Peter Moffat is forging a TV adaptation of UK journalist Jonathan Freedland’s The Escape Artist with Mood production outfit Bonafide Films.
The Your Honor and Criminal Justice BAFTA winner is onboard to write the show telling the astonishing, true-life story of how Rudolf Vrba, a 19-year-old Slovakian Jew, along with fellow inmate Fred Wetzler, escaped from Auschwitz to warn the world about the Holocaust. The pair’s report led to the saving of 200,000 Budapest Jews from immediate deportation to Auschwitz. The project is not yet attached to a network and Bonafide has secured rights for TV.
Freedland is a highly-regarded British journalist who mainly writes on politics and international affairs for The Guardian but has also penned numerous works of fiction, some of which are under the pseudonym Sam Bourne.
Margery Bone’s London-based Bonafide has previously worked with Moffat on BBC drama The Last Post, which starred Jessie Buckley...
The Your Honor and Criminal Justice BAFTA winner is onboard to write the show telling the astonishing, true-life story of how Rudolf Vrba, a 19-year-old Slovakian Jew, along with fellow inmate Fred Wetzler, escaped from Auschwitz to warn the world about the Holocaust. The pair’s report led to the saving of 200,000 Budapest Jews from immediate deportation to Auschwitz. The project is not yet attached to a network and Bonafide has secured rights for TV.
Freedland is a highly-regarded British journalist who mainly writes on politics and international affairs for The Guardian but has also penned numerous works of fiction, some of which are under the pseudonym Sam Bourne.
Margery Bone’s London-based Bonafide has previously worked with Moffat on BBC drama The Last Post, which starred Jessie Buckley...
- 7/13/2023
- by Max Goldbart
- Deadline Film + TV
'Ian Fleming's novels offer the opportunity to glimpse, even to revel in, how things used to be before progress and equality spoiled all the fun'
Some staples of our common culture are so established, so embedded in the collective consciousness, we think we know them even if we don't. Everyone knows Shakespeare, Dickens or the Beatles, even if they haven't seen one of the plays, read the books or played the music in years, if ever. They somehow linger in the air, ready to be imbibed as if by osmosis.
So it is with James Bond, perhaps the single best-known literary character of the 20th century. Everyone thinks they know James Bond. The terms – M, 007, licence to kill – have not just entered the English language, they are part of a global common currency, readily understood across the planet. When Danny Boyle sought to project Britain to the global...
Some staples of our common culture are so established, so embedded in the collective consciousness, we think we know them even if we don't. Everyone knows Shakespeare, Dickens or the Beatles, even if they haven't seen one of the plays, read the books or played the music in years, if ever. They somehow linger in the air, ready to be imbibed as if by osmosis.
So it is with James Bond, perhaps the single best-known literary character of the 20th century. Everyone thinks they know James Bond. The terms – M, 007, licence to kill – have not just entered the English language, they are part of a global common currency, readily understood across the planet. When Danny Boyle sought to project Britain to the global...
- 9/28/2012
- by Jonathan Freedland
- The Guardian - Film News
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