“No matter your nationality or age, you can identify with these characters and understand what they are feeling.” “There are a tonne of shows out there that have the potential to work internationally with a local setting and universal dimension,” he added. The Gryphon is vastly different in tone from Dark, Berg clarified, although he hopes it will have a similar impact by resonating both locally and around the world. Hohlbein was fully behind the adaptation and gave the EPs the “freedom to fictionalize,” added Pratt, who praised in particular the decision to root the show within a decade that is full of cultural specificity.
“They paid so much attention when creating the characters.”
“From the beginning the producers were talking about this vision of an ‘Amblin TV style’ and wanted to make it feel authentically 90s,” added Pratt.
TimpsonĪnother key decision was to set the show in the 1990s, allowing it to draw on multiple cultural references from the era, in a similar vein to fantasy successes such as Stranger Things and Dark. Thinking about budget from the first second can be very limiting but you can really see every euro on the screen.” “The storytelling has always been there but we needed the ability to do it within budget and have that expertise. “Structurally, the process on both the creative and budget side has really developed over four-and-a-half years,” he added. “Wolfgang has millions of fans and it felt time for something like this to be done.”īerg said The Gryphon’s ambition was always in line with the budget, although he wouldn’t be drawn on how much the show cost to make. “We started out with this vision for one of the most fantastical novels in the German book market,” he added. “This is a really big one and is one of those projects that doesn’t happen very often in Germany,” he told Deadline.Įxec producer Berg, who runs W&B and was also an EP on Netflix smash Dark, was one of the first producers to pitch to Pratt in his new role, at which point Pratt was “still trying to figure out how to do things in the streaming world and was looking for a flagship project.” Pratt described Amazon Prime Video’s biggest German original to date as “the biggest project since The NeverEnding Story” – the Michael Ende adaptation that premiered in 1984. Showrunners Erol Yesilkaya (writer) and Sebastian Marka (director) adapted the book into six episodes and EPs are Quirin Berg, Max Wiedemann, and André Zoch. There, the Griffin, a world-devouring monster, has been mercilessly plundering and subjugating all living creatures for centuries and the three friends, of all people, seem destined to end this reign of terror. It follows three outsiders, Mark, Memo and Becky, who come into contact with a fantastic world called the Black Tower. RELATED: Deadline’s Full Coverage Of Series Mania 2023 Amazon Prime Video Trolls Elon Musk With Homelander Meme After Twitter's Blue Check Takedown
0 kommentar(er)
