Tag Archives: Hanna

Han on heart

Writer David Farr and executive producer Tom Coan tell DQ how Amazon action thriller Hanna will take viewers on a greater emotional journey in season two.

Delivered to Amazon Prime Video the week before the UK went into its coronavirus lockdown in March, Hanna’s second season was completed just on time. Launching in more than 200 countries tomorrow, it represents the kind of series – one boasting numerous global locations and a cast and crew brought together from around the world – that will be tough to make while travel restrictions remain in place.

“We are doing a lot of thinking about what [shows like Hanna] might look like and how we achieve it,” says executive producer Tom Coan. “The idea of this post-Covid world can be very confusing and overwhelming. Essentially, it’s one additional layer of health and safety we need to put into an already robust process.”

But one thing that won’t be changing is Hanna herself and the world in which she exists. “There are certain stories where [the impact of coronavirus] will be interesting. But this isn’t one of them,” says series creator and writer David Farr. “Hanna exists in its own, totally individual, strange world, which is definitely not real in any kind of conventional sense. It’s truthful, but it’s not real. We’ll be keeping well clear.”

David Farr

Hanna’s second season sees Esmé Creed-Miles return as the titular character, who was raised in isolation by her father Erik (Joel Kinnaman) and subsequently hunted down by CIA Agent Marissa Wiegler (Mireille Enos). At the end of the first run, which debuted last year, Hanna discovered she was not the only young woman with unparalleled skill and elite training. The Utrax programme, from which she was taken as a baby, has now produced a whole contingent of highly trained teenagers whose development is about to reach the lethal “second phase.”

But while the series continues to revolve around Hanna and her view of the world, season two digs much further into her past and introduces new characters in the form of some of the other girls trained by the Utrax initiative.

“The first season was very much a coming-of-age drama. She had to learn about the world and how it worked,” says Farr, who also wrote the Joe Wright-directed film on which the series is based.

“This is much more about ‘How do I want to be in the world?’ and ‘Where do I belong?’ We develop a whole new element, which is these other trainees who did not have the fortune to be stolen. They’ve been brought up entirely by the Utrax programme and they are now about to be unleashed on the world. That bit was probably the most rewarding to explore because it was obviously something completely fresh. The film doesn’t go anywhere near that. We’re way beyond the movie now.”

Following Hanna’s escape from the Utrax facility at the end of season one, S2 opens with her back in the remote wilderness – but she’s not alone, accompanied by Clara (Yasmin Monet Prince), one of the trainees who chose to escape with her. Early scenes show their complicated relationship mirroring that between Erik and Hanna in season one, when Hanna rebelled against Erik’s instance that they live off the grid. Now Clara is pushing against the boundaries set down by Hanna, who is also coming to terms with Erik’s death.

Yasmin Monet Prince as Clara (left) alongside Esmé Creed Miles as Hanna

That’s where Marissa comes in. Having helped Hanna escape in season one, she now offers the teenager the chance to start a new life. However, Hanna instead decides travel to England, where the trainees are being kept at a countryside facility known as The Meadows.

“In the absence of Erik, she’s seeking a new home,” Farr says of the lead character. “Marissa offers one opportunity, but it was Marissa who was trying to kill her for half of season one. There are reasons why Hanna would be distrustful and why that relationship, therefore, is fragile, flawed and blows up.

“The other option, which is much darker but also more intriguing, is to think maybe she was always meant to be in this place [with the other girls]. Maybe she shouldn’t have been stolen – maybe the normality is these other girls. Beyond that, she then discovers a whole other reason to live: actually, she is here to fight.”

While season one stood Hanna against the faceless Utrax organisation, this time that threat is personified in the form of John Carmichael, played by new cast member Dermot Mulroney. Farr says he didn’t want the show to have a conventional baddie, and My Best Friend’s Wedding star Mulroney fit the bill.

“Evil projects are often run by very affable people– because why would you run an evil project with a person who looks evil? That strikes me as incredibly dumb,” the writer says. “So you hire Dermot Mulroney to run your project for you because it will feel and look better. One of the key things they’re trying to do for these girls is they’re trying to socialise them, to make them feel normal. Who better to teach than someone who looks so fabulous? There’s a gentleness to him, and it’s those nuances he does really nicely.”

