Tag Archives: Liar

Lying game

As British thriller Liar enters production on its second season, DQ hears how the creative team behind the Italian adaptation of the drama, Non Mentire, tailored their version of the show for a local audience.

For six weeks in autumn 2017, British viewers were hooked on ITV thriller Liar. The series became the network’s highest-rated new drama that year, pulling in an average audience of 8.3 million, while more than nine million tuned in for the finale.

The show follows teacher Laura Nielsen and doctor Andrew Earlham, who share a seemingly enjoyable evening together. The next morning, however, while Andrew is looking forward to seeing her again, Laura claims he raped her. As the series unfolded on ITV, audiences found themselves split over who was telling the truth and who was the titular liar.

The drama, starring Joanne Froggatt (Downton Abbey) and Ioan Gruffudd (Harrow), is now in production on its second season, with Cheat’s Katherine Kelly joining the cast. It has again been written by Harry and Jack Williams and produced by Two Brothers Pictures in partnership with SundanceTV in the US. All3Media International handles distribution.

Meanwhile, earlier this year, an Italian adaptation – Non Mentire – launched on Mediaset’s Canale 5. Adapted by Lisa Nur Sultan and directed by Gianluca Maria Tavarelli (Non Prendere Impegni Stasera), the series was relocated to Turin, with Greta Scarano starring as Laura Nardini and Alessandro Preziosi playing the accused, Andrea Molinari.

The remake came from Indigo Films, which is best known as a feature film producer but is starting to push into television series for the first time. “Channels have expressed interest in working with us,” says Indigo producer Carlotta Calori. “Mediaset wanted to work with us because cinema producers have great access to talent and can provide a different product. The idea of doing Liar came from them; they had seen the original and liked it and wanted to do it, so they asked us to adapt it. Luckily, they could get Gianluca – it’s our first time working with him – and Lisa did a great job adapting it.”

Having enjoyed the original series enormously, Nur Sultan says she had no intention of changing the plot. “However, I wanted to find ways of making it connect to the Italian audience as much as possible,” she adds. “The first job was with the dialogue, making it as local as possible to make it as authentic as possible, so I was very careful to rewrite the dialogue in that way.”

The writer also made some of the characters “more Italian.” A stay-at-home dad in the original works from home in Non Mentire, while Laura’s sister, who is cheating on her husband in Liar, is more focused on her family in the adaptation. “We also made the male protagonist a little bit more sure of himself,” she says.

Aspects of the Italian legal system were also included, while Nur Sultan says one of her favourite scenes – and one which isn’t in the original – introduced a new perspective. When Laura posts a message on social media that accuses Andrea of rape, the headteacher at the school where she works warns her to think about the consequences of her actions, including the implications for Andrea’s son, a student at the school.

Non Mentire stars Alessandro Preziosi and Greta Scarano

“It was important to include because a headmistress would never allow a Facebook post like that,” Nur Sultan notes. “We also felt a lot of the things the headmistress says had to be shown.”

Tavarelli watched the original series shortly after signing on to the project, but then did his best to cast it from his mind to ensure it didn’t affect his decisions during filming. “I didn’t want to copy the style; I wanted to start from the scripts and do my own work,” he explains. “It’s better not to see it. If you see it, you might be much more influenced by it.”

He adopted a ‘natural’ style of camerawork in an attempt to give the audience the viewpoint of a fly on a wall that follows the movements of the characters. “I’d just come from a lot of period pieces, so doing a contemporary piece was actually easier,” he says. “I tried to push the thriller aspects and the suspense so it was a relatively straightforward shoot.”

Non Mentire was produced in less than a year, from the start of writing the scripts in April 2018 to the show’s launch in February. Shooting took place in Turin and Rome across 11 weeks last summer.

Joanne Froggatt and Ioan Gruffudd are now filming season two of the original Liar

Despite the boom in original content on established channels and fledging streaming platforms, Calori believes there’s still a place for adaptations.

“It’s a bit like a book. Even though you’ve read the book, you will go and see the film,” she argues. “A lot of people won’t have seen the original series in Italy, but our version stands up in its own right. It’s for an Italian audience, we have Italian actors in it. There are four or five versions of The Great Gatsby and everyone knows how it will end.

“The original Liar wasn’t a big success here. Maybe if it had been a huge success, we would have thought twice about it. So far I think it has enough to stand up on its own. It’s a show in its own right.”

