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1 > 3 July 2015 se a s o n 4 02 Talents and Creativity! 03 They steer Série Series 04 The world of series, series in the world 08 A talk with …. Sir Ken Robinson 11 Contrasting perspectives … between actors 14 Contrasting perspectives ... scoring for series 18 Masterclass Éric Rochant 21 Masterclass Todd A. Kessler 25 Contrasting perspectives … Todd A. Kessler & Éric Rochant 28 Masterclass Anna & Joerg Winger 30 Masterclass Mette M. Bølstad 33 Masterclass Teresa Fernández-Valdés & Ramón Campos 36 Humans (United Kingdom/USA) – case study 39 Torpederna /Clean State (Sweden) – case study 40 Trapped (Iceland/Germany) - case study 42 The Enfield Haunting (United Kingdom) – case study 45 No second chance (France) – case study 48 Northern Mishaps (Finland) – case study 49 The young Montalbano (Italy) – case study 50 In the pipeline 52 Sessions for children 53 Industry Meetings 55 The Hero – Industry Meeting 58 The broadcasters’ conclave 59 Let’s talk about commissioning 62 Spotlight on trailers by Série Series 63 Dinners and parties

1 série series série series TALENTS AND CREATIVITY! © Pierre-Jean Rey

Courtesy of Carnival Films / Masterpiece

Série Series has closed the doors A new 2015 opus which is The editorial committee who An European steering group on its 4th season, this 3rd July 2015. enthusiastic, rich in surprises, with THEY STEER has shaped the festival from the made up of 8 professionals is now original and unique meetings and beginning is made up of 7 French assisting with the development of the For four years now, Série Series dinners on the grass in the shadow SÉRIE SERIES professionals who are both committed festival. has been scouring Europe for of the Chateau de Fontainebleau. A and enthusiastic, eager to support extraordinary and original series that warm atmosphere, a convivial and and show the very best in European ITS MEMBERS ARE have that extra something, common to yet studious bubble, where over a Série Series is the first creation in television series. Tasja Abel (ZDF Entreprise – all enduring works. dozen European series have been European event exclusively Germany) unveiled and a selection of 8 “works dedicated to series, by and THE COMMITTEE IS CHAIRED BY Stefan Baron (executive producer – For four years now, Série Series has in progress”. Let’s not forget the Nicole Jamet (screenwriter), Nice drama – Sweden) been putting European Creativity Spotlight on trailers by Série Series for those who make them. Philippe Triboit (director) Harald Hamrell (director – Sweden) in the limelight, convinced that it is that gives up-and-coming talent a Série Series is created with and Jean-François Boyer (producer, Lars Lundström (author and still an area that needs exploiting; an platform to showcase their work. two committees of influential Tetramedia) producer, Matador Film – Sweden) area rich in talent and brimming with Jed Mercurio (author, screenwriter creativity. In short, a unique event, thought European TV professionals. WITH and showrunner – United Kingdom) up and created by and for series Their missions: advise the Hervé Hadmar (screenwriter and Luca Milano (Rai Fiction –Italy) director), David O’Donoghue (Carnival Films – Talents and creativity are the key professionals. All this in a convivial, organisers of Série Series words of this 4th season, which has professional, open and easy-going Bénédicte Lesage (producer, United Kingdom) once again provided an eclectic and atmosphere. Authentic. so that the event gains in Mascaret), Tone C. Rønning (NRK – Norway) original panorama of series from the 4 Small is beautiful! efficiency and usefulness for Nicolas Jorelle (composer) and David Kodsi (producer, K’ien). corners of Europe. Original works that European professionals, today are brimming with universality and vision. A unique and singular editorial and in the years to come. With line created by the organisers: the the help of the steering group, Kandimari Agency along with the we are developing an event Editorial Committee and the Série Series’ European Steering Group. which is evermore European and aware of this sector’s issues.

2 3 DisCussiONs DisCussiONs Quality and successful TV series across the continent Launches on the rise with a steady share of local The World oF series, series in The World Amount of series launched by year and their share of local production 10 European countries (85 channels)

pRESEnTED BY sahar BAGHerY, head of content and 2012 2013 2014 strategy – Eurodata TV Worldwide

Launches 686 + + 2.5% 703 6.8% 751

Share of 37% = 37% = 37% local

Amount of new launches identified between 2012 and 2014 from 85 channels across 10 European countries : Denmark, France, Germany, Italy, Netherlands, Poland, Spain, Sweden, Turkey, UK

Sources: NOTA 1 europe: a pillar oF (compared to 703 in 2013) in ten or so will be on Arte shortly, for the French « return to roots ». For various different decisions (take a soldier prisoner or European countries. One third of these public. Kato Partali, a Greek comedy, reasons, the characters return to kill him, for example). creaTiViTY were local productions. and the Flemish period drama, their home towns. In Virage Nord, Creators try to imagine tomorrow’s In 2014, the average daily viewing European countries with the best Flanderichs Field, had the best market broadcast on Arte, the heroine returns world and series are based on our time per individual remained high reputations for series are, of course, shares, in any genre, in the countries to the North of France to investigate actual fears and the questions we ask worldwide and was 3h52mn in 46 producing new hits. The British of origin. Lastly, the miniseries Charlie the murder of a football fan during ourselves about the future. Trepalium, territories. However, a few disparities thriller, Fortitude, produced by Sky (based on the very controversial life a match. In the Turkish series, Ask which will be aired on Arte soon, are noted in Europe. TV viewing Atlantic, was hugely successful in of the politician and former Prime Yeniden, a man and woman come is a sci-fi series which takes us to remained stable in Germany and its country of origin, but also in Minister, Charles Haughey), was quite home from the United States and lead the near future, where over 80% increased in Poland, Norway and the Scandinavian countries. It will be an event in Ireland. their respective families to believe of the population is unemployed. Netherlands. Viewing time in the aired on CANAL+ in France soon. The that they are a couple. In the Russian Co-produced by Arte and the United Kingdom fell back (3h40mn in European co-production, The Team series, Love Blooms in Spring, a young Norwegian channel TV2, Occupied, 2014, against 3h52mn in 2013), with The laTesT Trends in (a new creation from Peter Thorsboe) The World oF series woman returns home after two years is a series imagined by the master audiences fragmented by transfers climbed onto the list of top ratings in in a coma. To her great surprise, her of the Scandinavian crime novel, Jo to other screens and the arrival of Scandinavia. In Denmark, the series Several trends emerged clearly in 2014 husband and her best friend pretend Nesbø, and is a political cliffhanger newcomers. doubled the market share of DR1 and certain themes were favoured. not to know who she is. Lastly, in of a thriller, focusing on oil issues in Television series are very much in during prime time. The Heavy Water Crime series may still be broadly Frikjent, which was a huge success the Arctic Ocean. Humans, a British demand and in 2014, represented War has given NRK, the Norwegian successful, but a new craze for spy in Norway, a businessman returns to remake of a Swedish series, started 24% of programmes in the TOP 10 of channel, its best ever audience rating. series was noted. This genre provides his home town after 20 years, having airing on Channel 4 two weeks ago. 41 European countries. Drama series Witnesses registered 44% of the the opportunity to cover historical been acquitted of the murder of his It amassed an audience of 4 million, are centre stage (in front of soaps market share on France 2. It has also events from a different point of view. girlfriend. which was the channel’s highest and sitcoms). In certain countries, been aired in Norway, Australia and The German series, Deutschland 83, The war continues to inspire series’ rating for an original creation in over notably Turkey and Macedonia, Belgium and will soon be on British takes place in the 80s, right in the creators and several mini series cover 13 years. On a much lighter note is drama reigns, as 9 out of the 10 of screens. ITV Studios’ new production, middle of the Cold War. It narrates the these horrors. All wars and conflicts Mission Earth, the Dutch comedy the most successful programmes in the Nordic thriller Jordskott, although adventures of a young East German are tackled. Los Nuestros, a Spanish series, telling the story of a spaceship terms of market share, are series (all very dark, met with immediate success spy, who has infiltrated the American series, treats the kidnapping of a on a mission to find a new planet to local). Some of the series that have in Sweden with the 15 to 34 year-old army in the West. Other series give child by Jihadists. As with spy series, accommodate humans after the ice the highest audience ratings in their age group. a more intimate perspective on the they enable the exploration of several melts. country of origin are the invincible European creativity is present in all world of spies. This is the case for The points of view: that of an Italian Comedy still reigns in the series’ Tatort in Germany, which appealed countries, including those we are not Bureau which gave CANAL+ its best journalist in L’Angelo di Sarajevo, sector, but local successes have to 13.2 million viewers and Sherlock used to mentioning. New quality series audience rating since The Tunnel. of a family in Die Himmelsleiter and difficulty in crossing frontiers. In and Call the Midwife in the United have come to light in these countries, London Spy is a BBC2 series set to even scientists in The Heavy Water Sweden, the Ack Warmland series Kingdom, which had 12.7 and 11.4 attracting wide audiences. So, in broadcast this summer; a romance War. War has even gone interactive (featuring a mother who opens a million viewers respectively. Iceland, The Lava Field series (which between two men from two different in Our World War, produced by BBC beauty salon) had up to two million More than ever, creation is at the heart worlds, one working for the British In partnership with tells the story of a detective from Three. This mini series is based on the viewers, the best audience for an of the international grid’s renewal, Reykjavík assigned to a suicide case Secret Intelligence Service and the writings of First World War veterans. episode of a series for three years. The thanks to several new programmes in Ireland) obtained an impressive other from the world of clubbing and The first episode was put online on Netherlands’ Family Kruis, doubled with immediate success. Over 751 market share of 90%. This has already youthful excess. the BBC website and allows viewers the prime time market share of RTL4. new series were launched in 2014 been aired in Sweden and Norway, and Several European series are treating a to influence the main characters’ Sitcoms imported to Europe are,

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music for Frikjent, was composed interaction. In Great Britain, the three by SVT Flow, which is devoted to new taken power). Those interested in by Highasakite. The music and the interlinked shows Cucumber, Banana, talent. downloading the series will be able soundtrack play an essential role Tofu were aired simultaneously; Some unexpected new players to do so free of charge, but will have in all remakes of the Italian series, Cucumber on Channel 4, Banana on have also embarked on content to pay a set price to avoid advertising Braccialetti Rossi - American, Spanish, E4 and Tofu on the channel’s digital creation. Yahoo Screen (financed and have access to exclusive content. Peruvian. The clip of the song for platform. In France, TF1 introduced through advertising) has produced Lastly, social networks can also be the Italian version, sung by Niccolò a competition linked to the Persons the futuristic comedy Other Space a medium for series. In this way, Agliardi, has had 4 million views on of Interest series. For the broadcast (developed by Paul Feig, the creator Snapchat has launched two series: YouTube. of the last episode of season 3, of Freaks & Geeks and director of the Snapper Hero (with numerous web the channel set up an interactive next Ghostbusters). Sony Pictures stars) and Literally Can’t Even. THE DEVELOPMENT OF competition, the winner of which is has launched the Powers series on To conclude, Europe is a fast- NEW TRENDS invited to appear in the next episode PlayStation, based on a comic book developing hotbed of original creation. of the series. (a second season has already been The success of series locally is a first In order to deal with the competition, commissioned). Bit Torrent (known step towards international recognition. producers and broadcasters adapt to mainly for illegal downloading) is There are still two development lines new consumption trends. Catch-up THE WORLDWIDE EXPANSION OF keen to improve its image and will to look into: prolonging the experience viewing is developing fast. In this be financing a sci-fi series entitled beyond linear broadcasting (adapting domain, the United Kingdom is the NEWCOMERS The Children of the Machine (the to the new trends) and developing undisputed leader. Sherlock was the The development of Hulu, Netflix story is set in 2031 in a futuristic partnerships with the newcomers. ■ most-watched programme on BBC and Amazon provides new creative society where android robots have iPlayer last year and the first episode opportunities. Although these exceeded 4 million views. In France, international online platforms have Broadchurch and The Blacklist were huge catalogues of TV series, they are the two series watched the most on investing more and more in original catch-up in 2014. creation. The third season of Orange Channels no longer hesitate in Is the New Black has been launched distributing their programmes before by Netflix, who has also added the they have been aired. The British Sense 8 series (created by Andy and channel, ITV, made all the episodes Lana Wachowski) to their original of Cockroaches (a post-apocalyptic drama catalogue. Amazon Instant comedy) available on their player, Video have made available original before the linear broadcast. In France, series produced via a system of pilots. to adapt to binge watching, all 10 In this way, 10 series secured a full episodes of The Bureau were available season, amongst which Mozart in on Canalplay Infinity, the day the the Jungle and Transparent. Taking first two episodes went on the air. up series that have been dropped by In Germany, MyVideo offered free traditional broadcasters is another unreleased seasons of the American of these platforms’ strategies. Netflix series Spartacus and Vikings, almost partnered TV2 in Denmark to co- a month before their airing on produce Rita, of which, thanks to the ProSieben. RTL (The Netherlands) platform, a third season was made. also offers viewing of series 7 days The third season of Ripper Street was before airing, but this is a pay service. co-produced by Amazon and the BBC. Finally, there was an exclusive offer on All eight episodes were put online last SVOD HBO Nordic to watch 100 code November, before their broadcast on (a Swedish-American co-production) in BBC One. Amazon has just recently March, when airing in Sweden is not announced that they will be producing planned on Canal 5 until this summer. more often than not, American. Some anthology series (Accusé on France 2, another two seasons. New trends are changing our regional exchanges can be seen in Banana on Channel 4). The Spanish Local SVOD platforms are also starting relationship with time and Scandinavia and in Eastern Europe, series Cuentame Un Cuento, puts to create original content. Zwarte encouraging immediacy and but the main supplier of comedy in a quirky slant on tales, with one Tulp is the Dutch platform Videoland simultaneous broadcasting. The Europe, is still the United Kingdom. tale per episode. De Biker Boys, the Unlimited’s first original creation. Spanish group, Atresmedia, launched Cucko and Hebburn have just been Belgian series, is a sort of ‘making of’ Der Lack Ist Ab was developed on the The Refugees simultaneously on released in Germany and Portugal documentary on a motorcycle gang’s German platform My Video. In France, La Sexta, Nova, Antena 3 and Neox. respectively. trip. FRAT, a series set in the near future, CANAL+ gave non-subscribers the Series provide the opportunity to Beyond concepts, direction and style, was produced by Canalplay. The Italian opportunity to watch one episode of invent and test new modes, be it in there is one ingredient which can SVOD service Infinity, created the Bob Spotless on YouTube. terms of storytelling or direction. alone be considered the very essence Torrent series. Lastly, the Swedish Digital strategies are being developed There is a strong comeback of of a series: the soundtrack. The theme comedy Taxi, was entirely financed to encourage social and creative

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A TALK WITH SIR KEN ROBINSON

Speaker Sir Ken Robinson, author, (United Kingdom)

Introduced by Stefan Baron, producer, Nice Drama and Nice Entertainment Group (Sweden)

Sir Ken Robinson is a British VIVA LAS VEGAS CREATIVITY: THE They illustrate a fundamental point Many of the technologies that we you consider how well Americans in human creativity: people feed off have evolved in the past three encourage acid reflux ». author and speaker who is Sir Ken Robinson lives in California, ULTIMATE WEAPON other people’s ideas. One idea, if it’s hundred years are having unintended not far from one of the most internationally renowned for AGAINST PRESENT AND transformative, can cross-pollinate consequences. People who have When Sir Ken was writing his book fascinating cities in the United States. FUTURE CHALLENGES with all sorts of other ideas and create discovered their creative talents The Element, he met several well- talks on developing creativity « There is no reason for Las Vegas to completely unexpected consequences. have a historic responsibility to known personalities. He asked Paul and innovation, particularly in have been built where it is, right in the Although it is difficult to prove, Bridget Driscoll has an unfortunate help everybody face the challenges McCartney if he had enjoyed music at middle of a desert ». The vast majority since nobody has been counting, it education. His TED talks are place in human history, as the first that we are creating. Unfortunately, school. He replied that he had not and of towns are built for a reason. There is estimated that over 100 billion the most popular of all time, death in a motor accident. In 1896, many people never discover their that his teacher felt he had no talent. is an advantage to their location, on a human beings have lived on Earth Bridget Driscoll was walking in real talent. A few years ago, Sir Ken Two years later, this same teacher watched by 300 million people river, near a port or a natural harbour over the past 150 000 years, since the London, when she was knocked over Robinson published a book entitled: had George Harrison in his class. or on a hill, for purposes of defence. appearance of homo sapiens, people across 150 countries. Sir Ken by a Roger-Benz car. Apparently it was « The Element: how finding your The teacher thought George had no Paris was built on the Seine. Las like us, with our abilities for language, Robinson has been invited just going too fast and she could not passion changes everything ». This particular talent for music either. So Vegas, on the other hand, is in the our abilities to create, our abilities get out of the way. The car was going book is based on the perception that this teacher had half of The Beatles today to talk about creativity middle of nowhere. There is no reason to plan a future, our sensibilities. Of at 7 miles per hour. There was an most people go through life without in his class and yet was incapable of and talent, two subjects which for it to be there and yet it is one of these 100 billion individuals, almost inquest and the jury returned a verdict identifying their particular talent and spotting their talent. In the United the fastest-growing cities in America 10% of them are living on Earth today. are very close to his heart. He of accidental death. On hearing the get through their lives without really States, Elvis Presley was not allowed over the last thirty years. For Sir Ken, When the Château de Fontainebleau verdict, the coroner said « he hoped enjoying them. in the Glee Club at his school, as they does not work in the world of Las Vegas is a fantastic example of was built, there were less than a billion such a thing would never happen said he would « ruin their sound ». television, but he is convinced one the most distinctive powers that people on this planet and now there again ». Since then, over 20 million Our education systems are based on that talent is essential to this humans possess. are more than 7 billion of us (and REVOLUTIONISING probably 15 billion by 2050), every one people have been killed in motor EDUCATION conformity, whereas each child is sector, as it is to many other accidents in the world. Of course, this different, unique and unpredictable. Not much separates human life from of them unique. was not the intention of Henry Ford Sir Ken Robinson calls for the creation This formatted education is oblivious industrial sectors. the rest of life on earth. But there is nor of Mr Benz. These accidents are of a new education system favourising to this and that children have their a reason why we live in great cities Sir Ken recently saw a documentary on the unintentional consequences of creativity, instead of dragging it down. own particular talents, even when it is and invented television. There is a the BBC entitled: « how many people technology. When John Logie Baird Most children come through education these talents and particular interests reason why we create great works of can live on Earth ». The conclusion invented television in the 1920s, he depressed, having not discovered that enable them to find an activity art. There is a reason why the Château was that if everybody who lived on did not anticipate Fox News. When their talents or believing they do in which they can excell. If they all de Fontainebleau is such an ornate this Earth consumed at the same rate the iPhone was first marketed in 2007, not have any. Each child has unique do a certain type of academic study, and extraordinary building. Unlike as average North Americans, by the there were 800 apps available for possibilities. School is supposed to be they can all get degrees and become other animals, we have very powerful middle of the century, we will need download. Eight years later, there are 3 somewhere for personal flourishing. lawyers, for example and it will be imaginations. It is the source of a four more planets for our needs. million apps, most of which were never According to the World Health wonderful. But this is not the case, in whole other series of more practical Creativity is also the source of much anticipated by or planned for by Apple. Organisation, by 2020, depression fact it is a catastrophe. « I want schools powers which we call creativity. of the technology that surrounds There is now even an app which will will be the second largest cause of to be personalised to the talents that Yet our creativity has caused many us. The iPhone, for example, has convert your iPhone into a harmonica. disability among humanity. In the children have got. There are some problems. It is at the origin of the two transformed the world that we live But why? States, sales of anti-psychotic drugs things we need to learn in common, main challenges that humans face in. Digital technology has changed have overtaken that of drugs for acid but there are some things that we need today: the population explosion and our expectations and opened up a reflux, « which is extraordinary when to learn about ourselves that schools the impact of technology on our planet. whole new range of possibilities.

8 9 discussions discussions should help us learn ». DEVELOPING A SENSE OF to pursue higher education. Thanks to When Bart Conner was eight years music, these children have been able CONTRASTING PERSPECTIVES... old, he discovered he could walk on POSSIBILITY to find their way and discover their his hands. This was not a very useful To end his talk on a positive note, Sir creativity. talent, but at least it was amusing and Ken presents a video he discovered This atypical project illustrates the BETWEEN ACTORS Bart quickly understood that he was recently on the Internet. « The world inexhaustible power of our creativity able to entertain people, especially sends us garbage, we send back and our talent. It also illustrates the when he learnt to walk downstairs music ». This is the motto of the fact that technology, be it a plough, on his hands. A few years later, his orchestra from Cateura, a slum of a an iPad or a harmonica, extends our few metres from the biggest landfill mother organised for him to go to a reach and opens our minds to a whole Speakers gymnastics centre. Bart remembers in Asunción, the capital of Paraguay. world of possibilities. A symphony Shima Niavarani, actress (Sweden) when he walked through the door of Favio Chavez, founder of the Landfill orchestra is a tool kit. Music is not in Geoffroy Thiebaut, actor (France) the gymnasium. It was like Disneyland Harmonic, was convinced that the instruments, it is in the musicians. Jean-François Vlérick, actor (France) and Santa’s Grotto. There were wall music could change the world, but Sir Ken reminds us that, as with Patrick Renault, screenwriter (France) bars, trampolines, ropes, vaulting particularly the lives of the children rubbish, human resources are often of Cateura. The idea of forming an Chaired by horses… it was intoxicating! For the buried very deeply in people. We Marie Kremer, actress (Belgium) next ten years, he trained every day. orchestra in one of the poorest cities have to create the conditions for it to Matthieu Rozé, actor, director and At the 1984 Olympic Games, he won in the world was a both daring and emerge. Las Vegas, built in one of the screenwriter (France) the gold medal for parallel bars (with a crazy gamble. To start with, buying most inhospitable places on Earth, is a score of 10). In 1996, he married Nadia new instruments was out of the symbol of our « sense of possibility», of Comaneci (the first female gymnast question. « A violin costs more than a our ability to imagine what could be. to be awarded a perfect score of 10 house here», explains Favio Chavez. Humans have always lived in a virtual in an Olympic gymnastics event) and So he made them from bits and pieces worlds. We create the worlds we live in they have a son, Dylan Paul. None, found on these rubbish heaps. Juan through the ideas we have, languages, absolutely none of all this would Manuel Chavez, nicknamed Bebi, art forms and values we hold to. The have happened if his mother had not plays a cello made from an oil can, challenge we have now as a species, encouraged him. She could have asked some recycled wood and some old is to dig more deeply for these talents him to stop walking on his hands, but cooking utensils, including a meat and create conditions where they instead she decided to encourage tenderiser. He plays the prelude to can flourish. Challenging the way this singular talent. Even if she did Bach’s cello suite n° 1, for the camera. we educate, run our businesses and encourage him, she could never have This orchestra has completely changed run our communities and creating a foreseen the life that he was about to the lives of the children from Cateura. climate of possibility. If we get it right, live. The reason is, life is not linear Over the past few years, this orchestra we will still not be able to predict the and every single life is different. has been touring the world. The tours future, but collectively we will have INTRODUCTION depends mainly on what “kind of actor finance social projects, with the profits one is” and more bluntly speaking Unfortunately, our education systems a future that we and are children will This discussion brings together several families have been rehoused one’s financial clout. She brings up are based on conformity not diversity. want to live in. ■ actors from varied generations and and several children have been able her experience on 30 Degrees in The other principle on which our backgrounds. Some work mainly in February: she loved the script, the education systems and many of our the theatre and others mainly in film. role was written specifically for her, business plans are based is linearity, What they do have in common, is that but this didn’t stop her often using the idea that you can look ahead with they all have or are currently working improvisation. Actually, in general, at confidence at what’s going to happen in TV series and have come here to least in Sweden, she has noticed an next and predict it. It turns out that discuss their experience in this field increasing tendency towards the use of most of life is unpredictable. It is of work. What relationships do they improvisation; something that is asked what John Kenneth Galbraith, the have, in this specific context, with the of actors more and more, especially in economist, had in mind when he said other professions involved? What is the world of comedy. The use of the that, «the main function of economic the level of their involvement, as an script will certainly be very different forecasting is to make astrology look actor, in the creation of the character? in the context of a drama series. It is respectable ». We create the worlds we What are the implications of taking on more restricted and remaining faithful live in, we create our own paths, we a recurring character, sometimes for to the script is certainly an important create our own futures, according to years on end? These are some of the factor. Nevertheless, she has come up whether or not we discover the talents questions that the participants of this with a lot material herself, for scenes that lie within us and where they meet “contrasting perspectives” session will of a very serious nature and with our passions. attempt to answer. the showrunner present, has given the writer a significant quantity of THE RELATIONSHIPS material going beyond the script; up to BETWEEN ACTORS 50% of the dramatic content. AND SCREENWRITERS: Geoffroy Thiebaut also came from a IMPROVISATION, heavily theatre-based background, until he was seduced by television. FREEDOM FOR AN He took part in some 60 television ACTOR, RESPECTING films and for 9 years has been in THE SCRIPT…COMPLEX Braquo, a very successful series that QUESTIONS AT THE has just signed a 4th season. He HEART OF THIS never imagined that improvisation could become so important; he was DISCUSSION… always of the belief that the script was In partnership with Shima Niavarani worked at the paramount. However, nowadays he Royal Dramatic Theatre for 10 years likes “losing himself as a person” in before her career turned towards film the ins and outs of the script and his and television. She thinks that the different characters’ psychology, when relationship with the screenwriter he is given that kind of freedom.

