{"id":7461,"date":"2017-03-23T13:29:59","date_gmt":"2017-03-23T17:29:59","guid":{"rendered":"http:\/\/worldscreen.com\/tvdrama\/talent-scouts\/"},"modified":"2017-03-23T13:33:19","modified_gmt":"2017-03-23T17:33:19","slug":"talent-scouts","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvdrama\/talent-scouts\/","title":{"rendered":"Talent Scouts"},"content":{"rendered":"

\"Creative-Alliances\"<\/a>Andy Fry checks in with leading distributors about the hunt for scripted talent and the art of successful collaboration.<\/em><\/p>\n

Demand for TV drama in 2017 remains as rampant as ever, so it\u2019s no surprise to see that international distributors continue to invest significant sums in producers and writers. Some are lucky enough to have access to in-house talent, either from related production divisions or through the group level acquisition of independent labels. But even such access doesn\u2019t diminish the competition for third-party content creators. For every equity investment, there is a complex array of first-look and development deals.<\/p>\n

Explaining the importance of these relationships, Liam Keelan, the director of scripted content at BBC Worldwide, says it\u2019s all about the pursuit of great stories that can work on an international stage. \u201cWe have strong in-house relationships, but we want to work with the best creative talent we can get hold of, wherever it is.\u201d<\/p>\n

Inevitably, the types of deals being done by distributors vary according to their scale in the market. Pancho Mansfield, Entertainment One (eOne) Television\u2019s president of global scripted programming, says that his firm\u2019s activities range from the $133-million acquisition of a 51-percent interest in The Mark Gordon Company to the recent multiyear overall TV first-look deal with Olive Productions, the company founded by actors\/directors Steve Buscemi and Stanley Tucci and executive producer Wren Arthur. Such is the range of commercial and creative relationships that it\u2019s hard to distill eOne\u2019s requirements down to a simple formula, says Mansfield. \u201cIf I had to summarize it, I\u2019d say it\u2019s about access to material and talent.\u201d<\/p>\n

FremantleMedia\u2019s activity in drama has involved a string of investments, among them Kwa\u00ef in France, Wildside in Italy and Miso Film in Scandinavia, and the revival of Euston Films in the U.K. Christian Vesper, executive VP and creative director of global drama at FremantleMedia, observes, \u201cThe companies we are involved with are among the best at what they do. But what they also have in common is a desire to grow internationally. My job is to work with each of them to achieve that in ways that suit their cultures.\u201d<\/p>\n

HEAD START<\/strong>
\nRola Bauer, the managing director of STUDIOCANAL TV, oversees a similarly complex set of relationships. Her view is that recognizable talent can give projects a boost right at the outset. \u201cWe have long-standing relationships with best-selling authors Harlan Coben and Ken Follett. Having well-known and universally admired creative names or brands to tap into means that you already have a strong international fan base at the start.\u201d<\/p>\n

That producers are willing to go along with more involved arrangements with distributors is, in part, a reflection of the changing complexion of the international drama business, says David Ellender, the president of global distribution and co-productions at Sonar Entertainment. \u201cCompanies like Sonar aren\u2019t just distributors. We have sales teams that feed intelligence back from the international market, but our partnerships with producers are more complex than that. We\u2019re a studio, providing production support at every level.\u201d<\/p>\n

The international nature of the business means that the search for first-look and development relationships is now a global pursuit, says Caroline Torrance, the head of scripted at Banijay Rights. \u201cWe are looking everywhere,\u201d she says. \u201cWe have a relationship with U.S.\/U.K. producer Arise Pictures, but we are not limited to English-speaking markets. We have distribution deals with the likes of Haut et Court in France and Entre Chien et Loup in Belgium, for example.\u201d<\/p>\n

\u201cProducers and writers with proven track records are in strong demand, so a big part of our job is finding new voices,\u201d observes Amelie von Kienlin, the senior VP of scripted acquisitions and co-productions at Red Arrow International. \u201cA lot of our efforts go into talking to feature film and theater talents that are interested in moving over to TV series. Or maybe looking at markets where the talent isn\u2019t so well known internationally.\u201d<\/p>\n

