Category: THE WRITERS ROOM
George Moura and Sergio Goldenberg, writers of Brazilian ‘superseries’ Onde Nascem os Fortes (Land of the Strong), talk about how the country’s unique landscape inspired this story of love and tragedy.
Maria Camargo, lead writer of Brazilian drama Assédio (Harassment), tells DQ about the real-life themes and issues that inspired this series about a group of women who stand up to the doctor who sexually abused them.
Swedish drama Den Inre Cirkeln (The Inner Circle) mixes political intrigue with personal dilemma as an ambitious minister plots his rise to the top. Writer and director Håkan Lindhé tells DQ about creating the series, which leaves the corridors of power for an altogether more hedonistic setting.
Insoupçonnable writer Virginie Brac explains how this adaptation of British crime thriller The Fall, which follows an investigation from the perspective of the individuals on both sides of the law, was reimagined for a French audience.
With UFO sightings and ‘fake news’ dominating the US news agenda once more, History’s latest scripted commission Project Blue Book couldn’t be better timed, according to writers David O’Leary and Sean Jablonski.
Alex Pina and Esther Martinez Lobato, the creators of Spanish mystery La Embarcadero (The Pier), discuss making the series – their follow-up to 2017 breakout hit La Casa de Papel (Money Heist).
Karl Pilkington co-created, co-wrote and stars in his first comedy drama, Sick of It, in which he plays a version of himself whose closest friend is his uncensored alter ego. He and director Richard Yee, Pilkington’s fellow co-writer and co-creator, reveal all to DQ.
As US espionage thriller Killing Eve lands in the UK, DQ hears from lead writer and executive producer Phoebe Waller-Bridge about refreshing the genre, infusing drama with comedy and the joy of writing.
Camilla Ahlgren, head writer of The Bridge, opens up about the hit Swedish/Danish crime drama and reveals some of the secrets behind making the series.
Young love meets the supernatural in Netflix’s original UK drama The Innocents. DQ chats to creators and writers Hania Elkington and Simon Duric about making their first television drama, Norse mythology and shape-shifting.
Writer Daragh Carville tells DQ about creating ITV crime drama The Bay, which was born out of his ambition to put a new twist on a familiar genre.
Matthew Hall, writer of Un Bore Mercher (Keeping Faith), tells DQ about his journey to bring the series to air and the importance of intimacy and location in television drama.
Hagai Levi, creator of Israeli drama Be Tipul (In Treatment) and co-creator of US drama The Affair, tells DQ about his latest project, his approach to storytelling and returning “home” to HBO.
Drawing comparisons to The Handmaid’s Tale, Israeli drama Harem shocked viewers with its depiction of life for women and children living with a charismatic cult leader. DQ speaks to the writing team behind the Reshet show, which has been renewed for a second season.
La Casa de Papel (Money Heist) is a certified phenomenon after Netflix revealed it was the streamer’s biggest non-English-language series ever. DQ hears from creator Alex Pina and writer Esther Martinez Lobato about making the Spanish heist drama.
With so much TV to choose from, viewers can be very fickle – so how do you keep hold of them? Writing for DQ, screenwriter Danny Brocklehurst talks about the contrasting styles he used in his two most recent commissions, BBC1’s Come Home and Netflix’s Safe.
Having turned her own novel Sweetbitter into a six-part drama for US premium cable network Starz, Stephanie Danler tells DQ about the adaptation process and why television today is following in the footsteps of Charles Dickens.
Lisa Holdsworth, TV writer and deputy chairman of the Writers’ Guild of Great Britain, writes for DQ about the guild’s new campaign for greater gender equality in television and film screenwriting.
Lee Ingleby is out to prove he’s not a murderer in ITV’s emotionally taut four-part drama Innocent. DQ speaks to writers Matt Arlidge, Chris Lang and producer Jeremy Gwilt about putting viewers at the heart of this moral dilemma.