Arrested Development


It’s been a month since I made an entry in this blog. The truth is that it is exhausting enough having to deal with this company never mind having to have to write about it afterwards.

Currently we are in Doha, Qatar. We arrived on Saturday and already the rot has begun to set in.

Yesterday, I had a meeting with Ahmed – the series creator – in which I asked him what it was he was hoping to get now we were here. Meantime, I was told today by Ray Perry, who had spoken to Terry, that Ibrahim had been heard saying that filming of the series was never going to happen in Doha. This did not bode well.

Several weeks earlier, I have been told by Abdul that Talal had told him that the series would never be shot in Doha. Apparently, Talal told Abdul that ATG would “go through the motions” (or words to that affect) and act like it really intended to shoot the series in Doha, but when the Qatari people found out how much it was going to cost to film in Doha they would panic and the shoot would revert back to Jordan. That might explain why ATG has been working feverishly on a first season budget which, I have heard, will top $125 million.

This seems to fall in line with Arab Telemedia’s Production Crew’s behaviour here in Qatar. So far they’ve bought over the absolute barest minimum of Arab Telemedia crew. They have taken all of the good people we had, kept them in Jordan, and attempted to stick them on other projects being produced by Arab Telemedia. Meantime, nothing is really happening here apart from meetings.

Take for example Abdul. Currently he is stuck at Arab Telemedia 1 in Jordan where he is being hassled to work on other projects. This is despite the fact that Chris and I have repeatedly told Arab Telemedia’s producers that we need him with us. But Arab Telemedia simply doesn’t care what we think.

The story of Abdul’s failure to end up working here in Qatar is highly representative of the unethical and insidious work practices of Arab Telemedia. When we first said that we needed Abdul to come with us, he was repeatedly offered work as a full-time employee at Arab Telemedia. However, he kept turning the offers down. When it became clear to Arab Telemedia that he was not going to agree to become a full-time employee, Arab Telemedia went cold on the idea of allowing us to bring him to Qatar.

The question is why?

My own personal suspicion, and this has been mentioned by several other people, is that Arab Telemedia would have been happy for him to come here if he was an employee of the company because they could pay him a pittance while charging the investors considerably more. However, since Abdul refused to be an employee they were not able to use him as a ‘cash cow’. As a consequence, they refused to allow him to come despite the fact he is an essential and integral part of the Art Department.

Another theory is that’s Ibrahim blocked Abdul coming because Abdul has had arguments in the past with Ibrahim because ATG always pays Abdul late (at one point, nearly six weeks late). So the arguments have always revolve around Ibrahim’s broken promises and Arab Telemedia’s constant failure to pay Abdul’s wages on time.

In an interview today, an ATG employee – Khaldoon – told Abdul that if he became a full-time employee he would no longer have to worry about being paid on time. This was a threat and an acknowledgement of their principle of not paying freelancers properly in an effort to wear them down and make them staff.

Currently Chris is threatening to quit “Medinah” if they do not get Abdul out here. Another reason Chris is threatening to quit is that Arab Telemedia has not paid his wages for the last 4 1/2 weeks. Arab Telemedia cannot claim this is “accidental” because Chris has been reminding them of their failure to pay his wages for the last month. I might also add that the rest of the art department is behind on receiving their wages too.

Before EID (a Arabic festival that took place two weekends ago), Issam was working in the Art Department buildings – a ten minute drive from the production offices as the show’s Line Producer. Line Producers normally wield a lot of power, but it was my observation that ATG had intentionally managed to make Issam powerless by not paying him (at this time, they haven’t paid him for three months!).

Anyway, when Talal got back from Doha, it wasn’t long before things suddenly changed. Issam disappeared. We soon discovered that he was now working in the main offices of Arab Telemedia. But not only had he changed location, his attitude had changed as well. Once a friend to the Art Department, he was now “one of them”. What had suddenly switched Dr Jekyll into Mr Hyde…?

(On an aside, it is ridiculous that the UK crew and ATG see each other as enemies. We try hard not to but they very clearly see us as the enemy and nothing we do to placate them seems t change that. More on this in a later blog entry).

