‘It’s a great time for British drama,” said Mark Gatiss, co-creator of the BBC’s Sherlock series and a screen regular, who played Henry VIII’s secretary, Stephen Gardiner, in Wolf Hall.
“Ten years ago we were told that traditional drama was dying out and reality TV was taking over. But that’s not true and British drama is more than holding its own. History might judge this to be a golden age.”
Wolf Hall might have completed its BBC2 run, but the series is now a hot property for international broadcasters seeking to acquire the best global drama for their viewers.
The Hilary Mantel adaptation was the star attraction at the BBC Worldwide Showcase, a four-day export market held in Liverpool last week, which attracted more than 700 of the world’s top television and digital executives.
Buyers spend six hours a day watching programmes in a warren of “digibooths” at the Liverpool Exhibition centre.
Wolf Hall
was snapped up by Arte for France and Germany, DR (Denmark), YLE (Finland) with US rights going to Masterpiece.
Tim Davie, BBC Worldwide CEO, said: “Wolf Hall’s success demonstrates the enduring power of top-end, high-quality premium content. If you’re a lover of high-quality TV, from whatever country, Wolf Hall makes the cut.”
The BBC would not be able to mount costly productions like Wolf Hall without early support from potential purchasers in advance deals brokered by Worldwide.
Stephen Mowbray, head of programme acquisition at Swedish broadcaster SVT, said: “We bought Wolf Hall before we saw any of the footage. The competition for these shows is intense.”
SVT also took home Last Tango in Halifax, Channel 4’s Cucumber, Sky’s new real-time medical drama, Critical, and a new BBC1 crime series, The Interceptor.
It isn’t just drama attracting the deal-makers.
The BBC’s Natural History Unit is tempting buyers with The Hunt, looking at the relationship between predator and prey.
Kate Phillips, Worldwide’s creative director of formats, is excited about You’re Back In The Room, a new gameshow in which contestants vie for a cash prize under hypnosis, and which Worldwide will distribute internationally.
Digital services like Netflix have opened up new platforms for Worldwide programmes.
“There’s always a debate – do we have to change output to appeal to a global market?” Davie said. “The truth is, doing brilliant things well is what travels. There’s nothing un-British about Doctor Who and Sherlock. They transcend national boundaries.”
Nothing travels better than Top Gear, which has been sold to more than 170 countries. Can the BBC keep Jeremy Clarkson on board despite the transgressions which send him ever closer to the exit?
“We often have to deal with controversial personalities in a creative business.
“Jeremy and the team bring incredible skills to the programme and we’re proud of them.” – The Independent