As a devoted fan of both Doctor Who and Guardians of the Galaxy, I was absolutely thrilled to learn about this new series starring Karen Gillan, alongside some other familiar faces from the world of television. Having followed Steven Moffat‘s work since his days on Doctor Who, I can confidently say that he has a knack for creating thought-provoking and engaging stories, particularly those that explore the intricacies of human nature in the digital age.
During a recent talk in Toronto, renowned screenwriter and executive producer Steven Moffat (known for his work on “Doctor Who,” “Dracula,” and “Sherlock”) opened up about his experiences working on these projects, as well as shared his frustrations with certain aspects of the entertainment industry.
At the 2024 Toronto International Film Festival, I had the privilege of attending a “Visionaries” session within the industry conference segment where a remarkable creative was featured. During this engaging discussion, Scott Roxborough from THR’s European bureau graciously interviewed him. Topics ranged from reinventing cherished and iconic characters, strategies for avoiding cultural pitfalls when adapting British series for the U.S., and navigating the complexities of window and release strategies in the digital era. It was a truly enlightening experience!
During the entire session, Moffat elicited laughter from the audience. This included when he discussed the genius behind Doctor Who and its unique structure. “People often think it’s just that old-fashioned BBC adventure show,” he commented. “But in reality, it is the most brilliantly intelligent television format ever conceived. Essentially, you can fire anyone. If someone annoys you, you can simply replace them by having the Doctor regenerate into a new character played by a different actor.”
He went on to say, “I believe this characteristic is exclusive to ‘Doctor Who’. It’s always a leading role, and yet it’s interchangeable. In fact, where else can such a thing occur? … I apologize, if any of the Doctors are reading this, we adore each and every one of you.”
When asked about the type of content he enjoyed as a child, Moffat humorously admitted that his tastes haven’t changed much over the years. “I’m just a big fan of Doctor Who,” he declared. He also confessed to being deeply captivated by the Sherlock Holmes stories and even read them all in sequence. Moreover, Basil Rathbone was his preferred on-screen portrayal of Holmes.
One insight from knowing and working with various Doctor Who actors shared by Moffat that had the audience in stitches was this: “Everyone who has ever played Doctor Who thinks they are the real one.” He also quipped: “There are a lot of crazy problems, I think, in the David Tennant family circle, because his father is Peter Davison [who played the Doctor from 1981 to 1984], and I don’t think either of them thinks the other one’s a proper Doctor.” He added that he recently watched a 2007 episode, called Time Crash, which starred Tennant as the Doctor, with Davison returning as well.
Inquired about why NBC’s American adaptation of his British sitcom “Coupling” failed, Moffat suggested that someone may have mistakenly believed the show’s promotional material resembled that of “Friends,” leading them to conclude it was essentially the same program. He explained, “When contrasting a massive, popular NBC success with a BBC Two comedy from the U.K., they are not cut from the same cloth.” He concluded, “If you attempt to remake ‘Coupling,’ assuming it’s identical to ‘Friends,’ you’ll end up creating a different show altogether.”
Moffat made it clear that he holds a deep affection for the job, as well as expressing gratitude towards many of the individuals involved in the series production.
Had there been a moment when Moffat considered relocating to the U.S., given that particular incident? Moffat clarified that his decision is mostly influenced by lifestyle preferences, stating, “I enjoy living in London” and find visiting appealing, but I wouldn’t want to reside elsewhere.” However, he admitted that the experience of working on Coupling didn’t exactly ignite his enthusiasm.
Moffat admires the U.S. TV production system, acknowledging its ability to create outstanding television, but he doesn’t feel entirely at ease within it. He and his producer wife Sue experienced some challenges when working within the American system. One particular issue was the focus on spending more money. They found themselves gritting their teeth, urging producers to spend less rather than more. Moffat believes that the more money spent on a show, the higher the risk of it failing. Instead, he suggests that being economically viable and producing shows efficiently can help ensure survival in the industry.
From my gaming standpoint, I must admit that I find the British system quite charming, fair, and sensible. However, being someone who’s thrived in it and possibly enjoyed a bit more favoritism than others due to success and age, I might be biased. After all, I’m playing this game called life on an advanced level here.
