GENRE REPORT
TV DRAMA
GABRIEL SILVER SKY DIRECTOR OF DRAMA COMMISSIONING
What upcoming shows are emblematic of Sky drama right now? In recent years we have produced dramas that take viewers deep inside a world and have an ensemble cast of characters - Gangs of London or A Discovery of Witches are good examples. They tend to have broad appeal as returnable dramas. We also look for landmark mini-series that really are event TV. We’ll close out the year with Landscapers, starring Olivia Colman and David Thewlis, which is a radical take on the true crime genre, and begin 2022 with a thrilling four-part drama The Fear Index starring Josh Hartnett and based on the Robert Harris novel. We’re also keen on distinctive voices
Representation is hugely important for us…and that’s something we want to ensure throughout 2022 and beyond.”
COSTS CLIMBING The talent, kit and facilities shortage has led,
unsurprisingly, to significant cost inflation in the market. For once, crews and suppliers have been on the front foot, able to negotiate increases in wages and costs. That is, of course, welcome for many of
those working in and supplying the production sector. But, says Campbell, it has put “massive squeezes on budgets at the same time as we have additional costs from Covid [safety measures].” The rise in costs could be worrying for the
future prospects of the UK drama industry. Campbell, who has just finished production on ITV crime thriller Our House, has no doubt that plenty of shows will be made here in the coming year. “The question is whether we can remain competitive when those costs are going up. Will people start looking to different places in Europe because they are more cost effective?” Because rates have gone up so much, there’s
no such thing as low budget drama any more, says Shindler. The rise in costs, she thinks, will inevitably mean less commissions as broadcasters
and streamers look to save money. “It is going to have implications over the next couple of years,” she says.
COMPETITIVE MARKET If production is hard, so too is winning a commission.
The drama market has become crowded and intensively competitive. Dozens of scripted producers have launched in recent years, all vying for a share of a growing scripted spend by streamers and broadcasters. It’s not known exactly how many drama production companies there now are, but the figure runs into the several hundred. Many went into development overdrive during
lockdown when production was impossible, taking the time to focus on scripts and new ideas. All these projects are now flooding the market. Tom Coan, executive producer for
NBCUniversal International Studios, has recently started developing and pitching projects again having just delivered the third season of Amazon thriller Hanna. “There is so much in the market right now,” he says. “There is an absolute surplus of development…buyers are inundated with material.” This is a point recognised by Daisy Mount,
development executive for scripted originals UK at Amazon Studios. “There is a lot out there,” she
in British storytelling, and we’ll be launching Sian Robins-Grace’s The Baby later in ’22. The Rising is another Sky Original – the first produced entirely in- house by Sky Studios – that I’d point to as fresh, distinctive with global appeal while being rooted firmly in the UK. That, The Midwich Cuckoos, adapted by David Farr and starring Keeley Hawes, and a Joe Barton (Giri/Haji) time-loop thriller are our tentpoles next year. What are you looking for? Anything we make as a Sky Original must be content worth paying for. By that, I mean it must feel like premium pay TV, be more audacious than the free to air channels, but also feel rooted enough to connect with our customers across Sky and NOW in the UK & Ireland. What is Sky doing to secure the best ideas and talent? We like to see ideas early at Sky, either at pitch or script stage, and be a real partner to indies and talent as we develop their ideas together. For Sky it needs to have a particular tone and we have found that when we are involved early, we are able to work in collaboration with talent to hone a show to make it distinctly Sky, while giving them the freedom and space they need to realise their vision.
Winter 2021
televisual.com 41
SCREW
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140
