Tag Archives: Ilana Frank

All in The Detail

Angela Griffin and Shenae Grimes-Beech team up to star in Canadian detective drama The Detail. They tell DQ about playing cops and the chance to join a female-led production.

The Detail could not be more timely. As the fallout from Hollywood’s sexual harassment scandal continues, alongside the #MeToo and Time’s Up campaigns and the row over gender pay inequality, this Canadian crime series stands apart as a female-led production.

Starring Angela Griffin, Shenae Grimes-Beech and Wendy Crewson, the story details the messy realities of cop life – both on and off the job – for detectives who work tirelessly to solve cases while navigating the complicated demands of their personal lives.

Behind the camera, female writers, directors, producers and consultants drive the series, which is described as depicting topical stories through a distinctly and unapologetically female lens. Key personnel include executive producer and co-showrunner Ley Lukins, who also developed the series; executive producers Ilana Frank, Linda Pope, Sally Wainwright, Nicola Shindler and Jocelyn Hamilton; co-executive producer Sonia Hosko; consulting producer Kathy Avrich Johnson; and writers Naledi Jackson, Sandra Chwialkowska, Katrina Saville and Sarah Goodman. Directors on the series, produced by ICF Films and distributed by Entertainment One, include Jordan Canning and Sara St Onge.

Other creative talent includes co-showrunner Adam Pettle and co-executive producer director Gregory Smith, writers Graeme Stewart, Joe Bernice and Matt Doyle, and directors Kelly Makin, Grant Harvey, John Fawcett and James Genn.

Shenae Grimes-Beech (left) and Angela Griffin in The Detail, which is led by women in front of and behind the camera

When DQ sits down with Griffin and Grimes-Beech, it is seven months since filming wrapped on the eight-part series, which launches on Canada’s CTV on March 25 and will air on ION TV in the US. But Griffin explicitly remembers her excitement at the first read-through for the show.

“It felt like the start of something really special,” she says. “There was such a good vibe about the whole job, which stayed for the entire job. There was such a good energy about it. It’s exciting being in a room full of women, I’ve got to say. Being sat around a table where I’m not the girlfriend or the wife was super cool. And then you’ve got all these great female directors and producers.

“I think it’s amazing but I also think, ‘Yes, it should be.’ I almost don’t want to big it up too much because that should just be the norm, but I’m really proud to be part of the show and part of something that is getting it right.”

Grimes-Beech picks up: “That’s one of the things I think we all loved about the show so much. It’s never, like, the female boss. It’s never something that is punctuated. It just ‘is,’ because why the fuck wouldn’t it be? Why shouldn’t women be treated as complete equals? It’s a laughable concept to think that’s not a reality for a lot of people.”

Griffin, best known for her long-running role on UK soap Coronation Street, plays Detective Stevie Hall, an experienced interrogator dealing with a thorny family life. Grimes-Beech, meanwhile, is Detective Jacqueline ‘Jack’ Cooper, a street-smart rookie with a personal life that threatens to eclipse her day job.

The Detail will debut on Canada’s CTV later this month

That work-life balance is a key element of the series, which sees procedural crime-of-the-week storylines play out against the backdrop of the detectives’ individual family lives and examines how the cases they face impact their home life.

It’s what makes The Detail stand out for Griffin, who says she wants to see characters on screen juggle the daily demands she faces in her own life. “And I actually really like it when people don’t handle it, because it is impossible,” she admits. “I thoroughly enjoy watching imperfect lives because it makes me feel better about my own. It makes me feel like I’m not a complete failure. Certainly for Stevie, she doesn’t get it right all the time when it comes to that balance. Going forward, I’d like to see her struggle more with it, because sometimes she does manage to pull it out of the bag. I’d like to up that ante a bit more.”

Grimes-Beech, meanwhile, prefers the crime element of the series, which she says she finds fascinating. “I don’t often watch dramas that are strictly about people’s personal lives but when I watched our preview back, I enjoyed the personal stuff because it really gives you something to fall in love with your character for. People are going to fall in love with the characters as well and that will keep them hooked.”

That’s not to say that the police element wasn’t important too. “I loved it,” Grimes-Beech says about the opportunity to play a cop. “One of my favourite moments was where we were busting into a trailer and we had our army dude on set with us and he was walking us through how to do it properly. It was so cool, it makes you feel so official.”

For Griffin, the opportunity was amped up by the chance to have a gun, something British crime dramas notably lack in comparison to their North American counterparts.