Dermot Mulroney (right) joins the cast for season two

The new trainees at The Meadows are handed new identities to learn and take out into the world, and each is given a scrapbook containing lots of photos and information about their lives. This tasked script editors Ella Jones and Luke Stapleton with creating dozens of backstories for these characters, while a member of the art department assembled the detailed scrapbooks.

Especially intriguing is how the girls either adopt or rebel against these new identities, leading to discussions about religion and identity and commentary on how identities can be constructed, which is particularly pertinent in the age of social media.

“Sandy [Áine Rose Daly] and Jules [Gianna Kiehl] are two new girls. Jules is by nature a maverick, ‘brought up’ to question things. But Sandy’s ‘brought up’ to not question things, to obey and to be faithful,” Farr says. “What’s great, of course, is this is totally invented and they’ve learnt it all from a book, but they believe it, they invest in it and they make it real. Both those actresses really lent into that stuff really well. They’re a great new additions and have big roles all the way through the season.”

Having written most of season one himself, with Ingeborg Topsøe picking up one episode, Farr worked with Paul Waters, Laura Lomas, Nina Segal and Charlotte Hamblin in the writers room for season two, which is produced by Amazon Studios, NBCUniversal International Studios, Tomorrow Studios and Working Title Television.

“You have to learn how to do writers rooms. They’re quite tricky because, on one level, it’s inevitable I know more [about the show] than anyone else, but that’s not helpful at a certain point because I only know what I know,” Farr says.

Mireille Enos returns as Marissa, Hanna’s former foe from season one

“Suddenly you get someone else coming in and they find a different way into things that’s very exciting. There’s a scene Nina wrote in episode five that has a specificity around the kind of way two women talk to each other. I wouldn’t have done it that way. That was really exciting – I felt like it was taking the series somewhere.”

Admitting it was a risk to go without a traditional villain, Farr teases that there is a reason Utrax remains an organisation hidden in the shadows, with its motives and ambitions being revealed slowly.

“That’s why the Carmichael character is very important, because now that Marissa is no longer that adversarial character, you have to have something Hanna’s fighting, and that has to feel interesting and dangerous,” he says. “That was the thing I was most concerned about. How do we personify the danger and the threat and that malicious force? Can we do it subtly? Can we do it through people not knowing what it is? That was definitely the biggest challenge.”

Filmed in Hampshire and London in England, Snowdonia in Wales, Paris and Dunkirk in France and Barcelona in Spain, season two was directed by Eva Husson, Ugla Hauksdóttir and Farr, who picked up the final two episodes, marking his first time directing the show.

“I very cunningly placed them in Barcelona, which is my favourite city, so I had to do it because it would be terribly unfair of someone else to be allowed to,” he jokes. “Eva did the first section that got us to The Meadows and Ugla did The Meadows, where these girls get trained. Then I got the most conventional section – it’s a proper thriller in episodes seven and eight, where there’s a threat to the whole operation that has to be dealt with. Hanna and Marissa are on one side, Sandy is on the other and Clara is in the middle. It’s still very character-based, but there is good narrative and there’s a strong thriller ending.”

The second season’s directors include Eva Husson (centre)

Coan, NBCUniversal International Studios’ senior VP of scripted programming, praises producers Laura Hastings-Smith and Callum Devrell-Cameron, whom he says were at the coalface of the production, charged with coordinating its numerous location shoots.

“It’s a little less of a road story this year than it was in season one, but part of a pan-European thriller is going to be discovering different places,” he says. “Some of the challenges I remember were around shooting in Wales, where we were in the woods in the beginning [doubling for Romania].

“The production dates happened to overlap with a festival that happens in Wales annually, but it moves from place to place and it’s only ever in the same place every 30 years. It so happened that, in this particular year, it was at the exact place where we were supposed to shoot, so we had to accommodate for that.”

Farr says the series will take viewers to “really emotional places” this season while still boasting the “wham bam” action scenes that made season one stand out – although the latter will also take on a more intimate element thanks to some impressive hand-to-hand fight sequences. “There’s also a much broader breadth of interesting characters,” he says. “The first season is really tight and aggressive. This has got different colours and, by the end, takes us to a very emotional place.”

