{"id":6764,"date":"2016-10-18T11:00:21","date_gmt":"2016-10-18T15:00:21","guid":{"rendered":"http:\/\/worldscreen.com\/tvdrama\/true-tales\/"},"modified":"2016-10-19T10:35:06","modified_gmt":"2016-10-19T14:35:06","slug":"true-tales","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvdrama\/true-tales\/","title":{"rendered":"True Tales"},"content":{"rendered":"

\"True-Tales\"Joanna Stephens looks at what\u2019s driving the spate of series and TV movies based on real-life events.<\/em><\/p>\n

It\u2019s no longer a mistake to let the truth get in the way of a good story. These days, the truth is<\/em> a good story, as evidenced by the recent spate of fact-based dramas that are pulling in both punters and plaudits for broadcasters worldwide.<\/p>\n

Examples abound: Sonar Entertainment\u2019s The Fifth Beatle<\/em>, ITV Studios Global Entertainment\u2019s Victoria<\/em>, A+E Networks\u2019 The Secret Life of Marilyn Monroe<\/em>, Starz\u2019s The White Princess<\/em>, BBC Worldwide\u2019s Rillington Place<\/em> and National Geographic\u2019s first-ever scripted series, Genius<\/em>, the debut season of which will dramatize the life of Albert Einstein.<\/p>\n

So what\u2019s driving the interest in dramas based on real people and events? Why now and why are there suddenly so many?<\/p>\n

David Swetman, the senior acquisitions executive for scripted at all3media International, believes the interest flows from drama\u2019s current popularity. \u201cAt a time when competition in the drama market is so strong and cutting through so difficult, programs grounded in real life offer commissioners and producers the opportunity to tap into a subject already familiar to audiences,\u201d he says.<\/p>\n

Liam Keelan, the director of scripted at BBC Worldwide, says real-life events have always had pulling power, particularly when the subject matter has had universal resonance. \u201cCrime, political intrigue and betrayal travel well,\u201d he adds, on the disheartening basis that murder and machination know no borders.<\/p>\n

CRIMINAL MINDS<\/strong>
\nThere\u2019s no doubt that fact is often stranger than fiction. It would, for example, be difficult to make up the events at the heart of BBC Worldwide\u2019s latest offering in the real-life drama genre, Rillington Place<\/em>. The BBC Studios production in association with Bandit Television stars Tim Roth and Samantha Morton in the story of serial killer John Reginald Christie, who betrayed and manipulated those around him\u2014his wife, his neighbors, even the British justice system\u2014in a series of events that ended in an innocent man being sent to the gallows.<\/p>\n

Joel Denton, managing director of international content sales and partnerships at A+E Networks, identifies true-crime series as being among television\u2019s most wanted. \u201cThere\u2019s an unbelievable amount of scripted, unscripted and \u2018faction\u2019\u2014the merging of factual and scripted\u2014coming through in the true-crime space,\u201d he says.<\/p>\n

A+E Networks recently ventured into this market with Asylum Entertainment\u2019s two-hour drama Manson\u2019s Lost Girls<\/em>, which recounts how messianic cult leader Charles Manson lured young women into his twisted world and brainwashed them into committing a series of horrific murders.<\/p>\n

Sarah Tong, the director of sales at Hat Trick International, agrees that crime is particularly well suited to fact-based scripted. \u201cAnd not just dramas,\u201d she observes. \u201cTrue crime is also on trend in the factual world.\u201d<\/p>\n

At the top of Tong\u2019s crime-drama roster is Hat Trick Productions\u2019 four-part series The Secret<\/em>. Starring James Nesbitt and Genevieve O\u2019Reilly, it tells the true story of a respected Northern Irish dentist and Sunday-school teacher whose illicit affair culminates in an elaborate plot to kill both of their partners.<\/p>\n

\u201cLove, passion, murder, betrayal\u2014The Secret<\/em> has it all,\u201d Tong says. And the fact that [the events actually occurred] gives it an added frisson of pleasurable horror. The two main characters are ostensibly very ordinary, which also makes it easier for audiences to invest emotionally in their predicament.<\/p>\n

\u201cI think the dramas that work are those that have characters and stories you care about, in that you either love them or hate them,\u201d Tong adds. \u201cThe Secret<\/em> is a love story that goes horribly wrong and, although what [the characters] did was unbelievably awful, it was believable. The audience wants to know what happened next because they care about what happened next.\u201d<\/p>\n

