Tag Archives: Jamie Glazebrook

Bigger, badder, bolder

British gangster drama Peaky Blinders is back for a fourth season, with some new faces and enough action and tension to leave even the most placid viewer a nervous wreck. DQ hears from the cast and creative team about what to expect next from the BBC2 series.

Like a fine wine, Peaky Blinders is getting better with age. But that’s not just my view – it’s one shared by its creator, Steven Knight.

Steven Knight

Confident, self-assured and with its own unique swagger, Peaky returns to BBC2 in the UK this week running at full throttle, bypassing any gentle reintroduction to 1920s Birmingham and instead opening as the fates of the series’ heroes (or should that be villains?) are hanging in the balance, the executioner standing close by.

What follows is a spell-binding, bloody and savage hour of drama that sees Tommy, Aunt Polly, Arthur and the rest of the Shelby family estranged, apparently split with no sign of repair, until a new threat – one more determined and sophisticated than they have ever faced – looms large on the horizon. If they are to survive, they must put their differences aside and reunite.

It’s the start of what promises to be another mind-blowing season of an award-wining series that has only grown in critical and popular acclaim since its terrestrial debut in 2013. New fans are arriving every day by catching up with previous seasons on Netflix, with seven million reportedly watching the trailer for season four online.

“As it progresses, this phenomenon doesn’t seem to be running out of steam,” Knight says. “It seems to be getting faster and better and bigger in terms of audience and all that stuff. With the confidence of knowing the actors, the characters and the environment, it makes it a lot easier to be quite bold and confident. Each season gets better and I think this is by far the best.”

Part of that success is down to Knight’s writing, the production design, the music and the star-filled cast it is able to attract. This season sees ever-present Cillian Murphy (Tommy), Helen McCrory (Polly) and Paul Anderson (Arthur) joined by new faces including Adrien Brody (Luca Changretta) and Aidan Gillen (Aberama Gold), while Charlotte Riley (May Carleton) and Tom Hardy (Alfie Solomans) will return.

“It’s odd because we get incoming from the most amazing actors who want to be in it,” Knight reveals about the show, produced by Caryn Mandabach Productions and Tiger Aspect and distributed by Endemol Shine International. “It’s very tempting [to cast them all] but what we don’t want to do is turn it into this celebrity show. Most of them are American so it’s difficult to get them in, but with Adrien, he’s a brilliant actor and he was right for that role so it was good to get him in.”

Charlie Murphy (Happy Valley) also joins the cast as Jessie Eden, based on the real-life women’s rights campaigner of the same name.

“She has an amazing line to introduce the character,” Charlie Murphy says of Jessie’s first appearance, which takes place in the men’s toilet at Tommy’s factory. “It sums her up completely, being in that man’s world, being in the gents’ toilets, having to push forward and make a difference. She is an extraordinary woman.

Oscar winner Adrien Brody is among the additions to Peaky Blinders’ S4 cast

“It’s strange there is not a lot online to investigate [about her], but the stuff I found… you can imagine what her life was like back then. She brought 10,000 people out on strike for equal pay in her late 20s. That alone today is extraordinary, to have that voice and strength, but back then it would have been phenomenal. She’s a very brave and powerful person to play. That’s so much fun.”

Those sentiments are shared by fellow cast members Cillian Murphy and Anderson. “This part is a gift,” says the former of playing Tommy Shelby. “For any actor to be given a part like this with the excellent calibre of writing and then to be told you can play a character like that for five years, it’s an absolute total privilege. He is quite exhausting, he’s quite demanding. He is really not like me – the furthest away from my personality. But I love him and it’s a privilege.”

Anderson picks up: “Steven writes these interesting, great characters and I have a lot of fun playing Arthur even at his worst, his lowest. It is a lot of joy. It’s really good to do it for such a long time. It’s my first experience of playing a character with this much depth.”

Helming every episode of season four is Irish director David Caffrey, who is finally getting the chance to join Peaky Blinders after missing out on season two due to conflicting schedules. He describes the show as one that “punches above its weight,” owing to its big set pieces, thriller elements and the fact it’s a costume drama despite having a relatively modest budget compared with similar US series.