These fresh voices can then be partnered with talent that is already found within the Red Arrow family. A good example, says von Kienlin, is Embassy Down<\/em>, a co-production bet\u00adween Red Arrow International and MTG Studios in Scandinavia. The show is a political thriller created and written by Anders Frithiof August, marking his first English-language project. One of the executive producers on the show is Henrik Bastin, who heads Red Arrow\u2019s U.S. production division Fabrik Entertainment (producers of Bosch<\/em>). \u201cWe are able to take Anders\u2019 vision and help him create something that will work on the international stage,\u201d von Kienlin says.<\/p>\n

TALENT CHECKLIST<\/strong>
\nContent Media is keen to expand its network of drama producers, following successful partnerships with the likes of World Productions on Line of Duty<\/em> and several other shows, including The Secret Agent<\/em>, The Bletchley Circle<\/em> and The Great Train Robbery<\/em>. \u201cWe have also recently partnered with Deadpan Pictures on an exclusive first-look deal,\u201d says Greg Phillips, Content\u2019s president of distribution. Deadpan\u2019s lineup includes the RT\u00c9 hit series Can\u2019t Cope, Won\u2019t Cope<\/em>, which Content licensed to BBC Three in the U.K.<\/p>\n

\u201cWe look for quality, innovative and exciting ideas,\u201d says Phillips. \u201cA twist, something that will have resonance with audiences throughout the world. Things that are universal and yet individual enough to pique the audience\u2019s interest. When there are so many other things out there, you have to give every project something special. [You want] characters who viewers want to watch on a week-by-week basis or who, frankly, make them want to sit up all night and lose sleep! That\u2019s a fairly tall order, and for that, you need to find a balance between writing, execution, talent, ideas and sometimes you need to go out on a limb for things. We look for what we believe will be excellent. For us as an independent, it\u2019s just much more necessary to pick winners.\u201d<\/p>\n

Similarly, Keelan says that third-party producers need to bring an editorial focus that fits BBC Worldwide\u2019s strategic goals\u2014without replicating existing partnerships. \u201cThey also need to be collaborative. Go back a few years and companies like ours would wait for shows to come off the production line. But now we expect to have a much closer relationship during development and production\u2014to make sure that the end result is right for the international market.\u201d<\/p>\n

STARTING EARLY<\/strong>
\nAmong BBC Worldwide\u2019s portfolio of partnerships is Cuba Pictures, the production arm of literary and talent agency Curtis Brown. Initially signed in 2014, the partnership was renewed in 2016 and now involves an equity investment from BBC Worldwide. \u201cCuba gives us great access to new literary properties as they come to the market,\u201d says Keelan, \u201cso that\u2019s a relationship where we talk about projects at the earliest stages of development.\u201d<\/p>\n

One Cuba project that has come to fruition is McMafia<\/em>, an eight-part underworld thriller based on the book of the same name. With a star-studded writing team and James Norton (War & Peace<\/em>) in the lead, the show has recently secured AMC as a co-production partner in the U.S.<\/p>\n

For Ellender at Sonar, \u201cThe key to third-party relationships is finding talent that can rise above the competition. You have to have the best talent and the best projects, because if you get stuck in the mid-range, your project probably won\u2019t get seen.\u201d<\/p>\n

Examples of Sonar projects include Taboo<\/em>, the BBC One\/FX series starring Tom Hardy and produced by his Hardy, Son & Baker and Ridley Scott\u2019s Scott Free London. Sonar also has development deals with George Clooney and Grant Heslov\u2019s Smokehouse Pictures and Robert Downey Jr.\u2019s Team Downey.<\/p>\n