THEN AND NOW<\/strong>
\nIn Tong\u2019s view, contemporary real-life drama has the commercial edge on historical epics, as it is more likely to appeal to both commercial and public broadcasters. Swetman at all3media echoes this, saying that period drama can be a tougher sell outside of its traditional homes with European and American public broadcasters. \u201cGenerally, more contemporary series have a wider reach and more potential international partners,\u201d he adds. \u201cBut, as with all drama, the quality of the storytelling and production is the key factor.\u201d<\/p>\n

Both Swetman and Tong say there can also be commercial opportunities for companion non-scripted shows to air around dramas. Tong reports that with mega-franchises such as Downton Abbey<\/em> and Midsomer Murders<\/em>, there is a market for \u201cvery relevant\u201d factual shows that can extend the audience\u2019s interest into another format.<\/p>\n

\u201cDocumentaries can be a nice addition to the package you can offer broadcasters, but most buyers will be making their decisions based on the drama\u2019s power and relevance to their audiences,\u201d adds Swetman. He points out that many broadcasters have separate documentary and drama channels, or perhaps operate in only one genre, which means there may not be an obvious synergy across the genres.<\/p>\n

Up next on the fact-inspired drama front for all3media are Jack Thorne\u2019s National Treasure<\/em> for Channel 4, which is rooted in the recent instances of celebrities being accused of past sexual misdemeanors, and Stephen Poliakoff\u2019s Close to the Enemy<\/em> for BBC Two, about a British intelligence officer tasked with inducing a German scientist to hand over military technology following World War II.<\/p>\n

In discussing Close to the Enemy<\/em>, Swetman says that Poliakoff turned \u201ca moment in history that had lived in the shadows\u201d into an epic tale of the Cold War technology race.<\/p>\n

Tom Patricia, executive VP of limited series, miniseries and movies at Sonar Entertainment, observes that many key historical events\u2014World War II being a prime example\u2014have been overdone. \u201cSo if you\u2019re trying to sell a historical piece, it must resonate beyond those particular events and have something unique that will appeal to a contemporary audience,\u201d he advises.<\/p>\n

HISTORY REPEATED<\/strong>
\nDespite the fact that it tells the story of a woman born nearly 200 years ago, Victoria <\/em>has contemporary appeal by the royal coachload, believes Ruth Berry, the managing director of ITV Studios Global Entertainment (ITVS GE). The eight-part Mammoth Screen production for ITV and PBS\u2019s Masterpiece follows the early life of Queen Victoria\u2014played by Doctor Who<\/em> alum Jenna Coleman\u2014from her accession to the throne at the age of 18 to her marriage to Prince Albert in 1840.<\/p>\n

\u201cIt\u2019s not a well-documented period of Victoria\u2019s life, but it was a fascinating time of enormous change,\u201d Berry says, echoing Patricia\u2019s point about needing a fresh angle to hook audiences into well-trodden stories.<\/p>\n

Berry praises writer Daisy Goodwin\u2019s scrupulous historical research and her interpretation of Victoria\u2019s early diaries, which form the basis of the drama and the portal into the young queen\u2019s world. The result is a richly layered narrative that offers new insight into not only Victoria\u2019s personal story but also the stories of her court, servants and ladies-in-waiting. It also explores Victoria\u2019s relationship with her mentor and Prime Minister, Lord Melbourne\u2014played by Rufus Sewell\u2014with whom Victoria \u201cdefinitely had chemistry,\u201d Berry says. \u201cBut it\u2019s not about delivering a history lesson,\u201d she stresses. \u201cIt\u2019s about taking viewers on an immersive journey into a life and time period, which is much more appealing.\u201d<\/p>\n

Another element that makes Victoria an excellent subject for a drama series is that, in the words of Berry, \u201cshe went on and on and on,\u201d reigning from 1837 to 1901. Dramas about real people tend to be short runs because lives ultimately end. But with ITVS GE\u2019s series covering only the first three years of Victoria\u2019s 64-year reign, there is plenty of scope to continue the series and build a long-running brand. ITV\u2008has already greenlit season two.<\/p>\n