What we heard, which makes sense, was that as a result of Talal’s meeting with the investors in Doha in which – I presume – his lie about the cost of the fortress set was exposed, Issam was to be granted more powers. By the time we relocated to Doha, Issam would be signing for payments as well.

It does not take much imagination to realise what had happened. After Talal was told by the investors that Issam must be granted more power, you would thin that Talal has a problem. But he did not, because at this point Issam was owed around $30-40,000. All Talal had to do was to threaten to not pay Issam and to keep him close by. This is why Issam had suddenly switched sides – he had no choice.

You could argue that Issam is a victim in this situation. And you would be right. The result is that the show has become thoroughly compromised because the Line Producer is supposed to act on behalf of the investors. But Talal has nailed Issam to the wall with the money he is owed. So clearly Issam cannot act on the show’s behalf. How he feels about this, I do not know. 

Today, there was a meeting between the Production and the Art Department to discuss our plan of action over the next 12 weeks. Chris very nearly did not attend.

Last night, he had emailed Issam telling him he was no longer a part of the Medinah team. This was because he had not been paid for the last five weeks, and because Production continued to refuse to bring Abdul over to Qatar. But Chris’s resignation was also a consequence of another ongoing issue.

For the last few weeks we had regularly been emailing Production a “list of things to be done by Production” so that the Art Department could get on with their work. Some of those things were difficult. Others were easy. Others should have been easy. But to date Production has pretty much done none of them.

Last night, Issam sent an email in response to this list in which he accused the Art Department of being hellbent on making life difficult for Production. He then proceeded to go through each point saying why they were effectively each the fault of the Art Department. I shall include that list below so you can decide for yourself. The point of the list was not to make life difficult for Production. It was to see if Production would start to do their job properly again. But the real reason Issam sent that email was to arrest control from the Art Department and to give it back to Production through the meeting we had today. In short, our Art Dept list was to be replaced by today’s Production list that would be cobbled together by Anwar.

Earlier yesterday evening, Chris had a major confrontation with Production and Ahmed over his wages and ATG’s failure to bring Abdul to Qatar. By all accounts, it did not go well. As a result of the meeting and Issam’s email, Chris had had enough and he emailed Issam to say that he had quit.

Despite this, Chris arrived at the meeting having been persuaded to attend by Simon, the director. Ironically Simon later said that Chris should not have attended the meeting because it made his and everybody else’s threats look hollow. (I have been saying this for weeks!) That said, the meeting began somewhat amicably.

Towards the latter part of the afternoon, I brought up the subject of the Construction Manager. Issam had claimed in the previous night’s email, that I had not provided him with contact details for any construction managers (which was not true as I had provided him with them the previous day, the previous Thursday, and the previous Wednesday). I had also told him that we had lost two CMs – Perry and Hugo – and several other construction managers I had approached because of ATP’s refusal to make a commitment. I made the point that we were in a very difficult situation. I told everyone present that we had only one option for a construction manager left.

Ben, an Australian construction manager, had told me that he was available and interested. I had emailed his details to Issam twice the previous week and again yesterday. Issam finally contacted Ben by email and made an offer that threatened to jeopardise Ben’s involvement in the show. Why? Ben had asked if it was a five or six day week. Issam wrote back saying the pay was way below what Ben would expect and that it was also a six-day week. His approach was like a bull in a China shop – almost as if the intention was to alienate Ben.

The entire UK Art Department then preceded to tell Issam that if we were to force the issue of the six-day we would likely lose Ben. Issam was very unhappy about this. He said that his concern was that if he allowed Ben to do a five-day week this would snowball and it would not be long before the entire Art Department wanted a five-day week. We acknowledged that this was a problem. But the point that I stressed was that hiring a CM was a more immediate problem since there were no other options – ATP had exhausted the all.

A good half hour went by while Production, and to a lesser degree Ahmed, argued about how they should agree a five-day week. I kept saying it was because we no longer had a choice. I did not point out that we no longer had a choice because Issam had repeatedly screwed up hiring a construction manager capable of doing the job. (a previous CM had agreed to do it for ATP’s proposed rate but they’d messed him about so much he went and got another job).