Coan adds: “If you want to know a little bit more about the mythology of Utrax and what it is that’s going on, and to have a closer understanding of the origin of this story, you have to tune in. If you want to see Hanna kick more ass in a new and fun ways, it’s also worth tuning in for.”

tagged in: , , ,

Series to Watch: July 2020

DQ checks out the upcoming schedules to pick out 10 new dramas to watch this July, from a Japanese horror to an adaptation of Aldous Huxley’s dystopian novel Brave New World.

Ju-On: Origins
From: Japan
Original broadcaster: Netflix
Starring: Yoshiyoshi Arakawa, Yuina Kuroshima, Ririka, Koki Osamura, Seiko Iwaido, Kai Inowaki, Tei Ryushin, Yuya Matsuura, Kaho Tsuchimura, Tokio Emoto, Nobuko Sendo, Kana Kurashina
Air date: July 3
This six-part series marks Netflix Japan’s first ever horror. Ju-On: Origins focuses on the true events that inspired the legendary film franchise (remade in the US as The Grudge), the beginning of the curse and the terror that befalls those who come into contact with it.

Hanna (S2)
From: UK
Original broadcaster: Amazon Prime Video
Starring: Esmé Creed-Miles, Mireille Enos, Dermot Mulroney
Air date: July 3
Based on the 2011 film of the same name, Hanna centres on a young woman who develops unparalleled skills and training during her isolated upbringing. Following her discovery at the end of season one, Hanna now knows she is not alone: the Utrax programme has produced a whole contingent of highly trained teenagers whose development is about to reach the lethal ‘second phase.’

Little Voice
From: US
Original broadcaster: AppleTV+
Starring: Brittany O’Grady, Sean Teale, Colton Ryan, Shalini Bathina, Kevin Valdez, Phillip Johnson Richardson, Chuck Cooper
Air date: July 10
From executive producers JJ Abrams, Sara Bareilles and Jessie Nelson, Little Voice is described as a love letter to the diverse musicality of New York. It follows Bess King (O’Grady), a uniquely talented performer struggling to fulfil her dreams while navigating rejection, love and complicated family issues. The coming-of-age drama features original music by Grammy and Tony Award nominee Bareilles.

From: US
Original broadcaster: Starz
Starring: Brandee Evans, Nicco Annan, Shannon Thornton, Elarica Johnson
Air date: July 12
Adapted by showrunner Katori Hall from her own stage play, P-Valley transports viewers to the Mississippi Delta to tell the story of a little-strip-club-that-could and the big characters who come through its doors – the hopeful, the lost, the broken, the ballers, the beautiful and the damned. Trap music meets film noir in this lyrical and atmospheric series that asks what happens when small-town folk dream beyond the boundaries of the Piggly Wiggly and the pawnshop.

Brave New World
From: US
Original broadcaster: Peacock
Starring: Harry Lloyd, Jessica Brown Findlay, Alden Ehrenreich, Hannah John-Kamen, Kylie Bunbury, Sen Mitsuji, Demi Moore
Air date: July 15
Based on Aldous Huxley’s novel, Brave New World imagines a utopian society that has achieved peace and stability through the prohibition of monogamy, privacy, money, family, and history itself. As citizens of New London, Bernard Marx (Lloyd) and Lenina Crowne (Brown Findlay) embark on a vacation to the Savage Lands, where they become embroiled in a harrowing and violent rebellion. Rescued by John the Savage (Ehrenreich), they escape back to New London, where John’s arrival soon threatens to disrupt utopian harmony, leaving Bernard and Lenina to grapple with the repercussions.

From: US
Original broadcaster: Netflix
Starring: Katherine Langford, Devon Terrell, Gustaf Skarsgård, Daniel Sharman, Sebastian Armesto, Matt Stokoe, Lily Newmark, Shalom Brune-Franklin, Emily Coates, Billy Jenkins, Bella Dayne and Peter Mullan.
Air date: July 17
This reimagining of the Arthurian legend is based on book by executive producers Tom Wheeler (The Cape) and Frank Miller (Sin City), which tells the story through the eyes of Nimue (13 Reasons Why’s Langford, pictured top), a young woman with a mysterious gift who is destined to become the powerful (and tragic) Lady of the Lake. After her mother’s death, Nimue finds an unexpected partner in Arthur, a humble mercenary, in a quest to find Merlin and deliver an ancient sword.

