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‘We don’t have to have completely happy endings at Downton Abbey’ ‘We don’t have to have completely happy endings at Downton Abbey’
(1 day later)
This week sees the start of the long goodbye to global phenomenon Downton Abbey, with journalists invited to take a peek at the first episode of the final sixth series, as ITV gears up to broadcast it this autumn.This week sees the start of the long goodbye to global phenomenon Downton Abbey, with journalists invited to take a peek at the first episode of the final sixth series, as ITV gears up to broadcast it this autumn.
For Gareth Neame, the executive producer who thought up the idea and pitched it to “a cautious” Julian, now Lord, Fellowes over dinner in 2007, it is a moment of “bittersweet emotions … It’s going to be a very, very different life without Downton”.For Gareth Neame, the executive producer who thought up the idea and pitched it to “a cautious” Julian, now Lord, Fellowes over dinner in 2007, it is a moment of “bittersweet emotions … It’s going to be a very, very different life without Downton”.
As we speak the final 10 days of production are under way, meaning farewell to the show’s trump card, Highclere Castle, home of real-life aristocrats, the Earl and Countess of Carnarvon.As we speak the final 10 days of production are under way, meaning farewell to the show’s trump card, Highclere Castle, home of real-life aristocrats, the Earl and Countess of Carnarvon.
Why end it now? In the past, as managing director of Carnival Pictures, he had talked of seven series and, as he says, “there was no way ITV wanted the show to end”. It delivered an average consolidated rating of 10.4 million last year, a mass audience badly needed. Why end it now? In the past, as managing director of Carnival Films, he had talked of seven series and, as he says, “there was no way ITV wanted the show to end”. It delivered an average consolidated rating of 10.4 million last year, a mass audience badly needed.
Rebecca Eaton, who runs Masterpiece, the public service broadcasting strand on PBS, the American network that invested and found its biggest hit with Downton said in February there was “no flagging of interest, they love it and want more”. It has been sold to 250 territories.Rebecca Eaton, who runs Masterpiece, the public service broadcasting strand on PBS, the American network that invested and found its biggest hit with Downton said in February there was “no flagging of interest, they love it and want more”. It has been sold to 250 territories.
Neame says stopping the show was a collective decision “reached over time, by the producers and actors. Me and Julian and the actors”, through a series of conversations last autumn. As much as ITV and PBS wanted it to continue, “they were very respectful” of the decision.Neame says stopping the show was a collective decision “reached over time, by the producers and actors. Me and Julian and the actors”, through a series of conversations last autumn. As much as ITV and PBS wanted it to continue, “they were very respectful” of the decision.
“I am very conscious, finishing the show earlier is a classic thing, quitting while ahead. I prefer that to [being] two years down the line and we couldn’t secure an actor”. (The drama did survive the decision of Dan Stevens to pull out after the third series, using the device of a fatal accident).“I am very conscious, finishing the show earlier is a classic thing, quitting while ahead. I prefer that to [being] two years down the line and we couldn’t secure an actor”. (The drama did survive the decision of Dan Stevens to pull out after the third series, using the device of a fatal accident).
How do you bring a series loved by so many, if not all the critics, to a close? “Look out for all the old faces,” he says. ”The direction of travel is tying things up for the 20 characters, [with] some conclusions focused on the heroes.”How do you bring a series loved by so many, if not all the critics, to a close? “Look out for all the old faces,” he says. ”The direction of travel is tying things up for the 20 characters, [with] some conclusions focused on the heroes.”
So, does imperious widowed Lady Mary, mother of Downton’s heir George, find true love? “It’s the main part of this final season,” Neame replies, tight-lipped.So, does imperious widowed Lady Mary, mother of Downton’s heir George, find true love? “It’s the main part of this final season,” Neame replies, tight-lipped.
“But [the series is] focused on the end of an era. The dying of the light. The slight sense of finality. It is not Downton pulling up the drawbridge, not a thunderbolt that destroys it.” At the end, “the camera will move away”.“But [the series is] focused on the end of an era. The dying of the light. The slight sense of finality. It is not Downton pulling up the drawbridge, not a thunderbolt that destroys it.” At the end, “the camera will move away”.
Nor should we expect numerous flash-forwards. “We never get to see how Master George runs the estate in the 1950s,” he says – a remark that implies there is something to inherit, perhaps even future TV options being left open. “We don’t have to have completely happy endings, but for the audience it is not a satisfying ending to have the place blown up. It is overwhelmingly a positive show, even when melancholic.”Nor should we expect numerous flash-forwards. “We never get to see how Master George runs the estate in the 1950s,” he says – a remark that implies there is something to inherit, perhaps even future TV options being left open. “We don’t have to have completely happy endings, but for the audience it is not a satisfying ending to have the place blown up. It is overwhelmingly a positive show, even when melancholic.”
