All posts by John Winfield

Shades of grey

As season two of HBO’s Westworld draws to a close, co-creators and showrunners Lisa Joy and Jonathan Nolan discuss making the series, rebooting the Western genre and their fascination with the mind-bending themes at the heart of the drama.

With overlapping timelines, dozens of characters and a premise built on mysterious and complex technology, Westworld might seem a daunting proposition for the more casual TV viewer.

Set in a colossal Wild West-themed amusement park for the super-rich, where guests’ darkest desires are fulfilled by hyper-realistic android ‘hosts,’ the HBO series has demanded its audience’s full attention from the start, trusting viewers to keep track as the rug is constantly pulled from beneath their feet by a succession of twists and reveals.

Among the many surprises of season one, the most significant was perhaps the revelation that two main characters – William and the Man in Black – were in fact the same person, depicted at two different ages.

Season two, the finale of which aired on HBO in the US last night and hits UK screens on Sky Atlantic this evening, has kept the intrigue flowing, exploring the newly sentient hosts’ quest for freedom while simultaneously taking viewers deeper into the origins of the park and its key characters.

It has also revealed the existence of at least two more parks run by the shady Delos corporation, with a British India-based location referred to as The Raj and the previously-hinted-at Shogun World, set during the Edo period of feudal Japan.

Evan Rachel Wood and James Marsden play ‘hosts’ Dolores and Teddy

Lisa Joy, co-creator and co-showrunner of Westworld alongside husband Jonathan Nolan, admits there is “a lot of complexity” to the show’s “puzzle-like structure” but adds that, this time around, the show has “played the timeline stuff cards up.”

“Each season, the questions that we tee up, we do try to have an answer for all of them. We do intend to answer the questions we set up,” says Joy, whose previous TV credits include Pushing Daisies and Burn Notice.

Nolan, who has worked with his brother Christopher on blockbuster movies such as Interstellar and the Christian Bale-led Batman trilogy, adds: “We do this in part because it’s the kind of show we would like to watch, which is why it’s layered and complex.”

He compares Westworld’s weaving narrative to the film noir structure. “You start at the end and then figure out the way to the beginning. And you have the classic noir protagonist in Bernard [Jeffrey Wright], who has forgotten something important.”

It’s an approach that has at times made it necessary to withhold information from the cast – which includes big-name stars Sir Anthony Hopkins, Evan Rachel Wood, Ed Harris, Thandie Newton and James Marsden – to “keep the story as fresh and present for them as possible.”

Ahead of season one, even acting royalty like Hopkins, who plays Westworld co-founder and park director Robert Ford, reportedly had to battle to get access to complete scripts. Wood, meanwhile, was largely kept in the dark over revelations about her character Dolores, a host who exhibits different personalities throughout the show.

Ed Harris as William/the Man in Black

“We didn’t really tell Evan anything, as we wanted her to be sort of stranded in her character’s situation, guessing what the larger story was,” Nolan says.

For season two, however, the tables were turned, with Wood being given a clearer picture of the overall story while Wright – whose character, Bernard, discovers late in season one that he is not human but a host based on the park’s other co-founder – was tasked with reacting to developments along the way.

“This season we sat down with Evan and laid out the story; for Jeffrey, we explained we weren’t going to tell him anything,” Nolan reveals.

Joy adds: “We’re lucky enough to have this tremendous cast and crew who I think are as invested in protecting the story and their character arcs as we are. So it’s actually not that hard to keep things under wraps, as we have such wonderful collaborators.”

The Wild West-themed park in which much of the action plays out sees Westworld straddle the dual genres of Western and science fiction. And while it might seem a curious combination, it’s not without precedent, following in the footsteps of the short-lived but hugely popular series Firefly as well as movies Back to the Future Part III, Cowboys & Aliens and, of course, the 1973 Westworld film on which the show is based, written and directed by Jurassic Park novelist Michael Crichton.

“We were fascinated by the idea of this moribund genre,” Nolan says of the Western element. “The most terrifying part of launching the show was that half of it was this dead genre. Even when Crichton wrote the original film, the Western period was on its way out.

Westworld’s second season has introduced new locations, including Shogun World

“But I think for him and for us it’s a genre that is so consistent; its rules are so simple. There are some phenomenal movies and they all have this underlying structure, which is an investigation of good and evil, free will. It’s a fascinating genre.”

“The idea of good vs evil is really quite binary – the black hat and the white hat – and what we’re trying to do is delve deeper and deeper into character, and eventually you see that everything is shades of grey,” says Joy.

The Western setting also allows for some stunning cinematography. Much of the exterior shots in the show, produced by HBO Entertainment, Kilter Films, JJ Abrams’ Bad Robot Productions and Warner Bros Television, are filmed in Utah, making use of awe-inspiring locations such as Castle Valley to illustrate the enormous scale of the Westworld park.

The expansion this season into Shogun World, meanwhile, saw Nolan and Joy draw inspiration from Akira Kurosawa, the celebrated Japanese filmmaker known for such titles as Seven Samurai. “We had a lot of conversations about what the look and feel of that should be,” Nolan says. “We were riffing on Kurosawa, so we went back and looked at all of his films to see if there was a signature film stock or a signature aspect ratio, anything we could play with. Kurosawa was restless; he moved back and forth between black and white and colour, he moved back and forth between different aspect ratios.”

This led to increased experimentation in filming methods, with parts of Westworld being shot on anamorphic film. “When you use anamorphic lenses, your bokeh and your focus roll off in a very beautiful way and it just has a totally different, very beautiful texture to it,” Nolan explains.

Jeffrey Wright’s Bernard has struggled to come to terms with the discovery he isn’t human

The showrunner adds that the different techniques are used to suggest to the audience that things aren’t quite what they seem. “By the finale, you realise that that’s our gentle way of putting you in a virtual space,” he notes.

What proved most attractive to Nolan and Joy, however, was the opportunity to explore the themes inherent in a show about androids gaining sentience, particularly free will and the implications of artificial intelligence.

After Abrams had come to them with the idea of remaking Westworld – initially as a film before later suggesting a TV series – Nolan says the pair realised it was “everything we’re interested in and everything we’re talking about right now, in terms of artificial realities and artificial intelligence and consciousness, and human nature, which I’ve always been fascinated by – memory and morality and all this stuff that we’re made of. Looking at it from the perspective of a set of creatures made in our image was just kind of irresistible.

“My point on artificial intelligence is I’m not really sure why anyone would be writing about anything other than artificial intelligence right now. [Star Trek creator] Gene Rodenberry would be very disappointed we’re not already there, but it does feel like we are stumbling into it a bit now. I think we’ve just got a few years left until AI shows up and tells us to stop writing about it!