The Alienist: Angel of Darkness
From: US
Original broadcaster: TNT
Starring: Daniel Brühl, Dakota Fanning, Luke Evans
Air date: July 19
Based on Caleb Carr’s novel, this follow-up to 2018’s The Alienist reunites ‘alienist’ Dr Laszlo Kreizler (Brühl), newspaper illustrator John Moore (Evans) and secretary-turned-detective Sara Howard (Fanning). Sara has now opened her own private detective agency and is leading the charge on a new case to find Ana Linares, the kidnapped infant daughter of the Spanish Consular. Their investigation leads them down a sinister path of murder and deceit, heading towards a dangerous and elusive killer.

From: Germany
Original broadcaster: ZDF
Starring: Emily Kusche, Wotan Wilke Möhring, Alexander Scheer, Roland Møller, Laura Tonke, Annika Kuhl, Adrian Grünewald, Urs Rechn, Marc Benjamin, Tim Bülow, Linda Stockfleth
Air date: July 23
From Christian Alvart, the creator of Netflix series Dogs of Berlin, this topical series mixes coming-of-age drama with pandemic thriller to tell the story of a group of islanders fighting, falling, loving and hating, all while being confronted with a fatal virus.

A Suitable Boy
From: UK
Original broadcaster: BBC
Starring: Ishaan Khatter, Tabu, Tanya Maniktala
Air date: July TBC
Andrew Davies (War & Peace) adapts Vikram Seth’s novel of the same name, telling the story of spirited university student Lata (Maniktala), who is growing up in North India in 1951 at the same time as the country is carving out its own identity as an independent nation. Lata’s mother is determined to find her a husband but, torn between family duty and the excitement of romance, Lata embarks on her own, epic journey of love and self-discovery.

Between Two Worlds
From: Australia
Original broadcaster: Seven Network
Starring: Phillip Quast, Hermione Norris, Sara Wiseman, Aaron Jeffrey, Tom Dalzell, Melanie Jarnson, Megan Hajjar
Air date: July TBC
Business tycoon Phillip Walford (Quast) enjoys a tempestuous marriage with wife Cate (Norris) in this melodrama. Through a twist of fate, their dark and murky relationship collides with the seemingly disconnected world of a widow and her children, leading to the exposure of destructive secrets in a series where nothing is as it seems.

tagged in: , , , , , , , ,

Relating to Hanna

Stars Esme Miles-Creed, Rhianne Barreto and Mireille Enos reflect on making Amazon Prime drama Hanna, based on the 2011 film of the same name.

Joe Wright’s 2011 film Hanna told the story of a young girl been raised in isolation and trained to become the perfect assassin. With ruthless agents on her trail, Hanna had to evade capture while striving to complete the mission set down by her father.

“It was a big fairytale, with big archetypes,” says David Farr, who wrote the film’s script. “Marissa [one of the agents] was the Wicked Witch of the West and Hanna was the Dorothy figure, heading her way through the strange landscape.”

What the movie didn’t do, says Farr, was address the coming-of-age journey he had originally envisioned. “It doesn’t want to, it’s a different movie,” the writer continues. “[Wright] didn’t end the movie in the way the screenplay ended it, and we had a very honest conversation about that, where Hanna really goes back to where she came from. So for me, there was literally unfinished business.”

Eight years later, Hanna has been reimagined as an eight-part television series for Amazon Prime Video, as the titular character goes on a journey across Europe, meeting new friends and enemies along the way.

“The series is very different and the balance we have between political thriller and psychological coming-of-age story is quite special,” Farr explains. “That’s what I held on to, and Sarah Adina Smith, as lead director of the first two episodes, really set that tone. It’s a very different tone in every way from the stridency of the movie. I feel we own our space.”

The series again follows Hanna, here played by Esme Creed-Miles after Saoirse Ronan brought her to life in the film, as she evades the relentless pursuit of off-book CIA agent Marissa.

Played by Mireille Enos, Marissa is described as an efficient and ruthless agent, while Joel Kinnaman (Altered Carbon) is Hanna’s father Erik, a hardened, intuitive and uncompromising soldier and mercenary who has raised his daughter in the remote forests of northern Poland for 15 years.

The series, which comes from Working Title Television and NBCUniversal International Studios, received its world premiere at Berlinale last month ahead of its launch on Amazon around the world today.

Hanna marks a breakthrough role for Creed-Miles, described by Farr as “miraculous” in her portrayal of a young girl searching for her identity in a series that juggles traditional thriller sequences and moments of contemplation.