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Marie Kremer learnt her craft in frustration at not knowing what actors excites him at the same time. In his should be the understanding of certain channel, it’s not easy to move and insists that in France, actors are Belgian fairground theatre. She then you are writing for, as one cannot experience as the villain in Braquo, common goals and the affirmation to another. It can be very easy to be all too often suspected of deforming did a couple of television films before usually help writing with someone in he confesses never having altered a of a shared ideal for every part of niched into a certain type of part, if the original idea or even getting ahead moving from films to TV series and mind. single one of Olivier Marchal’s lines the audiovisual sector. No one can one is not careful. That’s the reality of the storyline. This gives actors for the past seven years has been Patrick Renault isn’t convinced of the during the first season. The second deny this ambition and this desire actors must face, sometimes taking a very little credit and actually puts playing one of the main parts in necessity of moving to a showrunner season, however, was a very different are the cornerstones of the greatest courageous stand, sometimes having their intelligence in doubt, when all Un Village Français. She questions system, but he concedes that it is a story and the process of embodying adventures. to make difficult choices, even if that they want to do is give the best of Patrick Renault, in his capacity as a shame to not be able to get all parties the characters had changed. The means not working for a year, after themselves, with all the discernment screenwriter, on how he sees the place involved around the same table from actors were a bit lost with the arrival DISCUSSION turning down a “restricting” contract. they are capable of! of the actor in relation to the script. the start more often. Something which of the new screenwriter, Abdel WITH THE AUDIENCE Shima Niavarani also knows the pitfalls Matthieu Rozé agrees that it can And the subject turns out to be a would not change each individual’s Raouf Dafri. But he proved to be very of type-casting in Sweden. Although sometimes be tempting for an actor sensitive one… prerogatives. vigilant, giving subtle guidance to Does the live aspect of theatre offer Meryl Streep can pride herself in her to run faster than the music, but as Patrick Renault, a screenwriter on Matthieu Rozé started in cinema 20 them all. This included a reading being more freedom to actors? many transformations for each part this is not desirable, it is necessary to various long-running series, as well years ago, then moved on to television, organised around a table, where the This clearly isn’t the opinion of the she plays, finding and obtaining such understand the work of approaching as famous cartoons, would like to see playing a lead part in Central Nuit script was revised. actors present here today as they feel a diverse palette of parts as she does, a character as a mix between its a balance between a certain freedom for five seasons, and for the past two Shima Niavarani confirms that it is unanimously that it is easier to “try but to go after such diversity and composition from the screenwriter and given to actors and never losing the or three years has worked mainly in rare to be invited to a reading. It’s things ”in television or cinema, in managing to attain it during one’s its embodiment by the actor. “fundamentals” of the series and theatre. He notes the importance of rarely possible, often due to financial front of a camera, rather than theatre, career, is not easy. Yet, it is an actor’s Shima Niavarani adds that it is the the characters. His concern is not having a common “Bible” from the constraints, to get the entire script which requires the strict respect of duty to push further and break the director’s responsibility to keep an to let actors invent the characters start. A script is something precious: before accepting a project, even the script and thus is more restrictive. clichés they can fall into. They need eye on the speed of the narrative themselves (and he reminds us that the it’s the starting block of an adventure though she systematically asks for it. One can improvise in rehearsals, but to show polyvalence, and never be and the evolution of the characters, writer is not present on set, whereas that will be turned into pictures. not once the curtain rises. One can, predictable. Refusing stereotypes also whereas it is the actor’s responsibility the director is). This bible gets richer as the series however, “intellectualise” less in film means that writers have to write with to keep researching, trying out and THE SEARCH FOR MORE and television. It is exactly this sort of mistrust that goes on, thanks to the actors as well. MUTUAL RESPECT more nuance and it’s a way of raising taking risks, as that is their job and Marie Kremer criticises screenwriters He believes that he has sometimes It is undoubtedly very lucky for any standards. Everyone benefits from it: what they are trained for. Being an for having. It seems to her, and managed to develop a successful Listening to the debate, Shima actor to work in all three genres and actors, screenwriters, directors and of actor is artistic creation. Even though wrongly so, that we are “scared of complicity with the person writing for Niavarani notes that everyone feels live off that variety, as they all have course the public, who are not easily relationships are clearer when there actors” in France; we don’t trust them him, but would have liked that to have powerless in their particular position. their own magic. Television enables fooled and know quality when they is a showrunner who takes all the enough and this blocks a part of the started sooner in the process. She therefore brings up the issue actors to have very stable working see it. decisions, hearing of the obstacles, creative process. In other words, we Marie Kremer bounces back with of structure, with roles being too rhythms: it’s a very singular schooling conflicts and frustrations that some prefer to use them as simple runners the importance of relationships with compartmentalised, and an industry that allows for techniques and a way A member of the audience thinks complain about today, when this isn’t who are technically competent, but writers. It’s all a question of wanting that is too heavy and pressing, putting of operating that cannot be learnt that marketing requirements actually the case, she suggests that no more than that. She’s not asking to. One needs to awaken a desire the individual to one side. Fighting elsewhere. can sometimes ruin everything. there should be discussion between to be part of the writing process, but within an actor to perform their best, this system as an actor isn’t easy, but Screenwriters should be protected so actors and producers regarding artistic would like actors to be involved earlier stimulate them, especially when it she will often resort to social media What of the relationships between as not to deviate from their original licence. in the projects they are cast in. Too concerns creating a long-lasting role, or ask her agent if such and such actors, especially on long-running work for financial or other reasons… often they are left on the sidelines as is required in series. screenwriter will agree to meet with series that regularly incorporate new Patrick Renault has noticed that actors TO CONCLUDE and this lack of dialogue is not only Jean-François Vlérick started his her. Through the human condition, protagonists? generally embody their characters Shima Niavarani takes it upon herself demotivating, but also frustrating in career at the age of three. He worked with a touch of spontaneity and maybe Jean-François Vlérick salutes the work correctly, but not always with the right to conclude the discussion: when it an actor’s daily life. a lot as a child, in theatre and in TV even a bit of coincidence, one can carried out between actors on a series, timing, as planned for the series and boils down to it, the main objective is and film. He returned to the industry hopefully come up with more success the complicities they create over time its development. Beyond any financial to touch and move an audience. There two years ago and approaches this stories. and before shooting. It is not a mystery contingencies, this respect of timing THE UTILITY OF are a multitude of ways of creating art new landscape with a certain naivety Nicole Jamet would like to see a as to the quality of series. in narration needs « protecting ». CONSIDERING and it’s this diversity of approach that and almost childlike wonder. He greater respect of each other’s jobs When one plays a recurring part in a In answer to this remark, Marie needs to be respected and preserved. ■ PRELIMINARY READINGS admits that he is very eager, doesn’t and competence in general. Every series for a long time, adds Matthieu Kremer goes back to the initial debate WITH ACTORS AS understand a thing about the industry feature film, every series, is its own Rozé, it is an actor’s job to “welcome STIMULATION around him. It fascinates and it and specific project, but the constant the newcomers”. They have a particular responsibility as “elders”. Nicole Jamet intervenes from the audience on this subject. As a What about the danger of acting in a screenwriter herself, in 20 years series for too long and being type- she has managed only once to get a cast? preliminary reading with the potential One usually has the freedom to actors she wanted to meet. She brings disappear, but as a main protagonist, up power struggles and notes that this it isn’t always easy. Matthieu Rozé can often embarrass the director and brings up, for example, his tragic that the work on the script is usually death in Central Nuit, a disappearance done only in contact with the producer. that upset so many people, including In France, there is still a lack of this other actors, that he reappears as a notion of a “showrunner”, except ghost in the last episode of the season. maybe for Éric Rochant. Added to that, Marie Kremer thinks that it isn't the screenwriter is not involved in the easy to have such freedom in France casting process. She expresses her as an actor. When employed by a

12 13 discussions discussions

CONTRASTING PERSPECTIVES ON... SCORING FOR SERIES

Speakers John Lunn, composer (United Kingdom) Éric Neveux, composer (France)

Chaired by Nicolas Jorelle, composer (France)

WHAT OF THE MUSIC: A CHARACTER IN As a musician, he enjoys wandering from one style to another, from a PRODUCTION PROCESS? ITS OWN RIGHT? period film to a contemporary series, SHOULD ONE COMPOSE More than a character, John Lunn be it for television or cinema. IN ADVANCE TO considers music as an emotional John Lunn admits that it is a great ESTABLISH A RESERVE? concentrate which explains the delight for a composer to be able THE IMPORTANCE relationships between the characters; to tackle very different projects, particularly so with Downton Abbey. especially considering that the OF RELATING TO His work as a composer consists director is often unable to say what THE DIALOGUE AND more and more of understanding the he is expecting as the end product. allow for exploration, with each BY WAY OF AN PARTICULARLY THE emotions and consequently writing the It is actually important to know and episode bringing plenty of novelties. music that illustrates the protagonist’s to let others know that a composer INTRODUCTION It is a “constant discovery”, and at IMAGES psychological profile and their is versatile, as he will be very much Nicolas Jorelle is delighted to welcome the same time a constant challenge. Éric Neveux points out that the evolution throughout the series. All in demand, with the knowledge that two of the biggest names in music, for The approach, however, is not method of production is not always in all, the use of music has changed a he will always be able to create the films and series, but not exclusively. fundamentally different to that of the same. For Borgia, there were two lot over the past 25 years. Its role has element of surprise. And if not, it He briefly presents their respective cinema; the frame of mind is the recording sessions in London, firstly become of capital importance, even the would actually be quite boring! paths. The Scotsman John Lunn, has same. Sometimes the method differs, for the first 6 episodes, and then a Americans are starting to realise this; Éric Neveux adds that this versatility composed operas and has made a however this is not always the case: second session destined to “fill in the they are catching up, understanding does not prohibit the development name for himself in more than 50 at the BBC, for example, the use of gaps”, whilst respecting the tightening that the quality of the “sound track” is of personal musical style in the long series. Notably, he composed the optimal recording conditions means up of the narration and the intensity of not solely the prerogative of cinema. run. Deep down, it is not so much for original music to Downton Abbey for that there is no cause to envy cinema: the end of season, all the while staying their musical style that a composer which he has been awarded two Emmy the quality of the musicians, grand “true” in terms of musical colours and THE RELEVANCE OF is solicited, but more for his capacity Awards, in 2012 and 2013 respectively, orchestras when necessary, a seamless codes. For Un Village Français, the to understand the world of tv series and which will be a major talking point recording… All the ad hoc resources music was composed very quickly, COMPOSING FOR TWO in question and to merge musically during this discussion. Eric Neveux, are there. completely disconnected from the SERIES SIMULTANEOUSLY throughout the narrative arc. an autodidact, decided at the age of Éric Neveux agrees with him on images, it was necessary to create At the same time as Downton Abbey, 15 to devote himself to music. He has the fact that the process is hardly a considerable “musical reservoir”, John Lunn is working on another BBC worked with François Ozon, Patrice different. However, he does point out before editing. production, Lost Kingdoms, which is WHO IS THE ARTISTIC / Chéreau as well as Emmanuelle Bercot, the important factor of length. Indeed, As for John Lunn, he confirms that completely different. He recognises MUSICAL DIRECTOR? and has, for example, composed the conceiving the original music for a each experience is unique. For that the exercise is sometimes risky, Here again, the recipe can vary original music for renowned series series means composing the musical Downton Abbey, he describes a as he has to jump from one universe to depending on the projects. For such as Borgia or Un Village Français. identity, which will change episode made-to-measure production, the another, which is not always easy. Downton Abbey, John Lunn never after episode, season after season. music having been “choreographed” Éric Neveux feels the same way, consults with the various directors COMPOSING FOR A This requires a certain flexibility and according to the dialogues. at least in the initial stages of the (anyway, there are too many of them), SERIES VS A ONE- coherence and, at the same time, a Consequently, any possibility of using composing process. Inventing but he does take part in a three-way need for adaptability (for example, something from a communal reserve a musical identity warrants full conversation, with the producer and OFF: IS THERE A REAL was excluded. DIFFERENCE IN THE certain of his initial compositions for commitment. He likes to think in executive producer. He emphasizes Un Village Français turned out to be Moreover, John Lunn begins by trying terms of colours, whereas to begin, it that in terms of tv series, the musical APPROACH? difficult to use because of continuity, to imagine the music without being is clear that one must find the correct composition must be completely John Lunn often asks himself so he had to make changes). Here constrained by the image; he starts palette, without mixing everything. detached from the direction– this that question. He initially started it is really a question of thinking in with the script and sees how that At the same time, because he is so is different for cinema. He then working in cinema, before ending terms of a common core, with various inspires him. However, it is important passionate about his work, he thrives illustrates his point with an anecdote: up in television, slightly by chance. adjustments all through the narrative. to note that certain things and/or on challenges and manages to he recently worked on a series with scenes are difficult to imagine without In partnership with The possibilities of exploring the “compartmentalise”, disconnecting four directors, one of whom said that musical field through this media visual cues. The image therefore from the various musics and universes. he did not like the voice, both in the are immense. Series bring a breath becomes, very logically, an essential He evens admits to enjoying this generic and instrumental sense of the of fresh air. The narrative pathways support in the composition process. It processes and the necessary to and fro. word, even though four hours of vocal is even the most precious ally.

14 15 discussions discussions music had been pre-recorded, with approach to composing, seeing that he DISCUSSION uncommon that the question of music hidden meaning behind the images, but even complementary. In passing, a carefully selected singer. Without sometimes composes around patterns only comes up at the the very end their musical subtext? he points out that variations on an thanking him, the production team that were written previously, which WITH THE AUDIENCE in Britain, and it is important not to John Lunn does not work with the initial motif can become very time- made it clear that he had no say in the he remodels and recomposes over the An audience member, himself a idealise the situation when comparing writers. At most, he will sometimes consuming and somewhat sterile. matter. top when required, rather like a DJ composer, discusses the place of it to France… The subject might be have a discussion with the producer, Although he mentioned that Americans Éric Neveux backs this up with his mixing. This is called stem mixing and music within the French broadcasting worthy of a debate. or even the head of photography, very are making progress in original and experience on Un Village Français. mastering, which the Americans are landscape. He feels there is a certain Be that as it may, it is important to let rarely with the director, as mentioned orchestrated composition for series, The directors attended the meetings quite keen on, points out Éric Neveux. lack of consideration, when it seems yourself test the water, he adds, whilst earlier. As highlighted by Éric Neveux he has noticed that they are still using about music, simply for consistency’s John Lunn expresses his reluctance to him that in the United Kingdom in still being able to define what one earlier, this discovery is both subtle « soundbanks » frequently and that this sake, without this ever creating the on this point: he always tries to avoid particular, there is a greater respect would call a musical editorial line. In and fragile, it mainly depends on the makes their series very recognisable. need to recompose anything. It must providing stems, as you do not know for the composer’s work earlier in the the case mentioned earlier, the choice composers full understanding of the This is, of course, very efficient in be said that unlike Downton Abbey, what they will become. It is actually an process. He also asks John Lunn if, was made to create the familiarity series’ universe, above and beyond his this economically restricted world, the entire musical package was approach that can end up being quite outside of his work for Downton Abbey of the series with a singular vocal own talent. but rather impoverished artistically ready beforehand. For Borgia, the expensive, which could be a deterrent. or the Vikings film, music is indeed signature. So, from the second episode speaking. showrunner Tom Fontana, was the Once again, his job consists of working better take into account in Britain and when the musical universe started to An audience member goes back to the only one who had a part in the music, mainly with real musicians. Again, by the British. be properly defined, everything fell idea of a composer’s style: should they Finally, an audience member questions since he was the “brain of the series”. he insists upon the fact that he never John Lunn answers by mentioning his into place and was always consistent always affirm their own style or melt both composers on preliminary An episode of Borgia is mixed during silences the dialogues, he always has recent work on The Last Kingdom. For with the image. into a series and disappear? research in their field of work. a 2-to-5-day period at most, after them in mind; if by any chance his this series, he was indeed integrated Éric Neveux points out that in the John Lunn is too modest to say that John Lunn listened to a lot of English consultation with him. Éric Neveux music was to suppress the dialogues, into the project early on, due to the tv series’ sector, music is started at he has his own style and he feels it music from the Downton Abbey era never crossed paths with any of the this would mean that he had not done fact that he had to create something an earlier stage than in films, which is not for him to say. One is certainly and he decided that the key was not directors for a work session, and his job properly, despite the fact that “totally new”; a music inspired by allows for more detail in terms of recognisable, but it is important not to replicate the era, but to look for specifies that the editor also has a part it is possible to find acoustic balances the 9th century and yet reinvented. variations and musical references. This to try to be. The ability to adapt seems harmony, for the internal peace of the to play in that he might have to relay during mastering. It was on this project that he called is probably due to the fact that a series to him essential, as well as for Éric musical structure which is inspired important information. Éric Neveux, who had no choice but upon a woman with a raspy, almost is, more than anything, a concept Neveux who reiterates that he is not from the classic repertoire as well as to use stems for Borgia, as that is guttural voice, mentioned previously, which is more prone to evolving. John sought out based on his musical style, having a hint of jazz, whilst flirting what the series required, concludes discovered on YouTube, who he Lunn confirms: music is a key part of but more on his “chameleon” aspect, with Philip Glass… STEM MIXING AND invited to London to record, and this MASTERING that different processes exist. The the DNA of a series. his ability to blend into a drama and Éric Neveux says that for Borgia, it important thing is to always properly was a unanimous success… However everything that surrounds it. More was not a question of adding to the Éric Neveux suggests listening to two define the work method for both this was a very specific experience, How can one be confident in creating than the sound itself, it is the dramatic historical aspect. He latched onto a rd musical extracts, of the 3 season of artistic and composition purposes. with an experimental dimension, an acoustic identity for a series, impact which is important. Easy to hybrid format, between classic and nd Borgia and the 2 half of season 6 of where he was completely backed-up. which becomes a key ingredient in the say, probably, when you already have abstract, using percussion, without Un Village Français respectively. This This is not always the case. It is not branding of that series? Is there a fool- a name… leaning too much on Renaissance will enable him to explain another proof recipe? Back to the importance music. Nevertheless, for the 3rd of the image…. An audience member asks to know season, Tom Fontana had discovered John Lunn replies very humbly, that more about the inspiration process an instrument designed by Leonardo one must also take luck into account; of a composer… John Lunn likes to da Vinci, a sort of viola sounding in each recipe, there is a share of see the images, Éric Neveux likes the rather like a harpsichord, which never unforeseeable success. For the music electronic side… existed but was made especially for of the opening credits of Downton Éric Neveux obviously also composes the series. A special effort to connect Abbey, internationally renowned and a with the images. He does not always with the historical context was made major support in promoting the series create the music beforehand, out of here, relating directly to Leonardo da worldwide, he was mainly inspired nothing, but often composes facing the Vinci who makes an appearance in by images: the train, the telegram screen. It is true that he enjoys using the series. It is also important to stay announcing the sinking of the Titanic, keyboards and electronics, but this connected to the characters. Lastly, for and then the beautiful shot of the is his universe, it is where he comes Oz, his idea was from the start, simply lavish manor that gives its name to from. He has a very relaxed rapport to begin with metallic sounds, in the series… It is these initial elements with all these tools and “machines”, keeping with the prison world. ■ that inspired his composition, of which and experimentation in general. This he proposed a variation even for the does not stop him being influenced by 2nd episode. He cannot come up with the visuals. His relationship with the a miracle recipe, but willingly states image is practically physical. that the downfall would be to fully John Lunn does not reject the idea disconnect from the image. Without of using computers, with which he the visuals of the first two episodes, if creates small montages bringing him it had just been him and his piano, he closer to the intended goal and which would never have created what he did. are, more often than not, embodied in the orchestral recording. He likes to In general, the visual identity is one compose his score as he goes along, of the great qualities of Scandinavian on the piano as well as with these series, points out one of the audience more modern means and he feels these members. How does one find the two methods are not incompatible,