“We were endlessly interested with exploring what it would be like to have an artificial consciousness – how you would perceive and understand time, how you would perceive memory. From the beginning, we said that this would be a show about the emergence of a new form of life on Earth – and that’s not a short story.”

Anthony Hopkins returned for season two despite his character being killed off in the first run’s finale

Westworld, distributed by Warner Bros Television Distribution, also examines free will from the point of view of both the hosts and the humans, with several episode titles referring to philosophical concepts relating to free will, and the question of whether it truly exists for anybody.

Season one finale The Bicameral Mind takes its name from a term coined by psychologist Julian Jaynes, who proffered the idea of two separate minds within every individual – one that gives instructions and another that performs them. Jaynes discussed how consciousness comes from breaking down the wall between the two by exposing the individual to new stimuli.

And tonight’s finale is called The Passenger, alluding to the notion that the conscious mind is just that: a passenger in a vehicle being driven by the subconscious, to which we are all slaves.

Nolan’s position is unequivocal. “As far as we can tell, free will is an illusion,” he says. “If you think about the beginning of The Simpsons, where Maggie has the little fake steering wheel, that’s consciousness. Marge is at the wheel; we don’t get to talk to her. We’re Maggie, looking out the window and imagining we’re making the decisions – and most of the empirical evidence suggests that we aren’t.”

Joy adds: “Humans can be reduced to some rather elementary building blocks. When you start to think about the drives that humans have, sometimes we find that we are maybe simpler than we thought, more manipulable.”

Profound stuff, and viewers can expect more in season three, which received the green light soon after the second run’s premiere. The ending of season two teases the prospect of major changes to come, with the show poised to spend more time outside its amusement parks.

“One of the things we’re excited about is the third season is our world, and we now have the fun-slash-terrifying challenge of building out what the real world looks like,” Nolan says.

Quashing any suggestion that the pair are making it up as they go along, Joy reveals that she has had an ending in mind since day one. “When we were writing the pilot, I pitched a scene to end the entire series on, and so far we have not deviated from liking that scene. As a writer, you never want to tempt a smiting from the TV gods, so I would never venture to guess how many seasons we will live for. But I do think there are tentpole moments we are trying to work towards, and hopefully we will reach our ending in the time we have.”

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Eyre to the throne

Award-winning director Richard Eyre discusses his take on Shakespeare’s King Lear in a new BBC and Amazon film starring Anthony Hopkins, Emma Thompson, Andrew Scott and Jim Carter.

There can be few directors alive today more familiar with William Shakespeare’s works than Sir Richard Eyre.

A multi-award-winning director of film, television, theatre and even opera, Eyre has been behind high-profile stage productions of Hamlet and Richard III and also helmed TV versions of Henry IV: Part One and Henry IV: Part Two for the BBC’s The Hollow Crown, a five-film adaptation of multiple Shakespeare plays.

His most celebrated Shakespearean work to date, however, is surely his 1998 stage version of King Lear, starring Ian Holm. The production earned Olivier Awards for both Holm and Eyre, and now the director will be hoping for similar acclaim for his screen version of the tragedy, which airs on BBC2 in the UK next week and launches later on Amazon, which co-financed the film.

Leading the cast this time around is Sir Anthony Hopkins as Lear, who slowly descends into madness after disposing of his kingdom among his daughters.

Anthony Hopkins was mistaken for a homeless man during filming

The talent-laden ensemble also includes Emma Thompson, Emily Watson and Florence Pugh as Lear’s daughters Goneril, Regan and Cordelia respectively; Jim Broadbent as the Earl of Gloucester, whose sons Edgar and Edmund are played by Andrew Scott and John Macmillan; and Downton Abbey’s Jim Carter as the Earl of Kent.

The first thing viewers tuning in at 21.30 on Monday will notice is the one-off film’s decidedly un-Shakespearean setting, opening as it does with an establishing shot of present-day London with 95-storey skyscraper The Shard front and centre. However, the Bard’s unmistakable dialogue from the 1605-penned play remains intact.

Explaining the decision behind the modern setting, Eyre says: “It’s unusual for a Shakespeare play – it’s set in a pre-Christian era… the period is probably druidic. And if you ask, ‘How am I going to make it look?’, you’re thinking, ‘I don’t want it to look like druids in sheets at Stonehenge.’

“I decided I wanted to set it in a contemporary world. In some ways, the buildings are playing off against the language.”

As for why he was keen to return to King Lear 20 years after his theatre version, Eyre’s reasoning is straightforward: “I think it’s the best play ever written, and I’ve felt that for about 35 years.

Emily Watson (left) and Emma Thompson as Regan and Goneril

“This is a story about two fathers, one with three daughters, one with two sons. It’s a play about family, amplified by being about the state, so the stakes are that much higher. None of its truths are going to change for hundreds of years.”

Bringing such a revered and challenging property to the screen was always going to demand a cast with serious acting chops, and producer Colin Callender of Playground Entertainment says he was delighted with the line-up put together for the show. “The ability to bring a play like this to the screen enables us to assemble a cast that you would never ever see on stage together, and it’s a testament to Richard that we were able to put together such an extraordinary ensemble,” he says.

“Part of the joy of seeing something like this on screen is that every role comes to life in the most extraordinary way; a way that doesn’t always happen on stage because you don’t get actors of this calibre playing all these secondary and tertiary roles.”

The choice of Hopkins as Lear, meanwhile, was a no-brainer – but that’s not to say it was simple to secure his services. The process can be traced back to when Eyre directed the actor in the 2015 BBC/Starz film version of Ronald Harwood play The Dresser, which also starred Ian McKellen. The story is set in the backstage area of a production of King Lear, which led to the pair discussing the Shakespeare play.

“I had directed King Lear, Tony had been in King Lear and we talked rather facetiously about how we’d make a film of King Lear one day,” Eyre says. Then, after Callender came to him with the project, it was the director’s wife who pushed him to move ahead, telling him: “You just have to do this with Tony Hopkins.”

Andrew Scott plays Edgar

Multiple emails back and forth between actor and director followed, with Hopkins busy with projects such as HBO drama Westworld. The pair talked “more or less everything King Lear” before, two years later, rehearsals finally began – and Hopkins didn’t disappoint.

“He’s the most extraordinary, eccentric, lovable, bizarre man,” Eyre says of the Silence of the Lambs star. “He generates a nuclear energy on set, benign energy.”

The actor’s performance as an increasingly bewildered and dishevelled Lear was apparently so convincing that he was mistaken for a homeless person during filming on location in the UK town of Stevenage. “A woman in a mobility scooter scooted up to Tony and said, ‘You know, there’s a hostel for the homeless up the road, so you might want to take your shopping trolley down there,’” Eyre recalls.