“She allows that purity to sit in her but then suddenly she can explode into what you’d call conventional action,” says the writer, speaking at the series’ launch in Berlin. “But it comes from a space that is mysterious and interesting, rather than the action heroine ready to do her martial arts.

Esme Creed-Miles as the titular character in Hanna

“We’ve seen a lot of Hanna copies in the last five or six years and if I had a nervousness going back to it, it’s the fact there have been a lot of slightly more conventional strong females bashing the hell out of people. That’s not what we’re about. We’re about something that’s hopefully a lot more complex than that.”

Creed-Miles says she relished the chance to play Hanna as a character who knows nothing but isolation. “She’s a girl who’s grown up completely untouched by the male gaze, which is something that I feel I’m a product of as a young woman and something I found really difficult to navigate with my mental health,” she says. “It was a case of having an opportunity for 13 hours a day to be completely unabashed and completely raw.

“She’s ungendered. There’s such a conversation about gender at the moment and I think the concepts of gender are the most binding contracts that we have existing within our society. It’s so remarkable to play someone who provides us with a vicarious lens to the world we can see through, and also to experience the contrast between her and Marissa’s character and the other young women who I think give us a taste of what it’s like to be conditioned by your society.”

Along her journey, Hanna meets Sophie, who becomes the one person she can turn to when she arrives in the UK. Rhianne Barreto, who plays Sophie, draws an interesting parallel between her character, whom she likens to being raised in captivity, and Hanna, who was raised in the wild. “As we go on, I want Sophie to learn from Hanna and wear less make-up, be a bit more impulsive, follow her instinct, say what she wants and be less aware of the male gaze. That’s something you can learn from someone who hasn’t been  conditioned to be what men want them to be. It was just fun.”

Rhianna Barreto plays Sophie, who befriends Hanna in the UK

Barreto, who has previously appeared in British dramas Little Boy Blue and Strike Back, says she wanted to create a character she hadn’t seen before, “who my sisters would watch and go, ‘That’s me.’ I’m sweaty and grim, I swear, I’m funny, I eat food and I probably fart, and I’d never seen a girl like that. That’s what my teenage years were like. I wanted to make someone messy.

“I had so much fun with Sophie because you only really see that with male characters, if you think of The Goonies or Stranger Things. They’re all boys, but girls can be just as funny and just as gross. It was really fun to play.”

Creed-Miles says she had a “great working rapport” with Barreto on set. “It’s so great to work with actors where you can just react to what they’re doing. You don’t have to try very hard .I could do that with Rhianne because she’s very impulsive. She improvised everything, which was really annoying for me, actually, because where did the scripts go with my scenes with her? They went in the bin! I could just be Hanna in those moments and witness this freak of nature.”

Sophie proves to be more than just a friend to Hanna, with Creed-Miles noting her character’s reliance on Barreto’s. “She is so overwhelmed and is being bombarded with different stimuli and new experiences throughout the show – I think she learns everything from Sophie,” she says. “Sophie is her gateway to the modern world. It’s hard to be specific because Sophie is all-encompassing and she is changing a lot, but she provides a confidante and an opportunity for trust and friendship that Hanna’s never had.”

Mireille Enos as ‘ruthless and efficient’ agent Marissa

That friendship and trust is put to the test with Marissa tracking Hanna across Europe. But Enos believes her character is more than just an antagonist. “As the show goes on, because David’s writing is so layered and delicate, many things are revealed about Marissa. Of course, all of us are complex and have reasons to justify the things we do, the good or bad choices we make.”

Marissa has made a habit of concealing many of the dark secrets from her past, Enos adds, until Hanna resurfaces. “Marissa has a lot to fear but she’s also extremely capable. She’s a kind of animal being too, she’s just learned to dress really well. As the show continues, we see her moving back towards her animal self to deal with this situation.”

Hanna is a show with female characters at its core, but when it comes to other projects that put women front and centre, Creed-Miles believes there is a contradiction between the drive for greater diversity on screen and terms such as ‘the strong woman’ or ‘the complex woman.’

“As a woman, it’s slightly patronising,” she says. “It’s almost as though to assume masculine attributes makes us equal to the male or the male ideal. Actually, strength, violence, they’re brilliant in the service of thrill and story, but what this show does really well is it deals with violence in a way that provides us with moral recompense. In terms of character, Hanna is complex in a way that doesn’t patronise the female condition, because her vulnerability is what makes her very interesting as well.