16 17 discussions discussions

ANOTHER WAY OF MANAGING SHOWRUNNER: A MASTERCLASS TELLING STORIES BROADCASTING DIFFICULT PROFESSION éric Rochant Éric Rochant points out the two CONSTRAINTS A series’ creator has to face two main differences between cinema The second great difference major difficulties. The fact of having and series. The first is the narrative between series and feature films is to delegate the creative process of format. In a film there are only two broadcasting constraints, imported a series and yet still guarantee its hours to develop the intrigue, whereas from the United States, which require unity, means the creator risks losing with a series, there is much more the production of a season every year the concept and philosophy he had at Speaker time to build over the episodes or for all series. As yet, this is rarely the start of the project at any time. Éric Rochant, creator, screenwriter, even, better still, seasons. Series give respected in France, so it is essential In the end, keeping to the true sense director, producer (France) screenwriters the invaluable luxury of to manage viewers’ frustration and of a work is what is most difficult. It taking their time, be it for creating a withdrawal symptoms with care. It is a constant battle, since every day Chaired by universe or for developing characters. brings its quota of incidents upsetting Tone C. Rønning, commissioning may be good to wait a year for the next editor drama and arts, NRK In fact, Éric Rochant was criticised season, but two years is much too long. all the production departments of a (Norway) for taking too much time during the As everyone knows, « out of sight, out series. This is also true for cinema, first two episodes of The Bureau. He of mind ». In two years, viewers are but to a lesser degree. Neither can be reassures the audience that the pace no longer interested in going back to considered as spontaneous art. does accelerate and the series gathers a series and frequenting characters The second difficulty is having momentum. that, more often than not, they have enough energy. A showrunner takes What is even more important in series forgotten. on all the roles, be it that of producer, is that the screenwriter has time Mafiosa was only aired – Éric Rochant screenwriter or director (Éric Rochant for subtlety. He can build a story on is keen to remind us – every two years. directed the first episode of The very tenuous issues, which is almost At the time, nobody believed that Bureau and will probably direct the impossible in cinema. Moreover, in this type of series could be produced first two episodes of the second series, one can avoid a character’s at the rate of a season per year. As season).With the obligation of creating functionality. Each character has a far as broadcasters were concerned 10 hours of drama per season, a particular function in an intrigue, (including CANAL+), this seemed to be showrunner « simply has no life ». but also its particular psychology. an impossible equation to resolve. The director of a feature film has to This can be detailed and elaborate. This broadcasting constraint – to perform physically and mentally for the A screenwriter has the absolute deliver ten 52-minute episodes every duration of the shoot, but this rarely luxury of being contradictory. Over year – generates a feeling of urgency exceeds three months. It is the same time, a character can change, can be that is not without consequence, be for the creator of a series, except this Éric Rochant is, primarily, offered a new freedom. much less demanding on an artistic contradictory. it on the writing or the direction. In goes on from start to finish: during the known and renowned for So, he started writing a new series level. Nowadays, there is no shame in In a film, the viewer must know order to maintain the schedule, the writing, the filming and the editing, so for CANAL+, in collaboration with a director working for television, quite everything about a character straight second season of The Bureau was he has to manage his stamina, similarly directing feature films, amongst Alex Berger, on the arrival of Russian the contrary. He has every reason to be away and in a figurative or poetic written during the filming of the to an athlete. In any event, he is always which Un Monde sans Pitié, Les oligarchs after the fall of communism. proud. Furthermore, Éric Rochant feels way. One cannot afford to be literal first one. The creator has, therefore, at risk of a burn out and can consider Patriotes and, more recently, This never saw the light of day, there is no daring in today’s cinema. in cinema as this is a sure sign of to delegate, to spread the work load himself lucky if this only happens after but it did lead to the creation of Over the past ten years, series are a certain artistic deficit. One can the filming; it often happens when the Möbius. Cinema was his first and to adopt a more collaborative the production company, TOP (The where the real creative narrative is to get away with it in a series, on the approach, for example by setting up a series goes on air. love. Ten years or so ago, he Oligarchs Productions). Éric Rochant be found. condition that the extra time available team of screenwriters and directors. met Alex Berger, with whom had the feeling that he still had much Éric Rochant admits to having is used to develop a more subtle A new relationship is established THE BUREAU’S ORIGINS to learn about the world of series. It made several errors on Mafiosa. But intrigue. Éric Rochant was very between the creator and his work. Éric Rochant is questioned by Tone C. he shares a passion for series, is essentially for this reason that he everyone knows that one learns more surprised by this, by the quality and He must keep control of his work and Rønning on the origins of The Bureau. particularly American ones. agreed to work on seasons 2 and 3 of from one’s mistakes than successes. mind set in a series like Mad Men. The ensure uniformity, whilst taking into He tells us that he pitched CANAL+ Mafiosa. He feels he approached this series Americans have often been accused They had the feeling that the account everyone’s creative input. He shortly after the release of his film This experience was particularly much too lightly. At this stage, he still of producing cumbersome works time had come to produce a must invent a new way of managing Möbius in March 2013. He knew he enlightening. « I learnt so much that I thought that a series was much easier which sacrifice narrative subtlety for his position as author. could have directed another film, but new type of series in France. changed my way of directing. I wasn’t to direct than a film. This nonchalant easy entertainment. Yet, in Mad Men, This feeling of urgency also has an he was dead set on trying a series. the same director ». Möbius, which manner, even the sense of superiority from a writing point of view, certain The market was then almost effect on filming. On series, a director It was very clear as far as he was he directed after Mafiosa, proves the he felt, were basic errors. Series have, episodes have very little content: untapped. Anything was does not have the luxury of mulling concerned. So, he presented a project point. The film is very different from, as he was to learn, their own character nothing is really said and nothing over shots on set. In point of fact, he for a spy series taking place in the possible. Anything could be for example, Les Patriotes, be it in the and their own particular constraints. happens. Unfortunately, nobody in has to film quickly, very quickly, four heart of the DGSE (MI6/CIA); a subject tried. writing or the direction. Éric Rochant « Just because you’re good at directing France is yet willing to take the risk of times quicker than for a feature film. which he had already touched upon in feels that his work on Mafiosa, taught feature films, does not mean you’ll be producing such an atypical series. In cinema, a director has the time to Les Patriotes (The Bureau is, in many him how to direct a feature film. good at directing series ». try out a scene with the actors or the ways, a prolongation of this film). Éric For a long time, television series With his experience on Mafiosa under SERIES, A REVOLUTION director of photography. He even has Rochant succeeded in convincing the were modelled on cinema. Today, his belt, Éric Rochant started on the time for rewrites. There is no place for Series by American authors like The channel that he was the ideal person it is quite the contrary. Yet, Éric writing of The Bureau with much improvisation in series. Everything West Wing or The Sopranos gave to put together a project such as this. Rochant remembers that when he more confidence. He went to New must be controlled and there is no the genre credibility and hope of The pitch he presented was actually finished his studies at the IDHEC, York where he met Todd Kessler, the place for doubt in a director’s mind. If new creative momentum. The Wire, quite different from the series. This is television series were considered the showrunner of Damages and Bloodline. he hesitates over a scene, the chances created by David Simmons, proved the often the case. The pitch is generally underdog of cinema. It was, therefore, He attended several work sessions are that he will be forced to abandon point, if there were any need, that a a gamble, since writing has not yet out of the question for a director to with the aim of drawing inspiration vital parts of the storyline. series could be as, if not more, daring compromise himself by working for from American writing and production and innovative as a feature film. Éric television. Television was not only methods. Rochant realised that writing series cinema’s poor relation, but was also

18 19 discussions discussions begun. Once writing work had started, Did you set down specifications for the reminds us that he was not alone, since the project moved progressively away making of The Bureau? he had the support of Alex Berger, his MASTERCLASS from the original idea that had been Éric Rochant thinks about it. Once associate. Alex is his partner, not his presented to the broadcaster. he had directed and edited the first producer. Occasionally, he had to take For this pitch, the series was already episode, this was used instead of on the role of « bodyguard », dealing Todd A. Kessler known as The Bureau. Éric Rochant written specifications. He allowed two with « the broadcaster’s sometimes had the idea of creating a department weeks before the start of filming on all hefty attacks ». within the DGSE with the mission to the other episodes, so that the other train and monitor the most important directors could use it for inspiration. Lastly, Éric Rochant is keen to point assets in the French intelligence He then outlined the key principals of out that the showrunner does not Speaker service: covert agents. Deep direction and, in particular, what must replace the broadcaster, who continues Todd A. Kessler, showrunner and undercover in hostile countries, their be avoided at all costs. Lastly, on a to take all decisions. However, he creator (USA) mission consists of spotting people day-to-day basis, throughout filming, did manage to impose a new way of who could be recruited as informants. Éric Rochant made sure that directors producing a series with CANAL+. He Chaired by Jed Mercurio, writer and Operating in the shadows, "under a stayed within the guidelines that he forced the channel to change a certain screenwriter (United Kingdom) legend", meaning with a fabricated had established. This said, he did give number of practices. For example, he identity, these agents live in constant them a certain degree of freedom. The explained to the decision makers that duplicity for many years at a time. episodes do vary according to who once he had delivered a script, they Éric Rochant was aiming to show the directed them: Jean-Marc Moutout had only three days to get back to him day-to-day workings of a department (episodes 2 and 3), Hélier Cisterne with their notes or comments. Any devoted to inventing backgrounds. (episodes 4, 5 and 10) or Matthieu more than this and it would have been In fact, this ended up looking like a Demy (episodes 6 and 7). These impossible to keep to the deadlines. ■ screenwriter’s writing room, which differences, although noticeable, never is really quite poetic! As soon as he interfere with the unity of the series. started writing, Éric Rochant realised that the initial idea was not strong What was the relationship with enough. He also realised that what he CANAL+, the broadcaster, like? really wanted to do, was to create a Éric Rochant points out that the realistic series. main difference between The Bureau In the end, is The Bureau realistic? It and Mafiosa is that with the latter, does not matter. The most important he was accountable to a producer thing, as Éric Rochant points out, is and in some ways, the producer was to lead the viewer into believing the a buffer between the broadcaster universe he is shown. This is exactly and himself. Although this had the Todd A. Kessler is one of the the relationship between an egocentric WORKING WITH NETFLIX the strength of series like The Wire or advantage of protecting him from the and ruthless mentor - Patty Hewes, most influential writers of Once they had defined the concept for The West Wing. They give television channel’s ruthlessness, it was still played by Glenn Close and her young Bloodline, Todd A. Kessler, his brother viewers the opportunity to discover an intermediary too many. He had to the moment. Having received protégé, Ellen Parsons, played by Rose and Danny Zelman, went to Los a new universe that they can believe convince the production who, in turn, Byrne. Todd A. Kessler realised very his training working on The Angeles to pitch the series. They met in. In order for it to be believable, set about convincing the channel and early on that he would not be able to Sopranos, he made a name with 9 different channels, including the screenwriter must try to curb his the people at the channel are the ones delve into the world of families in this HBO, FX, AMC, Showtime and Netflix. imagination, so as to be as rational as who make all the decisions. With The for himself by producing and series (the theme is present, but is not They all, without exception, wanted possible. This is even more important Bureau, Éric Rochant did away with directing Damages with his developed). to produce the series, which, strange on a spy series. The DGSE is nothing if an intermediary by taking on the role So, after the fifth and last season of brother Glenn and their friend as this might seem, is not always a not rational and logical. of producer himself. Nevertheless, he Damages had been aired, the trio good sign. Todd A. Kessler points out Daniel Zelman (together they started coming up with a family drama. that this general approval doesn’t form the trio called KZK). Although the subject matter is very DISCUSSION say anything about the quality of the easily treated in a classical, emotional WITH THE AUDIENCE With Bloodline, aired on concept. In fact, concepts that are way, they refused to go down that Netflix since March, they have unanimously liked, are rarely the most Why were voice-overs used in The road. They needed to find their own interesting ones. Bureau? redefined family drama. angle and original tone. The idea was The decision makers at Netflix seemed Éric Rochant admits that it is a rather to portray a family in a new way. That’s the most enthusiastic. They offered to easy option and it provoked numerous where they got the idea to combine BLOODLINE: A FAMILY commission all 13 of the series’ pilots, debates amongst the screenwriters. thriller and family drama. STORY OF LOVE AND without even having seen a single one, Many felt that voice-overs were not This said, Bloodlines is not so much which is quite rare. Not only did they necessary and that there were more HATE… a series about family per se, it’s more love the concept, but they broadcast all subtle means of portraying the main Todd A. Kessler and his partners’ about family dynamics. It explores five seasons of Damages, which was character’s feelings. But in a world main objective was to create a series the roles that brothers and sisters very successful with their subscribers. like the one described in The Bureau, about family. Todd A. Kessler is the can unknowingly be made to take on Traditionally, this is a very different all the characters are hiding the truth. youngest of three brothers (Glenn is within a family. In Bloodline, all the process. In most cases, creators The main character is a compulsive the oldest). Danny Zelman also has family members - three brothers and present a first version of the script. liar. He lies to everyone, including two brothers, so their families are very a sister - have taken on roles without Then, if the broadcaster decides himself. A voice-over does, in fact, similar. Family is a heavily debated any say in the matter and without to endorse it, they film a first pilot enable real feelings or intentions to topic amongst them, especially ever questioning them. What happens episode. It is very common for be shown. In most series, this role is whilst they were working on their the day one of the family members channels to show these pilots during given to the best friend. He’s the one last series, Damages. This series was refuses to play their assigned part? test screenings, to measure viewers’ who pushes the hero to confide in him. set in the world of lawyers, a world What happens when the reasonable reactions before commissioning a In The Bureau, the hero, because of his none of them have any knowledge one stops being reasonable? What whole series. This process can take position, has no friends. A voice-over of, other than the fact that in a lot of happens when the black sheep of the 6 to 12 months, which gives creators is often an easy solution and, as such, ways, especially the bad ones, it is family decides to follow another path? time to develop the plot and think should be justified. Éric Rochant is very similar to the world of film and These are the questions the series about casting. Damages followed a convinced that it was in this series. television. The story revolved around attempts to answer.

20 21 discussions discussions very similar path. The only difference the script as a blueprint and is open family. At first glance it seems idyllic, was that the pilot was presented in to being surprised and changing his just like the beautiful landscapes February and a month later FX had mind. A creator should never limit of The Keys. But it’s also filled with commissioned all 10 episodes (the himself to a single idea. In any case, secrets which, just like the sharks screening results were very positive) the writing process needs to be in the barrier reef, can surface at with a view to airing in July. The state organic to enable creativity. any moment. A paradise like that is of panic that Todd A. Kessler and his This applies even more so to a series undoubtedly the perfect place to set partners were in, heavily influenced like Bloodline, the first season of the hell of family relationships. the nature of the first season which is which was written like a 13-hour film. To add to that, the atmosphere in The slightly chaotic when it comes to the The 13 episodes were composed of Keys is hot and humid. Bodies glow plot. 3 Acts (as are most feature films). with sweat. The series therefore finds However, when it came to Bloodline, So the first 4 episodes are this that muggy and testing atmosphere with Netflix having commissioned the thriller’s First Act. Todd A. Kessler made famous by great thrillers entire series off the original pitch, thinks that the series works best if like Cape Fear (directed by Martin Todd A. Kessler didn't have that the viewer watches a few episodes Scorsese in 1991) or Body Heat “incubation period” to further develop in a row (which is made possible by (directed by Lawrence Kasdan in the series. It was broadcast less than a Netflix, as the platform makes every 1981). The Keys take on a character year after they first pitched it. episode available from the first day of of their own and give the story a broadcast). very visceral aspect which Todd A. A THREE-HEADED Kessler points out is quite new for television (except maybe for a series

SHOWRUNNER BODY HEAT… © Netflix - Amanda Boury like True Detective). Jed Mercurio Todd A. Kessler wanted Bloodline Todd A. Kessler has been working congratulates him. The magnificently to be set in a location that was very with his brother and their friend filmed landscapes give off a feeling of rarely used in television and cinema. (played by Ben Mendelsohn), the black were like the legs of a chair. The the past and future. However, unlike David Zelman for 10 years. Of course, oddness and danger. He therefore decided to set the series sheep of the family. He is screwed up; “black sheep” is the shorter leg that Damages, the question here isn’t “who working as a trio is a challenge. He Todd A. Kessler quickly understood in The Florida Keys, located at the the one everyone thinks will amount makes the chair wobble. In the first committed the crime?”, it’s “why was tells us that every decision has to be that the reason very few shoots southern tip of the United States, to nothing; the one who committed the season, Danny decides to come back to the crime committed?”. put to a vote. However, this sort of are organised in The Keys is that in the Florida Straits that link the ultimate crime, i.e. disappointing his the family nest. His return will set off a To further play with the timeline, partnership has its advantages. Indeed, the working conditions are very Atlantic Ocean to the Gulf of Mexico parents; the one who is always held series of dramatic events that will lead Bloodline uses another, often either one of the three can take on difficult. The archipelago has very few (145 km from Cuba). This location has at arm’s-length from the family. The the respectable facade that the family criticised, tool: the voice-over. In his any role, whether it’s screenwriting infrastructures necessary for filming a touch of the mythological attached to black sheep is no accident or anomaly hides behind to crumble. His brothers masterclass, Eric Rochant admitted or even directing and editing. a series. Aside from the heat and it in the United States and is home to within a family. It is a product, even a and sister will therefore try and that it’s a bit of an easy process, a They are able to make all decisions humidity, the place is crawling with many legends. reflection of that family. It is the result remove the shorter leg to regain some “script crutch”. His use of it in The independently, from sets, to costumes mosquitoes. or artistic direction. Surrounded by turquoise water, the of the family dynamics. Based on his sort of balance. In the second season, Bureau, was the cause of much debate Considering the little amount of archipelago stretches across a long experience and that of his friends, the chair only has three legs. between screenwriters. The voice-over time they are given to make a series, barrier reef. With the ocean being very BROTHERS UP IN ARMS Todd A. Kessler noticed that the black in Bloodline is used as a temporal tool working as a trio is a great comfort. shallow in this area, it’s not unusual Todd A. Kessler and his partners sheep is often the eldest son. PLAYING WITH TIME because the person commenting the to see sharks moving just below the imagined a family made up of three Once that character had been defined, story - John Rayburn in this instance Some days, filming can last up to Damages was one of the most surface of the water. The area was brothers and a sister. They first started the creators drew up the other family - has already lived it and has his own 17 hours! Todd A. Kessler could influential series of the last few a perfect metaphor for the Rayburn with the character of Danny Rayburn members. John (Kyle Chandler) is the vision of how it all happened. But can not take on all of a showrunner’s years. Todd A. Kessler played around second brother. He is the good kid. we trust him? responsibilities alone. He simply with the timeline, using a number of He is the one who never rebelled. cannot be everywhere at once (on flashbacks and flash forwards. In the He always seemed to compensate set, in the editing room, with the series, time was used as a plot tool, BRINGING TOGETHER and make up for his older brother’s screenwriters). Yet every step of but also as a dramatic tool. When he THE PERFECT CAST mistakes, making him the responsible the creative process is primordial: created Damages, he wanted to tell a son. He even became a sheriff. Kevin From his extensive experience, Todd developing the concept, writing the story that started with a flash forward (Norbert Leo Butz), the youngest of A. Kessler knows that getting the pilot and the other episodes, directing, and gradually untangled what we had the brothers, had an easier life. He perfect cast is, in large part, luck. For editing… In the United States, most seen. It was a murder that was going is quite angry and fond of a drink. the character of Danny Rayburn, he series have a single showrunner, but in to happen in the future and we were He never felt the need to take on any met only one actor: Ben Mendelssohn. most cases, they have assistants who going to find out the cause and the responsibility (his brother did that for Originally Australian, he was living are given various responsibilities. murderer. He then had fun changing him). Also, he knows that whatever in Los Angeles. Todd A. Kessler was Jed Mercurio asks about the writing the process in each series by changing he does, he will never be as much of a impressed by his performance in process. Todd A. Kessler explains the form of the flashbacks and flash disappointment to his parents as his Animal Kingdom, so he organised a that the trio gets together - physically forwards in order to keep the viewers older brother. In fact, he never really lunch meeting. As luck would have it, or via videoconference - to go over on the edge of their seats. found his place in the family dynamics. at the time, he wasn’t working on any and agree on the narrative arc of the In Bloodline, the flash forward is Finally, Meg (Linda Cardellini), the feature films. To add to that, his agent series. They define what he calls the used again. In the very first episode, younger sister, is the family’s good loved Damages. Ben Mendelssohn “tentpoles”, i.e. the main events that we see John Rayburn dragging the girl. She became a lawyer and always accepted the part and moved to The will guide the plot. The process has unconscious body of his brother did what was expected of her. In doing Keys with his family. Today, Todd A. to be flexible enough for them to Danny through a swamp. What the everything to please her parents, she Kessler is convinced that if the part be able to drop certain “tentpoles” viewers see in the future gives them struggles to know who she is and who of Danny had gone to another actor, if necessary. For example, the story elements of what the characters are she wants to be. the series would have been vastly can evolve according to the actor’s feeling in the present. Everything When he sold the concept to television different. interpretation or the work done by that is happening in the present is channels, Todd A. Kessler explained Kyle Chandlers (who plays John the directors. Todd A. Kessler sees changed by what the viewers know of that these four brothers and sisters Rayburn) played the main part in