Moffat maintains that successful reboots of established characters can be achieved if done correctly. He stated, “If you’re at all skeptical about the idea of a reboot, then it usually doesn’t work out.” The crucial aspect is, “stay away unless you have a deep affection for it, unless you are truly eager to see this new interpretation.”
Later, he shared that he prefers to highlight previously unexplored aspects or layers within characters. “Show your understanding of the character without appearing overly respectful,” Moffat explained his method. “Always strive for something unexpected.” Moreover, he emphasized that enthusiasm is crucial in this process.
Moffat suggested that many shows are essentially remakes of earlier works. He explained to the TIFF crowd that every detective story can be seen as a reimagining of Sherlock Holmes, including those featuring Hercule Poirot. In essence, he described these stories as modern-day fan fiction based on the character of Sherlock Holmes.
During his interview, Moffat talked about his new show “Douglas Is Cancelled,” which was a collaboration between ITV and SkyShowtime, produced by Hartswood Films. This show premiered at the BBC Studios Showcase in London earlier this year and made its U.K. debut in June. It will soon be available in other markets as well. The series features Hugh Bonneville (“Downton Abbey,” “Paddington”) and Karen Gillan (“Doctor Who,” “Guardians of the Galaxy”) in a storyline about respected news host Douglas, considered a national treasure, and his younger co-anchor Madeline. Alongside them are Ben Miles (“Hijack,” “The Crown”), Alex Kingston (“A Discovery of Witches,” “Treason”), Nick Mohammed (“Ted Lasso,” “Intelligence”), and Simon Russell Beale (“Firebrand,” “Thor: Love and Thunder”). The series was directed by Ben Palmer (“Breeders”).
It seems that Douglas, who usually avoids mistakes, finds himself in trouble following an inappropriate joke at his cousin’s wedding. This joke was overheard by another guest who threatened to share it on social media, causing a stir and sparking widespread speculation. As the situation escalates and people express their opinions online, Douglas’s perceived indiscretion is scrutinized, exaggerated, and becomes a significant issue. With so much going on, Douglas is finding it hard to get out of this predicament. The question now is whether he can rely on the support of his agent and colleagues in this chaotic situation. What will Douglas do next? Is he being targeted by ‘cancel culture’? With two million followers, what could be Madeline’s reason for posting about Douglas on social media?
Speaking at an event where his show hasn’t been aired in Canada, Moffat humorously advised the audience, “Give illegal downloads a try.” Later, he joked more seriously, “Do watch my new show, but legally.” Moffat admitted that his past actions involved checking online to see how quickly his shows became available, implying that the current release and windowing strategies in the entertainment industry might not be optimal. “We’re an odd industry,” Moffat explained. “We get annoyed when people are so passionate about our work that they want it immediately. Perhaps some other industries would have found a different way to handle this. Yes, it might not be the most profitable business strategy: ‘no, you can’t have it yet.'”
Moffat does not believe in the argument that in an age of political correctness comedy can’t be successfully conceived. “You make comedy by breaking rules, right? So the more rules there are, the better,” he explained.
Was he ever canceled? He recalled that when he worked on Doctor Who, there was much hatred from fans directed at him. “The level of hate you get could down three passenger jets. I mean, seriously, it doesn’t stop,” he shared. “I was vilified endlessly. I was a homophobe, misandrist and a misanthrope and a sexist and misogynist and a racist. I was against so many people I could only be described as an omni- bigot, which I would suggest means I’m treating everybody equally.” Moffat concluded by joking that any Doctor Who showrunner is taking on the role of “chief Satan of the nation.”
Additionally, he mocked the idea of “scheduled TV viewing,” stating: “Isn’t it strange to schedule a meeting with the TV? Schedule a meeting with your dentist, friends, or partner instead. You don’t schedule a meeting with the TV. That’s ridiculous! Take charge of your lives!”
In July, ITV Studios took over a significant share in Hartswood Films, a company that Beryl Vertue established back in 1979. The company has been steered by Sue Vertue, who serves as CEO and executive producer, along with Debbie Vertue as director of operations, Dan Cheesbrough as managing director, and Moffat in the roles of creative director and executive producer.
In a heart-pounding finale, Moffat summed up his wisdom for aspiring writers by stating it in an easy-to-digest manner: “Each line should leave you eagerly anticipating the next,” was his insightful advice. “I’m merely helping them keep turning those pages.”
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2024-09-06 18:55