For Thompson, meanwhile, performing in the film led to a reappraisal of her own interpretation of the play, which she also describes as her favourite. As Goneril, who along with her equally devious sister Regan has long been perceived as one of the major villains of King Lear, the actor plays a character who schemes against her ailing father. But Thompson says: “This is the only production of King Lear I’ve ever seen in which you actually sometimes sympathise more with the children, and I think that’s an amazing insight into the play. I’d never been able to see that, so I’m very grateful.”

Describing working with Hopkins for a third time – the pair previously starred in The Remains of the Day and Howards End – as “joyful,” the Oscar winner adds: “It’s great to play all that rage. It’s really fun, I loved it. Anthony and I got very violent in one scene – it was really enjoyable!”

Downton Abbey star Jim Carter plays the Earl of Kent

Andrew Scott was also thrilled to act alongside Hopkins. The Sherlock star, nominated for an Olivier Award for his stage portrayal of Hamlet last year, plays Edgar, who is betrayed by his malevolent and bitter half-brother Edmund. “What I found so extraordinary about Tony is how ferocious and alive he is about being an actor,” he says. “Every day he’d come in and if you asked him how he slept, he’d say, ‘Fuck sleep, I don’t sleep!’”

As for the film itself, which is produced by Playground and Sonia Friedman Productions in association with Lemaise Pictures, Scott notes: “A lot of it is about the vulnerability of our leaders. This is something that was written 400 years ago, but we rely on human beings to lead us and we have to see that they are human beings.”

Rejecting the suggestion that Shakespeare on TV might lack broad appeal, he says: “Human psychology has not changed, and I hate the idea that this kind of drama is only for a select few, because that means that only a select few are seeing it.”

Co-star Jim Carter, best known for playing butler Mr Carson in Downton Abbey, concurs, believing it’s crucial that Shakespeare’s works continue to be adapted for the small screen. “Having it in people’s living rooms, bringing it to people at home, rather than people having to make the effort to go out and see it, is hugely important,” he says of the drama, which is distributed internationally by Great Point Media.

“For this to come to people where they really feel things much more deeply – in their own home – is fantastic. Thank you BBC.”

But how can young people, in particular, be expected to connect with something written so long ago? Scott might have the answer. “Shakespeare is a little bit like rap,” he asserts. “The majority of the audience who are watching on television will go, ‘I don’t understand that, but I understand the music of it.’ There are still certain things that I don’t understand about it, but I understand the music and I understand the feeling.”

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Royal appointment

With the third season of Netflix’s The Crown about to begin production, creator and writer Peter Morgan explains why he keeps going back to the royal family and discusses the pitfalls of depicting real people.

It’s a bad time to be a republican in the UK.

The royal family, never far from the headlines even in regular circumstances, are seemingly everywhere at present. The Queen’s 92nd birthday last month was followed just two days later by the birth of the Duke and Duchess of Cambridge’s third child, Prince Louis. And in case you haven’t heard, there’s a wedding coming up in a couple of weeks, with Suits star Meghan Markle leaving the world of TV drama behind to join the Windsor clan. Good luck stepping into a newsagent without seeing her face staring back at you from at least half-a-dozen magazines.

This surge of interest in Britain’s most famous family must have Netflix execs rubbing their hands with glee ahead of The Crown, a global hit for the SVoD giant, entering production on its third season this summer. The show, which centres on Queen Elizabeth II, will return with an entirely new cast as the action picks up at a later stage in the characters’ lives.

While the new actors face a daunting task in living up to the rave reviews earned by Claire Foy (Elizabeth), Matt Smith (Prince Philip) and co, The Crown’s creator and writer Peter Morgan is braced for the equally difficult proposition of outdoing his acclaimed work on the first two seasons of the show.

“I’m still slightly embarrassed to be writing about these people and to find myself still doing this,” admits Morgan, for whom The Crown is a third major project with the UK’s reigning monarch at its centre, following 2006 film The Queen and 2013 play The Audience, both of which starred Dame Helen Mirren as Elizabeth II. “I yearn to write a heist film,” he jokes.

Peter Morgan between Matt Smith and Claire Foy, stars of the first two seasons of The Crown

So what is it that keeps Morgan coming back to the royals? “They link us – they connect all of us,” says the Academy Award nominee. “There’s something really interesting and profound about the way all of our lives are interconnected with theirs. They are, at some level, the thing that unites all of us. Our grandparents, our parents, our children – [the Queen] has been there as a constant for everyone, and this family has been there.

“Whatever you may feel about them, about monarchy, we’ve lived with this very special relationship with this extraordinary woman. Whatever you feel about [the existence of a monarchy], it never stops binding us together.”

Making a drama about such high-profile figures inevitably invites scrutiny over historical accuracy. And while Morgan is keen to stress that he has never purported to be a “documentarian,” that’s not to say he doesn’t feel enormous pressure to get things right. “If you start to make an imagination about certain relationships, about certain moments in history, to offer an explanation about why people did something and you shortcut it because you have an hour to explain why something like the Suez conflict happened,” he says. “I feel the responsibility of that and whether I’m misjudging it or I’ve oversimplified it.

“The good news about these characters is we do know where they are most of the time – it’s a matter of public record. You know where they were on which day and what they were doing. My job is to join the dots. We have to make some leaps of imagination about how people were feeling. And maybe sometimes I get it wrong.”

Literally holding up his hands, he adds: “This is just me having a punt. I’m just guessing.”

The writer initially had an idea for one season of the show, with plans to focus on the young queen’s relationship with prime minister Winston Churchill (John Lithgow) in the 1950s. But it soon became clear that there was a much bigger story to tell.

The Netflix show has been described as the most expensive drama ever – something Morgan refutes

“It just gets more and more interesting the closer you look and the longer you give it,” Morgan says of Elizabeth’s reign. “The truth is, if I gave it the same time again, I could still find more stories to tell.”

Netflix clearly agrees, with The Crown already confirmed for a fourth season before the third has even started filming. And so, it seems, do the streamer’s subscribers. While Netflix is famously tight-lipped over viewing figures, Morgan expresses his surprise at what he has learned about the show’s audience.

“One of the things that’s been interesting to watch is how different generations have connected with the show,” he says. “To be honest with you, this is crass, but I thought this would appeal largely to educated, mainly female, over 40s. But all the research suggests it’s completely different. I think that speaks to the unconscious current that [the Queen’s] face, her presence, has in all our lives.”

Indeed, even without viewing statistics, The Crown’s importance to Netflix is evidenced by its prominence in marketing material for the streamer’s offerings around the world. It’s also among the most critically acclaimed drama originals Netflix has served up so far.