Is there a financial crisis, since the Crawleys’ postwar finances are wobbling? “I didn’t feel I could put Lord Grantham through the Wall Street crash, he has had to endure too much. Were we to make a movie … [there is] so much narrative ahead of us to be mined.”Is there a financial crisis, since the Crawleys’ postwar finances are wobbling? “I didn’t feel I could put Lord Grantham through the Wall Street crash, he has had to endure too much. Were we to make a movie … [there is] so much narrative ahead of us to be mined.”
As he points out, this final Downton chapter is set in 1925, which leaves the door open for just such a film in a few years’ time, though there are “no plans for the moment”. The Wall Street connection is already there, given Cora, Countess of Grantham brought an American fortune to the Crawley family and Shirley MacLaine made a memorable guest appearance in 2013 as her mother Martha Levinson.As he points out, this final Downton chapter is set in 1925, which leaves the door open for just such a film in a few years’ time, though there are “no plans for the moment”. The Wall Street connection is already there, given Cora, Countess of Grantham brought an American fortune to the Crawley family and Shirley MacLaine made a memorable guest appearance in 2013 as her mother Martha Levinson.
Which brings us to what Fellowes is doing next, which is writing scripts for his new drama The Gilded Age, a series about the robber barons (or multi-millionaire class) of 19th-century New York. Neame will work on it with him, as one of the executive producers, though it is being made through NBCUniversal International Studios in the USA, the owners of Carnival.Which brings us to what Fellowes is doing next, which is writing scripts for his new drama The Gilded Age, a series about the robber barons (or multi-millionaire class) of 19th-century New York. Neame will work on it with him, as one of the executive producers, though it is being made through NBCUniversal International Studios in the USA, the owners of Carnival.
Neame, born into showbusiness, is used to drama success, having greenlit Spooks in his previous job as BBC drama commissioner for independent producers. But Downton, a global hit, up there with Mad Men, Breaking Bad and Game of Thrones in terms of universal recognition, is on a different scale. “I think it’s everything you aspire to do, it’s miraculous it happened at this time, particularly in this day and age, this so-called golden age of drama.”Neame, born into showbusiness, is used to drama success, having greenlit Spooks in his previous job as BBC drama commissioner for independent producers. But Downton, a global hit, up there with Mad Men, Breaking Bad and Game of Thrones in terms of universal recognition, is on a different scale. “I think it’s everything you aspire to do, it’s miraculous it happened at this time, particularly in this day and age, this so-called golden age of drama.”
It will be “very hard to replicate, only in so far as you cannot set out to make a hit. You go out and make shows. The job of producers is to come up with an idea and persuade writers to do it.”It will be “very hard to replicate, only in so far as you cannot set out to make a hit. You go out and make shows. The job of producers is to come up with an idea and persuade writers to do it.”
It makes sense for a British producer to come up with ideas that are exclusively British, he says. “Spies were a perennially popular genre but we’d never had a spy series, weekly episodes”, until Spooks.It makes sense for a British producer to come up with ideas that are exclusively British, he says. “Spies were a perennially popular genre but we’d never had a spy series, weekly episodes”, until Spooks.
“English country houses are incredibly saleable, everyone around the planet recognises them”. The trick is to make 21st century drama out of a class system.“English country houses are incredibly saleable, everyone around the planet recognises them”. The trick is to make 21st century drama out of a class system.
”The world we depict is undemocratic. But the drama is democratic. Daisy [the aspiring assistant cook] is as much a character as Violet [Maggie Smith’s Dowager Countess of Grantham].””The world we depict is undemocratic. But the drama is democratic. Daisy [the aspiring assistant cook] is as much a character as Violet [Maggie Smith’s Dowager Countess of Grantham].”
Carnival is mining a more distant past for a BBC2/BBC America/NBCUniversal-backed drama this autumn, The Last Kingdom, based on the popular Saxon Shore novels by Bernard Cornwell, brought to Neame’s attention two years ago. The books tell the story of the bloody battles between the Vikings and Anglo-Saxons led by King Alfred, through fictional character Uhtred, a Northumbrian boy, heir to an earldom, who is captured and raised by the invaders. Carnival is mining a more distant past for a BBC America-backed drama for BBC2 this autumn, The Last Kingdom, based on the popular Saxon Stories novels by Bernard Cornwell, brought to Neame’s attention two years ago. The books tell the story of the bloody battles between the Vikings and Anglo-Saxons led by King Alfred, through fictional character Uhtred, a Northumbrian boy, heir to an earldom, who is captured and raised by the invaders.
Neame says it has a simple premise, which he thinks will also appeal to American viewers. “King Alfred the Great, the formation of England. I instantly alighted on it.”Neame says it has a simple premise, which he thinks will also appeal to American viewers. “King Alfred the Great, the formation of England. I instantly alighted on it.”
