra Original created duringtheedit,withoutimpactingmeaning. be to pace dynamic a for allowed which start, very the from in written were cuts",however, "jump The impact. (moving sequences around...) in order to create stronger screenplay the to made were changes important edit, the During smoothly. move things made which faster"), ("always pace of terms in particularly well, expectations workedpreviously had his understood and Armand, with The editing was the last decisive stage. Adrien, the editor, respectively. actress and director as roles their on took then Sandra they came to the end of the writing process, Armand and once accidents: any prevent fito to order prior in lming, work ground of lot a did creators the format, short this In order to be as truthful and impactful as possible within THE ART OFPACE Robin / Date ofbroadcast: May2019 (production manager) / Broadcaster: MelocotonFilmsCast: Sandra Parra, MagaliGenoudFormat: / 6x3.30’ Composer: Linda Edsjö / Production: Melocoton Films / Sandra Parra, Armand Robin / Robin Armand Parra, Screenwriters: Sandra absurd toalteritforartificial reasons. Polichinelles’ strength is in its format, it would have been Théo Laboulandine is sure that it is a cyclic phenomenon. Currently, there is little room for short format projects, but community. a had series the and strong reception,notablywiththepressandLGBTQ+ gestation second in a already 3.30 beginning: is a of season just episodes is 6 which each, develop minuntes to them allowed This as well as crowdfunding. formats des Fabrique La the Pictanovo, to CNC, turned team the fi where to nancing, solutions fito alternative had nd therefore He format. of terms in finot did it as had expectationsbroadcasters the of any t For the producer, the series represented a true challenge, FINDING ITS PLACE Producers: Théo Laboulandine, Archibald Martin Director: Armand

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SERIES IN FOCUS AND ALSO… THEWORKSAND ALSO… INPROGRESS (Netherlands, Norway) Heirs oftheNight (France, Germany) A FamilyMatter (Denmark) Romance (Norway) (France) For Life Mirage A Long NightinParis (Sweden, Denmark) Frankenstein 1918 Une bellehistoire (Israel, France) Snow Angels Holy Mary! (Sweden) (France) (France) Moloch (Malta) The Trial ofChristineKeeler Gangs ofLondon (Finland, Sweden) On DeathRow White Wall Deliver Us (Denmark) (UK, USA) Malaka (Spain) (Spain) (UK) (France, Belgium,Germany) Everybody isPerfect Ghosts ofthePast Turbulent Skies (Netherlands) Parlement (Belgium) (France) Mental (Italy) Génération Z–Steve Achiepo andAliceGiordan Entre cousins–FabriceKalonji Mbikayi Vieilles canailles–Aurore SerraandMadeleineGuillo followed byapitchofnomorethan1’30! pitch theirprojectforaseriesinfrontoftheprofessionalsattendance. Theformatofthesession:afilmed portrait 9 emergingtalentcomingfromdiversehorizons,spottedbyassociationssupported bytheSACD, wereinvitedto IN PARTNERSHIP WITH PITCHFLASH In partnershipwithLa FabriquedesFormats,accompanying2oftheformatsinfocusthroughtheirinvestmentfund. Focus on10newprojectsforseries,presentedbytheircreatorsthroughateasermadeespeciallythisoccasion : SPOTLIGHT BY ONTRAILERS SÉRIESERIES NEW VOICES NEWPROJECTS,AND ALSO… Bande Originale (France) (France) Motel (Burkina Faso, France) Broken Run No Blabla (Italy) Thank You ForPlaying (Finland, France) (France) G-Card Avec lefeu–VincentMauryandAurélien Manya Olivia TV–Rosine Kaboré Cuir noir–SamuelGermelus Ku KluxKlub (Belgium) (France) Transit WHEN KILL PAST THE IN COULD THE PRESENT The Umbrella THE UMBRELLA THE (Bulgaria) Miserere (Italy) By Sevda By Shishmanova

81 SERIES IN FOCUS THE MINUTES WERE WRITTEN BY To replay the sessions and best moments of Série Series 2019 and watch exclusive interviews of the speakers, check out our channel:

COMMUNICATION CRÉATEURS D'ÉVÈNEMENTS www.vimeo.com/serieseries

TRANSLATED BY : Olivia Mella and Mattias Mella

PHOTOS SÉRIE SERIES 2019 : Léa Rener and Aurélie Lamachère

VISUAL 2019 : 82 Aude Perrier

DÉCLINAISONS GRAPHIQUES : Loïc Le Gars and Hugo Thomas

Série Series warmly thanks the speakers, moderators, participants, the series’ teams, the volunteers and all the partners who made this 8th season possible.

Photos from this edition are available on www.serieseries.fr/en and you can follow us everyday on Facebook, Twitter, Instagram and Linkedin. SÉRIE SERIES, AN EVENT ORGANISED BY

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