Finally, Issam stormed out of the office accusing the Art Department of bullying him and being unreasonable. First Smithers and then I went out to talk to him. We explained that we were not bullying him; rather we were trying to resolve a very serious problem because without a construction manager capable of handling a show of this size there would be no sets, which meant there would be no show.

I had already said in the meeting that if we did not choose Ben and instead decided to see if we could find someone else it would be like playing Russian roulette. Issam refused to believe there could be no other construction managers left. I agreed. I said that was not the problem; the problem was that we had exhausted all of our leads and we had no idea how to find good construction managers who might be available. I said that we might be lucky and find one tomorrow or it could be a week or it could be a month. Our problem, I said, was that we did not have time to find this out because the construction manager was already supposed to be breaking down set plans weeks ago.

Things calmed down. But we were left with a very real problem. And it’s the same problem we’ve had since I got here 4 1/2 months ago and before that when Chris got here and Simon; Arab Telemedia do not listen.

They accuse everybody else of not listening but they fail to listen in the meantime. Issam remarked that we seem hellbent on only using UK crew. We told him that we have every intention of using local crew and training them up but we can only do that if we have the UK crew to train them. Issam said we had made no effort at all to work with local crew. I told him that that was not true and that he knew it because I’d spent the last two months trying to work with Fozan despite Fozan not being a construction manager.

Arguing with ATG employees — and Issam is now one of them — is like arguing with a child. I do wonder if I should read “How To Talk To Children So They’ll Listen”. It really is that bad. If they don’t like what they hear, they don’t hear it. If they don’t like what they see, they don’t see it. They are an impossible company.

In conclusion, we are no more further forward then we were when we were in Jordan. We have lost Abdul, the only person we had who was capable of doing some of the specialised work we need. We have lost Sari who was the only person in Production who seemed to have any idea what he was doing. We have effectively lost Issam who has now become a “tool” (willing or not, I don’t know) of Arab Telemedia.

Meantime, Arab Telemedia is playing the waiting game. Talal told Abdul it was only a matter of time before the shoot went back to Jordan. Two days ago, Ibrahim was overheard saying that this show was never going to get filmed. He may have meant in Qatar. I don’t know.

Ahmed told me yesterday that the budget now is the same as it has always been. This means the budget is still approximately $40 million. I also know that ATG has ordered Issam to do a budget (for filming in Qatar) that is over $100 million. When Ahmed sees that budget he will be furious. This is clearly part of Arab Telemedia’s game-plan. They want a budget that will force the show back to Jordan where Ahmed and the Studio cannot keep an eye on ATG.

The perversity of all this (and I’ve said this before) is that the show could have been shot for $40 million. It just required people who knew what they are doing, and Arab Telemedia clearly not. They haven’t even done something as simple as fix the script locations despite having had months to do it. Today, the production manager, Majid, was out buying shopping bags full of water and biscuits for our meeting. I don’t think I’ve seen a production manager do that since I was a student at film school.

And that pretty much sums this entire production up…

…a show led by a bunch of film students telling a bunch of seasoned professionals how to do the job. There is not a hope in Hell of this show ever getting made so long as Arab Telemedia continues to be attached to it. I suspect they will shoot something eventually, just so they can pretend they were serious about doing so, but they will do it their way and then blame the resultant debacle on the director.

ATG has to go. The question is, when will this happen? And will the show survive it? Or will all the money be gone by then…?


NOTE ADDED May 20th, 2016 (as I forgot to add it at the time of writing the above entry!) – The following email and list was sent to ATG on July 14th, 2015. After which observed ATG do practically nothing on this list within the timeframe specified (they did hire Rita and give Ray a car, but that was practically it). When we continued to update this list showing that ATP was doing next to nothing, they got aggressive and started accusing us of attempting to sabotage the show (while all the time not paying our wages too):-

Email From Chris to Arab Telemedia suggesting way forward

The Way Forward For Arab Telemedia Page 1

The Way Forward For Arab Telemedia Page 2

The Way Forward For Arab Telemedia Page 3

The Way Forward For Arab Telemedia Page 4

And The Crisis Just Keeps On Rolling (Unlike Our Cameras)


There’s been lots of discussion today.