The actor adds: “Hanna is a very vulnerable character and it’s important that when we have representations of women, [we create] empathy. When you see portrayals of homosexuality or whatever it is on screen and you can relate to that and you’re seeing things that are real to you, it’s like you’re less lonely in this world. Hanna is more relatable for young girls, apart from her physical stuff. It’s really important to celebrate the fact that she’s vulnerable, because so many girls really are.”

tagged in: , , , ,

On the run with Hanna

Eight years after the movie of the same name, Hanna reimagines the story of a young girl, raised in isolation by her mercenary father, who goes on the run from the agents attempting to take her down. DQ visits the set to see how this globe-trotting thriller came together for Amazon Prime Video.

In 2011, an all-star cast of Saoirse Ronan, Cate Blanchett and Eric Bana appeared in action-adventure thriller movie Hanna.With Ronan as the titular character, it centred on a girl raised in isolation by her father, who moulds her into the perfect assassin, leading her to be hunted down by a ruthless operative.

Eight years later, Hanna is returning to the screen. But rather than a blockbuster sequel or remake heading to cinemas, the story has been reimagined and expanded across eight hours of television as an original series for global streaming platform Amazon Prime Video, where it will launch on March 29.

Raised in total seclusion in remote Eastern European woodland, Hanna (played by newcomer Esme Creed-Miles) has spent all of her young life training to fight those who hunt her and her mercenary father, Erik Heller (Joel Kinnaman, Altered Carbon).

The series sees Hanna’s skills being put to the test when she and Erik are separated after being discovered by rogue CIA operative Marissa Wiegler (Mireille Enos, Good Omens) and her team of agents. Now Hanna has no choice but to embark on a perilous journey alone across Europe as she seeks to reunite with her father and evade the dangerous agents who target them, while also confronting the physical and emotional consequences of her isolated upbringing.

From the start, Hanna – which had its world premiere at Berlinale earlier this week – is pitched very much as an origin story, as well as a partial retread of the feature film. The first episode opens 15 years in the past as Erik is seen snatching a baby from a hospital, with Marissa leading the charge for his capture. The story then picks up with Hanna as a teenager.

Esme Creed-Miles won the lead role in Hanna after an audition process that saw 500 hopefuls

Naturally, the starting point for the project was the original film, which series creator and writer David Farr co-wrote with Seth Lochhead. But Farr admits he had never thought about adapting it for television until NBCUniversal International Studios (NBCUIS) executives Tom Coan and JoAnn Alfano approached him with the idea.

“It was a new thing then, this ‘television,’” he jokes. “But as soon as they said it, it was a great idea. The film didn’t end up covering something that was actually in the screenplay – and in my head – which was the whole idea of where Hanna had come from, who she was and what was behind her situation. In the end, the film was almost a fantasy about female revenge and empowerment of this young girl taking on this evil woman. It was hugely stylish, and Saoirse was amazing. But I could see a very different telling.”

As Farr explains, episode one charts a similar course to the film. But by episode two, Hanna enters fresh territory, and a whole new narrative is underway by the third instalment. “There’s an exploration of identity where you have a young woman who suddenly realises she doesn’t know who she is. You have this strong thriller narrative of people hunting her and trying to kill her, and this evokes the question of why – who am I and am I being told the truth? That can then evolve into an emotional and existential search for identity.”

The series also explores the emergence of a very odd nuclear family, comprising Hanna, Erik and Marissa, as they play out familiar family tensions inside a thriller where they all want to kill each other. “It’s that central idea of a girl trying to find out where her real family is, who she is, and that is a beautifully vulnerable and lovely story – and then you get an actress like Esme who is wonderful at playing vulnerability,” Farr notes. “It’s so captivating to watch someone genuinely not know who they are, someone who is lost. All teenagers are lost anyway. It reflects a universal experience, just in a very heightened way.”

While film remakes continue to be a big part of the television landscape, the Hanna movie presented the team at NBCUIS with an opportunity to take an existing property inside the Comcast-owned company’s vast library (the film was distributed by Comcast’s Focus Features) in a new direction. Notably, Coan felt that the fact the story takes place across multiple countries was reflective of the company itself, making him keen to push forward with the idea. Then when Farr came on board, “that’s when the project came alive,” Coan says. “It’s a great piece of IP, a wonderful concept, and then we got an amazing creator and visionary storyteller who was able to make it happen.”

