They say imitation is the best form of flattery. And as a testament to the success of Flashpoint, the Canuck drama series is not only the talk of the town south of the border – it’s the series American producers are aiming to replicate.

‘Everyone around town is knocking on our door asking if we want another Flashpoint,’ says L.A.-based Christina Davis, SVP drama series development at CBS, who works jointly with fellow SVP Robert Zotnowski.

‘It is being used here in the U.S. as an example of how to collaborate,’ explains Davis. ‘It is a real success model for us – especially in these difficult financial times – as a way to offset some of the financial risk. And creatively, Flashpoint has been one of our most rewarding experiences. It’s a quality show that CBS is so very proud of.’

Flashpoint is the first Canadian drama series on U.S. network primetime television since Due South in the mid-’90s.

The series was greenlit as a 13 x 60 by CTV in December 2007, after a pilot was produced by Anne Marie La Traverse at Toronto’s Pink Sky Entertainment that summer. La Traverse then brought Bill Mustos on board the project in August 2007 to co-executive produce the series with her. In December, Mustos pitched the project to Davis and Zotnowski at CBS, which picked it up in January.

‘Bill had originally pitched us a different show and we started a relationship with him,’ says Davis. ‘Shortly thereafter he called and said he was sending over the pilot for Flashpoint.’

At the time, the Writers Guild of America strike was underway and Davis says producers from all over the world were lining up at CBS with concepts for strike-proof shows or completed series that could fill the holes in their schedule.

But Flashpoint stood out for several reasons. The drama was more than just a mere concept on a page – it was backed by Canadian financing, and it was still early enough in the development process that CBS could help shape the show.

‘Bill and Anne Marie came with a really well-produced pilot, so it was exciting because we could actually see their vision on film,’ explains Davis. ‘And even though it would be produced in Canada with Canadian talent, we would be able to collaborate with them to launch the series. CBS would be able to have some creative impact.’

Furthermore, the series’ subject matter seemed a natural fit for CBS – it was a procedural show in the vein of CBS’ hit CSI franchise, but with a unique angle.

‘The pilot had a strong emotional hook – the personal cost of heroism – which was something we were all very excited about exploring,’ says Zotnowski.

The drama executives indicate that the financial package was another selling point – it came with CTV coin and Canadian incentives attached, so CBS only had to ante up a licence fee.

‘We were able to find a new and exciting economic model without compromising the creative,’ says Davis. ‘We get a quality product for a lower licence fee.’

The CBS drama department screens its pilots among a small management team to decide which projects move forward. But ultimately network president Leslie Moonves makes the final call on which series go to air. Flashpoint wasn’t a hard sell.

‘[Moonves] saw what we all saw – that this was a program that would fit right in seamlessly with the fabric of our schedule,’ says Zotnowski. ‘And it was the opportunity to have original summer programming. It was an attractive package. It was a no-brainer.’

During development and production of the series, Davis and Zotnowksi were involved in all aspects of the creative – from recasting some roles, to giving notes on scripts and rough cuts.

They also note that their broadcast partner CTV was on the same page with them in terms of the overall vision of the series.

‘I am not aware of any example where we were at cross-purposes,’ says Zotnowski.

When it came to casting, CBS wasn’t concerned that the series didn’t have big Hollywood names.

‘We believe that television makes stars, so the fact that someone isn’t as well known isn’t an issue,’ says Zotnowski. ‘Hugh Dillon [Durham County] is popular in Canada and not as well known in the U.S., but we loved him and saw his star potential.’

And in choosing the female lead Amy Jo Johnson, while it helped that she was known from Felicity, Zotnowski stresses that the main concern was finding the best actor for the role.

Flashpoint debuted Friday, July 11 at 10 p.m. Davis says this night was chosen because CBS airs Ghost Whisperer and Numb3rs on Fridays, and they felt the elite police drama fit well with these shows.

Flashpoint’s premier episode won the night for CBS, with more than eight million American viewers tuning in, so it wasn’t long until the U.S. net moved Flashpoint to its premier platform on Thursdays at 10 p.m.

‘This is the most valuable launching pad we have on the schedule, so obviously Flashpoint is held in great esteem at the network,’ says Zotnowki.

Over its 13-episode run, the series averaged more than six million viewers stateside. These ratings are high enough to consider the show a success, says Davis, pointing out that in the summer months audience expectations are lower than in the fall/winter.

She also notes that airing original drama content in the summer was an experiment for the network (CBS typically schedules reruns and reality shows during these months), so the promotional campaign for Flashpoint was limited.

CBS is on board for a second installment of the series, and while it is still to be determined when the second season will air and in what timeslot, the network is considering Flashpoint as an early 2009 mid-season replacement.

‘That would be a true testament of the quality of the product,’ says Zotnowksi.

‘And if it goes mid-season, we would put a much bigger promotional push behind the series to bring in more eyeballs,’ adds Davis.