Turns out the reason Chris was not in the office is because he was on Skype all morning to Ahmed who continues to be very angry. Ahmed is insisting that it is the studio who are insisting the production move to Qatar.

I feel strongly that the focus should be on making Ahmed feel better. He has invested a lot of time and his professional name in this show. He may only be 26. He may not be that experienced. But that is when it matters most. Once you are established, you can afford to mess up and move on and rely on past credits and experience to bail you out. But when you have neither, that is when it threatens to destroy your career and it is no surprise you feel angry and in jeopardy.

I recall how when I was 26 I faced a similar experience and had to sue a producer named Simon De Selva for attempted copyright theft. I won. He declared his company bankrupt and I got my script back. But it was several years before I felt like writing again. At that age, these things can matter and they can matter a lot. I wonder if the people on this show know that?

Which is why I’m sceptical the right approach is being taken on fixing this. Bob told us an hour ago that right now neither episode 12 or 17 is being filmed. The show has ground to an absolute halt. Ahmed wants to know why we are not packing.

This is crunch week. By the end of it we will be moving to Doha or not. If we are, we have massive budget problems to face because this show cannot be filmed in Doha with the budget that has been allocated for Jordan. Today, Issam told us that when the contract was negotiated between Talal and the studio, Talal had to do due diligence to be certain that the show could be done in Qatar. It was Talal’s job to factor in the very hot summers (55 degrees C) that occur there, the lack of suitable terrain, and so on. Now Talal is saying we cannot shoot there because it is too hot and Ahmed is rightly saying that Talal has no choice because he agreed to it.

But no-one in this crew will agree to that. Right now the only two people who have said they will go to Doha is Ray and myself. And, of course, ATP. But Chris is convinced that Ahmed wants ATP out, and I’m inclined to agree. Why else is Ahmed writing out a list of ATP’s contractual obligations and demanding that they be met? Amongst them is the August deadline to begin shooting something and the November 1st deadline to begin shooting specific parts of Medinah.

I think we can meet both deadlines but only if ATP sorts out their accounting and procurement procedure. If they do this, I’ll do whatever I can to help ATP. Some big changes need to happen in the next week. But ATP seems clueless (or is pretending to be).

And the studio is Qatari.

This is a country that currently has some of the most expensive engineers in the world sitting around for months doing nothing when they should be building a bridge because the Qatari’s are appear unmotivated to advance the project.

Ahmed needs a guiding hand that he can respect, trust, and know has the show’s best interests at heart (and by proxy, Ahmed). Right now, there is a not a single HoD who can do that because either they’re incompetent (ATP) or ATP won’t let them (everyone else).

My next blog could easily be called It’s “A Mad Mad Mad Mad World.”

In ‘ATP land’, it really is.

My Meeting With Anwar & Anthony & Jasmine


I like Anwar and Abdul but the fact is this company breeds distrust and so I find it hard to believe their motives.

Last week, I got a call from a rather nervous sounding Abdul telling me I was needed over at the ATG headquarters (ATG1). Was I about to be fired? I asked him why. Rather oddly, he told me that Talal had recommended that Ibrahim and Anwar seek my advice over the design for a new Art Dept in the basement of ATG1 because, “he’s good at that sort of thing”.

Now how would Talal know that I’m good at anything considering he has never once spoken to me? But being curious to know their real intentions, I agreed. Now I happen to know there’s a subtle mind-manipulation technique that states if, you want someone to like you, ask them to do you a favour. So my first thought was that they had two goals;

  1. Create a division between me and the rest of the Art Dept and especially Chris since I seemed to be siding with him too much.
  2. Get me on their side a bit by playing the aforementioned mind manipulation technique on me.

So I decided to go along with it to see what they might do.

Half an hour later I’m with Abdul and Anwar in the basement advising them on what to do with the basement. Fifteen minutes after that, I’m outside with Abdul, Anwar and Anthony and I’m being invited to the pub that evening to watch a football match.

Time to back up. The inclusion of Anthony is significant. As mentioned in a previous blog entry, I sat in on a meeting with Talal about the fortress wall that did not go well. The thing I noticed most was the complete breakdown of communication between the English and Jordanian crew. With one exception. Anthony. Somehow he has become ‘friends’ with Talal. I wanted to know how he did it in the hope that if there were bridges to be built between ATP and the international crew, he might offer a solution.