Of course, the greatest proof is in the cold hard cash Netflix has fronted up for the series, which has been touted as the most expensive TV show ever made, with £100m (US$135.28m) being a commonly cited figure. However, Morgan bristles at such claims. “None of the rumours of our budget were true, none of them,” he insists, “and it’s been sort of painful not to be able to say it. We have perfectly healthy budgets, but there are many television shows that have larger budgets.”

Olivia Colman, pictured in The Night Manager, will replace Foy as Queen Elizabeth II in season three

Regardless of the actual financial details, The Crown represented a major coup for Netflix back in 2014. The streamer reportedly outmuscled both the BBC and ITV to secure its first UK original, produced by Left Bank Pictures, in a move seen by many as a watershed moment in the power struggle between traditional linear broadcasters and the SVoD contenders.

Netflix will be hoping its faith in the show continues to pay off in season three, and with a host of talented actors forming the show’s new cast, it surely has little to fear. Leading the pack is Olivia Colman (Peep Show, Broadchurch, The Night Manager) who replaces Foy on the throne as Elizabeth II. Tobias Menzies (The Terror) will play Prince Philip, while Helena Bonham Carter and Jason Watkins will also star as the action shifts from the 50s to the 70s, when Harold Wilson was UK prime minister.

It’s hard to think of a better choice than Colman for the lead role. The actor has the ability to be “both plain and dazzling,” says Morgan. “There’s a sort of everywoman [quality to her]. She’s very connectable and yet quite anonymous. We were all excited about her.”

Colman needed no convincing. “We rang her up and she said yes on the phone,” Morgan reveals. “She didn’t want to meet or anything. It was weird because we rang her on the day that she had just watched it, and her husband had said, ‘Claire Foy is just so good!’ But she said yes on the spot – normally it’s a big palaver.”

With work on season three still at a very early stage, detail is scant. But one thing we do know is that Colman will be the highest-paid cast member this time out, after it was controversially revealed that Foy was paid significantly less than Smith for the first two seasons of the show.

Morgan, meanwhile, is just focused on getting through it. “I have yet to enjoy the moment of feeling confident,” he says. “I just feel overwhelmed and nervous as my default condition. I gather there are pills you can take. That’s how I feel about the show. The biggest challenge for me is all the time thinking of misjudging it. I describe the show as a haemophiliac – if you touch it too hard in the wrong place, it will bruise.”

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Blast from the past

Kit Harington stars in and exec produces BBC1’s Gunpowder, which dramatises the plot to kill King James I. Alongside co-star Liv Tyler and the show’s writer and director, he reveals his very personal reason for getting involved.

Most people have at least one black sheep in their family tree, a relative who perhaps earned a less-than-honest living or brought dishonour to the family name with their actions or lifestyle.

However, very few of us can claim to be related to someone who tried to kill the king of England. Step forward Game of Thrones star Kit Harington – a direct descendant of the chief conspirator in the 1605 Gunpowder Plot to assassinate King James I.

For anyone thinking that means Jon Snow himself is related to Guy Fawkes, think again, as while Fawkes was the man caught red-handed guarding the gunpowder under the House of Lords, it was Harington’s “great, great, great, great, great something-or-other” Robert Catesby who actually spearheaded the plot.

As such, it’s Catesby, played by Harington, who is at the forefront of BBC1’s three-part miniseries Gunpowder, which aims to be a faithful dramatisation of the events now marked across the UK every November 5 with fireworks and bonfires.

Gunpowder stars Kit Harington as his ancestor Robert Catesby

The Game of Thrones star also executive produced the show, which launches this Saturday at 21.00 – “the Taboo slot” – and was produced by Kudos. Endemol Shine International is the distributor.

Discussing the appeal of the programme, Harington says he “prefers to avoid the term ‘passion project,’” but admits: “Really the idea spawned from a piece of family curiosity, which is that my mother’s maiden name is Catesby, my middle name is Catesby… I was always told, ‘Did you know you were related to the leader of the Gunpowder Plot?’

“More than that, me and Dan [fellow exec producer Dan West] couldn’t really work out why it hadn’t been dramatised. It’s such a significant piece of typically English folklore and we mark it every year, so it seemed odd.”

Indeed, while the gist of the Gunpowder Plot is one of the best-known slices of history in the UK, the facts and detail behind the story are much less widely understood.

With a PhD in history, writer Ronan Bennett is surely better equipped than most TV scribes to bring a truthful account of the events to the small screen. Yet even he admits that, upon being approached to pen the series, “I had forgotten if I ever knew about Catesby; that Catesby was actually the real mastermind of it.”

Liv Tyler also has a major role in what is her first UK television series

Bennett adds: “If you ask most people what they know about the Gunpowder Plot, they’ll go, ‘Guy Fawkes tried to blow up parliament’ – something like that – and everything else is empty. People don’t really know anything about it.”

Making the show, therefore, became something of a history lesson for all involved, including the impressive cast, which also boasts Hollywood star Liv Tyler, Sherlock’s Mark Gatiss and Downton Abbey’s Tom Cullen, who plays Fawkes.

“I think I knew more than some people about the Gunpowder Plot, but not a lot,” says Harington. “It was only by doing some research into it that I started to understand who [the conspirators] were.

“[Catesby] is a widower, he doesn’t connect with his son, he’s experiencing huge persecution and he’s a very proud man,” he says of his ancestor who, along with his accomplices, attempted to take drastic action against the king’s discrimination against Catholics. “In some ways, he’s on some kind of a death wish and he pulls a lot of people – some innocent people – with him into this plot.

“It was just fascinating learning about this piece of history.”

Guy Fawkes is played by Tom Cullen

Harington also reveals that, as the production went on, his feelings towards the plotter changed significantly, adding that what was once almost a sense of pride over Catesby shifted to feeling “desperately sorry for him.”

“As you will see, he was a deeply sad man who botched the one thing he wanted to do. He fucked it up. Deep down, he was tortured.”

Securing Tyler’s services marked something of a coup for the production, with the high-profile actor only having one other TV series to her name, HBO’s magnificent Damon Lindelof drama The Leftovers.

Now living full time in the UK, having moved to London last year, Tyler’s first UK series sees her play Anne Vaux, who assisted Catholic priests when practising the religion was outlawed.

“I don’t think these guys would have been thinking of me at all for this part, but I read it and I loved it,” she says. “I was really drawn to it. As an American, I know a little about the story but I don’t know everything, and it’s always nice to be learning something.”

The show’s first episode depicts executions in graphic detail

As for her convincing English accent, Tyler, who previously had to lose the American twang to play Arwen in the Lord of the Rings trilogy, says it “kind of just came back – it’s like skiing.”

Gunpowder also marked a first for J Blakeson, who became the latest in the ever-growing line of film directors to try their hand at TV when he signed up for the show.