Cillian Murphy continues to lead the ensemble as Tommy Shelby

“Because of the size of the show, you’re standing on the shoulders of the giants that have come before you, all the creative time, directors and production designers,” he explains, adding that the brief coming into a returning series is “always to be bigger, badder, bolder but with the same amount of money.”

“So it’s a question of getting myself, the cameraman, the designers, everybody to just look at what’s in the script and try to build on what’s come before us,” he continues. “I feel quietly confident we’ve done that this season.”

With an established series now fully in its stride, one of the challenges facing a new director can be to lead a team that knows more about the show than they do. But Caffrey (Love/Hate) says he enjoyed learning from the cast and helping them to push their characters forward.

“When you’ve got stars like Paul, Helen and Cillian, they still come to you and are very open about what you want but, in a way, they’re custodians of their characters and how they behave and what situations they find themselves in,” he says. “I learn from them and then I try to give them notes on where we think characters are going. Like anything, when you have a short amount of time, they’ve got to bring their own gift to the party, which they do in abundance.”

Tom Hardy is back as Alfie Solomons

According to executive producer Jamie Glazebrook, every season of Peaky Blinders leans on a different genre. So while season one was a western, season two was a gangster movie and the third run drew parallels to a Hitchcockian drama. Back on the streets of the Small Heath slums in season four, which begins tomorrow, viewers can look forward to an action drama that also draws influences from 1952 feature film High Noon, in which an embattled sheriff must face a gang of killers alone.

“They’re under siege so they have to man up and actually get back into the driving seat and away from the country house world and back onto the streets to physically contend with quite a dangerous enemy,” says Glazebrook of the dilemma facing the Shelby family.

Filming took place in Manchester, Liverpool and Bradford, though the return to Small Heath meant the production team faced a dilemma of their own, as many of the locations used in season one have since been developed, forcing them to find alternatives for the location-based shoot.

“The scale of Steve’s writing against our budget and schedule has also been a challenge everyone’s risen to,” Glazebook notes. “We’ve also had to keep it fresh. We’ve seen a lot of shows set in the 1920s so, for example, costume designer Alison McCosh really went out there looking for 1920s dresses that hadn’t been seen before. She went to Rome and found dresses that almost needed to be put back together again because they were rotting away somewhere. Everyone’s really dedicated to making sure the show isn’t like anything else set in the 20s – it’s seen through a particular filter and it’s got that certain magic.”

Helen McCrory in season four of the gangster drama, which launches tomorrow

Speaking to DQ ahead of the season three premiere in May 2016, Knight admitted his first love would always be film. But have those feelings since changed, with the continued success of Peaky and another project, Taboo, heading into a second season?

“The world has changed,” he responds. “I got lucky to get in early with Peaky. Priorities in Hollywood now, everything is changing by the day. The television phenomenon is now of equal importance to writers more than anyone, because writers have the power in TV, whereas they don’t in film. I’ve just finished a film – that’s great, and I love the 90-minute or two-hour length as a piece of work – but there are certain ideas you want 24 hours for, and that’s what television is great for. At the moment, there is an equal weight to both. Part of it is screens. Twenty years ago when people were watching television on those little things, what was the point? Now everybody’s got their big screens, there’s something about the whole thing that’s better.”

Knight has written every episode of Peaky, admitting that the show is so personal, he could never hand it over to someone else. And having won a double commission for seasons four and five, the screenwriter found himself in the rare position of being able to pen the upcoming six new episodes knowing there was still more to come. However, that fifth season, which is likely to begin filming in late 2018 for a debut the following year, looks set to be its last, if the writer’s plans hold firm.

“I know what direction it’s going in and what it’s going to be about,” he reveals. “I’ve always had the same destination in mind. It will be sad to stop and, if five has the same momentum that four has got, or more, maybe you do carry on. But at the moment that’s the plan, to finish at the end of five.

“I know when I want to end it [with the first air raid siren in Birmingham at the start of the Second World War] but that doesn’t necessarily mean that season five will take place in or around that year. I’m thinking there is a way to resolve the story in a certain year and then fast-forward to where it’s going to be.”