He doesn’t mind it being bracketed with Game of Thrones but says it isn’t a fantasy show, but real history. Nothing to do with Atlantis or ITV’s latest epic, Beowulf.He doesn’t mind it being bracketed with Game of Thrones but says it isn’t a fantasy show, but real history. Nothing to do with Atlantis or ITV’s latest epic, Beowulf.
“No dragons, closer to The Tudors than Game of Thrones, it takes history and creates entertainment out of it,” he says. To help viewers differentiate between the two sides, the cast is deliberately international; Anglo-Saxons are played by English actors, Vikings mainly by Scandinavian ones.“No dragons, closer to The Tudors than Game of Thrones, it takes history and creates entertainment out of it,” he says. To help viewers differentiate between the two sides, the cast is deliberately international; Anglo-Saxons are played by English actors, Vikings mainly by Scandinavian ones.
Neame struck out as an independent producer in 2003 when he took over as managing director and 25% owner of Carnival, one of the UK’s oldest independents.Neame struck out as an independent producer in 2003 when he took over as managing director and 25% owner of Carnival, one of the UK’s oldest independents.
He sold out to NBCUniversal Studios in 2008, too early, he now says, for around £30m, before Downton’s success. Turnover then was £23m, now it is £90m. He was tied in initially for three years, but has stayed, because of Downton Abbey, and because of the way crossfertilisation of the two business systems works in a period of globalisation of TV production, which assists expensive drama production.He sold out to NBCUniversal Studios in 2008, too early, he now says, for around £30m, before Downton’s success. Turnover then was £23m, now it is £90m. He was tied in initially for three years, but has stayed, because of Downton Abbey, and because of the way crossfertilisation of the two business systems works in a period of globalisation of TV production, which assists expensive drama production.
They have financial muscle, can make substantial investments in shows, and have a formidable Hollywood base and international distribution system. He has quirky British creativity, the link to writers, actors and UK broadcasters, and the tax credit system for high-end drama.They have financial muscle, can make substantial investments in shows, and have a formidable Hollywood base and international distribution system. He has quirky British creativity, the link to writers, actors and UK broadcasters, and the tax credit system for high-end drama.
“Combining a boutique UK producer and a Hollywood studio is at times very countercultural,” he says. “At times it is not straightforward at all. It’s the difference between a huge corporate and a tiny business of 20 employees. We are nimble and entrepreneurial. They are powerful, have huge resources. We’ve found a way to get the best of both. It can work. The advantages outweigh the disadvantages.”“Combining a boutique UK producer and a Hollywood studio is at times very countercultural,” he says. “At times it is not straightforward at all. It’s the difference between a huge corporate and a tiny business of 20 employees. We are nimble and entrepreneurial. They are powerful, have huge resources. We’ve found a way to get the best of both. It can work. The advantages outweigh the disadvantages.”
But he is worried about the BBC and the impact of charter renewal (“We need to be cautious about the BBC”), though he doesn’t want to come across as a biased luvvie supporter - “I am the person who took Downton Abbey to ITV, I never picked up the phone to the BBC. My income and job is not dependent on the BBC. This is not self-interest”.But he is worried about the BBC and the impact of charter renewal (“We need to be cautious about the BBC”), though he doesn’t want to come across as a biased luvvie supporter - “I am the person who took Downton Abbey to ITV, I never picked up the phone to the BBC. My income and job is not dependent on the BBC. This is not self-interest”.
However, “it is wrong that people who are not practitioners believe market forces can just pick up the slack if the BBC is cut back. The BBC is a highly dysfunctional place, like all big organisations”. But it is also “our Hollywood, the only organisation big enough to make its own creative decisions. The proposal that it should stop making commercial programmes is a madness.”However, “it is wrong that people who are not practitioners believe market forces can just pick up the slack if the BBC is cut back. The BBC is a highly dysfunctional place, like all big organisations”. But it is also “our Hollywood, the only organisation big enough to make its own creative decisions. The proposal that it should stop making commercial programmes is a madness.”
Curriculum vitaeCurriculum vitae
Age 48Age 48
Education Seaford College, West Sussex, Birmingham University (English and drama)Education Seaford College, West Sussex, Birmingham University (English and drama)
Career 1988 joins BBC drama production 1998 head of drama, commissioning independents, including Spooks 2003 managing director, Carnival Films 2008 sells Carnival Films to NBCUniversal 2010 executive producer, Downton AbbeyCareer 1988 joins BBC drama production 1998 head of drama, commissioning independents, including Spooks 2003 managing director, Carnival Films 2008 sells Carnival Films to NBCUniversal 2010 executive producer, Downton Abbey