Having helmed features such as The Disappearance of Alice Creed and The 5th Wave, Blakeson says the involvement of big names like Harington, combined with the subject matter, meant it was an “easy decision” to board the project.

“You get a lot of scripts and read them, but very rarely are they ones you want to do. But this one… to read a script where you’re 25 pages in and you’re still in the first scene, it’s a rare thing.

“It was incredibly well written and it had that dream thing for a project, which is that people think they know [the story] and there’s recognition of it, so people are interested in it, but actually you have a story to tell that’s interesting and enlightening and people don’t know it. So there’s a real opportunity there.

Derek Riddell as King James I, the principal target of the Gunpowder Plot

“But primarily it was just a really good script and I really liked it.”

A strong sense of authenticity runs through the production, not least in the language, with Bennett explaining that many lines in the script were lifted directly from historical accounts.

That realism also extends to the depiction of the harsh era in which the story unfolds. One scene begins with King James defecating into a bucket just inches from his bed, with the royal stool then being carried away by an unfortunate servant.

But what really stands out in the first episode is the explicit portrayal of capital punishment. Indeed, a grisly and prolonged execution scene is as graphic as anything you’re ever likely to see on the Beeb.

Warts-and-all representation of the era was key to Blakeson, who says: “We have this very nostalgic view of the past, of it being this lovely place, but one of the great things about Ronan’s script is it’s not described as that at all. There’s no indoor plumbing, there’s no sewer system. People would die in the street – death was everywhere. It’s a horrible place.

“So showing the history as being like that – being textured, being lived-in – was quite important. It was like a living, breathing version of history.”

Gunpowder’s story is obviously not one that lends itself to a sequel, but having clearly enjoyed his first taste of exec producing, could more work behind the camera follow for Harington after Game of Thrones concludes?

“Yes,” is the resounding answer from the actor, who has launched prodco Thriker Films along with West and describes Gunpowder as being “like a tester” for projects to come.

“We very much want to continue looking for things, sourcing things, producing things. We’re looking for that next thing now,” he explains. “This was a test to see if, on a personal level, this was something I enjoyed doing, and I did enjoy it very much. I felt so proud of it all the way along, in a way that I find much harder to do as just an actor.”

Still, with Harington’s Catesby bearing Jon Snow’s trademark curly locks and beard, no one could blame the actor for seeking something totally different next time out. “Why I keep desiring to film in cold, muddy places on horses, I have no idea,” he jokes. “It must be something built into me from a past life.”

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Foster care

Dinner parties will never be the same after BBC drama Doctor Foster became the surprise hit of 2015. DQ hears from stars Suranne Jones and Bertie Carvel and writer Mike Bartlett about what’s in store for season two.

When the BBC first announced Doctor Foster way back in 2014, you could have been forgiven for thinking it was the pubcaster’s answer to ITV’s light-hearted hit Doc Martin.

After all, both shows are about local GPs serving close-knit communities in fictional English locales – the town of Parminster in Doctor Foster’s case and Portwenn village in the Martin Clunes-fronted series.

Mike Bartlett

However, any similarities end there, with medicine playing only the smallest of parts in BBC1’s dark, sexually charged and thrilling drama about a woman scorned.

Starring Suranne Jones in the titular role, Doctor Foster was a surprise smash hit for the channel in 2015, thanks to a combination of terrific writing from playwright-turned-TV scribe Mike Bartlett and a stellar performance from Jones.

It became the BBC’s highest-rated drama of the year, attracting an average of nine-and-a-half million viewers and securing top gongs at the National Television Awards (NTAs).

Doctor Foster’s first season saw GP Gemma’s seemingly perfect life begin to unravel after she discovered her husband, Simon (played by Bertie Carvel), was having an affair with a much younger woman and had also secretly jeopardised the family’s finances.

Unfolding across five episodes, the show followed Gemma’s journey from despair to rage and revenge as she uncovered the full extent of Simon’s betrayal, culminating in an excruciatingly uncomfortable dinner party scene in the finale as everything is laid bare.

Yet despite the show’s success, news of a second five-part season took many by surprise, with the story seemingly having reached a natural conclusion at the end of the first run.

“I didn’t know when we started season one that it would go further,” admits Bartlett. “But when we were shooting it, I started to realise that there could be more, that there could be another story.

Season two sees the return of Simon (Bertie Carvel), now married to former mistress Kate (Jodie Comer)

“The more I looked at the last scene, the more I thought that while it looks like a happy ending, there are lots of threads untied. And then when it went out, people said, ‘Did Gemma really get justice?’ That showed that the audience was feeling what I do – that it doesn’t end there and there’s more to tell.”

Details of exactly how that story advances are scarce, but what we do know is that it picks up two years on from the events of season one. Simon, who had moved away, drops a double bombshell by simultaneously announcing his return to Parminster and his impending marriage to Kate (Jodie Comer), the young woman at the centre of his breakup with Gemma.

As if that weren’t bad enough for Gemma, who has been trying to get on with her life, her now ex-husband appears no worse off despite all his bad behaviour – in fact, he’s better than ever. And then there’s the impact of their acrimonious split on their son, Tom (Tom Taylor), who finds himself caught up in his parents’ animosity as he enters his teenage years.

Jones, who won Best Drama Performance at last year’s NTAs for her portrayal of Gemma, says she couldn’t wait to put on Doctor Foster’s stethoscope once again when she found out about the second season. She describes her character as being “embalmed,” highlighting the decision to have Gemma wear some of the same items of clothing as in season one to illustrate her failure to move on from the turmoil of two years ago.

The new season picks up Gemma (Suranne Jones)’s story two years on

“She’s put up her walls,” the actor continues. “She would have been comfortable, but [Simon] has come back and he’s put a mirror up.

“As well as it being exciting, thrilling, sexy and dark and all those things, I looked at them both and thought, ‘You’re both really hurt,’ and I hadn’t seen that before. Now it makes even more sense where we go [in this season], because you’re looking at vulnerable, damaged people.”

Revealing that the show takes a darker turn this year, Jones believes her character has different motivations in the new episodes. “Gemma doesn’t behave well,” she says with a smirk. “Before, she did that through hurt; now she has channeled her anger. It becomes dark and twisted.”

The actor is full of praise for Bartlett, whose other TV work includes 2012 series The Town for ITV and the upcoming Trauma for the same network. “We’re all very lucky to be working on a Mike Bartlett project – he’s a brilliant writer. When you read one of his scripts, you can’t wait to jump in. Without being rude, there are a lot of scripts that don’t do that to you.

“It feels different and exciting, and at times bizarre, unusual and bonkers – yet you understand it in your gut and you know how you’re going to express that.”

The first season of Doctor Foster was the BBC’s biggest drama hit of 2015

The softly spoken Bertie Carvel, meanwhile, comes across as worlds apart from scheming love rat Simon, a character that saw him become arguably the most hated man on British TV for a few weeks in autumn 2015.

