Current Affairs

The Canadian Invasion

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The attitudes of the major U.S. networks towards Canadian programming has changed dramatically since the success of the CBS import FLASHPOINT and the global economic crisis. Canadian TV distribution exec Noreen Halperin told The Globe & Mail:

"It's an extraordinary change in the lay of the land from even a year ago[…] The shift with some of the network presidents has been exceptional."

Last year's strike by the Writers Guild of America, she says, "paved the way, and allowed a show like Flashpoint to be sold. Once it aired and was a success, it made people take notice. That, coupled with the economic downturn, means all broadcasters are looking for interesting alternatives. The Canadian way is one of these," adds the TV veteran, who says Americans can save up to 50 per cent by splitting costs.

She brought Canadian showrunners Tassie Cameron and Ilana Frank to L.A. to meet with network chiefs to pitch their pilot script COPPER in hope of finding a U.S. home…and co-financing.

A year ago, Halpern adds, it would have been ludicrous to assume that Cameron and Frank – both highly respected on their home turf – would get easy face time with big U.S. players. But times have changed. CBS will make six fewer pilot episodes this year than in 2008, when 15 were produced. And everyone's feeling the pinch from the freefall in advertising.

"The U.S. networks, like the ones in Canada, are clamping down in an enormous way to find cost savings," says one veteran Toronto producer, who asked not to be named. "They're all pulling back on the kinds of salaries that actors, directors and writers are being paid. They're taking a week-by-week approach to green-lighting new shows or renewing old ones.

Canadian shows are continuing to find homes on cable networks like Lifetime, Ion and Oxygen, for whom shopping up north for cheap content is nothing new. But whether the high interest in Canadian programming at the Big Networks will continue probably depends more on economics than content, and whether CBS's second Canadian series, THE BRIDGE, and NBC's midseason pickup THE LISTENER (already an international success) can perform as well as FLASHPOINT. 

(Thanks to Denis McGrath for the tip)

Money Won and Lost today for Novelists in Hollywood

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There was lots of news today about money being made…and lost…by crime novelists in Hollywood. 

Informant Media has optioned the late William Diehl's novel HOOLIGANS as well as the screenplay adaptation that he wrote. Diehl is perhaps best known for his novel SHARKEY'S MACHINE, a remake of which is in development at Warner Brothers as Mark Wahlberg project. Diehl's novels EUREKA and 27 are also in active feature development. It's a shame he wasn't this hot while he was still alive to enjoy it.

Clive Cussler probably wishes he'd never got a call from Hollywood.  He was just ordered by the L.A. Superior Court to pay Crusader Entertainment $14 million in legal fees after losing the lawsuit he filed against the studio over the film version of his novel SAHARA. The pricetag doesn't include the $13 million he's already paid his own lawyers. Naturally, Cussler is appealing. It must be nice to be able to afford to spend that much on lawyers.

Patricia Cornwell is someone who probably knows what it feels like to be that rich. She's just signed a deal with Munich-based Tandem Communications, which will produce movies for Lifetime based on her books AT RISK and THE FRONT. 

All You Need to Get a Movie Deal is an Old TV Guide, baking soda, and Richard Dean Anderson.

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MacGYVER is the lastest old TV series being developed for the big screen. Raffaella De Laurentiis, Dino De Laurentiis, Martha De Laurentiis and series creator Lee Zlotoff are producing for New Line. 

"We think we're a stick of chewing gum, a paper clip and an A-list writer away from a global franchise," said New Line's Richard Brener.

The Skinny on Gun Monkeys

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You may have noticed that I haven't talked much here lately about my TV and screen work. That's because I don't feel comfortable talking about projects that are in development and not yet a certainty. But since CrimeSpree broke the news about me scripting the movie version of GUN MONKEYS, I've been getting a lot of emails asking about me about the project.

I've always been a huge fan of Victor's book. In fact, we first met at the Edgars, where GUN MONKEYS was up for an award, and have been good friends ever since. About a year or so ago, I optioned the book and wrote a spec screenplay adaptation, which my agent then shopped all over town.  The script was strong enough that it got me "meet and greet" meetings at studios and production companies everywhere…and nearly got me a gig rewriting a Major Studio Action Movie, but that fell through (however, the aborted Major Studio Action Movie rewrite got me into business with the Director, with whom I have been out pitching TV series concepts). More on that whirlwind experience another time…

Eventually Two Hot Young Producers with deals all over town eventually optioned my GUN MONKEYS script, and with it my underlying option on Victor's book. They spent several months in negotiations with A Major Hollywood Star who was interested in directing the film…but not starring in it. That deal fell through at the last minute. 

Now the producers have attracted the interest of a Major Distributor and a Major Hollywood Agency is packaging GUN MONKEYS. They've also signed director Ryuhei Kitamura, who has an astonishing visual style but is better known in Japan than he is here (his only U.S. film was last year's horror flick "Midnight Meat Train"). That will change soon, whether it's with GUN MONKEYS or another film. I'm told that the script and the director make an attractive package and, for the last few weeks, another Major Hollywood Star has been circling the project. If he signs on, things should come together very quickly…but that's a big IF.  