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Inside Steven Knight’s critically acclaimed period drama Peaky Blinders

Peaky Blinders, the Steven Knight-scripted period crime drama, has had one of the best critical receptions of UK drama in recent years, also winning the Editor’s Choice award at the inaugural C21 International Drama Awards in November 2014. But what exactly does it take to create, and sustain, such a beautifully crafted drama? DQ talks to some of the key players behind the production.

Viewers of last November’s climactic season two finale of Peaky Blinders on BBC2 were treated – and boy was it a treat – to an hour-long illustration of just why the UK period crime drama has become one of the best-received UK series of recent years, and what The Guardian has called “Britain’s answer to Boardwalk Empire.”

The sixth and final episode of the drama’s second season saw its protagonist, 1920s Birmingham gangster Tommy Shelby (played by Cillian Murphy), faced with near-impossible decisions across his business, family and love life. A finale played out at the Epsom racecourse brought the show’s dramatic tension – love and hate, law and crime, loyalty and honour, right and wrong and, of course, life and death – to a brutal climax.

Tommy Shelby (Cillian Murphy, left) and Arthur Shelby (Paul Anderson)
Tommy Shelby (Cillian Murphy, left) and Arthur Shelby (Paul Anderson)

The derby day denouement of Peaky’s many tense arcs was, above all, the handiwork of its writer, Steven Knight. With screenplays Closed Circuit, Dirty Pretty Things and Eastern Promises to his name, Knight was already a drama giant. But he’s perhaps less known for being the UK creator of Who Wants to be a Millionaire? – an experience that no doubt honed his faculties for high drama.

For Peaky Blinders, Knight turned his attention to post-WWI Birmingham and the historical ‘Peaky Blinders’ street gang, so named for sewing razorblades into the peaks of their flat caps, which could then be used as weapons.

Peaky Blinders was created by Knight and coproduced by Caryn Mandabach and Tiger Aspect. Jamie Glazebrook, an executive producer working for Mandabach, says the show’s genesis was almost incidental.

“Five or six years ago we had a great meeting with Steve about a different project. He called a few weeks later to say he had an idea for something else – and told us about Peaky Blinders. We loved it straight away.”

Mandabach had built an enviable reputation in the US for groundbreaking comedy hits including The Cosby Show, Roseanne and latterly Nurse Jackie. The move to a dark UK drama like Peaky took Mandabach Productions outside of its sweet spot, and it needed a partner.

“Our background is in family comedies, but we wanted to cut our teeth on a big period drama with horses and guns and a cast of thousands,” Glazebrook recalls. “Very early on it seemed the best thing for the show was to hook up with Tiger Aspect. We have been proved right: they have been geniuses at taking a relatively small budget and making it look like something that could absolutely compete with US cable.

Frith Tiplady, executive producer and head of production at Tiger Aspect, explains: “Caryn Mandabach had the relationship with Steve Knight and got the commission. The BBC asked them to partner up with a UK production house. I like to think that Mandabach came to us because of our production expertise in delivering quality on screen – interpreting the writing to deliver the best show.

“We are definitely clear on our roles and really respect what the other brings to the party. I am sure Caryn agrees. Together we have made something really special. I think it’s been a brilliant partnership.”

Knight’s scripts define Peaky. “We are here because of Steve’s words,” says Glazebrook. Tiplady concurs: “We really see our job as being like the LAPD – to protect and serve. The strength is in working with Steve, realising his vision and protecting him as the writer.”

The show’s gothic texture is grounded by a deliberately cinematic look and feel rooted in the grime of 1920s post-war industrial Birmingham, which also has more than a nod towards Sergio Leone and Ridley Scott. That production design is led by TV period veteran Grant Montgomery.

Frith Tiplady
Frith Tiplady

“When I first read the first script I wanted to be part of it,” says Montgomery. “Giving it a very cinematic look from the get-go helps give it integrity,” he adds. “It goes for very much a cinematic quality of storytelling. That comes really from Steven’s scripts. When you read those, you think you have got to bring everything – cinematography, prod – so of course it becomes even more high end.

“It is also then moving from Birmingham to London – from industrial second city to first city – and you have to bring all of that to the table. So the journey has to become very clear visually.”

