All about ideas
A few years ago, it would seem highly improbable for Russian formats to be commissioned for a US remake, as it has always been the Russians who have picked up US shows to adapt for their audience. Alex Reznik of East 2 West has turned the seemingly impossible into reality. First, he sold the gameshow What? Where? When? to ABC and most recently the thrilling scripted projects Thru My Own Eyes and Seven Seconds to Fox 21 and Netflix, respectively. As Reznik tells Alexandra Shutova, closing such deals is a bit easier when you have great ideas up your sleeve.
Alex, Netflix recently picked up the TV series project Seven Seconds, based on the Russian film The Major. Could you tell us more details about this joint project with Fox 21?
Yes, we start filming the first season of Seven Seconds in early January of 2017. In terms of what the show is about, it is pretty much what you have read so far. The writers are creating the first season now but I can’t delve into too much information. The show is produced by Fox 21 for Netflix and hopefully it will be ready in the fall of 2017.
Hollywood media reported that it took nearly a year to reach a deal. Is that true?
In Hollywood, deals usually take a long-long time. A year is nothing out of the ordinary. Legally there are many things that need to be figured out.
As reported, this is the first show for Fox 21 and Netflix together. They did previously work on Arrested Development, but that was a while ago. They have to figure out new templates, which takes a lot of time. The project is a big deal for both companies, that is why it’s taking a little bit longer.
Why do you think Netflix liked the idea so much?
The Major is a terrific film by Bikov and was received well everywhere it played. For us as producers, the film helped set the tone for the kind of story and themes we wanted to explore for an American audience – which are similar to the Russian film. I think for Netflix it was always about Veena’s vision for the show and the world she created that excited them, plus she has a track record with Netflix having done The Killing there.
You have now made a name for your company as the main importer of Russian content into the US. How do you pick the ideas you want to represent? Do you contact authors directly or do they come to you?
We first look at content that excites us as viewers and connect to emotionally. My partner is a TV writer and together we usually see right away if a project has legs to work in the US. That requires a strong TV engine that can drive a show for multiple seasons. Sometimes it’s already embedded in the format and sometimes we create it. Network executives look for shows that have potential for multiple seasons.
We get our material from all avenues, sometimes people come to us but mostly it’s something that we’ve seen or heard about. For example, it happened with Through My Own Eyes. The director of the project Zaur Bolotaev and his colleague Alexey Ageev reached out to me through another producer. They were shopping this show around town but couldn’t get it off the ground. When I saw all 19 episodes, it was very simple. We didn’t really have to do much with it – it’s such a good show and a well-constructed original idea. It felt fresh, and easily adaptable and the studio and the network felt the same way.
You sold Through My Own Eyes to Fox. Is the project still in development? When should we expect to see the US version?
Yes, the pilot is still in development, we are looking at directors to create that visual template that is so crucial to the show. Once we attach that element, we will have a better idea about how to move forward with the whole series.
Do you focus mainly on selling formats or do you also attract creators to make original shows?
Most of the content we look at is content that has already been produced. TV, film, books or publications. There are, however, writers who send us original ideas, which makes it a bit more difficult. The IP is in Russian and most of the writers don’t speak English or have worked in the US. They want be involved in the development of the adaptation and be able to write, but these are two completely different markets and sensibilities, and there is the language barrier. At the same time, I don’t discourage writers from sending original pitch pages for adaptation. If it’s good, we’ll make it work.
How hard is it to sell an idea coming from Russia to an American player?
I don’t think network executives care or look at where the original IP comes from. What’s important is what we do with it and who’s involved and the vision they have for the American audience. Selling any idea, no matter where it comes from, is extremely difficult, nevertheless getting it ordered as a series.
What could help Russian formats travel to the US?
I don’t think Russian producers set out for their shows to travel to the US when they start creating it. Hopefully, it’s our job to find them and bring them here.
I will say, there has been a renaissance on Russian TV in the past 5-6 years that is extraordinary. Russian showrunners and producers have a better understanding how to structure shows to give it longevity. Look, there has never been a shortage of literature in Russia and the production value is outstanding considering their budgets. Obviously, there are different types of audiences but the things that I see on the main networks have a very specific voice.
The American TV market is different. Here, it is important for a show to be able to travel, to be able to be shown all over the world. But it’s harder for Russian shows to travel outside of Russia. I get producers asking me all the time: how can we get our show on American TV as a ready-made.
Unfortunately, there are not a lot of mainstream platforms in the US that cater to foreign subtitled TV. We have over 400 shows in the US right now who are fighting for an audience, so it’s hard for a buyer to commit to something from another country that a viewer has to watch with subtitles. Though the streaming companies are changing this slowly and have different rules.
Do you have other projects in the pipeline?
We have too many projects in the pipeline. I don’t like to share things that are in development because it’s only development. You have to have many chickens in the bag because not everything moves forward. Just because a show has a high concept, doesn’t mean it’s guaranteed to sell. For us it comes down to taste. I might like something that another producer might not, and vice versa. It does not mean any of us are wrong. We have specific taste and try to be very selective in what kind of stories we want to tell for the American audience.
You have a first-look deal with Fox 21. Could you tell us more about your partnership?
It is a standard first look deal - we present everything that we’re developing, whether it’s an original idea or a format, to Fox 21 first. They have a certain period of time to take a look, and if they are not interested in moving it forward with us, we are free to go to other places and try to make the show on our own. We have an amazing relationship with Fox and share a creative sensibility, but they are not going to like everything we do.