I don't know whether all of this will lead to the movie finally getting made, but it has been a interesting ride for Victor and me. It has also given me a refresher course in the feature film business, which I've discovered is a completely different planet than the TV world that I have been living on for so long. More on that some other time…

Recession a boon for books?

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According to the Telegraph in London, some publishers see opportunity in these dark financial times.

Publishing is not immune to tough times. This week Random House announced 5 per cent redundancies. Agents are shaking their heads over the reduced advances. Paper costs have risen. Books are being delayed from 2009 to 2010 to stretch budgets. Booksellers are cautious about almost anything without a TV tie-in. But publishers aren't, like ITV, dependent on advertisers. And readers are addicts. They will not stop reading to stare at the telly. Indeed, publishing can benefit from recession.

"At staff presentations, if people are looking gloomy," says John Makinson, chief executive of Penguin, "I tell them that the 1930s were the golden age of publishing in Britain. Many major publishing houses started then and Allen Lane, who launched paperbacks for sixpence, vastly expanded the market.

"Book sales correlate well with the market for takeaway pizzas," says Makinson. The idea – born out by industry-wide figures showing a rise in sales since this time last year – is that staying in is the new going out. Paperbacks cost less than a cinema ticket and provide many more hours of amusement.

Mr. Monk and the Blogs

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I've been catching up on everything I missed while I was out-of-town and discovered some bloggers had some very nice things to say about my MONK books last week. The William-To-Jose blog liked MR. MONK GOES TO GERMANY:

What a pleasant surprise it turned out to be. This is a funny, funny book! Goldberg has a fantastic grasp of the characters and reading this was almost like watching the show. […]The book also has it's serious moments, however, especially when Monk has to confront certain truths he'd rather not. This grounds the book so it doesn't come off as pure fluff.

I agree with him about the importance of grounding Monk…of finding something with emotional stakes for him in every story…otherwise he'd just be a cartoon character.

Author Bill Crider enjoyed Monk's adventures in Germany, too.

The book reads smoothly and quickly, with plenty of laughs and a smile on every page. Which is quite an achievement, considering that Monk is in reality a sad case, a slave to his phobias and compulsions. Even Natalie loses control in this one, but to good effect. And at the end, well, she pulls quite a stunt. […] Sitting in hospital waiting rooms is no fun at all, but Mr. Monk Goes to Germany brightened my time in them this week, and it might brighten your day, too.

I don't think there's any greater compliment that a writer could get than hearing that his stories have made someone's day brighter…and helped them forget whatever woes they have, if only for a while. Thank you so much, Bill…and I hope your wife is feeling better.

Karen Rainey draws a distinction between between "derivative" books, which she doesn't like much, and tie-ins which, in the case of Monk, she likes a lot.

A derivative book is NOT a tie-in book such as Lee Goldberg’s Monk books. He’s contracted to write those books based on the television series. (By the way, he goes way beyond the television character arc in his books and they’re really good.)

She defines "derivative books" as ones in which an author continues the work of another, using the same characters, the same world, etc, like sequels to Jane Austen's books or "Gone with the Wind." She says:

A book ends when it ends. A book ends when the author thinks it’s right to end it. Would I like a different ending to Gone with the Wind? It’s not my call. It’s Margaret Mitchell’s work, not Karen Ranney’s. It’s my opinion that no one else has the right to come along and “borrow” those characters.

I'm sure there are plenty of fanfiction writers out there don't agree with her and they've probably let her know in the strongest possible terms. In their minds, tie-in writing is simply "paid fanfic." I'm not sure whether they truly don't understand the significant differences between tie-ins (which are the equivalent of being a freelance writer of an episode of a TV series) and fanfic (which is the equivalent of stealing someone else's work and putting your own name on it) or if they simply don't want to acknowledge it. But I've talked enough about that already.

Don’t Mess with Perry Mason

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PERRY MASON reruns have been playing on a Portland, Oregon TV station every day for 42 years.:

When Patrick McCreery was named general manager at Portland’s Fox KPTV six months ago, corporate bosses gave him a free hand as long as he followed an unwritten 42-year-old rule: Don’t mess with “Perry Mason.”
“It’s untouchable,” McCreery said. “We can add shows and take others off the air, but ‘Perry’ is nothing to fool with.”
[…]Managers don’t know of another U.S. station that’s continuously broadcast “Perry Mason” as long as KPTV, where the show debuted 15 days after ending its nine-year run on CBS. It’s among the least-expensive shows to buy, even as KPTV has moved from showing it on film reels to 1-inch tapes to digital tapes and now digital with closed captioning.
“Most markets don’t want it,” Dunevant said. “They figure that with high-definition sets and 5.1 stereo sound, what viewer is going to want to watch an old black-and-white show? We’ve found very loyal viewers. It’s the linchpin of our daytime programming.”

No More Life on Mars

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ABC has cancelled the US version of LIFE ON MARS. But in an unusual move sure to please fans, they are going to let the producers shoot a final episode that wraps things up. The series only lasted a few episodes longer than the UK original which was, in just about every way, better than the U.S. version, despite the likes of Michael Imperioli and Harvey Keitel in the cast. The question now is…will they use the same ending as the British original or come up with a new fate for time-traveling cop Sam Tyler?