“I hope no one recognises me,” he jokes ahead of tonight’s season two premiere. “Or that maybe they’ll have a more nuanced understanding of the character I play!”

Echoing Jones’s praise for Bartlett, Carvel says: “He gives us incredibly three-dimensional characters. What’s really fun as an actor is even though you’re playing a character who is apparently very Machiavellian, whose objective might be dark and quite cruel, there’s enough space and recognisable humanity.”

The actor refers to the show as the “moral equivalent of a hand-held camera,” explaining: “It’s not comfortably tracking along; there’s a sort of wobble to it. We catch things in the frame, in the characters, that aren’t necessarily what the steady shot is tracking towards. Often you find that, half-an-hour later, you’re looking at something from a really different point of view. That’s what’s so exciting about the series as a whole.”

Bartlett is coy over whether the series, produced by Drama Republic and distributed by BBC Worldwide, could continue into a third season. “It depends what happens in this series really – you’ll have to wait and see,” he teases.

But no matter how it ends this time around, don’t be surprised if the writer manages to come up with a fresh set of twists and turns to ensure further appointments with Doctor Foster.

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Star turn

Twists and turns abound in Tin Star, Sky Atlantic’s Rocky Mountains-set drama that sees Tim Roth play a small-town police chief attempting to escape his demons. DQ hears from the star and writer/director Rowan Joffé about pushing the limits in this 10-part series.

Tim Roth isn’t exactly known for playing the quiet type.

Perhaps most famous for appearing in several Quentin Tarantino movies – including Reservoir Dogs, Pulp Fiction and The Hateful Eight – the actor has a knack for portraying menacing characters with a simmering intensity, with other memorable villainous turns in 2001’s Planet of the Apes and 2008’s The Incredible Hulk.

So when the early stages of Tin Star, his new series for Sky Atlantic, see Roth as a level-headed family man and police chief in the peaceful surroundings of rural Canada, it’s safe for viewers to assume that things are going to go south – and fast.

Rowan Joffé

The 10-part drama, which launches in the UK on September 7, stars Roth as former London copper Jim Worth, who has upped sticks along with his family to escape a troubled past by beginning a new life in the Rocky Mountains.

All seems to be going swimmingly at first, with the new police chief – a former alcoholic – spending more time catching fish than criminals in the sleepy fictional town of Little Big Bear. But things soon take a dark twist as the arrival of a shady oil company coincides with a past that refuses to fade away, and an attack on his family turns Jim into a one-man wrecking ball on a quest for revenge.

Coproduced by Endemol Shine-owned firm Kudos Film and Television alongside Amazon Prime Video in the US, Tin Star is distributed by Sky Vision.

The show marks Roth’s first lead TV role since his only other major venture into the medium, Lie to Me, came to an end in 2011 after three seasons on US network Fox.

However, the actor reveals the decision to return to the small screen was not premeditated. “I wasn’t looking for a TV show,” he explains. “I put my feet up in the kitchen and I read a couple of [Tin Star] scripts, and I thought they were bonkers.

Tin Star’s cast is led by Tim Roth as troubled police chief Jim Worth

“That immediately gets my attention, and then the next question is, ‘Where the fuck does this go?’ And then I found out, and it’s interesting. So I thought, ‘I fancy this.’ Then you call [the producers] and tell them that, and they pay you shit-loads of money!” he jokes.

Roth says he was captivated by the “very, very anarchic story,” adding: “The minute I thought I knew what was going on, it was something different – we always got it wrong.”

Filmed on location in and around Calgary, Alberta, Tin Star makes full use of the region’s natural beauty, with sweeping shots of mountain ranges and rivers providing stark contrast to the ugliness that unfolds between the characters on screen.

Yet while one might think filming in such a place sounds like an actor’s dream, Roth offers a different view. “Having worked in Calgary, I have to say I wasn’t keen to go back,” he admits. “It’s nothing against Canada, but you’re talking about ‘Trumpland’ in Canada. It’s all flourishing – the oil and the corporations, the invasions of the local culture. It’s just there.”

The show centres on Jim and his family’s attempt to start a new life in the Rocky Mountains

It’s a view echoed by Rowan Joffé, who wrote and directed every episode of the series. “Canada looks like this wonderful, impeccable, clean place – and it is, until you look at what they’re doing with the tar sands out there,” he says, referencing the controversial oil extraction that has been gathering pace in the country. “It’s pretty horrific in many ways.”

Best known for writing 2007 horror sequel 28 Weeks Later and for penning and directing 2014 feature Before I Go to Sleep, Joffé became the latest in an growing band of contemporary movie directors to try their hand at TV drama when he signed up for Tin Star, his first major TV project.

The chance to take charge of what he describes as a “10-hour movie” proved irresistible to Joffé, who says: “Sky were always true to their word, which was, ‘You can author the show.’ And so we just ran with it.

“We thought there was absolutely no point in doing this unless we felt like we were taking risks. The opportunity to write what I wanted to write and to be able to collaborate with actors who I really admire, and for no one to tell me no at any point… It’s just been amazing.”

The show also features Mad Men star Christina Hendricks

Joffé’s affinity for his cast – which also includes Mad Men’s Christina Hendricks as oil rep Elizabeth Bradshaw and Genevieve O’Reilly as Jim’s wife Angela – is clear, with the director revealing that they played an important role in shaping the plot.

“The story began to change and morph around the actors,” he says. “Without doubt, many of the best moments on screen – particularly in Tim’s case – were ad-libbed. Tim brought a level of wit and comedy to it that was way beyond my ability as a screenwriter.”

Joffé was “free with us and let us be free at the same time,” adds Roth, who particularly relished the chance to really get under the skin of a character across 10 hours.

He describes the experience as “much more satisfying” than working on network television’s standalone episodes – such as in Lie to Me – which he calls a “much harder job.”

“Theatre is where actors really exist, as opposed to film, which is the director’s world. But [television now] is very similar to the stage experience, especially now that there are so many good writers and so much rich talent involved.

Genevieve O’Reilly as Jim’s wife Angela

“For us as actors, it’s incredible. We get to play more with television now – to invent, change, metamorphose, have fun and be challenged.”

Playing Jim was made more difficult by the increasing presence throughout the series of his dangerous alter ego, Jack, who Jim has learnt to keep at bay – as long as he remains sober.

Indeed, as the show progresses, Jack increasingly comes to the fore, simultaneously ratcheting up the violence and taking the show to “dark, shocking places,” according to Joffé.

“We went far; I wouldn’t have wanted to do it if we didn’t. It was just anarchy on the page,” says Roth, who credits Joffé for creating a character that tests audience sympathies.