So a few weeks ago I emailed him asking to meet to talk about how I might work better with ATG so that “Medinah” could be the show it is meant to be. I then had to postpone meeting him because my family came to visit for five days. But I did not follow up and a week after they had gone I found myself standing outside ATG1 being invited to the pub by Anwar and Anthony after just having a subtle manipulation technique played on me. Coincidence? I’m not sure.

I decided not to go to the pub, but that evening,I was Skyping my family when my ATG cell phone rang. I didn’t know the number so I answered it and asked who it was. It was Anwar. He was coming to the hotel to pick me up. Hmmmmm…….

Since I was Skyping, I persuaded him to let me meet him at the pub. Which I did. Anwar was there. We chatted about ATG, Talal’s secret but no doubt smart mission, about ATG’s good intentions, and Anwar’s desire to quit producing and focus again on development (but Talal wouldn’t let him). Then Anthony turned up. I had a long chat with him about ATG. I told him that I had calculated that (comparatively) ATG had more money to spend on “Medinah” than was spent on “Game Of Thrones” – that made him somewhat silent as I don’t think he’d thought about that. Anyway, the evening wet well, I was made to feel welcome, I was invited to Anthony’s place the next time he does a bar-b-que and told that Anwar does a mean “leg of lamb”, and it all seemed rather good.

Of course, next day back in the Art Dept there was a few jokes about my going over to “the other side” (plus a possible hint of genuine suspicion from Dominic Smithers). I told them that I suspected this was a set-up. Chris agreed.

Later the next day, I went back to the basement because I felt the floor-plan Anwar had emailed me for the basement was wrong. It was, so I took new measurements. But as I was leaving I bumped into a young woman called Jasmine – who was loitering in the stairwell – who works for Fadi. She asked who I was. I told her. Then she asked me if I knew Anthony and started going on about how much she liked and respected him. She then said, “He’s a really nice person. You’re a nice person too. I can tell”. She then complimented me on my sunglasses which she loved. She was she flirting with me! But why? Was she a plant? Had Talal put her up to this? Was ATG really this transparently conniving?

I told Chris about this later on and said the discouraging thing was that I have never thought like this before. ATG has succeeded in making me paranoid. I can’t even bump into a woman on the stairs and not suspect she was put there deliberately! But it did seem very strange that I was constantly being reminded about Anthony – the person I had contacted to see if he could advise me on how to work better with ATG.

I should also mention that I have been told by Abdul that ATG spies on its employee’s emails. How do they do this? Anyone who has an ATG email account is not given the means to change their password. This means ATG has their password and can log in at any time to read their emails including emails sent to them from other accounts (such as emails I have sent to Anthony). So even if Anthony had not told Talal that I’d emailed him, Talal probably knew.

I emailed Jude a few days later (another email Talal would have seen) asking if I could get Jasmine’s email address and phone number. The reason I emailed Jude asking this was because I figured if she gave me the details without asking why I wanted them, Jasmine was probably a plant. And if Jude did ask why, it meant either she was not a plant or that Jude didn’t know what Talal was up to. A few days passed before she emailed me back saying she would need Fadi’s permission so could I explain why I needed Jasmine’s details. So I don’t yet know if Jasmine was a plant.

But I am expecting an invite to Anthony’s place soon. I’ll go. I like him. But I don’t know if I can trust him. We’ll see.

ATG’s Hidden Agenda?


It’s difficult to keep up with this blog.

Typically, a blogger may have a few things to report each week. But with ATG there’s usually an avalanche. The last week has been no exception.

Three times in the last week, I have been told the exact same thing by Anwar, Sari and Fozan; “Talal is smart. He has a mission. No-one but him and Ibrahim know what it is but it’ll be smart.”

Abdul (a pseudonym I am using to protect the identity of certain ATG employees) – as much as I have come to like him – has an ego and he cannot help but tell more. Yesterday, he told me that Talal had called him the night before and over 45 minutes had proceeded to tell him that he aims to shoot episodes 12 (with Simon as director) and 17 (with Ahmed as director) and to use episode 17 to prove how incompetent Ahmed is so that Ahmed will then be fired.