Hardy, Scott, Clooney and Downey are obviously eye-catching names, but Ellender stresses that relationships of this kind are not just about badging projects. \u201cWe approach every relationship very diligently\u2014regardless of who is involved. You have to be certain that you share a creative vision and philosophy, and that they have specific projects in mind that will work for the international market. There\u2019s no room in this business for vanity deals.\u201d<\/p>\n

MATCHMAKING<\/strong>
\nAt MarVista Entertainment, new creative pacts are enabling the company to move into the series space after building a thriving TV movie business. For CEO Fernando Szew, a key development has been \u201cthe growing amount of film talent looking to work in TV and digital. We are working with John Singleton [Boyz n the Hood<\/em>, Shaft<\/em>] on Rebel<\/em>, a police drama for cable channel BET. John brings experience, marketability and rich storytelling skills. In addition to all of that, he is the right person to specifically target the audience that BET is trying to attract.\u201d<\/p>\n

MarVista\u2019s push into series has also seen it join forces with the U.S. production firm Piller\/Segan on Sea Change<\/em> (working title) for Lifetime in the U.S. \u201cRelationships with established U.S. showrunners are core to our business because there is such a rich array of talent,\u201d says Szew, \u201cbut we are also looking to the international market for partnerships. We\u2019re very comfortable in Latin America and have worked with leading players there, such as Caracol in Colombia.\u201d<\/p>\n

Echoing the trend toward global drama, Mansfield says eOne has U.S. and international relationships that are managed out of L.A., Toronto, London and Sydney. \u201cSometimes we are working on projects that have been generated in-house and sometimes by third parties. In the case of Sharp Objects<\/em>, we are the producer. We secured the rights to Gillian Flynn\u2019s novel and that has now been placed as an HBO series with Marti Noxon as showrunner, Jean-Marc Vall\u00e9e as director and Amy Adams in the lead. That\u2019s different than a project like Cardinal<\/em>, where Sienna Films had the rights to the books and we came on board because we liked them.\u201d<\/p>\n

Torrance says that Banijay is always interested in working with producers who have good relationships with writers, \u201cbut we\u2019re also looking for companies that have a real desire to work with a distributor. Some producers are very focused on their domestic market, but we need partners who are creatively interested in the international market, not just the upfront distribution advance.\u201d<\/p>\n

She cites the example of Banijay\u2019s relationship with Racine Media. \u201cWe are working with Racine on a new detective franchise. We are helping them shape and orient the project to the international market. We think there will be huge interest in a new detective franchise.\u201d<\/p>\n

TRACKING PROGRESS<\/strong>
\nDistributors\u2019 level of involvement in the creative process differs by company and by nature of the deal.<\/p>\n

\u201cWhatever the setup, we are very involved in the material,\u201d says Mansfield at eOne. \u201cYou have to trust and believe in the talent, but you also need to stay connected to the casting, the choice of director and so on because that\u2019s how you ensure a return on your investment. You have to have a point of view.\u201d<\/p>\n

That said, Mansfield notes that it\u2019s important not to micromanage projects. \u201cYou want to be very involved at the start to make sure it has been set up in a way that works for everyone. But if you are too involved in the specifics after that, it\u2019s probably a sign that things aren\u2019t going as well as they should.\u201d<\/p>\n

\u201cThe intrinsic integrity of a project has to be maintained,\u201d states Content\u2019s Phillips. \u201cFor us as sales agents or distributors, we\u2019ve got to be interested in a project for what we believe it will be. We signed up for it on the basis that on a macro level, and hopefully on a micro level, it will meet our customers\u2019 needs. Through the process, it\u2019s necessary to give input where you think what\u2019s going on is affecting the commercial integrity of the piece. The commissioning broadcaster is paying the lion\u2019s share of the bill and they have highly experienced and highly creative people on the case. We don\u2019t want to come down to the set and tell someone how to light it; we trust that they know how to do that. We\u2019ll give a comment if we think it makes sense. As things go along, we are interested in looking at rushes, first cuts and rough cuts from the point of view of marketing. The earlier that we see what we\u2019re getting, the earlier we can make our plans and get the word out there that this is something special and here\u2019s why. Being involved throughout and being aware helps us do our job in the end.\u201d<\/p>\n

