In Canada: Fridays, 9pm ET/MT, HBO Canada/Super Ecran 1
In the US: Acquired to air on HBO Cinemax, possibly in June
In Germany: Already aired on RTL
In France: Already aired on M6
Co-productions are the future. Allegedly. Ask the BBC, which regularly works with BBC America and also HBO on productions. Sky also does plenty of international shows in collaboration with US, Spanish, French and South African broadcasters.
The idea is that you unlock more money that can result in either better shows or shows that couldn’t otherwise have been made at all, or you can have overseas filming and exotic locations courtesy of the people who know the areas best and can give you firm advice on the cultures that can be incorporated into the scripts.
Sometimes this works: the Swedish/Danish The Bridge was excellent; Sky’s Falcón and Strike Back are good; Canada’s Flashpoint, originally produced in association with CBS, wasn’t half bad, despite its desperate attempts to appear as un-Canadian as possible.
Sometimes it doesn’t: BBC/Cinemax’s Hunted was dreadful.
Quite often, the problem is in making a programme that will appeal to audiences in all the countries involved. Anyone can import another country’s television, quite cheaply, but once big production money is involved, you often want actors from both countries, filming in both countries, writers from both countries and so on. And of course each country’s producers and network executives will want input into the show. As a result, more or less anything interesting gets filed off by the process.
It’s basically ‘death by committee’.
In particular, there is one unholy alliance of producing countries, familiar to anyone who watched TV in the 90s, that can be pretty much be guaranteed to co-produce rubbish: Canada, France and Germany. Forget how good each individual country’s television can be – united in co-production they are only a force for evil.
Remember Highlander? Remember its arbitrary location changes from Canada to Paris and back each season? Remember the contractually obligated French and German actors struggling to speak English each episode? Remember the guest Englishperson in any episode shot in Paris, since they needed someone who could act in English, who was cheap and who could be there quickly?
If not, let’s pretend 20-odd years haven’t happened and tune into Transporter: The Series. It’s based on the 2002 Luc Besson French-US movie that starred Jason Statham as Frank Martin, an ex-special forces, samurai-like car driver who would drive anything you wanted, anywhere you wanted for a price and would kick the crap out of anyone who tried to stop him – provided you stuck with his supposedly rigid rules. The series sees Chris Vance (ex of Prison Break and Mental but no action background whatsoever) take over the role of Martin, who’s still working in the South of France – and Germany – but now has the help of a comedic German car engineer and an East European female boss, and is being chased by both the French and Belgian police.
Creative compromises? I don’t know what you mean. Here’s a trailer for the movie, followed by a trailer for the series itself.
Continue reading “Review: Transporter 1×1-1×2 (RTL/M6/HBO Canada/Cinemax)”