History and a rooting in actual events is one of the things that grounds the show. So how important was this in Montgomery’s work? “Initially the industrial world was dark black and the houses were black, so it was very important for me to get that right,” he says. “And the minute detail – if you notice in season one they are all using oil lamps, and then when they go to season two they have electricity and wealth – all those details that show the changing of the period and of their status.”

Of similar importance, says Montgomery, was the use of exteriors to take viewers out of the present and give a sense of reality in the past. The challenge of creating that experience was “huge, because you don’t have an art department budget. There isn’t a Hollywood budget to build a street,” he explains. “It takes a lot of money to do that and we don’t have it, so to try to convert locations and make them as big as possible was the ambition of the show right from the start.

“Every exterior was really hard fought for, with us thinking about how we were going to do it. Maybe we would only shoot half of a street. For example, in season one you had the whole street, while this year we only had half of it – but being sneaky with our angles made it seem like more than it was.”

Peaky is reported to have cost £1m an episode to make, but in fact that figure is an underestimate. “It was about £1.3m, £1.4m and probably season two was more like £1.4m, £1.5m,” Tiplady reveals. “But that’s not surprising. It’s exactly what a big period drama costs.”

So how did the funding come together for the show? “For series one we needed more money than is traditional in UK television,” she says. “The BBC supported it through the licence fee, and we had huge help from Endemol Worldwide Distribution, which placed a very good advance. EWD and Screen Yorkshire brought in match-funding, which together was almost a third of the budget.

“What’s interesting is that series one was done before the government’s tax break and series two was done after the tax break, so they have different funding models. The change went hand in hand with the creative ambition for series two, which was so much bigger that we needed more money.

“The difference between season one and season two is probably about £250,000 an episode. So it’s a huge amount of money, and the tax break went into a huge hole. It enabled us to deliver our vision. Without it we would have had to curtail Steve’s ambition, which is something we don’t want to do.

Tiplady says the real investment was that “we were in there for the long haul. It wasn’t about series one – for us it was always about getting series two, getting series three. Steve wanted to write a saga, and if you get into bed with that kind of extraordinary writing, they you need to have faith that you can deliver quality and potential for going forwards.”

Of course, the success of Peaky Blinders lies not just in its script, nor its look. The stellar performances of lead actors Murphy and Sam Neill, joined by Tom Hardy and Noah Taylor in season two, are also a big part of the show’s success.

For Tiplady, the production has been dependent on the goodwill of the lead performers. “We operate with no options for them so there is a definite love for the project,” she says. “We are punching above our weight.”

Jamie Glazebrook
Jamie Glazebrook

A haunting goth-punk soundtrack, curated by singer-songwriter PJ Harvey and Paul Hartnoll of electronic dance duo Orbital, lends a dark and unsettling texture to the show from the off. Not least with their choice of Nick Cave’s vengeful anthem Red Right Hand as Peaky’s theme tune. The White Stripes, Arctic Monkeys and Johnny Cash add to the dark-days soundtrack.

Tiplady says the show’s strong emphasis on pre-recorded artists presented its own challenges, not least because of the way the music industry itself is funded: “Music is extraordinarily expensive, very confusing and very complicated. I do think royalty-wise it needs a massive overhaul. The costs are such an important part of the process, but economics often force you down the composer route.

“When you are trying to do something creatively different like we are doing in Peaky, the only way we can do it is to get those artists involved at the production stage, which is fantastic and has worked extremely well – but that is very unusual and very hard.

“The music industry is finding other ways to explore things creatively. If the rights could actually shake up and release us then potentially we could see more shows like Peaky just being really rewarding for everybody. But I think the setup is so antiquated and I am not quite sure who it is looking after at the moment.”

With season three now confirmed (the producers announced it via Twitter in November), what are the challenges ahead? Glazebrook says: “I think we have a little bit more time. We were very tight in series two and, to an extent, Colm McCarthy was already directing when the final episode came in. So we were flying blind. Everyone who has seen that final episode will see it was pretty much all in new locations. That was hard, so we don’t want to put our director through it again.”

“We are going to have slightly longer to actually produce the show, so in essence that makes things 100 times more easy,” says Tiplady. “The driving force with Peaky is to keep pushing quality high and deliver an extraordinary viewing experience to the audience. Maintaining that is crucial to all of us, so that will be the challenge.”

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