As a long-time fan of gripping thrillers and espionage stories, I find Meghan Lyvers’ insights into the “The Day of the Jackal” reboot absolutely fascinating. Her extensive experience in the field shines through as she delicately navigates the question of whether a reboot was necessary, emphasizing that while adapting IP is beneficial for providing structure and inspiration, it must stand on its own merits to truly captivate audiences.
Some viewers have wondered if the latest adaptation of “The Day of the Jackal,” featuring Eddie Redmayne, was necessary considering its departure from the original storyline. Meghan Lyvers, the creative mind behind the project, has weighed in on this question.
In 1971, Frederick Forsyth initially released “The Day of the Jackal” as a book, and it was transformed into a movie two years afterward, featuring Edward Fox portraying the ruthless character known as The Jackal.
Redmayne’s ten-part series penned by Ronan Bennett premiered last month on Sky in the UK and Peacock in the US. The series has already been granted another season.
Lyvers, who oversees original scripted TV and movies at the Comcast-owned media company, found it intriguing,” she said. “The intellectual property [IP] belonged to Universal,” she continued, implying that the book has been a significant influence for filmmakers creating big thriller or espionage films.
Do you find it useful? I believe it’s beneficial as it provides writers with a structure and a guide. However, when it comes to intellectual property (IP), there are two main hurdles: first, if you choose to adapt it, it should be exceptional; second, it needs to function independently. If you were to strip the IP or title from this story, and the character’s journey and audience appeal still made sense, then it must be able to stand firmly on its own.
For us, it’s crucial that our major series, which are frequently derived from intellectual properties (IP), are just as captivating as the original IP. This task can be quite challenging, but it does provide a roadmap in certain areas. When Eddie discusses his approach to creating that character, focusing on the physicality, the technical details of the trade, and the operational aspects detailed in the book, it’s simply fascinating. This foundation gave him a solid starting point for developing the character. Similarly, for Ronan Bennett, who constructed the story.
Livier’s statement indicates that due to the lengthy production process of top-tier dramas, the second season was strategically started “ahead of schedule…on Peacock and with Universal. We understand it takes a considerable amount of time to deliver a quality follow-up that matches the expectations of our audience.
At Content London’s televised conference, Lyvers, accompanied by Jamie Morris (executive director of content strategy) and Phil Edgar-Jones (executive director for unscripted), sat on a panel hosted by Sky. Despite the recent economic slump causing a decrease in television commissions industry-wide, they asserted that Sky will continue their commissioning efforts at an undiminished pace.
Lyvers stated that things carry on as they were for us, our investment strategy remains the same. We’re still focusing on creating original scripts, which is an advantageous situation to be in. However, this also means we have some difficult decisions to make.
Edgar-Jones expressed: “We fully understand how challenging times are for independent production communities. From our perspective, we’ve continued to commission productions at a consistent level as we always have. We never ramp up commissioning to huge volumes, so we’ve maintained a steady pace over the past couple of years….At present, however, things seem to be picking up even more; if anything, we’re getting busier.
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2024-12-04 14:16