BBC Studios’ Charles Harrison

Charles Harrison, an international scripted format producer at BBC Studios, tells TV Formats about some of the current productions being adapted in local markets and which he’d like to see traveling further.

The catalog of scripted formats from BBC Studios is an enviable one. Charles Harrison’s remit as an international scripted format producer at the company is to support the global production of BBC Studios’ scripted dramas and comedies as they are reversioned around the world.

TV FORMATS: What’s driving the strength of BBC Studios’ scripted formats business at present?
HARRISON: At the heart of our formats business is the quality of our content. We are lucky enough to have scripted formats from the best writers currently working anywhere in the world. British writers such as Peter Moffat (Undercover, Silk) and Jed Mercurio (Critical) and writers renowned for creating complex and compelling female characters that are so in demand at the moment such as Mike Bartlett (Doctor Foster), Abi Morgan (The Split) and Marnie Dickens (Thirteen). BBC Studios offers a slate of award-winning shows, populated by big, bold characters that resonate globally. The quality of the work allows for a speedy development time, which can be key for buyers, as local producers don’t have to wait for years developing content before a show can be made. If they stick closely enough to the format, they can pretty much go straight into preproduction.

TV FORMATS: Why do you think Asia has been a particularly hot market for BBC Studios’ scripted formats as of late?
HARRISON: There’s a real appetite for high-quality content across Asia, and BBC Studios’ catalog can supply this. We’ve had great success across the region, particularly in India and Northeast Asia. South Korea has a constant need for bold stories and our content really resonates with local audiences. We’ve also seen a growing need for local formats on SVOD platforms and BBC Studios has been able to meet this. In India, there is a desire for high-quality scripted content that can sit alongside U.S. imports. Platforms like Hotstar are attracting a completely new Indian audience and our scripted formats have seen real success there.

TV FORMATS: What are some of the most notable scripted format adaptations you’re working on at the moment?
HARRISON: We’ve been working on a new collaboration with Phoenix Entertainment Group for an adaptation of Life on Mars in China. Originally from Kudos Film and Television, this will be our fifth iteration of this title outside the U.K. This will stand alongside versions made in Spain, the Czech Republic, South Korea and Russia. There’s a lot of buzz globally around Luther, too, following on from its recent Korean adaptation, which was a big hit for MBC last year.

Doctor Foster has been a massive title for us, attracting a lot of interest this year. The French format Infidèle, for TF1, was hugely popular with audiences in France, peaking at 6.1 million viewers. It’s a universal story but told in a completely bold way, which has meant it has had real traction as a format.

TV FORMATS: What does your role as a production consultant encompass for the scripted formats?
HARRISON: Buyers expect a level of expertise when they come to BBC Studios, and my team spends a lot of time getting to know each and every one of our scripted formats in great detail. We help with scripting and storylining and advise on how best to adapt for your local market. We talk about what made the original such a success, and during consultancy visits, I’m there for preproduction and on set to give the benefit of our collected experience. We’re always there to advise on other formats to adapt from our catalog that partners may not be aware of, and we make it our business to know trends and success stories in the local markets.

TV FORMATS: What are some of the scripted formats in the catalog you’re looking to shine a light on for future adaptations?
HARRISON: We have some very high-end drama formats ready to launch by the U.K.’s absolutely best writing talent such as Tom Rob Smith’s MotherFatherSon. And I think The Split by Abi Morgan is just the most fantastic family drama, with one of the best and most truthful depictions of the relationship between sisters that I’ve seen.

BBC Studios has got some amazing comedy content on our slate, too. We’re rightly known for shows like The Office, which has led the way for us, showing how well comedy can travel. There are ten versions around the world, and it’s a title that’s always in discussion. We’re lucky enough to have cracking comedies likes Friday Night Dinner, Stath Lets Flats and Moone Boy—where you’ve got high-volume, precision-tooled stories that are very funny and very adaptable.

My current favorite that’s coming up is Ghosts, from the multi-BAFTA-award-winning team behind Horrible Histories. It’s a warm-hearted, incredibly tightly written, classic flat-share format, in a haunted house, and it’s completely great. I’d love to see it around the world.