Lead director Sarah Adina Smith (right) on location with Creed-Miles

Though the film was a wonderful starting point, “it wasn’t something we ever wanted to be entirely married to,” continues Coan, an executive producer on the series. “We’re not doing a strict remake of the film, we’re using it as inspiration. We’re using it as a foundation for telling our own story. IP is just an easy way to start the conversation.”

Farr and Coan are speaking to DQ in August during a break in filming as the production lands in the UK and enters its final fortnight. At this point, in scenes being filmed for episodes five and six, Hanna has broken free from her father’s grasp and made her way to England, where she is staying with Sophie (Rhianne Barreto), a friend she met in an earlier episode.

On this bright and sunny summer’s day, the crew has taken over a beautiful home in Bushey, on the outskirts of north-west London, which has been turned into Sophie’s home. Cameras, lights, monitors and dozens of rolls of cable fill the downstairs rooms while filming is taking place in the garden, where Sophie is discussing the mysterious Hanna with her friend Dan (Leo Flanagan).

In another scene filmed later on, Sophie is seemingly hesitant to let Hanna leave her house with a woman who claims she is Hanna’s mother, but the fact she is played by Enos suggests Marissa may have finally caught up with her target.

Farr says he wasn’t keen to remake the film as a series, or even write a sequel to the film, which can be “quite tricky.” But what did excite him was the opportunity to explore a new way of telling the story, with more time to dig into the characters and their backstories, though still confined within the idea of a girl coming out of a forest and not knowing who she is.

However, having adapted John le Carré novel The Night Manager for UK pubcaster the BBC and AMC in the US, the writer says reworking Hanna was “a very different experience.” He continues: “There’s way more invention in this. There was invention in The Night Manager – the second half was very different from the book – but somehow, because the characters were all there [for The Night Manager], this felt a lot more original.”

Joel Kinnaman (Altered Carbon) plays Hanna’s father

Coan describes Farr as a very fast writer, and while the latter concurs, he adds that there’s more to his process than just getting the words down. “I don’t write until I feel like I can write it really fast,” he explains. “For me, that’s the way to do it. I literally keep it in my head. I don’t tend to write down that many outlines. I hate writing beat sheets – to me they’re just deadening, awful things because once you’ve got them, you can’t get out of them, and then you’re just writing to them and it’s impossible. So what you have to have is enough in your head that you can feel it to the end. You have to know where the end is, otherwise you’re totally a mess, and that’s how you do it. And then I can write quite fast, which is really weird.”

The challenge, he says, is maintaining the tension that makes viewers watch to the end. And while Farr admits he “loathes” whodunnits, he also admires them for the way they keep viewers hooked until they discover the perpetrator of the crime. “I love thrillers because they have a little bit of that, there’s something we’re trying to find out, but the journey is an exploration of character as you do that, and that balance is the key,” he adds.

During writing, Farr held a weeklong story conference with Mika Watkins and Ingeborg Topsøe, where the story was broken and episode outlines were penned. Topsøe wrote episode five, while Watkins had also been in line to write scripts until she became showrunner of her own series, YouTube’s space horror Origin. That meant Farr ended up writing the other seven.

“One of the things we wanted to do, which we also did with directors and DOPs, was bring many more women into the world. So we had two female directors and we were going to have two female writers,” Farr says. “Once Mika had done the conference, it felt weird to bring someone else in, so in the end we decided to keep it simple.”

Overseen by lead director Sarah Adina Smith (Legion, Room 104), who helmed episodes one and two, others behind the camera include Anders Engström, Jon Jones and Amy Neil, who were able to inject their own style into their particular episodes owing to the fact they were largely filming in different locations from one another. And while Hanna the movie is heightened and even surreal in parts, the series is a more realistic and grounded thriller, according to producer Hugh Warren (Hard Sun, Thirteen). That in part is down to Smith, whose independent filmmaking background has helped shape the show’s style and tone.

Filming locations have included Morocco, Spain, Slovakia, Hungary and the UK, while Hungary also doubled for scenes set in Poland and Romania. Some small sets were built, including the cave that Hanna initially calls home, while one scene involved filming inside a lively souk in north Morocco. “That was quite hairy. We had to go guerrilla style to film,” Warren jokes.