“We take you to a very dark place, but the audience is supposed to be my ‘mate’ – they’re part of the fun too. On the one hand you enjoy the journey with this guy, and on the other you hate him.”

As for the suggestion of a second season, it seems Roth would jump at the chance. “In a hypothetical world, if we got to do another 10-hour movie, I’d be happy with that. I’d like to chip back at and fuck with this character again.”

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Arresting behaviour

As Channel 4’s genre-defying cop show No Offence returns for its second season, DQ hears from the cast and creator about the strength of its female characters and striking the show’s unique tone.

It’s hard to imagine there are many laughs to be found in a show centring on the hunt for a deranged killer who targets young girls with Down’s syndrome.

Yet somehow the team behind No Offence managed to pepper the first season of the Channel 4 series with comedy moments. That they did so without detracting from or trivialising the hard-hitting subject matter, or creating an awkwardly mishmash tone, was all the more impressive.

The police procedural comedy drama, whose debut outing was a major ratings hit for C4 in 2015, returns to UK screens tonight, with DI Deering (Joanna Scanlan) and her team of detectives back to tackle criminals on the streets of Manchester.

This time around, a pair of warring crime families take centre stage, with the first episode beginning with a bang – quite literally, thanks to a huge explosion in the opening minutes.

DS Joy Freers (Alexandra Roach) and DC Dinah Kowalska (Elaine Cassidy) return in season two

Creator and writer Paul Abbott, perhaps best known as the man behind the original UK version of Shameless, which also ran on C4 and has since spawned a hit US version, admits getting No Offence’s unique tone right is a continuous challenge.

“It’s a very tight bandwidth to try to pin down, but when we did, we fired. It was great,” says Abbott, who assembled a writers’ room for the show. “You’ve no idea until you hit it – and it’s very hard to describe what that moment is.”

With No Offence’s first run tackling topics including honour killings, racism and drugs, one could forgive executives at C4 for feeling a bit shaky about some of its storylines – especially when comedy is being added to such a hefty mix. But Abbott praises the channel’s flexibility.

“We’ve had to calibrate certain storylines where Channel 4 didn’t like the way we’d approached the story, and that wasn’t rude to say – it was a very sensitive story,” he explains.

This season, controversial subjects include female genital mutilation, and Abbott says no topic was off-limits. “You have to negotiate your way through. We went round it all and we basically found a very grown-up, intelligent way through it. We didn’t have to back down on anything.”

Will Mellor, who plays DC Spike Tanner, picks up: “That’s the show, though. We don’t pull punches. There are certain shops that put this box set in the comedy section!

L to R: Rakie Ayola as Nora Attah, Trevor Laird as Upjohn Henderson and Joanna Scanlan as Viv Deering

“I was thinking, could you imagine going to the wife and saying, ‘Let’s watch something really funny tonight – season one of No Offence.’ Then one minute you’re [seeing someone] dragging a Down’s syndrome girl out of a river and the next there’s someone getting sucked off in a bush.

“Where can you put this show? There’s no genre for it. I don’t think it’s a comedy, but what is it? That’s why I think it’s genius.”

Scanlan admits to having trouble finding the right balance in her performance. “Tone is the hardest thing to nail on the show. When we were shooting, I didn’t really know what the character was until I saw what was done in the edit. I was never certain who she was, because that tone is so very particular, and it was nerve wracking,” says the actor, adding she felt much more comfortable the second time around.

“It’s got a flavour unlike anything else,” she continues. “You’re taking the story seriously and the characters’ set of coordinates really seriously, but there is also some levity in it and some lightness. It’s an odd confection.”

Scanlan’s no-nonsense, authoritative Deering is just one of several terrifically written leading female characters in No Offence – another thing that makes the show stand out.

The most notable addition to this season’s cast is Rakie Ayola as the fearsome Nora Attah, matriarch of the Attah crime family, while Elaine Cassidy (DC Dinah Kowalski) and Alexandra Roach (DS Joy Freers) both reprise their leading roles from season one.

Will Mellor as DC Spike Tanner

Asked how he manages to write such compelling female parts, Abbott’s response is typically wry. “People ask me why I write women so well, but they don’t ask other writers why they’re such lazy fuckers,” he says.

“As women get older in this industry, I realised really early on as a writer that, if you write really good parts for women, you get the best available, because they all think there’s nothing left for them.

“All the females in the show, whatever axis they come from, they’re all defined as people you’d take out for a pint. The whole point is to attract the male viewers as well, and not by changing the politics of the show, just by making unmissable females.”

Scanlan believes Abbott is “just reflecting reality” in terms of the female presence in police forces. And, reinforcing the writer’s comment about parts for older women, she says: “I feel lucky in that I’m part of the generation who, in the eighties, might have thought we’d run out of road by now.

Sarah Solemani as Detective Superintendent Christine Lickberg

“I’m not sure we’re making a programme about gender politics, we’re making a programme about a family. Deering plays this matriarchal role but she also plays a sort of patriarchal role. She’s mum and dad in one.”

It’s not just in front of the camera where women have a strong presence in No Offence, with no fewer than three females among those who took to the directors’ chair in season two.

In addition to Catherine Morshead (Doctor Who), who directed several episodes of the first season, Deutschland 83 director Samira Radsi and Sara O’Gorman (New Tricks) have helmed new episodes.

Meanwhile, although the cast believe No Offence is a realistic depiction of police work, what do real-life police officers – like Abbott’s son, Tom – think?

“They love it, and I love phoning Tom because he’s a writer as well. When I phone him, I don’t get the kind of research question back – he knows exactly how I’m trying to squeeze in something that really shouldn’t fit. He gives me an intelligent perspective on how we can make it fit for us. It’s very useful.”

Furthermore, Mellor’s brother-in-law acts as police advisor to the show. “He told me about the script before I was even in it!” the actor says. “He was like, ‘Ooh, it’s good, this. There’s some good stuff in here.’ I know he loved it as well. He’s in CID [Criminal Investigation Department] and he advises on all the scripts.”

But despite the help on offer from the real thing, Abbott reveals No Offence – produced by the writer’s own AbbottVision and distributed by FremantleMedia International – is one of the hardest shows he’s ever had to write.

“Every single episode had umpteen drafts beyond what I thought we would need,” he says. “You have to accurately and, with all dignity, write a procedural cop show at the same time as you’re trying to be subversive and witty and to occupy that yawning space that isn’t always there.

“You wring yourself mad in the mornings trying to climb back into a scene. But when you do, and it’s speaking for itself in its own overcoat, we can all fly.”

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The new Black

Charlie Brooker’s Black Mirror has found a new home on Netflix. Can viewers expect more of the same from the dark anthology, or does the new platform mean it’s all change?