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Friday Night Lights, a series Todd How did you present the series to of course, set up a writers’ room. First, A. Kessler is a big fan of. He played Netflix? Bloodline is a complex series he defined the various “tentpoles” CONTRASTING PERSPECTIVES... Coach Taylor, a magnificent character, and must be hard to sum up in a single that would guide the season. For every full of kindness and much liked by pitch… episode, he would discuss with the viewers. By offering him the part of Todd A. Kessler answers that the screenwriters which events could Todd A. KESSLER & éRIC ROCHANT John in Bloodline, Todd A. Kessler series he creates with his brother best lead the plot from one tentpole knew that viewers would see the and David Zelman are very personal. to the next. In parallel, David Chase character with a lot of empathy. They The pitch for Bloodline was based defined a narrative arc for each of the would instantly sympathise with him. on his and his friends’ families. He characters. Viewers’ expectations always seem to was exploring the roles that each Before HBO and The Sopranos, every Speakers be subverted in this series. From the individual must take on within a TV series had the same formula. Todd A. Kessler, writer, director, 12th episode, it becomes very clear family. Bloodline is a series about Every episode had to be composed producer, (United States) that Kyle Chandlers is no Coach Taylor blood ties, that permanent attachment of 4 segments or acts (to allow for ad Éric Rochant, director, screenwriter, from Friday Night Lights. that can imprison us. The themes are breaks) and had to have at least 3 plot producer, (France) therefore universal. lines and 24 scenes. The main plot Chaired by DISCUSSION WITH THE Unfortunately, most of the series had to be made up of 12 scenes and Stefan Baron, producer (Sweden) AUDIENCE that revolve around family tend to 6 scenes were allocated to each of become quite sentimental. Conflicts the two sub plots. An episode of The Did working on The Sopranos change are resolved at the end of each Sopranos was an hour long (with no your perception of a TV series? episode and have very little effect on breaks), so David Chase could bring Todd A. Kessler confirms that yes, it the characters. These series are very in a fourth act. The number of scenes did. When David Chase was starting reassuring. They enable viewers to go went from 24 to 34. work on The Sopranos, he explained to sleep with a light heart. Bloodline’s that the series was conceived as the objective is very different. Alcoholism seems to play a big part third chapter of a trilogy, the first in the series. How would you explain two being The Godfather (Francis For Damages and Bloodline, did you that? Ford Coppola) and Goodfellas (Martin take inspiration from the creative Todd A. Kessler explains that Scorsese). Todd A. Kessler had never process set up by David Chase? alcoholism is one of the main heard of a TV series being talked Todd A. Kessler answers that David afflictions in The Keys. In the series, it about with such ambition. Chase had set up a specific system for is part of the family’s DNA. ■ David Chase had invented a very filmic each season of The Sopranos. He had, language (visually and narratively) that had never been seen on television, at least not in the United States. He also They both have very different seem, is a new practice in France. brought a certain ambiguity to the plot THE BUREAU: A FRENCH career paths. One, Todd A. Too often, the audience must wait by refusing, for example, to tie up all SERIES WITH THE for 2 years, maybe more, to watch the loose ends. David Chase did not invent Kessler, is American, a writer, AMERICAN TOUCH second season of a series, with the risk the anti-hero, but he certainly gave director and producer, and The two men met in New York. Well of losing interest. him his place in television. one of the biggest names of before The Bureau, Éric Rochant Yet, to deliver ten scripts (which is Moreover, Todd A. Kessler points out went to the United States, to discover one season) per year, one must write HBO’s influence. The New York pay- the small screen with several American methods and therefore to fast, very fast. Éric Rochant delved per-view channel definitely changed prestigious series under his learn from a writer that he highly into the Writers’ Guild of America’s the game and revolutionized series belt, such as The Sopranos, respects and that he even considers recommendations on how to set up an for writers. Before meeting the heads a mentor, Todd A. Kessler. He Anglo-Saxon writers’ room, essentially of HBO, David Chase tried to sell The Damages or more recently, learnt a lot, but mostly discovered a communal writing room used by Sopranos to Fox. It is easy to imagine Bloodline, broadcast on Netflix. new perspectives on how to create several screenwriters. Éric Rochant that his series would have been The other, Éric Rochant, is series in France. Éric Rochant has remains the mastermind of the series cancelled after three episodes. Also, no French. After making a name not necessarily abandoned cinema. and supervises the script writing to one could have ever imagined a series However, the universe of series has ensure the uniformity of vision and like The Wire before HBO. Damages for himself in cinema with given him a new creative field. He point of view. He nominated several would probably never have seen the his feature films such as Un has already worked in the world of senior writers and handed over the light of day. Monde sans Pitié, Les Patriotes series while working on Mafiosa. But, writing of one episode in its entirety as he reminds us, Mafiosa was not each. They had 15 days to send him an and Möbius, he moved onto his series, he was not at the origin of initial version. He then set up a team successful series’ writing: the concept. “I thoroughly enjoyed of junior writers, in charge of writing starting with Mafiosa, then The working on Mafiosa, and I did my best specific scenes. Nicknamed “the to make it my project”. He was ready slaves”, Éric Rochant admits giving Bureau, which was recently to create his own series. them the more tedious scenes to write, broadcast on CANAL+. It is with this variety of experience the ones that the senior writers were that Éric Rochant embarks on the glad to hand over. The juniors are not adventure that is The Bureau, a series so much expected to show talent, as that he created, produced and partially they are to be able write in the tone of directed, following a method close to the series, adopt its language, and be that of a showrunner. There was still able to develop it in the interest of the the need to convince CANAL+ of the writing. “They listen a lot and speak coherence of a creative process that very little”. Of course, talent always can end up being more costly that the shines through and juniors can gain more traditional systems. To convince ‘senior’ status. CANAL+, Éric Rochant explained to Todd A. Kessler knows this system all the heads of the channel that this was too well, as this is what he uses in the the only way to produce a season a United States. The Americans have put year, which, as surprising as it may

24 25 an entire system into place to enable need to expose and clarify. Putting THE SHOWRUNNER: A channels like HBO, Showtime or Starz. resulting in provoking the channel’s possible in order for them to have an screenwriters to evolve. He began everything on show is very American. A series like The Bureau could only wrath. He does not blame CANAL+. He idea of the universe in which they are at the bottom of the scale as a staff American series have a tendency UNIVERSAL MODEL? be sold to CANAL+ (possibly Arte). If understood their concern. The first evolving. writer and then progressively climbed to want to test their characters as Todd A. Kessler points out that this the channel had refused the project, episode of a series is highly strategic. On the contrary, Éric Rochant would the ranks and gained more and more soon as possible, often in a scene model has evolved a lot in the United it would have been abandoned. This Todd A. Kessler understands Éric tend to show the first episode to the responsibility (which was particularly that revolves solely around action States. It owes a lot to the appearance lack of competition is, according to Rochant. The first episode – the pilot actors as late on as possible. “We are the case with The Sopranos). Without (even if the scene ends up seeming of cable channels in the universe of Éric Rochant, problematic. Without in most cases – is a major challenge not used to showing the work to the this learning process, he would never unrealistic). With Bloodline, he wanted broadcasting creation. Before the any contenders, CANAL+ does not feel since it is meant to set the tone for actors in France. Most of them even have been able to create Damages or to “take his time”, meticulously appearance of new players like HBO, the need to outdo themselves, to offer the series. In the United States, it is refuse to watch the rushes”. There are Bloodline. construct a family drama and explore showrunners would sign two-year better quality programmes. common for the channels to show few actors who can watch themselves With The Bureau, Éric Rochant was the roles that each person can play contracts (whereas actors would sign the pilots during trial screenings to and use what they see. Éric Rochant able to impose a new way of working within the family dynamics. The for 6 seasons). If the series was a measure the audience’s reaction. Some usually asks the actors to trust his brilliant success and the decision was SELLING A SERIES: THE on CANAL+. For example, for the first family here is overwhelmed with IMPORTANCE OF THE episodes are screened in shopping vision. He asks them to feel the scene season, he called upon three directors secrets, neuroses and regrets. In the taken to prolong the series past the centres, a place where the audience from the inside and not to watch of photography and five directors. series, each sibling (three brothers two seasons, the showrunners would FIRST EPISODE is particularly difficult. This process themselves act. That being said, they There were moments when three sets and a sister) epitomises the role that train a writer to take on the project, Stefan Baron questions Todd A. can be quite long, some pilots can be soon saw the first three episodes that were being used simultaneously. In has been inflicted upon them and and go off to create a new series (most Kessler and Éric Rochant on the tested for over a year. Todd A. Kessler were edited during the filming. Did many ways, The Bureau is effectively conforms to it without questioning often for the same channel). The cable method they used to sell their series. is not against the idea. The audience’s this comfort or help them in the work? an American-style series. it. What happens when one of the channels have changed the game. Éric Rochant explains that he quickly comments can help the creator perfect Éric Rochant cannot say. However, he family members refuses to play the Today, the creators of series like The pitched the concept of the series to their work. That being said, if the was quick to show the first episode part that was assigned to them? What Sopranos, Mad Men or even Damages CANAL+ (a concept that was quite reactions are overly negative, channels to the directors for them to use as BLOODLINE: AN stay on board until the very end, and AMERICAN SERIES WITH happens when the one who is meant far from the end product, although it might want to modify the project inspiration. to be responsible, decides to no longer this, regardless of the season. Cable does talk about the same universe, significantly, taking it far away from THE EUROPEAN TOUCH behave that way? It is these questions channels have brought a massive that of the French Secret Service). The the writer’s initial idea. BY WAY OF CONCLUSION Similarly, Bloodline, if one looks that the series explores. They give a amount of support to the creators who channel launched the initial stage of For Damages, the channel showed the This encounter has been the carefully, is a European-style series. certain rhythm to the narration. Todd now have total freedom to develop development: writing the pilot and the pilot in several towns. The reactions confrontation of two specific paths: Todd A. Kessler considers to have A. Kessler took great joy (alongside their vision. plots of the ten episodes. On this basis, were so good that the channel gave American adventure and French learnt a lot from Éric Rochant, during his brother, Glenn, and Daniel Zelman) However, today a player like Netflix they commissioned the writing of the green light only three weeks know-how; the opinion of two writers his stay in New York. Indeed, he only in writing long dialogue sequences, brings in a new model as it broadcasts the other nine scripts. It is only after after the screening tests. The pilot on the same profession. In addition, knew one system, the one that was put often between two characters. These the entire season in one go. “Netflix having read the second version of the was actually not modified at all and it has given Todd A. Kessler and in place during the 80s in the United scenes, more so than the action, enable is not changing the game, it is simply first 4 episodes (and after agreeing was broadcast as was. For Bloodline, Éric Rochant the opportunity to set States. the tension and violence between the a new game”. Such a model obviously on the main actor, Mathieu Kassovitz) Netflix commissioned all the episodes, up a meeting in the near future to After having watched the series, characters to gradually build. affects the storytelling. We cannot that they green lighted production on without asking to see a pilot. Todd collaborate on a joint project… ■ Stefan Barron sensed the influence When it comes specifically to write series the same way we used to. the series. A. Kessler and his acolytes took of several European writers, and influences, Todd A. Kessler does not On this point, Bloodline was written For Bloodline, Todd A. Kessler advantage of this, took their time and particularly Ingmar Bergman. Éric deny that of Ingmar Bergman. The as a 13-hour feature film. This does mentions that Netflix greatly refined the first episode, notably in Rochant is not surprised. When a great Swedish director must have been not mean that all the series produced appreciated Damages, which made terms of editing. They probably took family drama is written in Europe, in everyone’s mind, but was never by Netflix are the same. They do not the selling process much easier. He too much time, as the pilot was only there are very long dialogue scenes mentioned during the work sessions. have a true creative identity, because presented a short pitch, with his finalised once the last episode was between a father and his daughter, a There are, however, clear influences they want to appeal to the entire partners. The channel was excited filmed. Todd A. Kessler considers now mother and her son. There are indeed in Bloodline from major literary works world. Which is the total opposite of and bought the entire season based that that this was a mistake. Although many of this type of scene in Bloodline, such as Crime and Punishment, as channels likes HBO or Showtime which on the simple pitch, without having the pilot was filmed in March, he was very long one-on-one scenes, which well as news items (OJ Simpson’s have a clear and easily recognisable read even the beginnings of the script only able to show it to the actors in is quite unusual for an American trial, for example). To finish, Todd A. signature. beforehand. Which is extremely rare. November. Whereas he considers it series. These scenes, according to Kessler mentions Thomas Vinterberg’s According to Éric Rochant, the Stefan Baron then wants to know if the primordial for the actors of a series Éric Rochant, are the most violent and film Festen. The scene where the showrunner model was born in the channels had a part in the development to see the first episode as soon as outstanding ones of the series. son stands up and reveals a terrible United States because the system is stage. Éric Rochant explains that Perhaps the only difference with secret to his family, will stay with him very competitive. France does not have for a channel like CANAL+, the first Europe, is that the American series forever. It is one of cinema’s greatest episode is fundamental, particularly place great importance on what they moments. the first 15 minutes of this episode. call “primitive scenes”. In France, a According to Todd A. Kessler, both So when he sent the script of the family drama would essentially be series –The Bureau and Bloodline pilot, the channel sent back more based on the way the various family – are genre series despite the fact than 15 pages of comments (including members behave with one another. that they do not follow all the rules. 10 pages for the first 15 minutes). In the United States, a family drama If The Bureau is a spy series, Éric Éric Rochant decided, to reassure would most often be based on an Rochant was mainly interested in the channel, by directing the first initial trauma. The primitive scenes the spies’ lives, feelings, psychology. two episodes of the season himself, are a way of exposing the events that Bloodline is a thriller, but this aspect a decision he sometimes regrets due happened in the past and enable a only comes into play later on in the to how painful the experience was. better understanding of what makes series. The boundaries between styles The first episode – meant to hook the characters behave the way they and genres have become very porous. the audience and create a certain do, of the relationships between the The American and European models loyalty – is always the most difficult characters and their evolution. The influence each other mutually, and to make, and can sometimes be the European works feel less the need this particularly today, since it is worst. For a feature film, the first three to explain, to shed light on their possible to have access, practically days of filming are often binned. In characters and justify their actions. instantaneously, to the creations of the first episode of The Bureau, he Todd A. Kessler agrees that the writers all over the world. feels he made every possible mistake, Americans might feel more the

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executive producer, made the pitch MASTERCLASS himself. So if Anna sees herself as the main ANNA & JOEG WINGER, CREATORS OF author, then Joerg is the showrunner. He is the one who managed all the DEUTSCHLAND 83 – GERMANY financial and commercial aspects of the project. It must be said that he had a lot of experience in production, with some 320 episodes in Germany under Speakers his belt. Anna Winger, screenwriter and co- Anna and Joerg have, above all, creator of Deutschland 83 “invented their own way of doing Joerg Winger, producer and co- creator of Deutschland 83 things” in a country which has only just started making this sort of drama, Chaired by which has been more common in Jean-André Yerlès, screenwriter Scandinavia, the United Kingdom (France) and France up until now. So why not in Germany? The Berlin Festival, where the series was first shown (two episodes and not even the final versions), is only just starting to show this sort of programme. The broadcaster himself has invested them with the title of « creators ». DISCUSSION about the future, about a civilisation Relationships with the aforementioned from another planet; it is the power of were excellent. Joerg says he was WITH THE AUDIENCE imagination that counts at the same given the support he needed from Deutschland 83 is backed by New time as discipline, necessary of course the beginning. The broadcaster was Wave hits from the time and in when you aspire to adhere faithfully immediately won over and was very connection with this, a member of the to a given period in time. We had to encouraging, even for what was a very audience who was born in Romania in be sure that the difference between new type of project. « A broadcaster’s 1963, talks about his vivid memory of the two Germanys was immediately courage never lasts long » declares wandering through a supermarket in perceptible visually; something to Joerg with humour, so we had to strike London in 1984 for the first time. He which they obviously paid a lot of The main character, Martin Rauch, a viewer really gets to know the main THE IDEA while the iron was hot, which they did. wonders if, contrary to what he has attention in terms of decor and/or young 24-year-old German – the actor character. Anna is delighted that it is The first question which comes to Everything was filmed in natural just seen on the screen, there should accessories. playing this character, born in 1990, a success with the American public, Jean-André Yerlès is to know if it is settings and not in studio, in Bonn, not be music in supermarkets in West is phenomenal– is torn from his native since barely ten years ago, it would easy, as a couple, to carry out a project Cologne and above all, in Berlin, Germany in 1983…. Was historical research necessary East Germany by the Stasi and sent to have been unimaginable for this sort such as this. Well, of course it does due to budget issues. Filming was Anna says that firstly she is touched beforehand? the West … a reluctant mole. of show be successful on the other mean that we can work 24 hours a day organised set by set, here again for by this authentic testimony. It’s quite Anna and Joerg Winger confirm that Anna Winger is keen to point out side of the Atlantic. if we want, points out Anna Winger! reasons of efficiency and economy. true, she says, but faithfulness to a it was. They met with diplomats from that in the former GDR, most people She and Joerg had often imagined Reconstituting Germany in the 80s specific context does not mean that that time, the American ambassador lived « normal » lives and did not want working on a project together, in FROM WRITING TO does not come cheaply. Each episode reality can’t sometimes be amplified and others, but also ex-Stasi agents. any changes. So, the hero who has Berlin, where they live. Anna has DIRECTING/PRODUCING/ cost nearly one million euros. or even deformed, sometimes even All of this to consolidate and legitimize never asked for anything, who has a been living there for more than ten In short, Anna and Joerg were given to consolidate the plot or the subject. their series in respect of a particular girlfriend, his friends, his family, is MARKETING years. They have two children and great artistic freedom and were able We are talking about a drama fiction period in time. made to leave all the same. This is Anna wrote the whole pilot in English, as they grew up, they started asking to work in a climate of confidence series here, so we can take liberties. who tells us the story, this mole who since although she speaks German questions about “that wall that used to which is very precious. The pace infiltrates the American army and fluently now, she would not claim to AS A CONCLUSION be there”…. Then one day, their seven- of work was intense since, having A question for Anna Winger on the switches to a completely different be able to write in this language with Anna and Joerg Winger are waiting to year-old daughter said, « they knocked received the order for the pilot and historical context: was it difficult for world where he has no bearings. Joerg the precision she would like. They put know the audience ratings for the first it down and hugged each other! ». This having delivered three scenarios, the you to be afforded legitimacy on this explains that, at the time of the Cold together a team of four writers, each season before deciding on whether fresh and naïve remark, a childish and broadcaster green-lighted the whole project, since you come from another War, one never knew if « one was responsible for an episode and Anna there may be a second season. The wonderful vision of the reunification, project (that is, a series of 9 episodes country? friends with a spy or not » in Germany. was in charge of uniformity as the broadcaster is already happy with the that day in 1989 when not a drop of in 3 chapters, 3 episodes per chapter, Anna Winger did not let herself be Deutschland 83 brings new and main screenwriter. As in France, in success encountered on the series’ blood was spilt, got them thinking. A in 1983, 1986 and the happy ending intimidated in the slightest by the sensitive insights into the complex Germany there are groups of authors release in the States, but they still drama on this divided Germany would in 1989 respectively).The first script fact that she was taking on a period political reality of Germany in the 80s. who are paid per script and not by the need to see the viewing figures for no doubt be a good idea, particularly was delivered in December 2013 and in history of a country that was not hour, and this is how they proceeded, filming begun in December 2014. hers to start with, even if she has been Germany particularly. Joerg prefers for educational purposes, but seen choosing the participants in this not to comment on the sale of the from a quite different angle. Quite living there for a long time. Anyway, AN INTERNATIONAL adventure with the greatest of care ; she reminds us that an author’s series to Russia at the present time. the opposite of a film like The Lives SERIES the same with directors who were very Deutschland 83 will be aired on of Others, here the action takes place strength lies in the capacity to involved, he points out. CANAL+ in France. ■ mainly in West Germany. More often Deutschland 83 is « an international appropriate a story and to invent, be it experience », much more so than any If it were to do again, Anna would do it inspired by reality or not. We can write than not, it is all about the former exactly the same. With hindsight, even GDR, but this time it’s the old FRG. other German series and multilingual as well. The Americans, in particular, if she had doubts in the beginning, she were quite right to welcome this found overseeing the writing group THE RELUCTANT MOLE historical drama with such a light to be a very productive and enriching Another important factor of touch. The 3rd episode was actually experience. Should there be a second Deutschland 83, is that there is no on Sundance yesterday and Anna season, she will definitely apply the question of the good in the West and has been keeping an eye on tweets same technique. the bad to the East. The series is not and initial reactions. During this 3rd The script was only translated Manichean and does well not to be. episode, which is set in Brussels, the into German later by Joerg who, as

28 29 discussions discussions

MASTERCLASS Mette M. Bølstad Introduction to The Heavy Water War screening

Speaker Mette M. Bølstad, screenwriter (Norway)

Chaired by Nicole Jamet, screenwriter (France)

Nicole Jamet is happy to Mette M. Bølstad starts writing prose was there, but the original document British counterpart, a highly qualified “economy of words” to really plunge us of constant action, as underlined by welcome the successful at an early age and is at that point self- lacked “inner vision”, enabling viewers troop leader who tells us the story of into the emotional side of this story. Nicole Jamet. This, in an attempt to taught. She then graduates from the to understand the characters and the war from her point of view. There remain faithful to reality. But Mette Norwegian screenwriter, Mette Central School of Speech and Drama of really bring them to life. Since it was is also the manager of the factory M. Bølstad was careful not to go down M. Bølstad, who has come to London and at the age of 20, decides to be billed as a drama, this emotional that produces the heavy water and THE 7-MINUTE THEORY, that road. It was obviously important share her work experience and that she wants to write, not only for aspect of it could not be left out and especially his wife (whose candour and HOPE, EMOTION OVER to her to stay faithful to the facts, the theatre, but also for film, radio, was the basis of her work. Without it, strength we see in a fantastic extract but she didn’t just “fill the gaps” in the keys and struggles to her ACTION why not even television… The medium the director would have no “way in”. where the couple is at table and with This theory dictates that every 7 between these very real events. Her success with festival goers. doesn’t matter to her, she’s interested barely a word spoken, just a look, minutes, something needs to happen main concern was the characters’ She first asks her to lay out her in them all. She is passionate about THE CHARACTERS: THE an edifyingly moral compass shines to keep the viewer’s full attention emotional journeys, which is the main journey for us. writing and that’s what she wants to CORNERSTONE OF THIS through)…the women who surround during the episode and therefore come ingredient of her recipe. Overall, do. these men are very important to the back for the next one. Again, this she reminds us that what we find in Mette M. Bølstad has co-written SERIES, ESPECIALLY THE plot… historical facts, doesn’t always tell us WOMEN isn’t obviously measured in terms of many films and series, notably King Mette M. Bølstad started by working action, it can be done by the sole use the real story… of Devil’s Island (which received six The series pivots around very well- on the female characters, even the of emotion: a new emotion every 7 nominations over various festivals), defined main characters, some of supporting characters, so that the minutes, that’s 6 new emotions in 45 CAN ONE MAKE AN Happy Happy (four awards and twelve them real, some of them intentionally women would be more intelligent than minutes and the viewer is won over. UNSYMPATHETIC nominations), The Half Brother fictitious. Their psychological profiles they so clearly appeared in the original Wrath, despair, joy, love…We are first and finally The Heavy Water War, are very subtle, many of them holding concept. They were not women CHARACTER WELL and foremost receptors and vectors LOVED? A WIFE TO THE Norwegian television’s biggest success onto secrets they cannot divulge. The “waiting”, they were real women, of emotion; it’s what we are always to date and the main topic of today’s first and foremost is Professor Werner with real character, passion, who take looking for. RESCUE… masterclass. Heisenberg, the German scientist action. These are not women who want The characters were, therefore, Is it possible to create attachment to who is in the throes of inventing the to go and live in this remote part of constructed one at a time, subtly, a “bad” character? Indeed, on paper, THE HEAVY WATER WAR: atomic bomb. Then Leif Tronstad, the Norway; they want a social life worthy delicately and singularly. However, the man who is inventing the nuclear THE ORIGIN Norwegian leader of the resistance, of the name and one of them doesn’t if a common emotional base was bomb, and by so doing, threatening who goes to the United Kingdom even care if her husband comes back. established between them all, Mette the entire world, should therefore be Mette M. Bølstad was contacted to recrute those who will lead the These are women who aren’t subjected barely a month before filming started! M. Bølstad would say it’s hope. Hope bad. Mette M. Bølstad explains that salutary sabotage mission; another to events and who we don’t simply pity. is an uplifting emotion, whereas although Werner Heisenberg, the Whereas for The Half Brother, extraordinary character. He actually These female characters are created amongst others, she wrote the entire melancholy, for example, vehicles an young German genius who won the deals mostly with young men who have as intermediaries between the male idea of “restraint”. Hope is a “motor”, Nobel Prize for physics in Stockholm script, here she had to take on an no idea what they’re involved in, who protagonists and the viewer. They are existing script, which was originally useful for a series, for the viewer. An in 1932, is a pre Second World War are simply happy to be going abroad. bridges of emotional understanding essential motor that very simply taps German. He’s not really a Nazi, but is created as a documentary, she The emotional transition these young for the viewer. Illustrating her point explains. So from that starting point, into our humanity. increasingly being labelled as such. He men go through, as they gradually through various extracts from the As a historical drama, this series is an important professor, passionate she had to make a 6-episode-long realise what they are involved in, is first episode, Mette M. Bølstad shows miniseries in record time. The story could have easily fallen into the trap about his work, but also an overgrown very subtle. Then there is his female us very clearly how she often used teenager who ends up hitched with