UK viewers will recognise British actor Griffin from such shows as Coronation Street and Lewis

“I have wanted to be a cop with a gun for ever,” the actor says, noting that the only props she was allowed as DS Lizzy Mannox in ITV drama Lewis were a notepad and pencil. “As an actor, it doesn’t get much better for me. I’ve got personal stuff, I get to cry in a corner, I get to shoot people, I get to shout at people, I get to be a mum. Some people don’t want to do that; for me as an actor, it’s everything I have ever wanted.”

That wasn’t the only difference on set for Griffin, who is used to a vastly different production schedule on British shows such as Brief Encounters and Ordinary Lies. “It’s bizarre that two countries that speak the same language, that have similar-sized industries, could work in such different ways,” she muses. “The unionisation of the industry in North America as a whole makes it massively different. So certain people can’t do other jobs or double up on things – even the drivers have to be from the drivers’ union. You can’t just nip in a car with an AD [assistant director]. And they have hair and make-up – two people. In the UK, the make-up does the hair and that’s just really normal. It differs on so many different levels but I like both ways of working.”

In contrast, it was a much shorter shoot than usual for Grimes-Beech, who is more used to the year-long effort needed to produce a 22-episode season of a US network drama, such as The CW’s 90210. After five years on that show, and a five-year stint before that on DeGrassi, she’s since mixed things up with a range of feature and TV films. But with the small screen stronger than ever, the actor is happy to return to a potentially long-running series that affords her some security and the chance to pick up other projects on the side.

“While there’s no stability for an actor, I feel like a TV show is as close as it gets and I have so much appreciation and gratitude for a job like this that I didn’t have when I was young,” she says. “When you fall in love with a character and a show as much as I have with this one, you wish it will run forever. That’s not often the case.

Shenae Grimes-Beech starred in The CW’s 90210 for five years

“Back in the day, like five years ago, we all wanted to break out and do movies so badly that an Oscar was the ultimate dream. Now you’ve got Oscar winners on TV shows all the time – look at the cast of Big Little Lies. Are you kidding me! It’s mind-boggling and that’s not something anybody in the industry would have said would happen five years ago. With film, unless it’s a Marvel movie or whatever, no one’s making any money. Those are passion projects and TV allows you to fulfil those passions on the side without having to worry. It’s a different climate in the industry.”

For Griffin, it’s not lost on her that she has had to cross the Atlantic to find a leading role, following in the footsteps of other black British talent such as Damson Idris, Idris Elba and Oscar nominee Daniel Kaluuya. “There’s some great stuff being made [in North America] and a lot of our British, particularly black British, talent is scoring really well out there,” she says, adding that there’s a simple way to ensure more black and ethnic minority talent can pick up leading roles. “Just see people for the parts,” the actor concludes. “It doesn’t have to have the word ‘black’ before it to have someone audition for it. You just open up your casting for everybody and you let everybody come.

“I love the fact I’m doing this show, I absolutely love it and it’s so exciting to be in Canada and I feel really lucky to have it. It would be quite nice to do a series in the UK where I can be one of the leads and see my children every single night and have the same depth, and I’m slightly sad I’ve had to go across the pond to do it.”

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By hook or Kreuk

A year after Beauty & the Beast came to an end, star Kristin Kreuk is heading back to the small screen in Canadian drama Burden of Truth. The actor tells DQ about the attraction of this small-town legal drama with social justice at its core – and her role in bringing the series to air.

It’s been 17 years since Julia Roberts’ Erin Brockovich valiantly fought for a small community in the face of big business, earning the actor an Oscar for her portrayal of the real-life heroine. And now a legal drama in production in Canada is drawing parallels with that story with its own young woman fighting for justice.

Burden of Truth stars Kristin Kreuk as Joanna Hanley, a big-city lawyer who returns to her home town to take on what she thinks is a simple case, only to find herself in a battle to protect a group of sick girls. Running alongside the legal story is a mystery involving Hanley, who left the town in unexplained circumstances as a teenager and begins searching for the truth upon her return.

“The dailies look gorgeous and I feel like we’re doing something different, taking a few risks,” says Kreuk, who is best known for long-running roles in Smallville and Beauty & the Beast. “I’m excited about that. For me, it’s new and also, for a Canadian show, it goes at a slower pace. It’s a serialised drama that looks at things that are pretty topical, from environmental issues through to abuses of power and abuse within families and communities, and also through female empowerment and success. So we’re really looking at topical issues in a slow, emotional way that I feel isn’t common in
legal dramas.”

