Behind the thick red tygdraperier in a conference room at the Swedish Television the near future written on it. There is a list of the drama series to premiere, and those which are still in production.
the Betting is more important than perhaps ever before for SVT. Strömningstjänsterna become more numerous, their range grows, the battle for tittartiden hardens. In the last 15 years, the number of tv series has increased by 170 per cent, and it produced around 500 ambitious drama series every year. How do we meet on Swedish television the digital the challenges of globalisation? It is Anna Croneman, dramachef on the SVT, which must be able to respond to it.
the Answer lies partly in the sändningstillståndets subject: to mirror Sweden as it looks, even in historical context. The local against the global. And series such as ”Sisters”, ”Jordskott”, ”Our time is now” and ”Blue eyes” can really be said to depict a Swedish community development.
– The most important thing is that there should be something for everyone, and where we complement our ”own” series, with nordic drama and international purchases in order to get a good width.
But Croneman see also additional way for SVT to be relevant.
The biggest challenges is to get access to the best writers, and to get the financing that creates a certain volume of supply, but not control it. Some types of series, which spänningsgenren, has been less difficult to finance because the demand has been huge. I hope that we can be the opposite of a algoritmstyrd content development and then there will be projects that are not so obviously interesting for other business-driven actors.
Long has the SVT been able to have a laid-back attitude to finding new talent, ” she says, because most of the authors still went with their ideas.
– So it doesn’t look out anymore. I had wanted to have Luke Moodyssons ”Gösta” or Malin Persson Giolitos ”the Greatest of all,” she says, referring to the series as it is done instead of HBO Nordic, respectively, Netflix.
But the increased competition is beneficial to get to a higher level of professionalism, which is good for the audience, the reason she.
– We are small country so it affects so clearly the number of authors who write for tv. We have worked much as solitaires, usually with a single person’s idea and implementation. But one conclusion I can draw after two years, at SVT Drama is that the projects with more scriptwriters than one, more often goes in goal. In the united states have writers’ rooms since it is so short deadlines; they can go two weeks from writing to film. We can actually in a far higher degree to write clearly and then shoot.
– Yes, it starts getting new people in the mix. We have a system to always have two junior people who are manusredaktörer with us. It really means a lot – we who work here are hopelessly homogeneous as a group. There must be different kinds of people and they represent it. Damn, what they are is a step ahead: they have seen so much, and have a completely different relationship to and understanding of the audience than what you’ve seen in the past. So I have great hope for the future in terms of talent.
” Fifteen to twenty pieces. I see no clear trend in the stories, however, you see that people are trying to do what everyone else does. A few years ago in the international context, everyone would be doing sci-fi, then came Trump to power: ”Not sci-fi! We need something nostalgic, warm, and fun!” Then came Amazon and Netflix, and said: ”But all the 25-year-olds want to see sci-fi!” So then I was all worried: ”we Will also have sci-fi?” I just think that it is important to also be on the pitch where no other is.
– in particular, on the producentsidan seems many feel called. I think that it hardly seems necessary any prior knowledge in order to call themselves a producer now. But the tv boom peakar right now, then a stabilization, followed by a consolidation and then it will not be so uncontrollably much orders everywhere. It all started with the nordic noir trend, after Millenniumfilmen and the Danish tv successes. So in the international context, it is the question I most often get: ”What is the big deal for nordic noir?”
– It is an impossible question to answer; it is not so that dramachefen tells the audience what they should choose for the next big thing. But it would be fun to reinvent the right spänningsgenren a bit, to see how it happens in our society affects the stories in the genre. On the other hand, started the so-released so I don’t know how much more dystopian they can be. We will have a greater width than in the past, and I think we will surprise that we can so much more than crime.
” No, and Drama, has had the same budget without any adjustment since 2008. We have not received an increased budget, and will likely not receive it, even if I wish it of course. We can on our own to fund about half of the project budget, the rest must come from elsewhere, which increases the pressure on the production companies – our partners.
– It may be that with the ”midnight sun”, which was the first French co-production in the tv, or to play out in countries with tax breaks, or cooperate with any streamingaktör. Or with other public service companies: German ZDF, France Television and the Italian Rai has, for example, started a cooperation in order to meet the streamingkonkurrensen. We have Nordvisionen where the nordic public service companies to work together.
started work . Is it something you also are looking at?
– Because we are in the eye of the storm and no one knows how the future looks, it does not seem jätteklokt to put a solid strategy for how we should relate to other actors. I do not think the public service will co-produce all of the series, with streamingaktörer but absolutely no single project, when it suits the project. Then there are the series of classic public service-the dna that we absolutely do not want to share with us of the rights to the.
I am specifically looking for is a dramedy, dramakomedi, the type of comics are incredibly difficult to find. It is the job that ”Bonusfamiljen” have done, and I will be happy when I see who’s looking at it: it is broad on the real, a tillsammansfunktion for us in the offering. The kind of comics I miss really, but it is difficult to write and requires a special tonträff.
Read also: the Full list – here is SVT’s upcoming dramasatsningar