30 31 discussions discussions a sublime woman, rather by chance. CHOICES MADE FOR confirmed and the margin for change Like most people, he is riddled with was limited. So certain decisions had CREATING SERIES IN SPAIN contradictions and is, overall, a nice BUDGETARY REASONS to be made as to what it was useful to character. It would be unfair to simply Obviously, certain choices needed to keep or not. go for a black and white version of be made for budgetary reasons, but MASTERCLASS Teresa Fernández-Valdés things. Any given situation is always once again those were all made in TO CONCLUDE more complex than it appears and close consultation with the director. and Ramón Campos Finally, Nicole Jamet is happy to salute there are all sorts of conflicts going Through another extract from The such a tight collaboration between a on here, intimate as well as political. Heavy Water War, Mette M. Bølstad director and a screenwriter, which so Mette M. Bølstad takes a second to explains how a crazy chase scene clearly works. She broadens the focus Speakers congratulate the actor Christoph Bach on nordic skis, in James Bond style, by bringing up what undoubtedly is Teresa Fernández-Valdés and Ramón on his performance, which she deems was taken down from 20 minutes to Campos, Bambú Producciones (Spain) involved in a successful audiovisual absolutely remarkable, as well as just a few minutes and transformed adventure, which is confronting the performance of the actress who into a story told post-event by the Chaired by different points of view with plays his wife and who is an essential protagonist - the hunted - in a bar, Charline de Lépine, producer, Macondo intelligence and above all bringing (France) intermediary for the viewer. She is the drink in hand. It was a question of together all the talent - screenwriters, one who helps us to like her husband, financial means. The scene, however, producers, directors - in a trusting and who enables us to understand that he is no less emotionally convincing for it. harmonious climate. It is beneficial for is crossing the thin red line, which In general, when she arrived on everyone involved. ■ helps us understand him better. In the project, all the sets had been fact, she becomes that story’s narrator, the one who “spreads the word”. WHAT OF THE RELATIONSHIP WITH THE DIRECTOR? Mette M. Bølstad had already collaborated with Per-Olav Sørensen (they worked together on The Half Brother and are working together again, at the moment, on Nobel) and is very happy with the work they do together in general. Indeed, it’s Teresa Fernández-Valdés and THE DEVELOPMENT OF to raising the financial resources. not just about delivering a script, as Ramón Campos decided to Despite this, success has followed together, they insure that the narrative SHOWRUNNERS IN SPAIN success since the company’s creation, is correct, the plot is fascinating and create Bambú Producciones According to Ramón Campos, the producing series such as Velvet, the intentions are understood all the in 2008, following the success history of Spanish TV drama can be Gran Hotel, Gran Reserva as well as divided into three distinct eras. During way through the process. They are in of Desaparecida, their first Hispania. daily contact with each other and the the 80s, channels started production The American showrunner model, director asked that she be on set to series. Creating their own on ambitious and costly drama that which was practically unheard of a have her point of view. When one finds company enabled them to use was more a cinematographic work few years ago, started somewhat of a director with whom it is so easy a work model similar to that than a proper television series. a craze in Spain. The broadcasters to work, where the understanding is During the 90s, television became understood the importance for them to emotional as well as professional, then of American showrunners, in industrialised and produced many collaborate with writer-producers. A one must continue working with that order to have full control over family series for “fast watching”, that showrunner has a certain competitive person. It’s a guarantee of continued their works. were less expensive and aimed at a edge. Not only are they aware of the growth and quality. She offers to broad audience. During the 00s, a new financial challenges of production, but illustrate this point with another generation of producers took it upon they have their own creative vision. video extract, this one from the 6th themselves to mix the two approaches Channels are more and more open to episode of The Half Brother. Here we and created works that were this model. understand how they decided to deal ambitious, as well as being profitable. Ramón Campos explains that Bambú with the emotional journey around This new system was governed by Producciones was founded as a family a boxing match in a very elaborate directors, who had all the power. company. He only works alongside manner, both visually and in terms of Therefore the works produced had no people who know him inside out, dialogue. specific point of view and no identity. know his preferences, be it for decor, Through Bambú Producciones, Teresa costumes, or even staging. The Fernández-Valdés and Ramón Campos directors with whom he works know, aim to put creator-screenwriters for example, that he hates Steadicams. back in their rightful place, which is He gives great importance to the depth at the top of the creative pyramid. of the visual field. Ramón Campos The works produced by showrunners also works consistently with the same have a soul. As a kind of one man- teams of editors, screenwriters and band, they have control of the entire composers. production process: in the writing room, on the set, right through to the final edit. Their approach was, as they would admit today, somewhat In partnership with naïve. They probably had not imagined the difficulties that they would be faced with, particularly when it came

32 33 discussions discussions

A PANORAMA OF TV THE AUDIENCE IS China. It was remade in Mexico and the horror of the Roman invasion in Italy (Spanish works are extremely was fully represented. The audience DRAMA IN SPAIN ALWAYS RIGHT successful in Italy, the audiences’ ratings plummeted and the series was Three leading networks share the Spanish television series are created preferences are very similar in both cancelled. Ramón Campos learnt that Spanish tv drama market: Televisión according to the preferences of the countries). Velvet (which follows the if the audience enjoys a series, you Española (public-service television), audience. This can create a certain daily lives of the owner and staff of should not change it. Atresmedia and Mediaset. Spanish frustration with the writers. Teresa a ready-to-wear shop in the 60s) has series today are produced and Fernández-Valdés thinks the opposite. also been a great success in numerous financed by the major general-interest Writers can easily limit themselves THE REFUGEES, A SERIES countries. WITH INTERNATIONAL channels. The upcoming take-over of to broaching themes that are close It is completely natural that creators CANAL+ Spain by Telefónica (already to the audiences’ hearts while still always want to win over the younger APPEAL a presence in pay television with flourishing from a creative point of audience. Although, Ramón Campos With The Refugees, Teresa Fernández- Movistar TV) should revolutionise the view. She is indeed very proud of the reminds us that the young are, by Valdés and Ramón Campos wanted audiovisual field in Spain, since this series that she has produced. Velvet or nature, unloyal. Constantly on the hunt to prove that they were capable big new group intends to differenciate Gran Hotel are certainly aimed at the for something new, they can abandon a of creating a different series, for itself from its competitors with a general public, particularly a female series in a flash. Women, however, are a different sort of audience. The better content offer, particularly with one. But quality was never sacrificed much more loyal. They never betray a aim was not so much about beating drama and new consumption trends on the altar of market shares. series that they love. audience records as it was about (based on a model similar to that of Ramón Campos compares audience Is the audience always right? Ramón creating a “brand”. The sci-fi genre is Netflix). Expectations are high, says shares to a mushroom tart. The women Campos indicates that the series that rarely taken on in Spain, and from the Teresa Fernández-Valdés, and many are the tart’s pastry, men are the was the most successful in Spain start, the project was a co-production hope that the arrival of a new player cream and the younger audience are (before Velvet) was Hispania. Some between Antena 3 and BBC Worldwide. will give a creative boost to the the mushrooms. One cannot make episodes of the first season reached The two channels agreed to finance broadcasting market. a tart without pastry and likewise, 5 million viewers. The series follows the series based on the first script, adamant that had the series been The Spanish broadcasting market one cannot create a series without the adventures of Viriato, a humble which took 6 months to write. Teresa DISCUSSION sets itself apart from the ones in thinking about the female audience in filmed in Spanish, it would have been a Lusitanian shepherd who, after the Fernández-Valdés and Ramón Campos bigger success. Moreover, the channel WITH THE AUDIENCE other European countries, because, priority. Even when he is delving into destruction of his village, fights also presented a trailer made up Questioned on the production of The unlike their neighbours, local series the creation of a thriller (a more male- made the error of comparing the series against the Roman invasion. It was of scenes and images taken from and its universe to Stephen King’s The Refugees, Ramón Campos explains are the most successful ones with the orientated genre), Ramón Campos conceived as kind of Spanish Asterix different films and series to the that the series was financed to the Spanish audience. American series never forgets the female viewers. Dome. The Refugees was promoted as and Obelix. During each episode, a broadcasters. The main references a mainstream series when, in fact, it tune of 350k € per episode. The fact are never broadcast during prime He aims to create a thriller that his small troop of forty Spaniards were were Michael Haneke, Sam Peckinpah that the budget was so limited, allowed time and audience shares for major mother would equally enjoy. was not aimed at the general public. able to defeat an army of more than (particularly Straw Dogs) and several It was created, from the start, for Teresa Fernández-Valdés and Ramón international successes are modest. For a long time, Teresa Fernández- 1000 Romans. Hispania was, more works of science fiction. Campos to take more risks, but they Each week, eight Spanish series Valdés thought that the best way of a niche audience. It was not at all than anything else, a family comedy The Refugees is set in a dystopian aimed towards a female audience. quickly realised that it was too low. are broadcast during prime time, to winning over the international market, series. It was of course highly Spain. In the series, mankind is faced In the end, The Refugees is the least around 12 million viewers. Series are was to offer works that were more Ramón Campos wanted The Refugees criticised by historians. Ramón with the biggest exodus of its history. to be a deep reflection on the theme expensive Spanish prime-time series also broadcast in the afternoon and risqué. She found that the series that Campos never claimed to be making a Three million people from the future, of the past three years (the usual some have even managed to dethrone were the most successful abroad, were of immigration and, because of this, historical series, however the critics running away from an imminent global wanted it to be more writer oriented. budget is 550k € per episode). There the Latin American Telenovelas. the ones that were highly successful influenced him so much, that he catastrophy, arrive in the present. were seven to eight days of filming for Unlike Spanish cinema, which is not in Spain. Gran Hotel, an albeit very He admits that he wanted to enjoy decided to entirely modify the plot Because the series was created for the himself. ”I was never thinking about each episode and David Pinillos and coping with the competition from big classic and ‘mainstream’ series, was international market, all the actors for the second season. The episodes the viewers”, he says. The series Elías León directed. ■ American blockbusters, television sold all over the world, including to became much more dramatic and are British and speak English. Ramón programmes’ main audience is the certainly did not beat any audience Campos worked alongside a BBC records, but nevertheless, there were general public, who remains highly screenwriter on the dialogue. attached to national works. Regional more than 1 million viewers. He is very On the subject of language, Teresa proud of that. identities are very strong in Spain Fernández-Valdés points out that a and the audience wants to be able The Refugees was, in some ways, series does not need to be filmed an experimental work. Now, Bambú to identify with the characters that in English to be a success abroad. are presented on the small screen. Producciones is working on an The majority of series are dubbed or ambitious new project called The Art cinema, which represents a vast sub-titled for their broadcast. As for amount of films, does not have its Embassy. This new series is political the American market, it is already and focuses on corruption (one of place in television. saturated and anyway, Americans Series in Spain – and this is another Spain’s biggest problems, according prefer to remake foreign series. If to Teresa Fernández-Valdés). The story characteristic of the market – are Bambú Producciones were to start entirely financed by the broadcasters. takes place in a Spanish embassy a similar new project, it would be in an Asian country, designed as a Ramón Campos is very much in favour filmed in Spanish. In addition, Teresa of this system, as the channels know Spanish microcosm. The series is also Fernández-Valdés reminds us that a broader reflection on power, the best what their audiences’ preferences international broadcasters only buy are. search for it and how to keep it. Teresa series that are a great success on their Fernández-Valdés and Ramón Campos own national market. agree that their previous series were Yet again, we must not forget the very “polite”. This one will be “dirtier”, audience in Spain prefers national less politically correct. series. Yet for Spanish viewers, The Refugees was very much an English series, despite the channel’s efforts to sell it as a Spanish work. The various trailers aired insisted upon the fact that The Refugees was the new series by the creators of Gran Hotel and Velvet. This did not pass muster with the Spanish. Ramón Campos is

34 35 CASE STUDIES CASE STUDIES

new characters. The creation of a HUMANS new version, like the writing, seemed (Channel 4 – United Kingdom / Amc - United States ) completely natural. Jonathan Brackley points out that the first episode of Humans is very similar to the one in the original version. The key events are reiterated. For example, just like in Real Humans, a family (the Hawkins in the British Speakers version, the Engmans in the Swedish Sam Vincent, screenwriter version) purchase a robot (‘Synths’ Jonathan Brackley, screenwriter in the British version, ‘Hubots’ in Derek Wax, producer, Kudos Chris Fry, producer, Kudos the Swedish version) named Anita Kristin Jones, AMC (played by Gemma Chan). Rapidly, Simon Maxwell, Channel 4 the series takes different directions. Katherine Parkinson, actress New narrative arcs were built for each Gemma Chan, actress character, of which the emotional trajectory distanced itself slightly from Chaired by Jean-Marc Auclair, author and that of their Swedish counterparts. producer, Alauda Films (France) The finale of the first season is, in that respect, different. The dynamics

within the Hawkins family are more © Colin Hutton - Channel 4. complex. The mother, Laura (played by Katherine Parkinson) has a much more difficult relationship with her SELLING AND great contemporary fear, that of the daughter than in the Swedish version. obsolescence of human beings. The Sam Vincent admits that the first DEVELOPING HUMANS success that the series had during script was probably too similar to the Once the script was finalised broadcasting, shows that its topics are original. In the second version, they internally (within Kudos), Derek Wax with the times. took things a lot further. presented the project to Channel 4, The American channel AMC was Unlike the writers, Katherine the ideal channel, according to him, to introduced to the project quite late Parkinson decided not to watch broadcast this kind of series. Jean- on. When Kristin Jones met with the the Swedish version of the series. Marc Auclair is keen to point out that representatives of Kudos, Humans was The new British-American co- THE ORIGIN OF HUMANS it was broadcast in Great Britain). Similarly, Gemma Chan settled Kudos took a considerable financial The Tunnel was, in the end, a great co-produced by Channel 4 and Xbox production, Humans, describes Derek Wax discovered the Real with watching a trailer. The aim, risk. They had no guarantee that the success. But Derek Wax knew that few Entertainment Studios. Thankfully Humans series in 2010, while it was in Humans, was to be based on the channel (this one or another) would a world very similar to our own, broadcasters would be ready to take for AMC, Microsoft decided to close still in the production stage (it had not original series, at least its concept, accept the project. such a risk with Humans. down that branch. Derek Wax explains except for the fact that robots yet been broadcast in its country of but also to let the narrative go towards The risk paid off. Simon Maxwell Jean-Marc Auclair therefore asks that once the closing of Xbox was (Synths) help humans, not only origin). The SVT channel had shown a other horizons. The two actresses were says that Channel 4 appreciated the Derek Wax why he felt the need to confirmed, he was flooded with calls few extracts to one of his colleagues. afraid of being too influenced by Real fact that Kudos presented a concrete with their domestic tasks, but produce a remake of Real Humans. from other broadcasters interested in They were only disparate scenes, but Humans, although it was clear that the project, with a solid base (in this also manage to replace them It wasn’t so much a need as it was the series. But Kudos did not want to the plot was so promising that Kudos British version could not be a simple case, a script). The channel had all a necessity. Good ideas are rare miss out on collaborating with such a in various aspects of their was quick to put an option on the copy of the original. the information necessary to make a nowadays. Real Humans was one of prestigious channel as AMC. series, with the possibility of a remake. Sam Vincent and Jonathan decision, with all the facts to hand. Be daily lives. These robots are the most original series at the time. It With smash hits like Mad Men, The following year, Derek Wax, who Brackley went to Sweden to meet that as it may, there are no specific strange: occasionally they will touched upon so many genres: thriller, Breaking Bad and The Walking Dead, had come to present The Hour at Série Lars Lundström, the creator of rules nowadays in Great Britain. For sci-fi, drama. Unlike many science- AMC has seen an incredible growth do something inexplicable, Series, went to see the screening of Real Humans, before starting the example, certain projects are accepted, fiction series, the series is not set in within the last few years. Since the something… almost human. the first episode of Real Humans at production of the series. They wanted based on a simple pitch. a strange and distant future. It talks channel intends to continue producing the Fontainebleau theatre. The project to get his opinion, as well as his Most European producers incorporate This story will most probably about our current society, our fears, genre series (their speciality), with for creating the British version was advice. He advised, for example, visuals in their presentations when remind you of something. This our desires. strong drama content, they could not falling into place. that the Synths be present from the presenting their projects to a channel. let a series like Humans slip through is to be expected. Humans is a Kudos absolutely wanted to put an first episode. What is important is Derek Wax does not see the point. their fingers. Particularly since British remake of the Swedish series option on the series before it was WRITING A REMAKE not so much to explain where they Broadcasters are looking above all to series (Downton Abbey, to cite one of come from, but more to use their Real Humans. broadcast in the United Kingdom. Before presenting the project to a work with the best actors and writers, many) are so successful in the United Derek Wax was aware that it would broadcaster, Derek Wax added two existence to develop storylines. Like more than being concerned with States. The American audience, Kristin be far more difficult to sell Humans screenwriters to the project – Sam other series, such as True Blood, the the visual aspect of a series. Their Jones points out, is not afraid of the to a broadcaster if the Swedish Vincent and Jonathan Brackley – to universe must stand out on its own. decisions are based solely on the British accent. Humans is AMC’s first version was already known to the write a first version of the script. Lars Lundström had understood that quality of the scripts. co-production public. The independent sector had He did not want to sell the series it was possible to impose a universe Humans was very much what the In the end, the budget (approximately boomed over the past few years by simply presenting a DVD of the – however strange it may be – without channel was looking for. Although £1.2 million per episode) was split and the British market had become original version. The two writers did any prior explanation. Sam Vincent it takes place in a very specific equally between Channel 4 and extremely competitive. Broadcasters not read the original scripts. However, and Jonathan Brackley followed his genre of science-fiction, the series AMC. Chris Fry points out that a co- were overwhelmed with projects and they did watch the entire first season advice. In Humans, they made sure to is nonetheless based in a kind of production can only function if the looking for the freshest, most original of Real Humans twice over, on DVD. create a believable universe, without social reality to which Channel 4 is stakeholders (here, AMC, Channel 4 and creative ideas. When Kudos They fell in love with the series. The having to explain where the robots very attached. Moreover, the series and Kudos) share the same vision and created The Tunnel, the remake of the original concept was so strong that it came from. tackles purely philosophical questions. the same ambition for the series. The Broen series, the broadcaster ran the enabled them to develop a multitude Humans questions our relationship development process of Humans, he risk of losing a share of the audience of themes and characters. A remake with technology intelligently, a recalls, was particularly easy. (the viewers that had already seen could, whilst staying true to the theme which is very difficult to Channel 4 gave the go-ahead after the Swedish-Danish version when concept, take new paths, develop adapt to television. It also explores a having read the script of the first

36 37 CASE STUDIES CASE STUDIES two episodes, as well as the general traditional being, to act facing an Within a few hours, posts mentioning storylines of the season. Sam Vincent actress who not only had minimalistic the Persona Synthetics brand exploded TORPEDERNA / CLEAN SLATE and Jonathan Brackley were given movements, but who was also on Twitter, as well as searches on (Tv4, Sweden) 8 weeks to finish the remaining 6 incapable of expressing the emotional Google UK (more than 100 000). In the episodes. Having run out of time, they range of a human being. Nevertheless, United States, the AMC channel set up entrusted the writing of episodes Gemma Chan’s acting is so realistic a similar store to the one on Regent 4 and 5 to two other screenwriters. that Katherine Parkinson just had to Street, in Atlanta airport. Actors played Derek Wax is aware that it would react to what was basically a robot, but the Synths. Their reactions were once have been more comfortable to strangely human. again unbelievable. finalise the 8 episodes before starting The two Synths displayed in the store Speakers pre-production. It’s a luxury that PROMOTING HUMANS: were finally sold on eBay for the Per Gavatin, head writer, FLX the screenwriters did not have. This SYNTHS FOR SALE symbolic sum of £20 000. Pontus Edgren, producer, FLX said, he believes a certain amount Simon Maxwell reminds everyone that Leo Razzak, actor of flexibility should be maintained. To promote the series, Channel 4 the world described in Humans could Liv Mjönes, actress Indeed, a script can evolve during and AMC used a particularly original be closer than we think. Technological marketing campaign. The British Chaired by filming, depending on the input of advances are so fast. This campaign Jean-André Yerlès, screenwriter (France) the actors or the directors. In this channel initially broadcast an advert was a rogue way of making viewers way, the screenwriters can decide, if during prime time (without ever question their relationship with an actor turns out to be particularly mentioning the series), asking viewers Artificial Intelligence, as well as tremendous, to develop a character (or to visit www.peronasynthetics.com to their loved ones. Derek Wax points even keep them alive when it had been purchase a Synth! out that the series started a true decided they would die). On this point, Simultaneously, Channel 4 set up debate in England about our love- Kristin Jones recalls that the creators a pop-up store (in an abandoned hate relationship with technology. of Breaking Bad had imagined killing building) on Regent Street in London Are we not all slaves to our mobile off the character of Jesse (played (the equivalent to an Apple Store, but phones? More generally, Humans asks by Aaron Paul) but eventually, and for robots). In the window display, a fundamental question: what makes thankfully, decided that he was key passers-by could see the latest humans human? to the series. Production and filming products from the Persona Synthetics As a conclusion, Simon Maxwell influence the writing process. As brand, which were two Synth models, mentions that in Great Britain, the Derek Wax recalls, “writing is re- Sally and Charlie. The humanoids series is both a critical and audience writing”. The writing process only (digital replicas of the ‘Synths’) success. In terms of audience, there truly ends after the final edit. interacted with the passers-by thanks were over 4 million viewers for the to the Kinect technology developed first episode on the evening of its PLAYING HUMANS by Microsoft. Gemma Chan went broadcast, largely exceeding the Torpederna was financed totally The network was very worried that season is being looked into. The to the store to observe the crowd’s channel’s expectations (a show is by TV4, at a cost of approximately their public would not take to the network has not yet green-lighted it, To help the actors (including the reaction. Many people fell for the trick, generally considered a hit on Channel 450 000 euros per episode. Pontus series. Fortunately, Torpederna has but discussions are taking place. Per extras) to play ‘Synths’, workshops believing that a store would soon open 4 when it exceeds 2 million). ■ Edgren agrees that the series would been a tremendous success with both Gavatin will not be taking part in this were set up with a choreographer where you could purchase real robots. probably have benefited from a larger critics and public. Some critics even second season. FLX will be using a three weeks before the start of filming, budget if it had been commissioned went so far as to say it was probably team of seven screenwriters within the with the aim of mastering movements. by SVT, the Swedish public service the most original series of 2014. As for company. It is the company’s strategy Gemma Chan considers this extensive channel which is part of the Sveriges audience ratings, there was an average to move their screenwriters forward preparation to have been an absolute Television Group. TV4, a private of 1.5 million viewers, which largely from one project to another. Having necessity. The choreographer created network, has much fewer resources. exceeded TV4’s expectations. been the main screenwriter for the a physical language generic to all Torpederna was a real risk for TV4. Jean-André Yerlès asks the actors how first season of Torpederna, Per Gavatin the robots in the series. All the Over the past few years, the channel they felt, particularly during filming. is moving on to showrunner for Boy movements, even the simplest ones, has specialised in pure entertainment Liv Mjönes considers herself very Machine, FLX’s new creation. ■ had to he learnt all over again (getting and broadcasts huge hits like X lucky to have been part of such a good up, walking, sitting down, cooking, Factor or Let’s Dance (Strictly Come series. As for Leo Razzak, this is his hoovering). The trouble was finding Dancing). Pontus Edgren points out first role as an actor. He met Felix movements that were neither too that Torpederna is more the type of Herngren, showrunner and director of human nor too robotic. The ‘Synths’ series aired by a channel like AMC in Topederna, at a party. He was quick function thanks to batteries and are the United States (Breaking Bad or to tell him how much he admired his therefore very frugal with their actions Mad Men). work and the two men exchanged or movements. There is also no reason When Liv Mjönes read the first three email addresses. A few days later, Leo a ‘Synth’ should be right or left- episodes, she was very surprised. Razzak received an email from Felix handed, so the actors had to learn to Taking into account the subject Herngren telling him that he should be ambidextrous. The choreographer matter of the series, she was not become an actor and that he would be was present everyday on set to help expecting it to be so funny at all. The perfect for the part of the 27-year-old the actors. series is indeed comical, but there are gangster, who sees himself as a cross We can only imagine how difficult also some very dark sides to it. The between Steve Jobs and Scarface. Leo it must have been for Katherine humour is very black. It is very much Razzak had just been given his first Parkinson, who plays a much more at the crossroads of comedy, drama part as Nima in Torpederna! and thriller. In view of this success, a second