Are you also looking to make business beyond Russia and the US?
Our focus is making television for the American audience. Russia has been a territory that we have focused on but we look at everything. Again, it’s all about the idea, doesn’t matter where it comes from. For example, we have a show in development based on a French format. We are equal opportunity adapters.
Yes, we start filming the first season of Seven Seconds in early January of 2017. In terms of what the show is about, it is pretty much what you have read so far. The writers are creating the first season now but I can’t delve into too much information. The show is produced by Fox 21 for Netflix and hopefully it will be ready in the fall of 2017.
Hollywood media reported that it took nearly a year to reach a deal. Is that true?
In Hollywood, deals usually take a long-long time. A year is nothing out of the ordinary. Legally there are many things that need to be figured out.
As reported, this is the first show for Fox 21 and Netflix together. They did previously work on Arrested Development, but that was a while ago. They have to figure out new templates, which takes a lot of time. The project is a big deal for both companies, that is why it’s taking a little bit longer.
Why do you think Netflix liked the idea so much?
The Major is a terrific film by Bikov and was received well everywhere it played. For us as producers, the film helped set the tone for the kind of story and themes we wanted to explore for an American audience – which are similar to the Russian film. I think for Netflix it was always about Veena’s vision for the show and the world she created that excited them, plus she has a track record with Netflix having done The Killing there.
You have now made a name for your company as the main importer of Russian content into the US. How do you pick the ideas you want to represent? Do you contact authors directly or do they come to you?
We first look at content that excites us as viewers and connect to emotionally. My partner is a TV writer and together we usually see right away if a project has legs to work in the US. That requires a strong TV engine that can drive a show for multiple seasons. Sometimes it’s already embedded in the format and sometimes we create it. Network executives look for shows that have potential for multiple seasons.
We get our material from all avenues, sometimes people come to us but mostly it’s something that we’ve seen or heard about. For example, it happened with Through My Own Eyes. The director of the project Zaur Bolotaev and his colleague Alexey Ageev reached out to me through another producer. They were shopping this show around town but couldn’t get it off the ground. When I saw all 19 episodes, it was very simple. We didn’t really have to do much with it – it’s such a good show and a well-constructed original idea. It felt fresh, and easily adaptable and the studio and the network felt the same way.
You sold Through My Own Eyes to Fox. Is the project still in development? When should we expect to see the US version?
Yes, the pilot is still in development, we are looking at directors to create that visual template that is so crucial to the show. Once we attach that element, we will have a better idea about how to move forward with the whole series.
Do you focus mainly on selling formats or do you also attract creators to make original shows?
Most of the content we look at is content that has already been produced. TV, film, books or publications. There are, however, writers who send us original ideas, which makes it a bit more difficult. The IP is in Russian and most of the writers don’t speak English or have worked in the US. They want be involved in the development of the adaptation and be able to write, but these are two completely different markets and sensibilities, and there is the language barrier. At the same time, I don’t discourage writers from sending original pitch pages for adaptation. If it’s good, we’ll make it work.
How hard is it to sell an idea coming from Russia to an American player?
I don’t think network executives care or look at where the original IP comes from. What’s important is what we do with it and who’s involved and the vision they have for the American audience. Selling any idea, no matter where it comes from, is extremely difficult, nevertheless getting it ordered as a series.
What could help Russian formats travel to the US?
I don’t think Russian producers set out for their shows to travel to the US when they start creating it. Hopefully, it’s our job to find them and bring them here.
I will say, there has been a renaissance on Russian TV in the past 5-6 years that is extraordinary. Russian showrunners and producers have a better understanding how to structure shows to give it longevity. Look, there has never been a shortage of literature in Russia and the production value is outstanding considering their budgets. Obviously, there are different types of audiences but the things that I see on the main networks have a very specific voice.
The American TV market is different. Here, it is important for a show to be able to travel, to be able to be shown all over the world. But it’s harder for Russian shows to travel outside of Russia. I get producers asking me all the time: how can we get our show on American TV as a ready-made.
Unfortunately, there are not a lot of mainstream platforms in the US that cater to foreign subtitled TV. We have over 400 shows in the US right now who are fighting for an audience, so it’s hard for a buyer to commit to something from another country that a viewer has to watch with subtitles. Though the streaming companies are changing this slowly and have different rules.
Do you have other projects in the pipeline?
We have too many projects in the pipeline. I don’t like to share things that are in development because it’s only development. You have to have many chickens in the bag because not everything moves forward. Just because a show has a high concept, doesn’t mean it’s guaranteed to sell. For us it comes down to taste. I might like something that another producer might not, and vice versa. It does not mean any of us are wrong. We have specific taste and try to be very selective in what kind of stories we want to tell for the American audience.
You have a first-look deal with Fox 21. Could you tell us more about your partnership?
It is a standard first look deal - we present everything that we’re developing, whether it’s an original idea or a format, to Fox 21 first. They have a certain period of time to take a look, and if they are not interested in moving it forward with us, we are free to go to other places and try to make the show on our own. We have an amazing relationship with Fox and share a creative sensibility, but they are not going to like everything we do.
Are you also looking to make business beyond Russia and the US?
Our focus is making television for the American audience. Russia has been a territory that we have focused on but we look at everything. Again, it’s all about the idea, doesn’t matter where it comes from. For example, we have a show in development based on a French format. We are equal opportunity adapters.
