Introduction

Often, individual show creators work from a place of the personal. Their immediate surroundings — such as the political, socio-economic, legal and religious landscape of their homeland — may influence the settings for their stories and the topics they choose to explore. At one time in entertainment history, a non-U.S.-based storyteller would have been seen as a niche foreign player whose work could only reach a select elite. But now, thanks to ever-emerging distribution platforms, stories from various countries and languages of origin can speak to the whole world.

Mikko Alanne

Executive Producer, “The Long Road Home”

What inspires you to write?

I’ve always felt pulled toward real-life stories, particularly nearly forgotten stories of survival and battles for justice. There’s no creative challenge I enjoy more than seeking to capture the essence of real people and events and fitting them into a dramatic framework. I’m also frequently drawn to exploring the darker side of humanity.

Which project/accomplishment are you most proud of from this past year?

“The Long Road Home” is the work I’m most singularly proud of in my entire career. It’s been a tremendous privilege to have worked closely with real-life veterans and families for almost nine years to bring this story to the screen. For National Geographic to trust me to lead the massive production as a first-time showrunner has also been incredible.

Tara Armstrong

Executive Producer, “Mary Kills People”

What are your biggest influences?

Jenji Kohan, for the way she writes female characters who challenge the status quo. Richard Linklater, for the way he writes long scenes of philosophical dialogue.

What are you most excited to work on now?

To start pitching my series “High Touch” with ABC Signature Studios. The series is about a woman working in New York real estate development who is trying to smash the glass ceiling in the ultimate boys’ club industry.

Ash Atalla

Co-Founder, Roughcut TV

Inspiration?

There’s no better feeling than making people laugh. Yes it’s good for the ego, but also good for your soul.

Most proud of?

Winning the best comedy BAFTA with “People Just Do Nothing” this year. We took the show from YouTube to major awards, and that felt satisfying.

Amit Cohen and Ron Leshem

Executive Producers, “False Flag” and “Traitor”

What is the best lesson you’ve learned on the job?

Cohen: In so many cases, when a person says, “I love your script,” they hate it. If they insist that “we have to meet again,” you’re not going to see their faces anytime soon. But if they slaughter your script with a long list of criticizing notes and crazy ideas on how to improve it, there is a good chance they see the potential in it. These are the people you are looking for.

Leshem: Yearning for something is more thrilling than actually getting it; searching is more fun than finding. It took me a long time to learn how to enjoy it. This year, at last, Warren Littlefield, the wisest of men, was able to teach me not embark on any adventure that doesn’t have the potential to become outstanding. Thanks to him, I ask myself, if I only had six months left to live, what is the one voice I’d feel compelled to write, the one world I would want to live in?

Epigmenio Ibarra and Natasha Ybarra-Klor

Executive Producers, “Ingobernable”

Influences?

Ibarra: My biggest influences are Hemingway, the poets of La Generación del 27 (The Generation of ’27). Writers, such as Miguel de Unamuno, Jorge Luis Borges and Gabriel Garcia Márquez.

Ybarra Klor: The people I surround myself with, both IRL and online. They don’t know it, but I study them, obsessively.

Inspiration?

Ibarra: The opportunity to convert pages into a mirror where we see ourselves, discover and find ourselves and surprise ourselves.

Ybarra Klor: The natural progression of life — and our resistance to it.

Avi Issacharoff and Lior Raz

Executive Producers, “Fauda”

Influences?

Both: Martin Scorsese, Michael Mann, and we would add: reality, news and life experiences.

Best lesson?

Both: If the door is closed, get in through the window.

Jose Padilha

Executive Producer, Director, “Narcos”; Creator, “The Mechanism”

Best lesson?

Stick to your point of view — be it political or esthetic — despite what test screenings say. Averaging over the opinion of others may be the safest bet for studio executives [though I doubt the science] but most of the time it kills boldness and originality.

Excited to work on now?

“The Mechanism,” a Netflix series I am doing in Brazil.

Moritz Polter

Executive Producer, International Television Series, Bavaria Fiction

Inspiration?

The wish to do better on each project to ensure we’re maximizing the potential of the stories we’re working on as well as exceeding viewers’ expectations. I’m continually inspired by the outstanding series created by my competitors such as “The Night Of,” “The Handmaid’s Tale” and “Babylon Berlin.”

Most proud of?

Getting “Das Boot” out of the gates and into production with our great partners Sky Deutschland and Sonar Entertainment. “Das Boot” is a game-changer for our international co-production department — the budget of more than $30 million for eight episodes highlights the scale of the production.

Sally Wainwright

Executive Producer, Director, “Happy Valley” and “Gentleman Jack”

Influences?

Emily Bronte, Shakespeare, Edward Albee

Inspiration?

Usually women who’ve done something heroic.

Best lesson?

Trust your instincts.

Anna Winger and Joerg Winger

Executive producers, “Deutschland 83,” “Deutschland 86”

Influences?
Anna: I was a professional photographer long before I was a screenwriter. I learned storytelling through photography: Helen Levitt, Graciela Iturbide, William Eggleston, Mary Ellen Mark, Abelardo Morell.
Joerg: Great crime classics, like “Homicide,” Danish drama and most recently, “Veep” — especially the last two seasons!

Best lesson?
Anna: It takes a village to make a TV series. Choose your collaborators carefully.
Joerg: To create something outstanding, be ready to unify a lot of different people with very different, equally urgent agendas.