BALANCING ACT<\/strong>
\nBanijay\u2019s Torrance agrees that distributors have to find the right balance between trusting a producer\u2019s instincts and setting specific goals for them. \u201cSome visionary authored pieces become massive hits, so you have to find room for producers who have passion projects. But we also look for partners who want to work with us in response to the market\u2019s needs. Part of our development with Arise, for example, is looking at how we can reinvent the procedural, which is in such demand in Europe.\u201d<\/p>\n

Much of STUDIOCANAL\u2019s relationship-building is handled at the level of its individual production companies, explains Bauer. \u201cOur production companies have deep alliances and connections with the writers and creatives they work with.\u201d Examples include RED Production Company with Danny Brocklehurst, and TANDEM\u00a0Productions with Callie Khouri (Nashville<\/em>) and music producer T Bone Burnett on Deep City<\/em>. Also out of TANDEM is Brazza<\/em>, which is a co-production with Save Ferris Entertainment in association with Idris Elba\u2019s Green Door Pictures.<\/p>\n

Keelan reports that BBC Worldwide wants to be \u201cas involved as we can be, without being prescriptive. It\u2019s about ensuring that the production is progressing well without giving notes on every page of the script.\u201d<\/p>\n

As an example of Sonar\u2019s involvement with its creative partners, Ellender cites Das Boot<\/em>, a venture with Bavaria Fernsehproduktion and Sky Deutschland. \u201cWe have global distribution rights (outside of Sky\u2019s European territories), but we\u2019ve also been involved during the early stages of the production to ensure that the show can work in the U.S. and globally. One way we have done this is by bringing in American writers to support the show\u2019s lead writer.\u201d<\/p>\n

TEAM SPIRIT<\/strong>
\nFremantleMedia\u2019s Vesper says that it\u2019s important to be involved in scripting and casting decisions, to ensure that the project is progressing in the right way. He cites the example of Picnic at Hanging Rock<\/em>, a FremantleMedia Australia production for Foxtel that will star Natalie Dormer. \u201cWe were able to introduce Australian writer Beatrix Christian to Canadian director Larysa Kondracki, who has worked on series like Better Call Saul<\/em> and The Walking Dead<\/em>. That\u2019s the kind of creative connection that we are well-placed to initiate.\u201d<\/p>\n

There can be a perception\u2014perhaps as a throwback to the days of drama Europuddings\u2014that distributors will force-fit cast members into TV series to appeal to buyers in that country.<\/p>\n

\u201cYou can\u2019t shoehorn actors into shows, but I think the situation has become more flexible because today\u2019s audiences are more comfortable with actors from different countries or the use of subtitles in dramas,\u201d Banijay\u2019s Torrance says.<\/p>\n

Red Arrow\u2019s von Kienlin says that the right casting decision from a distributor can also improve a show\u2019s prospects on the international market. For example, it was Red Arrow that first suggested Iain Glen (Game of Thrones<\/em>) for Cleverman<\/em>, the ABC\u2008Australia and SundanceTV U.S. co-pro set in a futuristic dystopia. In the early days of development, Glen\u2019s involvement became the hook for promoting the series to international buyers.<\/p>\n

An emerging mandate for distributors is discovering new talent. \u201cIt\u2019s about having a mindset that makes room for new talent and encourages diversity,\u201d says eOne\u2019s Mansfield. \u201cWe do that through a scriptwriting competition that we support and by creating opportunities for people to join writing rooms on shows.\u201d<\/p>\n

\u201cOur approach would be to bring talent up through long-running series,\u201d says Banijay\u2019s Torrance, \u201cbecause it\u2019s a great way to learn the realities of production. It\u2019s something all of us need to think about as producers and distributors, because you can wait 18 months or two years for the top writers to become available.\u201d<\/p>\n

Pictured: Red Arrow\u2019s<\/em> Cleverman.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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