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production to date, a success. TRAPPED Magnus Sigurdsson tells us that (Ruv – Iceland / Zdf – Germany) Iceland is a very popular country, with its splendid and singular landscapes attracting a great number of producers of both films and series every year. As a result, the technical teams are very experienced. As regards more specifically the Speakers actors, Sigurjón Kjartansson points out Sigurjón Kjartansson, showrunner that, generally speaking, all Icelandic and screenwriter actors come from theatre. So of course, Clive Bradley, screenwriter Magnus Sigurdsson, producer, RVK there were some rather acrimonious Studios negotiations with theatre directors, Klaus Zimmermann, producer, who were not exactly thrilled to Dynamic Television have their actors otherwise engaged for over three months. Sigurjón Chaired by Kjartansson completely understands Philippe Niang, director (France) that the filming of Trapped created some problems in Iceland’s theatrical milieu. Klaus Zimmermann adds that Iceland is a very small country where everybody knows everybody, so it is always possible to find a solution. Magnus Sigurdsson points out that the three main actors in the series, apart from treading the boards, also have a lot of experience in films. Ólafur Darri Ólafsson will be playing a giant in Steven Spielberg’s next film (The Big Fat Giant). Ingvar E. Sigurðsson is playing opposite Jake Gyllenhaal and

Keira Knightley in Everest (directed © RVK Studios - Lilja Jonsdotti Iceland is probably the country DEVELOPING THE Zimmermann set up a particularly by Baltasar Kormákur). As for Ilmur that has the lowest crime rate PROJECT efficient system by which the four Kristjánsdóttir, she has one of the main screenwriters involved in the main roles in the film Virgin Mountain the various participants how they broadcasters had already given in the world (one murder a This series was created by Baltasar project, spent a week together every (winner of three prizes at the recent managed to convince France their approval certainly facilitated Kormákur, who also produced year officially). Nevertheless, two months to discuss in detail the Tribeca film festival in New York). Télévisions to join them, since they negotiations. Lastly, Klaus Zimermann and directed the first episode. next two episodes. Clive Bradley had are not generally involved in co- adds that the budget for the series was there is indeed a murder at the Nevertheless, Trapped is above all never come across this way of doing productions. In this respect, Klaus quite reasonable. centre of the intrigue in the a joint collaboration, with talent AN INTERNATIONAL things before and since then, has been Zimmermann considers the concept of Philippe Niang would like to know from six different countries, since it CO-PRODUCTION Trapped series. An unidentified encouraging British producers to do the series to be particularly original, if the Americans have shown any was co-produced by ZDF (Germany), the same. Although costly – the budget Klaus Zimmermann tells us that the from both a narrative and an artistic interest in remaking Trapped. Klaus torso washes up on the banks SVT (Sweden), RUV (Iceland), YLE allocated for development of the series creators’ objective was to create a point of view. Moreover, the series Zimmerman confirms that they of the peaceful village of (Finland), DR1 (Denmark) and France was estimated at around 450 000 € –, typically Icelandic series, but with benefited from the huge success of have. He cannot go into any detail as Télévisions. Seydisfjördur. A storm closes all in the long run, this method turned out appeal for an international public. Broadchurch, but also the notoriety of negotiations are still underway. Klaus Zimmermann tells us that once the roads leading to the town, to be particularly productive. The idea of approaching several Baltasar Kormákur. More specifically Trapped will be aired in December in the pilot was completed, the writing European broadcasters was actually an on the subject of France Télévisions, Iceland and March 2016 in the other isolating it from the rest of the of the series’ ten episodes carried on integral part of the project as such. In FILMING the fact that three of the big European European countries. ■ world. The inhabitants realize over the period of a year, which he addition, since the cost of producing Filming took place in particularly considers to be a real luxury. It is very the series was slightly costly (7.3 M€), that they are all potentially difficult conditions. As it happened, unusual not to have the broadcaster and although Icelandic funds are suspects, but also, they are all Iceland had a very harsh winter that breathing down one’s neck to start substantial, they were largely year : great for the series since it was potentially in danger. filming as soon as possible, once the insufficient. supposed to take place during a storm ; project has been green-lighted. The From a narrative point of view, not not so great for the team as conditions creators were lucky because this series just universal themes are broached in were particularly hard (half the scenes could only be filmed during the winter the series, but it is also set against the were filmed on location) ; even more months. There are three key elements background of the crisis, which the so, since filming took 97 days, with to Trapped: the criminal intrigue, the public can easily relate to, particularly 12 hours per day. Apart from the main character and nature. Europeans. While it is true that adverse weather conditions, Sigurjón In terms of the broadcasters’ Iceland was particularly affected Kjartansson reminds us that during involvement, the screenwriters were by the 2008 crisis, Clive Bradley winter, the sunrises at about 11 o’clock allowed a lot of freedom. The channel reminds us, it was unthinkable not and sets at 4 o’clock at the latest. So that was the most involved in the to touch on this subject in the series, the team had, at best, four hours to writing process was ZDF (the Sunday every European country having been shoot the daytime scenes. He applauds evening slot of which is devoted to affected. Klaus Zimmermann adds that the actors’ as well as the technical Scandinavian drama). In the end, no the first events described in the series team’s performances, all of whom were specific broadcaster had absolute take place precisely in 2008. exceptionally motivated and involved control of the creative side. A member of the audience asks Clive Bradley explains that Klaus in making what is Iceland’s largest

40 41 CASE STUDIES CASE STUDIES

always constructive manner, which is THE ENFIELD HAUNTING rarely the case, but also allowed for (Sky, United Kingdom) the story’s development whilst staying true to the intentions. Lars Lundström points out that the poltergeist is very much one of the characters in the series, which is as complex as it is terrifying. On this subject, Joshua St Johnston reminds us Speakers that “in order to write a good horror Joshua St Johnston, screenwriter story, you need to start with a good Krystoffer Nyholm, director monster”. His first version of the script Joel Wilson, producer, Eleven Films Jamie Campbell, producer, Eleven was not frightening enough. The ghost Films was too ambiguous, too vague. So, the decision was taken to give it a body. Chaired by In the final version of the script, the Lars Lundström, writer and producer, spirit has a name, a personality. His Matador Films (Sweden) intentions, particularly those towards Janet, are explicit. BOO, SCARE ME!

Horror may be in at the moment, but © Elevenfilm not many broadcasters venture into this genre. Nevertheless, it has been attracting a greater audience. It is, lives within us; the fear that we feel prolong the experience on various however, mainly on the big screen can transform us into what we fear other media. where horror films boom at the the most. These series, just like The Jamie Campbell took the opportunity box-office. As of today, the market Enfield Haunting, cross over several to point out that The Conjuring 2 will for horror on television is mainly genres. be based on the events that happened un-tapped. The Enfield Haunting was at Enfield. The Warren did indeed greeted with huge success on its A « TRUE » STORY go to the Hodgson’s family house to investigate. They did, however, only broadcast on Sky Living, bringing in The creators always had in mind the stay all of 25 minutes. THIS HOUSE IS HAUNTED WRITING A HORROR and loss. This vision definitely helped an audience that would not typically fact that The Enfield Haunting was a in reassuring Guy Lyon Playfair. go for this genre. This success is proof The question on everyone’s mind is: The British mini-series The Enfield “true story”. In order to stay true to the STORY However, the creators stood by the fact of the opportunities in the field, and did the events described in The Enfield Haunting (made up of three episodes), story, a high importance was placed The project for the series came to light that the series should be frightening. Jamie Campbell is convinced that Haunting actually happen? On this is based on the most famous and on the sets and costumes and very six years ago. Joel Wilson wanted to The horrific effects were added to the the series is opening doors in Great point, Jamie Campbell is categorical; well-documented Poltergeist case in little computer-generated imagery was adapt the book written by Guy Lyon second version of the screenplay. The Britain. Actually, there are similar new he does not believe it for a second. the world. The events generated major used. In one particular scene, one of Playfair, an author who has written challenge was therefore to find the projects in development. It is true that all the people involved interest at the time. The story takes the main characters is propelled into a approximately a dozen works on the balance between an intimate drama During the broadcasting of The in this matter – including the police place in 1977, in a suburb in England. wall. The actor was attached by several field of parapsychology. It took several and a horror. Enfield Haunting, Joshua St Johnston officer whose career was affected by For several months, Peggy Hodgson, strings which violently launched him years to convince him that his story Krystoffer Nyholm was involved much enjoyed following the reactions on the events – never went back on their a single mother, and her four children against the surface of the wall. The could be adapted for television. The later on in the process. He received the Twitter. In the comments, many people testimonies. They have confirmed are the witnesses and victims of use of “old school” effects adds extra author feared, probably with reason, first version of the screenplay while mentioned the fact that the series that the objects moved on their own, bizarre phenomena (unknown noises, credibility to the series. that his book would be betrayed and he was working in Sweden. He admits was too frightening and they could without any human intervention. All of objects inexplicably moving). A An audience does not watch a film transformed into a Hollywood show that when reading the first two pages, not watch it. That was the proof, if which is quite troubling. However, the malicious ghost seems to have taken or a series in the same way when relying largely on horrific special he was slightly disappointed. The first ever it was needed, that the balance only object that the ghost was unable control of their house. The poltergeist they know that the story being told effects. Actually, Steven Spielberg scene was set in a graveyard and he wanted between drama and horror had to move or break was the television, targets young Janet (11 years old), is inspired by real life. Joel Wilson contacted him at the beginning of the had the feeling he had read this story been found. Joel Wilson previewed which was the most precious and going as far as taking control of her reminds us that in horror films, it 80s, before writing and producing a hundred times before. Luckily, he the series to several of his friends. expensive object in the house. Jamie body, and is even violent towards her. is traditional to say, regardless of Poltergeist. Guy Lyon Playfair had, in kept on reading. The screenplay and Two of them stopped watching after Campbell feels that this simple fact Distraught, the family call in Maurice whether it is true or not, that the fact, refused his offer. the story were much more subtle than 10 minutes. Horror is the only genre alone is particularly telling. Grosse, an investigator for the Society events described are ‘based on a Joshua St Johnston joined the project he had initially thought. He fell in love that provokes this kind of instant, Likewise, neither Krystoffer Nyholm for Psychical Research (SPR) who true story’. This creates a strong early on. He had read Guy Lyon with the project. It is rare to find a jerk reaction. Some people just cannot nor Joshua St Johnston believe in attempts to understand and neutralise connection with the audience. Playfair’s book (who he only met project which, while remaining true handle it. poltergeists. The series actually plays the danger. The task is made even After having seen James Wan’s The twice). In his view, the book was to the horror genre, is fully focused on As is highlighted by Jamie Campbell, on this ambiguity. The Hodgson family more difficult as it brings back painful Conjuring at the cinema, Joel Wilson more a metaphor about bereavement the characters. The majority of horror series that are solely horror-based suffers from the fact that no-one memories. A few years previously, his went straight to the internet to learn than a ghost story. The initial version films have accustomed us to clichéd venture into other territories that have believes them. Krystoffer Nyholm is own daughter, also named Janet, was more on this dark story. Indeed, of the screenplay focused on the and bland characters; archetypes nothing to do with the genre. It is convinced that terrifying events did murdered, and he is convinced that it the film is meant to be based on relationship between Maurice Grosse without any depth. The Enfield impossible to maintain a constant level take place in the house. Was it really is possible to communicate with her the experience of Ed and Lorraine and Janet Hodgson. The ghost was Haunting brings a new dimension to of fear throughout 10 episodes. The a poltergeist? He doubts it. But the through the spirit that inhabits the Warrens, the famous paranormal the manifestation of their despair. the genre. audience would probably get bored. In human spirit is capable of creating a Hodgson’s household. Throughout his investigators. The web is filled with On one side, the young girl suffered Joshua St Johnston thoroughly enjoyed its first season, the American Horror ghost in order to fill a hole, just like in mission, Maurice Grosse is assisted anecdotes on their investigations and from the absence of her father and, working with Krystoffer Nyholm. He Story series progressively transforms the series. by Guy Lyon Playfair. Although Guy is their exploits. Similarly, the creators of on the other, the investigator was grasped the nature of the project and into a sort of soap – which is one of Timothy Spall, the actor who plays initially quite sceptical, he is quickly The Blair Witch Project (Daniel Myrick haunted by the death of his daughter. their collaboration was particularly its main qualities – where the main Maurice Gross, has himself been convinced that the events happening and Eduardo Sánchez) were able to Joshua St Johnston’s screenplay used productive. Especially as Krystoffer characters are ghosts. The Walking witness to several inexplicable at Enfield are not the result of some create an entire mythology around the extraordinary circumstances to Nyholm’s comments on the script were Dead and its swarm of zombies are manifestations. He almost turned down clever prank by the children, but that their film, inviting the spectators to develop a reflection on separation not only expressed in a subtle and a metaphor for the dark side that the project, as he was scared that the it is in fact a Poltergeist.

42 43 CASE STUDIES CASE STUDIES poltergeist would take revenge and it the mother or the daughter) never Spall worked a lot before filming. He attack him while he was filming the went back on their testimonies. watched many videos in which the NO SECOND CHANCE series. A meeting was subsequently Joshua St Johnston learnt that Janet real Maurice Grosse was speaking, to (TF1, France) organised between the actor and Guy Hodgson is married and has three use as inspiration. On the first day of Lyon Playfair, in order to reassure him. children. She no longer speaks to filming, “he was Maurice Grosse”. He Joel Wilson attended this meeting, her mother since the death of her had completely mastered the way he which did not go as planned. Indeed, father. The house is now lived in. It is spoke, his tics. Unfortunately, he was Guy Lyon Playfair had the (bad) idea evidently no longer haunted. The new not the character. Krystoffer Nyholm of letting Timothy Spall listen to the owners have actually complained that was much more interested by what audio recordings of the real Janet since the broadcasting of the series, Timothy Spall could bring personally to Speakers Hodgson while she was possessed by numerous people have come to take the character. His work had not helped Sydney Gallonde, producer the evil spirit. Joel Wilson remembers pictures of the house. him, but had actually been a hindrance. Marie Guillaumond, head of drama, TF1 the look of panic on the actor’s face He then asked him to completely Patrick Renault, screenwriter while he listened to this distressing The Enfield Haunting was also offered change his acting. In the end, his Charlotte Des Georges, actress Jean-François Vlérick, actor evidence. Guy Lyon Playfair suddenly to the BBC. Would the series have been performance might be far from reality, Geoffroy Thiebaut, actor got up from his chair, grabbed his cane different if the channel had taken up but it is much more authentic. (today, he is over 80 years old) and the project? Chaired by started violently thumping the floor. Joel Wilson is unsure. He thinks the What was the channel’s involvement Eva Roque, journalist, Télé7 Jours, The scene was absolutely terrifying. series would have been very similar. in the creative process? Europe 1 (France) In fact, Guy Lyon Playfair was simply Joshua St Johnston supposes that the Joshua St Johnston felt very free in trying to kill a spider, but the damage episodes would have been longer (by terms of the writing. Several meetings was done. Joel Wilson was convinced at least 15 minutes). were set up with the channel, who that after this disastrous meeting, made very few comments. Everyone he had definitely lost Timothy Spall. How did the filming of the series go? shared the same vision for the series. Even more so, as he had just won the What was the budget for the series? However, the casting turned out to be award for Best Male Performance at Joel Wilson tells us that the filming more difficult. Joel Wilson confirms the 2014 Cannes Film Festival for his (which lasted 9 weeks) started the day that Sky Channel, compared to other performance in Mike Leigh’s his daughter was born. The budget for channels, is much more meticulous in Mr. Turner. Surprisingly, he rang a each episode was about £1.1 million. this area. The process was therefore few days later to confirm that he was quite long. Thankfully, the script was accepting the part. To this day, he does How did you work with the actors? so good that numerous actors wanted not know what could have possibly Krystoffer Nyholm says that Timothy to take part in the project. ■ made him change his mind. ORIGINS OF THE PROJECT of the conversation, Harlan’s closing TF1, DRAMA AND QUALITY comment is: “not bad!” DISCUSSION Eva Roque is delighted to welcome Paris…Sydney goes in search of Marie ADAPTATIONS WITH THE AUDIENCE the No Second Chance team, the Guillaumond at TF1, convinced she’ll Marie Guillaumond reminds us that an series adaptation of Harlan Coben’s What has happened to the Hodgson say no. To his surprise, as it happens introductory meeting had taken place bestseller of the same title. She family? she is in New York the following week with Delinda Jacobs, co-screenwriter starts by giving the floor to Sydney Joel Wilson answers that the Hodgson and suggests organising a meeting of the series. A certain vision had Gallonde, the producer who started family try, as much as possible, to stay with Harlan Coben. therefore already been established. this adventure and has brought it to away from the media. They have given New York… Harlan is in Cuba, back Only recently appointed as artistic fruition with touching enthusiasm and very few interviews since and did not on the Saturday. The meeting with director, she notes that Ce soir j’ai tué naturalness, as well as great energy, want to be implicated in the series. As Marie Guillaumond takes place over l’assassin de mon fils had just been efficiency and, above all, immense mentioned previously, the family (be a successful dinner, but Sydney has filmed, when Sydney came to her with generosity. He explains the origins of already had a meeting face-to-face his project. She also reminds us that the series. with Coben beforehand at his home, she started working in drama for TF1 Geneva…Sydney Gallonde, who doesn’t in the legendary Dakota Building. in 2009 and oversaw all crime series speak English, meets Harlan Coben, Sydney, who has started learning before taking on this new position. It who doesn’t speak French, for the first English, explains his idea. Seduced is a subject she knows very well and time. He has read No Second Chance by the character and the idea, Harlan Sydney’s project was perfectly in line and the thriller instantly bowled him invites Sydney to spend the weekend with her editorial policy and came over. As a young father of a 6-month- in the country with him and Sydney, just at the right time. What’s more, old daughter, he knew then that he who practises a combat sport, invites is it really necessary to point out that had to adapt the novel, whatever the Harlan to watch him fight. Sydney Harlan Coben is a giant in the world cost. He does everything to obtain the explains that he wants to adapt the of international literature, a gold unobtainable rights. He approaches novel into a series. Although Harlan is standard, very compatible with TF1’s editors and lawyers who refer him to surprised at first, Sydney assures him policy and a tremendous asset. the agent’s representative in France, he knows where he’s coming from and Now head of drama for TF1, Marie who agree to talk to the man in where he’s going with it….Guts, genius, Guillaumond intends to offer diversity question. Harlan is won over. and a certain eclectism. « TF1 prohibits A phone call…Sydney is slightly taken Astonishing phone call..…Harlan nothing ». When asked by Eva Roque aback as he is talking to Harlan Coben releases the rights to Sydney. It’s mid the reason why we are seeing more himself, but he has prepared notes November 2013 and shooting will start and more adaptations of best sellers and presents his project. At the end 11 months later. –more often than not foreign –rather than original creation on television, Marie Guillaumond replies that there are both in the panorama of French television. She considers that it is not so much channels which are reluctant to accept creations, as authors who