The Vancouver native, who is also an executive producer on the 10-part show, first became involved in Burden of Truth when she was pitched several ideas for series by producer and distributor Entertainment One (eOne). Burden of Truth stood out, she says, because of the complexity of the lead character, whose seemingly idyllic life begins to unravel when she returns to her home town.

Burden of Truth stars Kristin Kreuk as lawyer Joanna Hanley

After finishing on The CW’s Beauty, which ran for four seasons until 2016, Kreuk sought a project where she could be involved as much in the storytelling process as she is on screen. So when eOne came to her with Burden of Truth, she was keen to be in the development room and to speak to the writers.

“While we were in the build up to the show, I was involved very creatively, more than anything else,” she says, speaking to DQ midway through production on location in Winnipeg. “A lot of my notes would focus on Joanna herself, so I’ve built this character. [Creator] Brad Simpson and I met very early on and just talked about who she was. We created her together instead of there being someone on the page already.”

Simpson, who is a lawyer, has based Burden of Truth on his own courtroom experiences, says Kreuk, while the actor looked to her friends in the legal business and high-profile Canadian criminal lawyer Marie Henein as the inspiration for Joanna.

“She’s interesting; she’s very much a legal person,” she says of her character. “She doesn’t see herself as a people person. So when confronted with emotional interaction, she really does struggle. It’s not like she has a facade, but I find her human. She’s struggling and you can see that struggle very clearly, even through her hiding in the job, the law and
her work.”

When it comes to choosing her roles, Kreuk says her decision is often based on her reaction to a script, while Burden of Truth represents the first time she has proactively shaped her character from the very beginning of the creative process. It also marks a departure from the supernatural and superhero series for which she has become known.

The series launches on CBC in Canada next month

“I realise I play a lot of characters who have really complicated family histories and who really struggle with the relationship dynamics with their parents in some way, which offers a lot of juice for a character and for a series,” she admits. “But this show is by far the best opportunity I’ve had to explore that. This is not a sci-fi show, we’re not dealing with supernatural beings or creatures. The stakes are more present, pressing and realistic, which I think allows for a different exploration of character.”

That character is now set to join the swathe of strong females leading drama series in 2017, following in the footsteps of The Handmaid’s Tale, Big Little Lies, Doctor Foster and Feud.

“It’s the time of the woman; it’s been a long time coming,” the actor notes. “A lot of people want something other than the shows they’re being presented with. And as women, we want to see female stories and we just haven’t seen them. Simultaneously, opening up positions for women in producing, directing and writing allows for these stories to be told. The fact they’ve done so well and they’re dynamic and interesting has encouraged the creation of more.”

Joining Kreuk among the executive ranks is Ilana Frank, a prolific producer known for series such as Saving Hope and Rookie Blue. Burden of Truth is one of two new shows she is backing for Canadian broadcaster CBC, with pacey detective series The Detail also in production.

“I wasn’t all that interested in doing a legal procedural show but I liked the idea of a show that had the law as the basis for the premise,” Frank says. “I do very character-driven things mostly, or I try to, even if it has a procedural element. So that’s how I looked at this too. It’s about characters and place – the town and the countryside really play an important part.”

Once Kreuk and eOne began developing the series, Frank’s IFC Films came on board before CBC placed a series order based on Simpson’s pilot script and series outline. Eagle Vision also coproduces the show, which premieres on January 10.

“What appealed to me was the idea of it being an Erin Brockovich show, a woman with a mission,” Frank says. “I liked that juxtaposition of what she was and what she’s going to become. It was an interesting journey. I worked with Bradley and brought in Adam [Pettle, showrunner], who I’ve worked with for about 15 years. He and Bradley worked together on Rookie Blue so they knew each other quite well. Kristin was great and she was very much involved in the evolution of it.”

Burden of Truth is shot entirely on location, another first for Frank, who says she is delighted with the results despite admitting to being anxious over the location shoot. “I just love the look of the show and the feel of it,” she adds. “The first season of production [on any show] is always challenging. It’s a bit on the fly. You’re always trying to make adjustments to something because it’s not 100% in place, but the show is going along pretty well. I’m pretty happy with the production of it.”

It is Frank’s theatre background that fuels her attraction to character-building, with the aforementioned medical drama Saving Hope and cop series Rookie Blue more serialised in their approach than traditional procedurals.

“So for me, it’s about actors, character and development. That’s what I love,” she says, noting the importance of casting in any successful series. “Once you give that part to somebody, it takes on a life of its own. That’s really important and my work in the theatre has helped me a tremendous amount in terms of casting, because scripts and casting, that’s all there is. If you have good scripts and good casting, you can make a good show. There’s the formula.”

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