At which point, Talal will have complete control. He can then fire the English Art Dept crew, get rid of Simon the director, promote Fozan to the position of designer, and promote Anwar to the position of show director.

Abdul told me this in strictest confidence of course. He also said he told Talal that the only three people he respects in the English Art Dept are Dominic Smithers, Ray Perry and myself. Of course, none of us are HoDs, and Abdul has to say this because he can’t say I’ll get fired! But of course I know I will.

None of this is news to me though. I’ve believed for weeks that Talal is plotting to get rid of Ahmed and then he can fire us as well (Talal cannot fire us without Ahmed’s consent) and promote Fozan to designer and someone else to director.

Something else happened yesterday which only adds to my conviction that the above is true. A DoP turned up a few days ago to work on “Malik” but he found out – much to his surprise – that “Malik” already has a DoP!

I met the guy at the pub last night. He was there despite the fact “Malik” is filming because he has nothing to do! So I asked him if he’d signed ATG’s contract and he said he had.

This is the same contract we had been given and it says an ATG employee must work on any and all productions they are told to. And indeed, Ibrahim told him yesterday that he should not worry that he is not working on “Malik” because he will be doing “Medinah” soon.

The problem is that “Medinah” already has a DoP.

Larry Smith has worked with Stanley Kubrick, Nicholas Winding-Rehn, and has done some very excellent work. He got here earlier this week. And yet somehow Ibrahim is already telling this other (unknown) DoP not to worry because he’ll be doing “Medinah” soon.

Am I surprised? No.

This is the point where Simon may quit, Chris will follow, and the shoot will be thrown into chaos and Talal will come to the rescue. Will Fozan step in as designer? Maybe.

It’s possible that this is Talal’s real game-plan: force out the English crew, appoint Anwar to direct episode 12, Fozan to design the show, leave Ahmed to direct episode 17 and make sure he goes over-budget and has something unworkable, and then Talal will be perfectly justified in telling the Qatari financiers that they must give him full control and let him do it his way.

But Talal has a problem. First, as rumour has it, he has recently lost contracts with NBC and the Dubai people which will make it difficult for him to sell his most recent show (which should be a reason for him to make this show work his way all the more), and there is a substantial email and paper trail to show that his handling of “Medinah” has been less than professional.

Although Talal and Ibrahim have made it impossible for the Art Dept to realise Chris’s and Ahmed’s vision, this does not mean there is no vision.

And we can prove it. Unlike ATG, we have strived to create the show the Qatari investors are expecting in terms of scope and audience expectation and we have the ‘paper trail’ to prove it. Meanwhile, ATG are trying to squeeze it, to save money left right and centre. But why?

I come back to my point – and I’ve told Sari, Fozan, Anwar and Anthony Bluff this – $37.5 million ($45 million if you include ATG’s fee for producing a single season of the show) for 20 episodes of “Medinah” in Jordan is worth more than $100 million for 10 episodes of Game Of Thrones in the UK.

The fact is that, comparatively speaking, we have a bigger budget per episode for “Medinah” than “Game Of Thrones”, so why is it Anwar and Talal and Ibrahim are all saying there is not enough money?

Production Meeting With Talal & Ahmed


On the 14th May, a production meeting took place on the rooftop of the ATG2 building. An ATG2 “making of” photographer took lots of pictures – no doubt to impress the Qatari financiers with how productive ATP was doing.

But no video was shot. If it had been, it would have been evident how much a waste of time the meeting actually was.

Fortunately, I made an audio recording of this meeting, which you can listen to by clicking below.

audio

Production Meeting

…and of the confrontation after the meeting in which the Art Department confronted Anwar about what on Earth the Production Department was doing. Anwar explained in the meeting that ATP didn’t have enough funds to make the show. But to me, that made no sense whatsoever.^

Fortunately, I made an audio recording of this meeting too, which you can also listen to by clicking below.

audio

Confrontation After Production Meeting


^ See my “Email To Ibrahim” blog entry by clicking here for my breakdown on budget and why it makes no sense that ATP cannot make the show for the money they have.