turns the traditional system on its head. The financing for Gaumont shows is complicated, usually involving several broadcasters across Europe in addition to the U.S. network, but it seems to be working: GIT brought in $80 million for Gaumont in the first half of 2013 (the last period for which figures are available) and the French studio is just getting started.

New dramas in the pipeline include a small-screen version of the sci-fi classic Barbarella from Refn and Skyfall screenwriters Neal Purvis and Robert Wade, which Amazon Studios and Canal Plus will produce; and biblical epic King David from Troy director Wolfgang Petersen. Gaumont also has a deal in place with Fox Broadcasting to jointly develop two dramas, at least one of which is guaranteed to receive a 13-episodeorder.

The 46-year-old father of two children -- a 15-year-old son and 13-year-old daughter -- spoke with THR ahead of Hannibal's second-season premiere Feb. 28 about bridging the gap between U.S. and European TV, how he plans to replicate his initial success and why Gaumont "won't make crap."

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Hannibal was a critical hit but a mixed bag, ratings-wise. What was the biggest challenge for season two?

The challenge is not on the artistic side. We adore [showrunner] Bryan Fuller, and we know he can easily produce six or seven seasons of this show from what we've seen of his ideas. The biggest challenge is the new time slot -- 10 p.m. on Friday night is a big move for NBC. By premiering season two of Hannibal just