With four seasons and 300-plus hour-long episodes, TIMS Productions\u2019 Magnificent Century<\/em> undoubtedly qualifies as a durable, long-running brand. Izzet Pinto, founder and CEO of Global Agency, which distributes the show, reports that the historical epic about the Ottoman Sultan Suleiman the Magnificent has now been sold to more than 75 territories and been seen by close to 300 million viewers. Global Agency\u2019s best-selling drama has also spawned a sequel, Magnificent Century Kosem<\/em>, the second season of which is now in production. It tells the true story of a slave girl who became one of the most powerful women in the Ottoman Empire.<\/p>\n

Magnificent Century<\/em> is historically correct in that it tracks the key events of the 46-year reign of Sultan Suleiman, but the show is \u201cwoven with fiction,\u201d according to Pinto. \u201cYou have to stick close to the truth with historical figures, but you can play around with the side characters and story lines,\u201d he says. He also believes that a series based on a fascinating event, period or personality presents a huge advantage over pure fiction: a ready-made story with proven pulling power. \u201cAll you need to do is hire someone to shine up the script, because the narrative is already there.\u201d<\/p>\n

BLURRED LINES<\/strong>
\nMagnificent Century<\/em>\u2019s fictionalization of certain aspects of Sultan Suleiman\u2019s reign prompts a good question: what liberties can or should producers take with the facts? Clearly, a Bobby Ewing\u2013style shower scene is out of the question, but how much fantasy is acceptable when dealing with reality? Most agree that it depends on how much source material is available and how well the event or period is known.<\/p>\n

\u201cA level of authenticity is important, and there has to be a relationship with the truth,\u201d says ITVS GE\u2019s Berry. \u201cBut [the story] also needs to be made appealing to audiences. It\u2019s a fine line for writers.\u201d<\/p>\n

This chimes with BBC Worldwide\u2019s Keelan, who also thinks story lines must remain broadly true to the facts. \u201cBut viewers generally accept it will be a writer\u2019s interpretation of events and that some artistic license is inevitable,\u201d he says.<\/p>\n

For all3media\u2019s Swetman, one good way to venture (carefully) off-piste is \u201cto create a clear narrative running through the spine of the story.\u201d He adds, \u201cHistorical events and people\u2019s lives are full of complexity and nuance, which is almost impossible to accurately portray on screen, especially when capturing events over a long period of time. Therefore, the easiest and most important liberty to take is to simplify, whether that\u2019s removing superfluous characters or untangling timelines.\u201d<\/p>\n

Carmi Zlotnik, the managing director of Starz, says historical pieces also offer more opportunities for creativity, especially if the events took place in the distant past. \u201cHistorical dramas in which there is little in the way of detailed records offer the opportunity to explore what type of person a character could have been,\u201d Zlotnik says. \u201cIn that sense, the lack of pure historical record gives you extra creative freedom, while still providing authenticity to the viewer.\u201d<\/p>\n

HISTORY IN THE MAKING<\/strong>
\nStarz\u2019s latest foray into the past is Company Pictures\u2019 The White Princess<\/em>, which launches at MIPCOM. It is a follow-up to the award-winning miniseries The White Queen<\/em>\u2014which averaged 4.8 million multiplatform viewers per episode in the U.S.\u2014based on Philippa Gregory\u2019s book series The Cousins\u2019 War<\/em>. The eight-part drama tells the story of England\u2019s Wars of the Roses from the perspectives of the women used as pawns in the medieval power game\u2014in this case, Princess Elizabeth of York (daughter of White Queen Elizabeth Woodville), who is married off to Henry Tudor in the hope that the marriage will bring peace to the war-torn kingdom. In the event, England is united, but the marriage is swiftly divided by treachery and intrigue.<\/p>\n

Sonar\u2019s Patricia agrees that historical pieces offer more room for creative interpretation than, say, a drama based on a contemporary crime, for which producers are likely to be constrained by court transcripts and media coverage. But in the end, he says, a successful fact-based project\u2014as with any successful drama\u2014requires \u201ca big, loud\u201d central event; fascinating, watchable characters; a strong narrative arc that is capable of entertaining audiences while moving them emotionally and\/or intellectually; and that good old-fashioned thing, a great story.<\/p>\n