44 45 CASE STUDIES CASE STUDIES are often too overcautious. Yet all she the adaptation sticks to the original CASTING, OVER TO THE playing a policeman is really only wants is to receive quality projects, no dialogue and certain tiny details repertory. In the end, her duo with matter what their origin. in the book. Sydney explains that ACTORS Hyppolite Girardot is a pleasure to In any event, she considers Patrick, Harlan, François and himself Casting took very little time. Alexandra act, as well as very demanding. She adaptations to be an exercise in worked very thoroughly on the details, Lamy was on the short list to begin also welcomes the readings that were original creation. The successful regularly referring to the book and with, but when Harlan Coben saw organised before filming. With all adaptation of a foreign novel like No using it for renewed inspiration. When her photo, he knew she was the one the actors around a table, each scene Second Chance, requires the daring to adapting, one should not hesitate to go who should play the heroine. Two of was analysed and everyone came up go in search of an intimacy with the back to the source from time to time. her colleagues and friends were also with suggestions or improvisations. French public; this is also a guarantee A telefilm was envisaged, as there was considered, Mélanie Doutey and Anne This preliminary work was rare and of quality, other than the undeniable concern that a series would not be Marivin, with a thought for them, she precious. quality of the source work. followed. However, Sydney Gallonde took her time in accepting the role. As for Jean-François Vlérick, who feels Patrick Renault adds that there have really wanted this format and Marie Marie Guillaumond has always thought literally reborn as an actor, he threw always been adaptations, including Guillaumond preferred the idea of she was an exceptional actress and himself at the script. He is the old man in the United States. He also does a mini series; 6 x 52’. She wanted she has not been disappointed; her of the series, playing the heroine’s not consider them to be second rate, neither a prestigious telefilm, nor performance is astonishing. father. Beyond the quality of the best quite the contrary. He welcomes a 4 x 52’which would have been a hybrid On the subject of casting in general, seller and its adaptation, he says he broadcaster who, as has just been solution. She gave him her full support. she adds that supporting roles must was blown away by the way in which underlined, is prepared to play the not be neglected. Having a great lead Sydney led the team, the group spirit quality card. FINANCIAL SUPPORT is simply not enough. Besides, a lot he developed and all this accomplished A member of the audience further of progress has been made in French with great humility. When support is mentioned, it underlines this point later on. After a drama since greater importance has Geoffroy Thiebaut also found it obviously involves money and on this certain unwillingness, even years of been given to casting as a whole. For irresistible when Sydney rang him to point, Sydney Gallonde can confirm self-censorship, he takes his hat off example, on the Profilage series no tell him all about it and invite him to that he received total support from to a channel who now takes risks and role is left to chance from season to “come and have some fun with us”. PRODUCTION TF1 © Jean Francois Baumard VAB TF1, not only at the beginning of takes responsibility seriously, as would season. All the supporting roles are He was then filming the 4th season the project, but also as and when the public service channels. tried out and tested. There also has of Braquo and he was being offered required. The channel considered that to be a diversity of facial types on a supporting role which interested however, that since the investigation it was out of the question to adapt DISCUSSION screen. The time when one always him, but no more than that; it was the was particularly complex, PITCHING, VARIANTS, a Harlan Coben on a limited budget. WITH THE AUDIENCE saw the same actors on screen is gone; contact with Sydney that left him no crossboarding required the actors to FAITHFUL AND A low cost production was never on television is now a great opportunity other choice than to accept. Was there ever question of filming in be very vigilant in respect of their the cards. This mini series did cost INVENTIVE ADAPTING for cinema actors. The boundaries are the States, in New York? characters’ development and the a little more than other equivalent Patrick Renault goes back to the plot. blurred and it is a very good thing. Sydney Gallonde says not. This intrigue. projects, but justifiably so, declares A PRODUCER NOBODY Marc, a surgeon, is completely in love Charlotte Des Georges is very much was never considered and Marie A member of the audience confirms Marie Guillaumond who reminds us, with his wife. In the book, the wife aware of the wonderful opportunity CAN SAY NO TO Guillaumond adds that anyway, one that, as far as he is concerned, in passing, that she was essentially is murdered and their daughter is she has been given, especially coming What emerges from this case study is of the main aims of the project was crossboarding is a guarantee of involved only on the artistic front and kidnapped. With the help of an old from the comedy sector. In France, the sincere admiration everyone has to find the « Harlan Coben touch » in coherent production. He then that she was not holding the purse girlfriend now working for the FBI, he casting against type does not happen for Sydney Gallonde, which is lovely Paris. congratulates the whole team. No strings. sets out to find his daughter. How did that often. Actors are often stuck to hear and worthy of mentioning. Second Chance is much more than a the reversal of roles come about? playing the same type of roles. Also, Guillaumond confirms that it is And on the quality of lighting pointed miniseries for him ; more like a « film Sydney Gallonde explains that it was rare and refreshing to come across out by a member of the audience… in episodes », a 6 x 52’ feature film due to a lack of emotion that, along someone who is as motivated and Both Marie Guillaumond and Sydney that has just broken down the barriers with the director, he decided to change motivating as he is. Beyond his Gallonde pay tribute to Jean-Max between cinema and television. He the main character’s gender. Marie qualities as a human being, she wants Bernard, the director of photography, pays tribute to the strong teamwork, Guillaumond immediately welcomed to highlight his very great professional whose excellent work of course the masterful adaptation, the direction, the decision, but Harlan Coben still dedication. He really is a very good contributed to the quality and visual the actors’ talent and lastly, the had to be convinced, since the version producer and she was particularly identity of the series. beautiful visual identity that shines for which he had given the go-ahead impressed by the pertinence of through. did not allow for any major changes. his comments the day the first two When filming began, had all the Phone call….Harlan asks Sydney to episodes were screened which was a episodes been written and had they TO CONCLUDE… write down all the advantages and critical stage. been cross-boarded? disadvantages of this change before Sydney Gallonde replies in the Sydney Gallonde, this genuinely another meeting; back to New York affirmative. All six episodes had been self-effacing 32 year old, already has with the director, François Velle, this cross-boarded and not by obligation or a large feather in his cap, but he has time. There is only one point in the default, but a decision that we made no intention of stopping here. He « against » column, so the change is for quality reasons. We had to find an intends to be a producer for as long as confirmed. author who would agree to work in possible, with the same passion and Eva Roque is surprised by how closely this way. momentum whilst keeping within a Charlotte Des Georges points out, reasonable budget. ■

46 47 CASE STUDIES CASE STUDIES

Introduction to the screening : Introduction to the screening : NAPAMIEHET / NORTHERN MISHAPS The Young Montalbano (Nelonen, Finland) (Rai, Italy)

Speakers John Lundsten, screenwriter Speakers Janne Reinikainen, director Luca Milano, deputy director, RAI Mark Lwoff, producer Fiction Elina Mustelin, channel manager, Max Gusberti, producer, Palomar Nelonen Presented by Chaired by Marie-Anne Le Pézennec, author and Jean-André Yerlès, screenwriter screenwriter (France) (France)

JAY : could you pitch the series for us? Marie-Anne Le Pézennec is pleased Janne Reinikainen: it’s about the to welcome Max Gusberti and Luca everyday life of two friends, two Milano, who have come to present superficial actors, two losers, both The Young Montalbano, prequel of suffering from mid-life crises, the Inspector Montalbano series. This obsessed by death and who decide prequel shows us another side of the to confront fate by setting off on an famous Sicilian inspector, so well expedition to the North Pole. This is known to Italians and many others, the journey of a lifetime, a marathon as an older man and a respected they have to prepare for and which inspector. However, nobody knew him should give meaning to their lives; a during his early years, when he was journey to find themselves as much just young Salvo, a thirty year old who the Pole. has just returned to his home town ElinaMustelin: it is important to point the channel was not expecting too of Vigata, where he has been named had thought to abandon Montalbano denominator is well and truly there JAY: are you all depressed like this in out that there was great confidence much in terms of ratings and yet the chief of police and is carrying out his after his first four bestsellers. He had in terms of the team of screenwriters, Finland? in both the writing process and the series reached viewers who don’t first investigations. So why did you underestimated the expectations of the director of photography, the main Janne Reinikainen: yes! (laughter). In production. The channel read it and usually watch the channel; from want to make this prequel ?, asks both his public and RAI who wanted set (the same main location) while the beginning, the idea was to make liked what it read and effectively never this perspective, it’s a real success. Marie-Anne Le Pézennec. him to release at least two films per introducing new elements necessary of parody of myself, a caricature interfered in the creative process. It is This programme also gives us the Max Gusberti reminds us that there year. In the end, Camilleri allowed his to show the passing of time. The of blokes in mid-life crisis, not fundamental, particularly with comedy, opportunity to exploit other formats are twenty or so films based on the famous character to live on. When public can never be fooled. Although basically very amiable, but likeable even dramedy, for confidence to reign and broadcasting platforms (VOD, etc.) novels by Camilleri, which have it was proposed that he create The Max Gusberti confesses that he was nevertheless. on all sides. become classics of the genre in Italy young Montalbano, he was hooked. filled with fear when the series was JAY: and what about filming? and have always been very successful. Max Gusberti and the screenwriter, released, the results are convincing JAY: you are a well-known actor in JAY: what were relationships with the Mark Lwoff: we laughed a lot. In fact, Camilleri has become a real Francesco Bruni, interviewed him and viewers, not only Italians, enjoy Finland… producer like? Janne Reinikainen: All in all there were star in Italy by creating Inspector on many occasions to bring out what seeing their hero as a younger man. Janne Reinikainen: yes, and this Mark Lwoff: we’ve known each other about 30 days of filming, including Montalbano, a sort of Italian Maigret already existed between the lines in Luca Milano concludes by how is my first series as showrunner, for a long time, since school, our the arctic part, which required a larger of the 90s. Incidentally, Camilleri has his works, but of course had to be delighted he is with this little miracle director and actor. Above all, I am a studies at the Theatre Academy in budget to get a good result. also been a director, working both filled out in order to bring to life this of the old Inspector Montalbano, director, but I have also written other 1991 notably. Everyone in the team is in theatre and television and even character from 20 years earlier: what twenty year older than the programmes for television. very close and there really is a great JAY: what about the budget? radio and previously, he produced is his relationship with his father? younger, still gathering fans with, feeling of confidence and complicity. Mark Lwoff: the 9 episodes cost just an adaptation of Inspector Maigret’s Why won’t he speak when he is simultaneously, the young Salvo JAY: is it an odd series for Finland? under half a million euros. investigations by Simenon. eating? So by taking indications from Montalbano being just as popular. He Elina Mustelin: it’s a very unique JAY: so it’s a very unique series, but is The success of these films – around 9 the novels, along with the discussions is now pleased to present the world series, aimed at a rather niche public. it such a good image of the country? JAY: it is said that comedies are to 10 million admissions for the first 4 and work sessions with Camilleri, avant-première screening of episode I You can’t really say that it’s the typical novels adapted for the screen -is due Janne Reinikainen: I am indeed the difficult to sell… Is this one marketable who always agreed to ensuring of season 2. ■ sort of programme that you see on official portrait of a Finn! (laughter) abroad? notably to the complexity of the world the consistency of the subject and Finnish television. Elina Mustelin: this series is indeed Mark Lwoff: It’s difficult to say. Camilleri describes, the intricacy character, by taking ideas from various very unique– the rhythm, the narrative, With these two nutters, anything of the plots and a wealth of detail novels which had been put together JAY: if we take a look at the cast, we the intrigue -, but it is, nonetheless, makes us laugh. This form of humour that cannot be taken in in one go. and maintaining the fundamentals keep seeing the same names….. It very accurate socially speaking and is universal and yet it is still very This is why these films have become of directing for which the illustrious really is a family affair…. very well « located» providing a Scandinavian…. to be followed. classics that one watches again and Inspector Montalbano is known, The Janne Reinikainen: indeed, it really is very true image of Finland in many Perhaps the format is a bit too marked again, to soak up the atmosphere, to Young Montalbano was born. and the characters are all variations of respects. culturally speaking. better understand the subtleties, the The magic worked, since these two ourselves. narrative, the characters, but also characters, which are really only JAY: what were the ratings like for this JAY: is there a 2nd season in view? to delight more thoroughly in the one, now coexist very well. This JAY: what about the writing process? unique but still fairly typical series? Janne Reinikainen: not yet, we’ll see; beauty of the setting. « Repetition can is precisely because of a certain John Lundsten: there are 9 20-minute Elina Mustelin: on the grounds that what I can say is that we have plenty be good », points out Max Gusberti, continuity, guaranteed both by episodes in all, with scenes of the paying tribute to the sublime island it was aimed at a niche audience, of ideas if need be. ■ Camilleri’s involvement as custodian two protagonists’ mundane daily lives of Sicily, to its wonderful light and and consultant on the project, but also alternating with preparations for their landscapes, a unique panorama that by maintaining fidelity in the directing expedition, as well as extracts of the one never tires of seeing. of the series: even if there are two series in which they portray two cops. Like all successful authors, Camilleri teams working in parallel, the common

48 49 CASE STUDIES CASE STUDIES

IN THE PIPELINE

For the second year running, Série Series gives you the opportunity to step into the future and discover works in progress, keeping you au fait with current trends and emerging talent! (Re)discover the 8 selected and not yet completed projects which, for confidentiality reasons, are only briefly introduced in this document. Watch them very soon on screens around Europe and appreciate the end product!

In the first session presented by Dominic Schreiber (consultant and producer) In the second session presented by Jean-Marc Auclair (screenwriter and producer, Alauda Films)

PANTHERS BOY MACHINE (Canal+, Sky Atlantic /France - United Kingdom) (TV4, Sweden) A jewellery heist in Marseille puts the Pink Panthers, After a break of decades, Boy Machine, Sweden’s first the infamous gang of thieves from the Balkans, back on boy band, attempts a comeback. Boy Machine is a fairly the map. Between London and Belgrade, the gangsters crazy TV comedy inspired by Arrested Development, 30 and the banksters join forces, heads roll and violence Rock and Anchorman. ensues. One of the eagerly awaited series of the end of 2015 from CANAL +. Speakers Per Gavatin, showrunner Speakers Pontus Edgren, producer, FLX Caroline Benjo and Jimmy Desmarais, producers, Haut et Court Shima Niavarani, actress (France) Peter Carlton, producer, Warp Films (United Kingdom) RUNNERS LABYRINTH (Sweden) (Czech TV, Czech Republic) A fake British documentary team travels to Sweden to follow Michelle Duva, a likeable and disarming man in The body of a well-known politician is found strangely his early 30’s who has just been released after spending staged, deep in the woods and killed by medieval torture a year in prison, where he found his new goal in life : instruments. The key to solving the case is the famous to complete the New York City Marathon. In spite of painting by Hieronymus Bosch, The Last Judgement, a physique not built for sport, he joins the Team 100 which clearly serves as an inspiration for each of the Club to train and that’s where the adventures start. An crimes. uproarious comedy ! Speaker Speaker Jan Maxa, director of content development, Czech TV Robert Lillhonga, creator and director

NOBEL Beau Séjour (NRK, Norway) (VRT, Belgium) Lieutenant Erling Riiser finally returns home to his Hotel Beau Séjour. Kato wakes up, covered in blood, family after a special mission in Afghanistan. He looks without any recollection of what happened the night forward to putting the war behind him, but becomes a before. Moreover, nobody seems to see or hear her. pawn in a major political game without knowing who is Slowly it sinks in: she’s dead. Kato starts investigating behind it. her own murder and discovers that her seemingly Speakers peaceful village is crawling with dirty secrets. Beau Mette M. Bølstad, creator and screenwriter Séjour is a raw whodunnit series with a surreal twist. Stephen Uhlander, screenwriter Tone C. Rønning, commissioning editor, NRK Speakers Håkon Briseid, producer, Miscellaneous crew Bert Van Dael, Sanne Nuyens, Benjamin Sprengers, screenwriters Nathalie Basteyns and Kaat Beels, directors ANOMALIA (RTS, Switzerland) The Frankenstein Valérie is unaware of her family’s long line of healers, when she takes on the position of head of neurosurgery Chronicles in a prestigious private clinic in Switzerland. In spite (ITV, United Kingdom) of herself, Valérie’s supernatural powers lead her to Set in 1827 London, the drama begins when Home conduct investigations and solve mysteries involving Secretary Sir Robert Peel recruits Marlott, following her patients’ ancestors. a successful operation by Thames River Police to Speakers apprehend a gang of opium smugglers. As Marlott Pilar Angita-Mackay, creator and screenwriter stands on the water’s edge contemplating the arrests, he Pierre Monnard, director makes a shocking discovery: a corpse washed up on the Jean-Marc Fröhle, producer, Point Prod shore is not what it first seems… Speaker: David Tanner, producer, Rainmark 50 51 around série series The european series summit

INDUSTRY MEETINGS Sessions for children Professionals attending the event could take part in this creators’ summit, with topics discussed in small groups (15 to 30 participants), allowing for quality exchanges and open conversations. All discussions were centred around examples of series, lead by their respective creators.

The themes were:

A series of series The Long Long Holidays Because the challenge of a series is also the following season, with all that this entails as far Guillaume Mautalent, screenwriter as creation, production, delays and seasonality is Sébastien Oursel, screenwriter concerned. How to keep up the rhythm long term, Paul Leluc, director Delphine Nicolini, producer, Les avoid disappointment or make adjustments if Armateurs necessary? How to deal with actors leaving? To changes of teams/authors? The challenges of 2nd seasons and the following ones, will be tackled by creators based on their experiences. Once again this year, Série Series gave the children of Fontainebleau Speakers the opportunity to discover the Hanne Palmquist (SVT, Sweden), professions involved in the making Martin Persson (producer, Anagram, Sweden), of series: screenwriters, directors, Marina Blok (NTR, Netherlands) and Camille de The Little Prince producers… Castelnau (screenwriter, France). Christel Gonnard, screenwriter Two animation series were screened Pierre-Alain Chartier, director for children: The Long Long Holidays Caroline Guillot, producer, Method is a seris which both moving and Animation exciting, evoking rural life during the Do you speak European? Second World War, as seen through With European collaborations and co- productions the eyes of two children and The Little increasing, the question of language of production Prince is a high-quality remake of is more topical than ever. Is English obligatory Saint-Exupery’s well-known work. For for a series with “international” ambition with both series, the creative team were on the fragile balance that exists between local and hand to give explanations and answer global and between local and universal issues? A the children’s questions during these question which is likely to provoke a lively debate. sessions organised especially for them. ■ Speakers Tasja Abel (ZDFE, Germany), Lars Lundström (writer and producer, Matador, Sweden), Sylvie Coquart (screenwriter, France), Ramón Campos (writer and producer, Bambù Producciones, Spain), and Teresa Fernàndez-Valdès (screenwriter and producer, Bambù Producciones).

Chaired by Liselott Forsman (Yle, Finland)

52 53 The european series summit The european series summit

International co-productions Creator, executive producer and media THE HERO entrepreneur, between France, Great Britain and United States, Alex Berger talked about his experience and vision on international co- productions and television during a dedicated session that was moderated by Nice Drama producer and director of co-productions for the Nice Entertainment Group, Stefan Baron. Speakers Leo Razzak, actor, (Sweden) Per Gavatin, showrunner, screenwriter, actor, (Sweden) John Lundsten, screenwriter, (Finland) Janne Reinikainen, director, screenwriter, actor, (Finland) Clive Bradley, director, (United Kingdom) Liv Mjönes, actor, (Sweden)

Chaired by Derek Wax, executive producer, Kudos, A better understanding of (United Kingdom) audience ratings by Sahar Baghery, director of international TV format and content, Eurodata TV Worldwide. With the increase of digital and the multiplication of screens, this small committee presentation was on understanding audience ratings based on the study One Television Year in the World carried out by Eurodata.

The traditional hero is out THE CONTINUED ideals and morals as he takes up the of fashion. He who defends head of the organised crime family ADVENTURES OF THE after his father’s death. In many widows and orphans is ANTI-HERO aspects, Michael Corleone can be becoming a rarity on the small The anti-hero is not a new figure. It considered Walter White’s ancestor. screen. TV series have put a wasn’t even invented by television. Series from the last 15 years are rooted Janne Reinikainen brings up in the cinema of the 70’s. new type of hero on the front The hero Dostoevski novels that are filled with line. Today, we summon Dexter perplex characters. Raskolnikov (Crime PRAISING THE Traditional heroes, anti-heroes, superheroes.... or Walter White. Serial killers and Punishment) and Stavrogine How does one recognise a good hero? How does (The Devils) are perfect examples of COMPLEXITY one develop a likeable recurring character in or drug dealers. They are the anti-heroes who push the boundary Derek Wax notes that these different a series, with depth, humanity or derision and new spokespeople for adult between good and evil. It even dates heroes are, above all, three- still avoid clichés and caricatures, a hero who is series who take pleasure in back to Shakespeare, who made us dimensional characters. It’s their neither over the top nor under? A hero who will shudder and empathise with Macbeth complexity which entertains viewers. be able to win us over long term and surprise blurring the lines between or Othello, two tortured and complex Liv Mjönes admits having a weak spot us as well, keep us interested throughout all the heroes, anti-heroes and heroes. for Suzanne “Crazy Eyes” Warren in episodes and seasons. What are the challenges of superheroes. In cinema, Derek Wax reminds us Orange Is the New Black. She is a these roles for actors? of film noirs in the 40’s and 50’s, completely unpredictable character. As which are brimming with broken and a viewer, one cannot help but like her Speakers imperfect heroes. American cinema and then, without warning, she’ll do Leo Razzak, actor, (Sweden) in the 70’s went one step further by something atrocious. And yet, we still Per Gavatin, showrunner, screenwriter, actor, (Sweden) putting a whole plethora of fascinating forgive her. John Lundsten, screenwriter, (Finland) Writing for series allows for the Janne Reinikainen, director, screenwriter, actor, anti-heroes on the silver screen. In (Finland) The Deer Hunter by Michael Cimino, opportunity to create more complex Clive Bradley, director, (United Kingdom) Michael Vronsky (played by Robert De characters. Above all, characters Liv Mjönes, actor, (Sweden) Niro) is technically a hero and acts in can evolve from one episode to a completely heroic way in the second another. One can delve deeper in Chaired by half of the film. However, in the first the character’s psychology. They go Derek Wax, executive producer, Kudos, (United from good to bad; they’re nice and Kingdom) half, he is a difficult, arrogant and unsympathetic man. then detestable. It takes 5 seasons In The Godfather, Francis Ford for Walter White to become a Coppola created one of the meanest villain. A traditional hero like James and most emblematic villains in Bond doesn’t change. He is a flat character. In Derek Wax’s opinion, the In partnership with the history of cinema in the form of Michael Corleone (played by Al screenwriters tried to give him more of Pacino). He is the ultimate anti-hero. a soul in Casino Royale, but he found it Throughout the saga’s three chapters, unconvincing. we see him progressively lose all his However, the reason Sherlock is so