The fact that the first face you see in the opening episode belongs to Hollywood’s own Bryce Dallas Howard (pictured above) perhaps tells you all you need to know about the return of Black Mirror.

Charlie Brooker
Charlie Brooker

Having aired for two three-episode seasons and a Christmas special on the UK’s Channel 4, Charlie Brooker’s dystopian anthology series is now exclusive to Netflix, with a bumper run of six episodes landing on the US-based streamer today.

The move to Netflix means a bigger budget for Brooker and co to play with, and this is visible from the off.

As well as Jurassic World star Howard, debut episode Nosedive, seen by DQ, also features fellow Hollywood actor Alice Eve (Star Trek: Into Darkness) and UK heartthrob-of-the-moment James Norton (Happy Valley, War & Peace), while familiar faces in other episodes include Game of Thrones duo Jerome Flynn and Faye Marsay.

But for the team behind Black Mirror, the biggest difference has been the increased freedom offered by the show’s new home.

“Anthology shows like this have been waiting for a platform like Netflix to come along,” says creator and exec producer Brooker. “We don’t have cliffhangers; we don’t have recurring cast members or characters. Shows that reinvent themselves every week have struggled in the ratings.

“On Netflix we can put the whole thing up and it’s kind of like a short story collection. We have effectively got a bigger canvas and we’re not constrained by ad breaks or running times. One of our episodes, Hated in the Nation, is kind of a Black Mirror Scandi noir. It’s 90 minutes – it’s like a movie! We could do two-hour episodes or two-minute episodes.”

Fellow exec producer Annabel Jones echoes Brooker’s sentiment. “Netflix loved the show and stepped in to commission six films. That allowed us to play out on a bigger campus, take more risks and explore more worlds without destabilising the Black Mirror sensibility. It’s great, and we’ve got another season coming up too,” she says, referring to the six further episodes due on Netflix next year.

Hated in the Nation – 'kind of a Black Mirror Scandi noir'
Hated in the Nation – ‘kind of a Black Mirror Scandi noir’

In addition to the acting talent, there’s also a more Hollywood feel behind the camera following the Netflix move. One episode, Brooker reveals, was scored by celebrated feature film composer Clint Mansell (Requiem for a Dream, Moon), while episodes two and three were directed by Dan Trachtenberg (10 Cloverfield Lane) and James Watkins (The Woman in Black) respectively.

Helming Nosedive was Joe Wright (Pan), who was already a fan of Black Mirror’s aesthetic before coming on board. “Be Right Back [season two] was one of the most exquisitely shot episodes, and so was Entire History of You [season one],” he says. “They’ve all been very cinematic; they’ve all been beautiful.”

Brooker admits to giving little visual direction in his scripts, and is full of praise for the ability of directors such as Wright to bring his words to life. “Often what happens is we’ve got a script, but what’s not in the script is the whole visual layer. That wasn’t really described at all in the Nosedive script,” he says.

“Joe gave it a level of artistry that is frankly embarrassing. When I first saw the rushes, I thought, ‘This is either going to work or this is mental.’ As soon as I saw it all come together, I was flabbergasted. It was the best possible outcome.”

Annabel Jones
Annabel Jones

Black Mirror’s move to its new home didn’t come without ruffling a few feathers, however. In August, Channel 4 chief creative officer Jay Hunt criticised producer Endemol Shine Group and the show’s creators for a perceived lack of loyalty to her network.

But Brooker fails to see what all the fuss is about. “It’s quite interesting, let’s put it that way,” he says of the suggestion of bad blood after the deal. “Somebody didn’t come out and wave a cheque and we ran away from Channel 4 towards it. It’s been interesting watching that play out. We still talk to Channel 4 – we’re still friends!”

Leaving the Netflix move and its implications aside, does the new Black Mirror stay true to the show that built a cult following with its nightmarish visions centred on Western society’s ever-increasing reliance upon and obsession with technology?

While the short answer seems to be yes, with Black Mirror continuing to focus on the same themes, Brooker highlights a deliberate move towards “more variety of tone” in the new season.

“Because we’re doing six stories this time round, we wanted to not always fling you into a pit of despair. Sometimes we kick a few hope biscuits at you on your way down,” he says. “Having said that, there are stories in which we do fling you into a pit of despair and then piss on you – because people seem to like that.”

Indeed, while maintaining Black Mirror’s trademark frighteningly believable vision of a world gone a little bit madder, Nosedive stands apart from older episodes thanks to its heavy dose of comedy.

Brooker adds: “This season we were almost imagining we were creating different-genre mini-movies. Nosedive is a kind of poignant satire. We’ve also got a detective movie, an outright horror movie, one is a romance… they’re so different.”

While anthology shows that reset with new stories and characters each season have become increasingly popular in recent years (True Detective, American Horror Story), anthologies like Black Mirror, which does this every episode, are much less common.

One of the most famous examples of such a series is The Twilight Zone, which first aired in 1959 and is cited by Brooker as a major inspiration for Black Mirror.

Halt and Catch Fire's Mackenzie Davis stars in the episode San Junipero
Halt and Catch Fire’s Mackenzie Davis (right) stars in the episode San Junipero

“I’d always loved shows like The Twilight Zone, Tales of the Unexpected and all the weird and wonderful one-off plays that the BBC used to put on,” he explains.
“It felt like those kind of ‘what the fuck?’ stories didn’t have a place on television anymore.

“Primarily, the intention was to create a show that gave you that frisson you get when you watch something like The Wicker Man, a particularly nasty episode of The Twilight Zone, or [BBC’s 1984 nuclear winter drama] Threads – anything that provokes a strong reaction in people.”

Brooker’s earlier TV writing credits were for comedies such as Brass Eye, The 11 O’Clock Show and Nathan Barley, which he co-created. And perhaps surprisingly, he believes writing dystopian drama requires a similar skillset. “It’s kind of therapeutic – it uses the same kind of muscle as in comedy writing,” he explains. “A lot of our stories are about the worst-case scenario unfolding, which is the same as in something like Fawlty Towers. We know we’ve got a good idea if I’m laughing and Annabel’s going, ‘That’s horrible.’”

So, as someone who is now best known for cautionary tales about the rise of technology, does Brooker truly fear for our future?

“I’m quite optimistic about technology, actually, which you wouldn’t get from the show,” he says. “I like video games. I’m an early adopter of stupid electric toothbrushes and that sort of nonsense.”

If not all-powerful tech, perhaps something else will herald the end of days? Brooker concludes: “If you’d told me at the start of the year that, by October, half our cultural icons would be dead, we’d have voted to leave the EU, Donald Trump would be hovering near the White House – oh, and The Great British Bake Off won’t even be on BBC1 anymore, I’d be digging a fucking bunker!”

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