BEATLE-MANIA<\/strong>
\nAll these elements can be found in The Fifth Beatle: The Brian Epstein Story<\/em>, which Sonar is adapting into an event series from Vivek J. Tiwary\u2019s best-selling graphic novel of the same name.<\/p>\n

\u201cClearly, anything with The Beatles in the title is pre-sold,\u201d Patricia says. \u201cBut The Fifth Beatle<\/em> is more than just a Beatles origin story. It\u2019s also a drama about a brilliant man who struggled with his inner demons while guiding four young men to become the greatest band in the world.\u201d Adding to the project\u2019s allure is the fact that Sonar has secured the rights to Beatles music, which Patricia notes are rarely, \u201cif ever,\u201d granted.<\/p>\n

Another company to have successfully mined the music icon seam is A+E Networks, whose 2015 biopic Whitney<\/em> centers on Whitney Houston\u2019s meteoric rise and her tumultuous marriage to R&B star Bobby Brown. Lifetime followed Whitney<\/em> with a critically acclaimed exploration of another troubled legend, Marilyn Monroe. Denton says The Secret Life of Marilyn Monroe<\/em>, a miniseries starring Kelli Garner and Susan Sarandon, exemplifies the new approach to biography.<\/p>\n

\u201cBiopics used to be treated as \u2018womb-to-tomb\u2019 shows,\u201d he says. \u201cBut that doesn\u2019t work for today\u2019s audiences. Now people want the hidden stories\u2014in the case of Marilyn, her relationship with her mentally disturbed mother.\u201d<\/p>\n

Denton reckons that \u201cslightly iconic figures with some degree of global traction\u201d make the best subjects. \u201cBut politicians, unless they\u2019re Churchill or Hitler, don\u2019t usually work,\u201d he says, on the basis that most political figures have no profile or do not appeal outside\u2014or even within\u2014their home turf.<\/p>\n

Both Denton and ITVS GE\u2019s Berry pick up on the increasingly blurred line between documentary and the dramatization of real events and people. Berry identifies Netflix\u2019s ten-part doc Making a Murderer<\/em> and ITV\u2019s own The Investigator: A British Crime Story<\/em> as trailblazers in this new territory, where straight factual intersects with cinematic representation. \u201cBoth shows are as compelling and compulsive to watch as any crime drama,\u201d she adds. \u201cAnd audiences are responding well to them.\u201d<\/p>\n

As with all drama, co-production is a vital tool in pulling together these shows. Hat Trick\u2019s Tong outlines the general view when she says that, with budgets and viewer expectation soaring and fewer broadcasters prepared to fully fund production, \u201cmost dramas would not get made if not for the involvement of distributors and\/or international partners.\u201d<\/p>\n

BETTER TOGETHER<\/strong>
\nFor all3media\u2019s Swetman, there is also a creative benefit to co-producing, particularly when the subject of the drama \u201cstraddles international consciousness\u201d or involves characters from more than one country. \u201cThe aim is often for the co-production to feel natural\u2014for example, wanting a French partner to work on a series with lots of French history\u2014although off-screen, expedient funding arrangements can be reason enough,\u201d he says.<\/p>\n

Sonar\u2019s Patricia believes the right co-production with the right partners can be \u201cterrific for everyone,\u201d in that it not only delivers money but also adds layers to the storytelling and helps attract a high-end cast. \u201cBut a co-production needs to have organic international appeal,\u201d he cautions. \u201cAnd international appeal cannot be forced or pasted on. It must be in the project\u2019s DNA from the beginning.\u201d<\/p>\n

Reflecting on the reasons for the current uptick in dramas based on real-life events, Patricia suggests it\u2019s about the safety of the familiar. Because viewers are generally acquainted with the basic facts, \u201ca true story is somewhat pre-sold to the audience,\u201d he says. \u201cAnd with so many choices on television and streaming, a show that has some awareness is almost a necessity for programmers.\u201d<\/p>\n

BBC Worldwide\u2019s Keelan has a more philosophical take, \u201cYou could argue that this kind of drama helps viewers make sense of the world around them at a time when global and political events feel ever more unpredictable,\u201d he says.<\/p>\n

In a global content market that feels increasingly unpredictable, the same could be said for broadcasters, distributors and producers.<\/p>\n

Pictured: Global Agency\u2019s <\/em>Magnificent Century Kosem.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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