54 55 The european series summit The european series summit successful today, is that the series attack. He’s just a simple father who is The actor, and also writer, specialises DOES THE END JUSTIFY managed to make the character evolve anxious about his children flying the in odious characters. Here, he plays without betraying the author, Sir nest. Dexter is a “good serial killer” as a character who is so confusingly THE MEANS? Arthur Conan Doyle’s intentions. The he only murders criminals. All of these kind, he becomes unbearable. Janne Leo Razzak explains that in the series famous detective has been reinvented anti-heroes remain good despite their Reinekainen admits that, to her, Torpederna, in which he plays an many times. In the new series, the actions. such a character only inspires hate everyday thief, the main character has screenwriter’s objective wasn’t to The viewer needs to be able to identify and makes the series unwatchable. to murder a priest. This scene caused modernise him, but to accentuate with, understand and even like the John Lundsten has watched a lot of many debates with the broadcaster the more ambiguous traits of his heroes they see. Derek Wax is very Silicon Valley, yet he admits that the who was afraid that viewers would personality. The new Sherlock Holmes aware that as the episodes go on, hero, Richard Hendricks, is much too stop watching the series. So the is very clearly a sociopath, a trait that Walter White’s acts are more and normal and almost insipid. The series screenwriters came up with a few had already been presented in the more atrocious. Yet, despite certain is actually saved by all the supporting alternatives to enable the hero to original novels but had been watered moments where we cannot help characters who he feels are much more assassinate the priest without totally down in previous versions imagined but hate him, Bryan Cranston plays interesting. losing the public’s sympathy. Per for cinema or television. the character with such talent and Finally, there are the characters we Gavatin points out that today it is Leo Razzak thinks that the reason humanity that we never cease to feel love to hate. For Janne Reinikainen, still very hard to convince channels heroes are more complex is that sympathy for him. We understand his that’s very much the case with David to produce a series in which the hero society itself has become more fears and his anxieties. That is the Brent, the hero of The Office, played is solely antipathetic or has no moral complex. These series and their heroes strength of a series like Breaking Bad. by Ricky Gervais. He is probably one compass. His actions would then be are just a reflection of our society. However, if a hero is too evil or of the most selfish and stupidest unforgivable. © FLX A society that is increasingly more negative, there is the risk of the viewer characters you’ll see on television. A spectator in the audience then violent. Viewers understand anti-hero losing interest. When Per Gavatin saw Yet, although his behaviour is often notes that many current series go by The fact that he uses torture is character Marge Gunderson in the characters better since they can even the pilot episode of The Shield, the abysmal, we all understand that the principle that the actions of their never condemned. It has often been Coen Brother’s film Fargo (Molly identify with them. character Vic Mackey (a Los Angeles he suffers from a deep insecurity, heroes are justifiable no matter how said that 24 legitimised the Bush Solverson in the series adaptation). police inspector with debatable ethics which we can all relate to. So as reprehensible they are. He names administration’s politics in the This character is the polar opposite of and methods) was so awful that he detestable and pathetic as he seems, series like The Walking Dead and 24. aftermath of the 11th September the depressive alcoholic cop that we DOES A HERO NEED TO BE Characters like Jack Bauer and Rick LIKEABLE? didn’t want to watch the rest of the we can’t help but pity, and therefore attacks. Clive Bradley says that are used to seeing in series nowadays. series. He didn’t feel the need to sympathise with him. Grimes remain very popular despite creators and screenwriters must Series are now offering up very good Many of the anti-heroes that we see understand such a character. He had New heroes like David Brent and difficult or even unethical choices. always ask themselves about the moral female characters, but heroines are not fundamentally evil. They are no desire to identify with a fascist cop. Walter White are human characters Viewers seem to forgive their highly messages they are putting across with still have a way to go. Often more not archetypal villains. From the first He has changed his mind since seeing that are, in fact, too human. The reprehensible actions on the pretext their series. stereotyped, they are still less episode, Walter White is diagnosed all 7 seasons and The Shield is now anti-hero is ambiguous, which is that they are fighting for good. complex than their male counterparts. with lung cancer and we find out one of his favourite series. But the fact what we all are. The viewer, feeling Per Gavatin reminds us that the Screenwriters have created “strong he only has a few months left to remains that his first impression was empathy for a hero they identify with question of whether the end justifies DISCUSSION woman” type characters over the past live. The reason he starts cooking so strong, he nearly didn’t watch it. or who inspires in them a feeling of the means is at the heart of a series WITH THE AUDIENCE few years. But, as Per Gavatin points methamphetamine is to not leave his Then again, a hero who is too nice can, benevolence, will not want to betray like The Walking Dead. It’s a question out, that doesn’t mean anything. We Can you define a hero in Scandinavian family in financial difficulty after his on the contrary, inspire antipathy. On them and will see the series through that inhabits a hero like Rick Grimes. would never think of creating “strong series’ ? death. When we meet Tony Soprano, this subject, Janne Reinikainen brings to its end. It’s actually the theme of the series: man” type characters. Liv Mjönes reminds us that Swedish he is tormented by a severe anxiety up Derek in Ricky Gervais’ new series. how far can one go to assure the Clive Bradley notes that the anti- security or survival of a group? series have presented one very hero is rarely, if ever, a woman. That In the case of 24, it’s a bit more recognisable hero: the fifty year old, characteristic is reserved for men. problematic. For Jack Bauer the fan of opera, alcoholic policeman In fact, most of the male anti-hero answer is easy. The end always who has relationship issues with characters of the last few years were justifies the means. Clive Bradley his daughter. Today, that figure has created by men. Patty Hewes, played thinks that the series brings up a become a cliché and the Swedes don’t by Glenn Close, in the series Damages number of ethical questions. There hesitate to turn it into a joke. is very close to the given definition of is a certain way in which torture an anti-hero, but she is not the leading is made commonplace. The series Could the new anti-hero be a woman? role. never challenges its hero’s choices. For Clive Bradley, one of the cop Liv Mjönes dreams of seeing ugly characters that is the furthest from women who we can hate on the all the cliches of today, is police screen. Female characters capable commissioner Laure Berthaud in of expressing the same spectrum of the series Spiral. He had never seen emotions we would expect from a male a character like that before. Also, character. ■ Derek Wax brings up the wonderful

56 57 The european series summit The european series summit

THE BROADCASTERS’ CONCLAVES LET’S TALK ABOUT COMMISSIONING

Speakers Ivar Køhn, NRK, Norway Françoise Mayor, RTS, Switzerland Jan Maxa, Czech TV, Czech Republic Hanne Palmquist, SVT, Sweden Katrine Volgelsang, TV2, Denmark Sveda Shishmanova, BNT, Bulgaria

Chaired by Sahar Baghery, Eurodata TV / Dominic Schreiber, producer

This year, Série Series IVAR KØHN / NRK / This series follows a ship cruising welcomes a handful of the along the Norwegian coast whilst NORWAY a police officer is investigating the most creative and daring With 28% of market shares, NRK is murder of the ship’s chef. The series broadcasters in Europe. The the main public broadcasting group in (made up of 41 fifteen-minute-long Norway. LNRK produces three drama format of this talk is novel episodes) is broadcast every night at series a year. Over the last two years, 10.30 pm. Every episode is shot and and short. Speakers have 15 three series have been produced in- edited over two days. NRK is planning Contrasting perspectives of speakers minutes to talk about their house and three have been produced on broadcasting the last episode European broadcasters on their jobs, Tasja Abel (Germany/ZDFE) In 2015, for the first time ever, editorial policies, their long for the channel by independent live. Sommerbaten’s budget is about experiences and work methods. Marina Blok (The Netherlands/NTR) Série Series was proud to partner producers. The channel also produces 200 000 €. The series is a real success The broadcasters’ conclave was Urse Fitze (Switzerland/SRF) with the Eurovision Fiction term vision of their profession, comedies and children’s programmes. with the public (it is being broadcast started in 2013 and has been Liselott Forsman (Finland/Yle) Experts’ Group from the European the challenges that need Drama series are usually broadcast at present) and the market shares are increasingly successful since then. Jane Gogan (Ireland/RTÉ) Broadcasting Union (EBU), the undertaking, new work in January, when there is the least over 40%. The idea behind this exclusive Marie Guillaumond (France/TF1) world’s leading alliance of public competition and when viewers want to methods, their successes and NRK often co-produces series with club for European broadcasters is Thomas Von Hennet (Germany/ service media. stay in the warmth of their own homes. their Scandinavian neighbours simple and effective: about twenty Prosieben Sat1) Seduced by the their failures… Nordic drama, notably Norwegian (Sweden, Finland, Denmark and broadcasters meet in small groups, Ivar Køhn (Norway/NRK) Broadcasters’Conclave, the Fiction drama, has gained its spurs and Iceland), but fearing the loss of their behind closed doors, around a friendly Klaus Lintschinger (Austria/ORF) Experts’ Group from EBU had series like Lilyhammer and Mammon Norwegian identity, they very rarely, lunch, to discuss the key issues of Jan Maxa (Czech Republic/Czech TV) proposed holding their plenary have conquered the hearts of if ever, work with other European or their sector and profession, using Françoise Mayor (Switzerland/RTS) meeting the day before Série Series viewers the world over. Norway is International partners. . concrete examples. With no outside Luca Milano (Italy/RAI) kick off, on 30th June 2015. On this a small country, but NRK places its witnesses, but with someone chairing Susanne Mueller (Germany/ZDF) occasion, 40 representatives from bets on internationally competitive the discussion, these conclaves offer Elina Mustelin (Finland/Nelonen) European broadcasters debated productions, meaning ones that are a unique opportunity for European Hanne Palmquist (Sweden/SVT) and exchanged on dilemmas and original, brave and of high quality broadcasters to discuss their points Tone C. Rønning (Norway/NRK) solutions in the fast evolving TV (both narratively and visually). The of view and their work methods in Katarina Schenk (Austria/ORF) industry. channel isn’t afraid of taking risks. complete freedom. Sevda Shishmanova (Bulgaria/BNT) Also, NRK cannot afford to work only For this 3rd opus, 22 broadcasters, Philipp Steffens (Germany/RTL) in a niche market. Their often anti- both private and public, from 13 Mylene Verdurmen (The Netherlands/ conformist series appeal to a wide different countries, were able to Avrotos) public but try and meet the demands reflect on the following theme: Do you Katrine Vogelsang (Denmark/TV2) of viewers that are eager for inventive speak “glocal”? – or how to interpret content. Norwegian viewers are now the concept of “think local/ act global” used to high quality series and want as far as series are concerned. This something new: new stories told in an gave them the opportunity to discuss innovative way. what they have most recently learnt NRK has always had the desire to walk and their best practice methods, using the road less travelled, so they created concrete case studies. a new series called Sommerbaten.

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FRANÇOISE MAYOR / JAN MAXA / CZECH TV / HANNE PALMQUIST / SVT KATRINE VOLGELSANG / SVEDA SHISHMANOVA / for original creation. The channel only has 3 million euros a year to finance RTS / SWITZERLAND CZECH REPUBLIC / SWEDEN TV2 / DENMARK BNT BULGARIA all of their drama (series and films) as RTS (Radio Télévision Suisse) was Ceská televize (Czech TV) is the Czech There are two groups that dominate The Danish broadcasting landscape BNT, the national public Bulgarian well as documentaries. Nevertheless, created in 2010 from the fusion of Republic’s public broadcaster. The the Swedish broadcasting market: has long been dominated by DR, channel, which for so many years the group has the competitive edge Television Suisse Romande (TSR) channel produces up to 80 hours of the Swedish public television group, the public television group. Now, was the sole broadcaster, is having to of size. They run the biggest studios and Radio Suisse Romande (RSR). It drama a year with an average budget Sveriges Television (SVT) and the they share the market with TV2, compete with new private channels in Eastern Europe and are therefore currently has three channels: RTS Un, of 300,000 €, a little more if it is a private group TV4. In terms of series, a generalist semi-public national that have appeared over the last 5 host to the biggest international RTS Deux and RTS Info. RTS Un is period drama. The Czech public loves SVT has a history of huge international channel. Created on 1st October 1988, years. The public group has a new productions, especially American ones. the top television channel in terms of drama. To meet viewers’ demands, CT1 successes like Real Humans and it ended DR’s monopoly. Both groups, programming policy in order to win Bulgarian technical teams are used to market share (around 20%). provides them with drama three nights Broen. The rights of the latter have who compete fiercely, have 50% of back a part of its audience. working regularly on very big budget International drama is very present a week. Crime series are broadcast on been sold for both Franco-British audience shares on prime time. This policy comes in the form of productions so they are more inclined on RTS 1, as well as on RTS 2. Swiss a Monday night on prime time with and American remakes. A British The reason DR has been dominating TV series. The channel worked to work for television (for a smaller television has a long history of comedy series taking the latter part of version of Real Humans is currently Sunday nights with their series with investigative journalists, salary, of course). co-productions - especially sitcoms the evening programming. So called being broadcast on Channel 4 (United (Borgen, Forbrydelsen, Arvingerne) an independent producer and Recently, BNT caused an uproar by - with France. Nevertheless, 10 family series are broadcast on Friday Kingdom) and AMC (United States). is that TV2 have been accused of a various well-established Bulgarian broadcasting The Fourth Estate. years ago, RTS decided to revise its night on prime time. TV films and SVT has a budget of 13 million euros lack of original creations. Katrine broadcasting professionals in order to This political thriller explores the strategy, so as to produce original period mini-series are broadcast early for drama. The group sets aside two Volgelsang blames the channel’s old create Undercover (Pod Prikitie), which relationship between journalists and series. Their ambition is to revitalise on Sunday evenings. evenings a week for drama; Mondays management, who very rarely listened has now been broadcast for 4 years. the Bulgarian government. The series local creation and bet on up-and- Children’s series remain the most and Sundays. Every year, the channel to creators. In fact, no one - whether This series, which is full of action, is almost a documentary and is entirely coming Swiss writers. In fact, RTS popular and Christmas dramas broadcasts two 10-episode-long crime it was screenwriters or producers - submerges the viewer into the world based on true events that are easily organises a pitching session once systematically beat viewing records series on Sundays at 9 pm and two wanted to work with TV2, and every of the Bulgarian mafia. It has been recognisable for audiences. It has every year, where they welcome young (taking over 60% of market shares). 10-episode-long drama series on project was systematically offered to extremely successful in Bulgaria and opened the floodgates of the debate screenwriters and producers. Despite That being said, last year, Czech Mondays at 9 pm. They also produce 3 DR. The channels new management has been sold in over 142 territories, on the position of journalism and more the change in alignment, RTS is not TV decided to innovate slightly by miniseries (3 x 60’) and 2 web series has brought a fresh wind of change notably in Latin America. BNT is generally on democracy in Bulgaria. against co-productions, if the subject offering a slightly different version of (8 x 20’). Although SVT had given up and TV2 has since produced and looking to produce a new series with The government’s response was quick matter is right. a Christmas tale. Despite very good on comedy over the last few years, broadcast a few successful series, the team behind Undercover. and concise: to punish BNT, they At present, the channel produces two critics, viewing numbers dropped they are going back to it in 2016. including Rita and Badehotellet. Despite such a big success, BNT still reduced their budget. Success clearly series per year. The budgets average slightly. The group’s strategy is to capitalise Usually specialising in light-weight cannot afford to increase the budget has a cost! ■ out at around 600,000 € per episode. Crime dramas still attract huge on their “hits”, whilst continuing to series destined for wide audiences, They are broadcast on a Saturday audiences and it is with this type produce new and ambitious series. TV2 surprised everyone this year by night on prime time. Although the of series that Czech TV is the most The third season of Broen (the announcing an autumn broadcast of series they produce seem to be aimed innovative. The Case of The First Dano-Swedish co-production) will be Norskov (ten 60-minute episodes). at a very wide audience, RTS is no Department is an extremely realistic broadcast next autumn. Kim Bodnia The story follows Tom Noack, a stranger to innovation when it comes series - almost documentary like - (who played Martin Rohde) did not police investigator who returns to his to drama. The proof is a series like inspired by real events. The series was want to take part in the latest series, home town (Norskov) to fight drug Station Horizon (a Swiss western set in created and written by four ex-police so the screenwriters had to show trafficking. His return to this little the Alps) which, despite its originality, officers. Next autumn, the channel courage and talent to replace him. SVT town of Northern Denmark will lead was a huge success with viewers and will take another risk by broadcasting also decided to follow up on 30 grader to him questioning old friendships critics alike. In 2016, the channel will Labyrinth. Here’s the pitch: a i februari (30 Degrees in February) and will radically change some of his broadcast a paranormal series called politician’s body mutilated by Middle four years after its first broadcast. close friends’ lives. The series will Anomalia. Age torture instruments is found in Although the first series was filmed be broadcast on NRK (Norway), TV4 the forest in an extremely odd setting. entirely in Thailand, the second was (Sweden) and Arte (France) in 2016. This starts the investigation into a partly filmed in Sweden. The story TV2 would now like to find new serial killer, who sets up scenes from now revolves around the children’s international partners, so as to work The Last Judgement. As surprising characters, who have obviously grown towards more co-production. For as this may seem, considering the up since the first series. example, the third season of Rita was horrifying side of the subject matter, Jordskott is proof enough that SVT is co-financed by Netflix. In fact, it might the series will be broadcast on Monday still not afraid of taking risks. Created not have even seen the light of day nights on prime time. Jan Maxa is by Henrik Björn, the series centres were it not for the American platform. confident: audiences need innovative, on the disappearance of children in a different series. peaceful community in the middle of Although Czech viewers are big the forest. All 10 episodes have been fans of local drama (with actors broadcast and have been a big success, they know), Czech TV is going to which is surprising considering how increase the number of international dark and terrifying the content is. co-productions. For the 600th Anniversary of Jan Hus’ death by burning at the stake, the channel co-produced a mini-series with Arte about the Czech national hero.

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SPOTLIGHT ON TRAILERS BY SÉRIE SERIES

DINNERS AND PARTIES

Spotlight on trailers by Serie Series AmaZones Bunker Following on from “Pilots in Series”, the first European market for series’ (France) (France) pilots which was launched in 2010 by Created by : Manus Guarrigue, Betty Created by : Denis Grispan Scénaristes en Séries and continued Lamane, Killian Soeprapto [email protected] in Fontainebleau, “Les B.A. de Série [email protected] Series” focuses on budding European Megaloman(e) talent. L’enfant rouge (France) Série Series has asked European (France) Created by : Pol White creators – with a project for a series Created by : Collectif Tribudom [email protected] – to create a trailer of less than 2 [email protected] minutes, presenting their project. Ten or so trailers were then selected Les mystères de Paris by the editorial committee and Catherine (France) these were screened before every (Finland/Poland) Created by : Véronique Puybaret, session during the festival. This is an Created by : Annalisa Schmuckli Matthieu Dubois opportunity to find funding and to [email protected] [email protected] reach the 700 European professionals present at the festival. The trailers Todo mal Guts and Glory were also be put onto the festival’s social networks, on the viewing (Spain) (France) stations in our videotheque, and also Created by : Curro Serrano Created by : Philippe de Lyon, Jeremy in a dedicated session where all the [email protected] Wegmann selected projects were presented by [email protected] their respective creators. The students Deflagrations from the International Fimlschule (France) Jezebel (IFS) of Cologne participated. Created by : Vanya Peirani-Vignes (France) [email protected] Created by : Eric Pellegrin [email protected]

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OPENING CEREMONY WEDNESDAY 1st JULY

Pierre Zéni, the master of ceremonies SPEECH BY FRÉDÉRIC He underlines the importance of « not contributing to the promotion of a professionals and non-professionals for the opening of this 4th season everything taking place in the cities! » state of mind, of creativity in Europe, alike, fruitful discussions and of Série Series, walks onto the VALLETOUX, MAYOR OF Frédéric Valletoux is delighted that which is oh so important, above wonderful moments over these three Fontainebleau Theatre stage to the FONTAINEBLEAU Série Series is back again this year, all now. The Region’s mission is to days celebrating European culture. theme music of the famous British Frédéric Valletoux is pleased to to enliven the everyday lives of the promote creativity. The quality and For this opening ceremony, Série series The Avengers, in tribute to the welcome Série Series for the fourth Fontainebleau residents with its variety of series presented here, shows Series welcomes the team from the legendary Patrick Macnee – alias John year running. He thanks Marie Barraco screenings and discussions and that it is right to support this event British series Humans (screenwriters/ Steed –, who died a few days earlier, at and Laetitia Duguet of the Kandimari reminds us that the festival is not just and cultural activities in general, when showrunners, producers, distributors, the age of 93. Agency, for their professional reserved for television professionals, budgets are not easy to maintain. actors...). Some of them say they are The festival, which has become the dedication and continued trust and but is well and truly an event which The Region may be a faithful partner happy to be invited to take part in the European Series Summit, continues the festivalgoers for their loyalty. has won over and engaged the general and financier, but it plays only a small festival again. Indeed, some came for to contribute to the creation of a He also takes this opportunity to public whose enthusiasm continues to part in comparison with the huge The Hour, screened three years ago « Europe of series » – 13 countries thank all the partners who give their grow. amount of work carried out firstly by during the 1st season of the festival, invited and 23 series presented –, support to this festival, which has the organisers, but above all the series’ and discovered the Swedish series giving us the opportunity to discover become a major cultural event on SPEECH BY JEAN- creators themselves. We are most Real Humans which really impressed the best in European series and to Fontainebleau’s calendar; a small town, FRANÇOIS HEBERT, grateful to them all. On this humble them. So we are not surprised to see discuss themes and other fascinating « worth a detour », he declares, since note, Roseline Sarkissian concludes them back here with the English issues in the world of television. it is not on the major transport axes. PRESIDENT OF grounds, take a stroll in the Jardin de her address by wishing everyone, remake of this series, for the All this in the presence of actors, THE CHÂTEAU OF Diane, a perfect remedy for televisual French avant première and with the producers, directors, screenwriters, FONTAINEBLEAU cabin fever. He reminds us that announcement that it has the highest distributors, composers and This is also Jean-François Hébert’s sometimes reality surpasses fiction audience ratings ever recorded for broadcasters, here to exchange fourth appearance running on this and to go back in history, can often be Channel 4 over 23 years. ideas, share experiences and defend stage for the opening of the Série a source of inspiration. creativity. Series festival. He is here, as always, The case study corresponding to this The editorial committee, representing to show his support as a partner, SPEECH BY ROSELINE screening is programmed for the all these professions, is invited on which he says is « quite normal ». He SARKISSIAN, ILE-DE- following morning. stage, welcomes and thanks the strongly urges the festivalgoers to audience, before handing over to the make the most of Fontainebleau’s rich FRANCE REGIONAL Festivalgoers are invited to dinner at Mayor of Fontainebleau, the town cultural heritage and, in particular, the COUNCIL the château. ■ being once again home to the event. Château, this extraordinary UNESCO On behalf of Mr. Julien Dray, vice- World Heritage Site, which has been president of the Ile-de-France Region, occupied by some 34 kings and 2 responsible for culture, Roseline emperors. All the Kings of France Sarkissian reiterates the regional resided here back to the 12th Century, representatives’ great pride in before Versailles. He invites us to having supported this festival since visit not only the interior, but also the its creation. By so doing, they are

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Evening event CLOSING CEREMONY Thursday 2nd July FRIDAY 3rd JULY

Courtesy of Carnival Films / Masterpiece For its closing ceremony, Série Series wanted to pay hommage to Downton Abbey, SÉRIE SERIES AND an iconic British series and TH an extraordinary worldwide THE APA’S 12 TV success story, of which the 6th CREATIVITY DAY and final season is currently Harlan Coben, the worldwide being filmed. reference for thrillers, chose On the programme for that France, and more specifically special evening presented by TF1 and a great team, to adapt Alex Taylor: the screening of one of his best-sellers: No Second one of the series’ episodes Chance. The Série Series and TV followed by an exceptional Creativity Day participants were concert arranged around the given the opportunity to watch original score, with a backdrop the world premiere preview of of Downton Abbey stills. the series’ pilot episode, with the During the concert, acclaimed creative team. composer and creator of the The respective case study took music for the series ,John place the next day. Lunn, orchestrated and interpreted this now iconic score. He was accompanied by 37 musicians from the Symphonifilm orchestra. A truly emotional moment that was exclusive to Serie Series ! The event was then followed by a cocktail dinner and party where the guests played the game by dressing up Downton style. Memorable !

66 67 REPLAY

ALL THE CASE STUDIES CAN BE SEEN ON www.serieseries.fr (Galeries/Vidéos)

AND ON OUR DAILYMOTION CHANNEL www.dailymotion.com/serieseries

FIND US ON:

SÉRIE SERIES WARMLY THANKS ALL THE SPEAKERS, CHAIRPERSONS, PARTICIPANTS, VOLUNTEERS, TEAMS FROM THE SERIES AND ALL THE PARTNERS

Photo Série Series 2015 © Sylvain Bardin et Philippe Cabaret Translation : Michel Mella & cie

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5, rue Barbette 75003 Paris T : 01 44 54 55 11 [email protected] Guillaume Neel et Xavier Durand 61 rue Danton 92300 Levallois-Perret France T : +33 9 52 10 56 08 [email protected] www.kandimari.com