Red Arrow’s Rodrigo Herrera Ibarguengoytia

The global drama hit Vienna Blood has been commissioned for a third season, and with this order, the scripts surpass what was laid out in the original books the show is based on. From hidden gems to fan favorites, there have been a wealth of novels serving as inspiration for some of the successful scripted series in the Red Arrow Studios International catalog. Rodrigo Herrera Ibarguengoytia, senior scripted acquisitions and co-productions manager at Red Arrow Studios International, tells TV Drama about the ins and outs of working with known IP.

TV DRAMA: Is the market for book-based IP hotter than ever, or is this a perennially hot genre?
IBARGUENGOYTIA: It all comes down to IP giving decision makers confidence. There are, for sure, a lot of other advantages: the fleshed-out settings, characters and plots and an established basis for a quicker turnaround on development, and it brings an existing fan base. All of those reasons make it easier for executives to evaluate. There’s a proof of concept for potential success, and ultimately, side by side with an original piece, IP gives the perceived notion of a safer bet. For us, they are a great starting point to find common ground for a new collaboration. That’s always been seen as the biggest value at Red Arrow.

TV DRAMA: What are some of the emerging trends in this space?
IBARGUENGOYTIA: Fantasy, sci-fi and dystopian pieces have always been popular for introducing us to expansive new worlds that are full of possibilities. It’s been interesting to see the rise of drama adaptations and their success, projects like Big Little Lies, The Queen’s Gambit and Normal People. It’s very interesting to see how a successful adaptation translates into a lot of other novels from that specific author getting optioned. Recently, there has been a lot of movement, for example, with Liane Moriarty. It’s a proven track record that gives everyone more confidence to invest. You really see that.

Ultimately, crime will always be in demand. It’s a genre that thrives on repeated, familiar dynamics, but it’s always looking for new cases and fresh perspectives. That’s an area that Red Arrow has always been very keen on. We have been lucky to work on very established IPs like Michael Connelly’s Bosch for Amazon, as well as a number of other book-based crime adaptations such as the Icelandic series Stella Blómkvist and our period drama Vienna Blood, which has been recommissioned for a third season.

TV DRAMA: What are some of the current or upcoming book-based dramas the company has lined up?
IBARGUENGOYTIA: Some of our more recent launches include Blackout: Tomorrow Is Too Late, which is based on a novel by Marc Elsberg and is produced by Wiedemann & Berg for Joyn and ProSieben. This is a global million-copy bestseller translated into 15 languages. It’s a novel that audiences were very aware of; there was a hype around it, and that definitely fed into and triggered the TV adaptation. For Vienna Blood, which is a co-production between Endor Productions and MR Film for ORF and ZDF, that has a very different dynamic. It’s based on the novels by Frank Tallis and was more of a hidden gem. The books provide such a rich setting and characters for the adaptation, but it was a long development process before making it on-screen, so we are very happy it has been so successful with audiences.

We are also currently working with Playground Entertainment on an adaptation of the Inspector Maigret novels by Georges Simenon, which brings a whole different dynamic. Not only is it an iconic character but it’s also a vast IP with hundreds of millions of copies sold worldwide, translated into more than 50 languages. We’re very excited to have the opportunity to work with Playground and the Georges Simenon estate on this adaptation.

TV DRAMA: How closely, in general, should a TV adaptation stick to the original source material, and what are some of the areas where liberties can be taken?
IBARGUENGOYTIA: That’s a question we are faced with at the start of any adaptation. For example, on [the Inspector Maigret adaptation], we went through that conversation in detail, considering the different alternatives, whether to do a period or contemporary adaptation. Our writer on this project made the observation that Maigret was a contemporary character at the time of release, as the novel was set in the present. It was a simple thought, but it really made me look at this and other adaptations differently. Sometimes we look at it far removed, and we forget the context in which it was written and released and what the author was originally intending. All that plays into the decision as to how closely to adapt or not. It’s not a simple answer of just following the plot straight through.

It’s sometimes easier to stay close to the original on limited series. With returning properties, for example, the show is always evolving and actors bring their own takes, and based on the response from audiences, we can decide to lean on or stay clear of certain characters and storylines for subsequent seasons. So, it really starts taking its own shape and eventually forging its own path.

With Vienna Blood, we have now come to that point where we’ve exhausted the source material, and our writer, Steve Thompson, has created an original story for one of the episodes in the upcoming season.

It ultimately depends on the property and the reason why it’s being adapted in the first place, whether the interest is in the plot or if it’s more the setting and characters as the jumping-off point, but any adaptation needs some room and dramatic license. I don’t think anybody sets course trying to create the best adaptation; you want to create the best series that stands on its own.

TV DRAMA: When possible, is it best to have the author or estate involved in the adaptation process or to give the writers or producers creative freedom?
IBARGUENGOYTIA: Ideally both. You want to have the author or estate on board because they are an incredibly valuable resource for additional insight into the property and its characters. But in the best-case scenario, the author or estate also understands that there are differences and provides the writers or producers with the freedom to adapt. Of course, it always adds complexity to have multiple voices in the mix. But when channeled effectively, being challenged by different perspectives only makes the final result stronger. We’ve been very lucky to have a great partnership with Frank Tallis on Vienna Blood, who is a great resource. On [the InspectorMaigret adaptation], it’s great to have the opportunity to collaborate with the Georges Simenon estate to ensure that we’re all preserving the character’s legacy.

TV DRAMA: How is the company working to scout and secure the best book-based IP, in a time when competition for titles is so fierce?
IBARGUENGOYTIA: It is obviously a challenge. There is definitely value in a close relationship with scouting agencies, having an overview of how the market is developing and looking to find that hidden gem. It’s incredibly competitive, and the highlight properties go into high bidding wars before even being published. But for us, simply asking writers and producers for their favorite books to develop as passion projects is a great way to identify interesting IP. For starters, it gives you a very good sense of whether you align creatively and have common interests, and it’s a great way to connect with talent and establish a working relationship. Unlike an original idea, an adaptation is a true collaboration. Everyone brings their different perspective into the IP and works from common ground. Even if a particular development isn’t successful, it’s a great way to understand how to work together and develop long-lasting relationships.

TV DRAMA: Is it more of a challenge or an opportunity to have a piece of television that comes with a base of consumers who already know (and love) the story?
IBARGUENGOYTIA: It’s a double-edged sword. It really depends on the property and how big the fan base is. A big fan base can create hype around a project and give it a boost. It definitely makes it easier to draw attention to the project and get people on board. But there is also more of a chance for backlash down the line if the project doesn’t resonate with the fan base. There’s definitely an advantage of a hidden gem, being able to use the strong source material more freely and present it to the world without being so scrutinized and maybe even have the reverse dynamic, where the adaptation brings renewed or wider interest to the original book. That said, I don’t think anyone would say no to the chance of tackling a very well-known property and character because there is a huge upside, and you know that along the ride all the way to production everybody is going to have a lot of confidence to push this project forward.