Hanna has been filmed in locations all over Europe, as well as Morocco

“The story moves around. That would have been very difficult to do in the old world, and it’s still a challenge. It becomes a more complex machine and becomes about making maximum use of the budget, with decisions about production often made on that basis. One of the reasons we were in Budapest for so long is there are great tax breaks there. It’s great for us as there are areas that double for Berlin, Paris, Romania. We shot a lot of different countries in Budapest and the surrounding countryside.”

Thunderstorms in Hungary, heatwaves in Morocco and sub-zero temperatures in Slovakia meant filming conditions were rarely comfortable, while technical challenges included a hefty amount of stunt work. The script placed Creed-Miles in a number of action and fight sequences, requiring the young actor to complete a pre-shoot training programme to convincingly pull off Hanna’s moves. “She really wanted to do a lot herself,” Warren says of the show’s star. “There were days when I went to set and assumed it was the double doing these runs, and then saw it was Esme.”

As well as reuniting The Killing stars Enos and Kinnaman, the casting process saw more than 500 candidates audition for the lead role, including actors from the UK, Scandinavia and Germany. But once London-born Miles-Creed had stepped up, “there was no second choice,” says executive producer Andrew Woodhead, MD of Working Title Television, which is producing with NBCUIS. “She’s a star. She’s just got that thing.”

Coan recalls: “In the audition, we gave them two scenes to read and they got to choose the third scene. The third scene Esme chose was from the first episode, where Hanna is at the dining table with Erik and he’s drilling her on different languages. It’s not an easy scene, involving German, French and Russian, but she delivered it perfectly. Then she would go back into this entirely concocted accent she created on her own. She is this character, she’s able to fully embrace this character.”

Though Hanna’s growth and the thrilling chase led by the CIA to capture her are at the centre of the plot, themes of family run strong. It’s “not just a thriller, there’s a metaphor for family life and her coming of age,” says Warren. “I did a show called Thirteen [a BBC kidnap drama] and this reminded me of that in that she’s effectively being held captive all her life in the woods with no experience of the world. This follows that journey of her discovering the world and other people, finding herself as a teenager. So there’s a whole coming-of-age and family side you wouldn’t find in most thrillers.”

One point the executives repeat several times is the scope and breadth stories can now have on television, particularly with a partner like Amazon on board. While films may only present a snapshot of a particular issue, this can be expanded several times on the small screen.

Coan says that what makes Hanna work as a multi-territory production for a worldwide streaming service is that its story lends itself to such global ambitions. “Because the story moves between all these different places and lives in Europe, it isn’t one thing. It’s not a British show, an American show or a German show, it’s a global show,” he concludes.

“All those different points of view and ways of thinking were valid. It’s a global narrative produced in a global way. If you were trying to tell a specific story and had input from afar, it might not be as well received or there might be more conflict. But there was a wonderful synergy of everyone coming together.”

tagged in: ,

Hunting Hanna

Mireille Enos, Joel Kinnaman and Esme Creed-Miles star in Hanna, Amazon Prime Video’s original series based on the 2011 feature film of the same name. The show follows the journey of an extraordinary young girl, Hanna (Creed-Miles), as she evades the relentless pursuit of an off-book CIA agent and tries to unearth the truth behind who she is.

Kinnaman plays Hanna’s father Erik, described as a hardened, intuitive and uncompromising soldier and mercenary who has raised his daughter in the remote forests of Northern Poland for the last 15 years. Enos plays Marissa, an efficient and ruthless CIA agent hunting them down.

The series has its worldwide premiere this week at Berlinale’s Drama Series Days event.

In this DQTV interview, creator and writer David Farr recalls the conversation that kickstarted this television reimagining of Joe Wright’s 2011 film, which Farr co-wrote, and explains why the series will take viewers on an emotional journey as Hanna searches for the truth behind her own identity.

Lead director Sarah Adina Smith talks about why she was drawn to the characters in the series, her collaboration with Farr and her approach to building the world of Hanna, which was filmed across Hungary, Slovakia, Spain and the UK.

Hanna is produced by Working Title Television and NBCUniversal International Studios for Amazon Prime Video.

tagged in: , , , , ,