But while scripted formats might still be in demand, it’s original series like My Brilliant Friend, Suburra, Gomorrah and Inspector Montalbano that mean Italian drama itself is very much in vogue.

“It’s a bit like what happened in Scandinavia. It started out with mafia dramas but it’s not just about those shows anymore,” Calori adds. “Gianluca’s shows like Maltese and The Young Montalbano have travelled a lot abroad. Montalbano is a huge success. We’ve noticed we’re up there now; there’s a lot of interest from international companies to work with Italians. It’s a nice moment for Italian drama. The fact that a show like My Brilliant Friend was commissioned in the US has shown that if it’s a good story, it will travel.”

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Brothers in arms

Brothers Jack and Harry Williams started writing out sitcoms, separately, before they decided to join forces and then give scripted drama a try. The result was The Missing, a gripping thriller that propelled them to the top tier of British writing talent.

They have since followed up that series with One of Us, a second season of The Missing, reverse-narrative crime drama Rellik and emotional thriller Liar.

In this DQTV interview, the brothers discuss getting their big break and look at the challenges of breaking traditional story structures with both Rellik and Liar.

They also talk about the phenomenon of water-cooler television and how they balance writing and producing through their company, Two Brothers Pictures, which is owned by All3Media and was responsible for smash hit BBC comedy Fleabag.

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End game

The writers of The Missing turn the hunt for a serial killer on its head with a new drama that starts at the end and works backwards. DQ chats to Richard Dormer and Jodi Balfour about starring in mind-bending crime drama Rellik.

Since they burst on to the scene in 2014 with The Missing, Jack and Harry Williams have joined the ranks of the most sought-after writers in television.

The success of that series spawned a sequel two years later, while they were also behind crime drama One of Us and acclaimed comedy Fleabag. Forthcoming commissions for their Two Brothers Pictures label include conspiracy thriller White Dragon and The Widow.

But now the Williams brothers find themselves in the unique position of having two series debuting in the UK at exactly the same time. Liar, which begins on ITV at 21.00 on Monday, is an emotional six-part drama that explores the consequences of a meeting between a teacher (Joanne Froggatt) and a surgeon (Ioan Gruffudd).

In the same slot over on BBC1, meanwhile, Rellik looks to be a show that will tear up the detective genre and leave viewers on the edge of their seats as the Williams brothers tell the story of a serial killer in reverse. Eagle-eyed fans will have noted the title is the word ‘killer’ spelled backwards.

Drawing parallels to 2000 film Memento, the perpetrator is caught at the beginning of the series before the drama moves back in time across six episodes to the very beginning, where the crime and the killer are revealed.

At the centre of the story is damaged and disfigured detective Gabriel Markham, played by Richard Dormer, who becomes obsessed by the hunt for the killer who scarred him in an acid attack. Alongside Gabriel is his partner Elaine (Jodi Balfour), who is described as a bright and intense detective who is eager to please.

With a cast that also includes Rosalind Eleazar, Paterson Joseph, Paul Rhys, Michael Shaeffer and Lærke Winther, the series is produced by New Pictures and Two Brothers Pictures for BBC1 and US cablenet Cinemax in association with distributor All3Media International.

It’s a sunny May afternoon when DQ arrives at the production base for the series – a dimly lit multi-storey car park in Stratford, east London, a stone’s throw from the Olympic Park.

The series stars Richard Dormer as a detective disfigured in an acid attack

Two Metropolitan Police officers are standing beside their motorbikes, ready to escort the crew onto the adjacent dual carriageway that will serve as the setting for a car chase. Nearby, a mint-green Nissan Bluebird is hooked up to the back of a truck as two cameramen settle in for the ride.

“It’s very original; it’s a completely original way of storytelling,” says Dormer, fresh from the daily chore of having his facial prosthetics removed. “We start almost at the end and work our way backwards to find out how all these characters came to be the way they’re presented at the beginning of the viewing experience. So it’s like a puzzle that comes together.

“There are so many red herrings, so many clues left throughout, but you’ve got to go backwards through it. That’s also very hard to do as an actor because we’re not shooting it in order, we’re almost shooting backwards and you’ve got to imagine what you’re feeling at the beginning, or is it the end? I’m confused – but it’s very interesting.”

Dormer describes his character as “not a typical cop,” and as someone who is very driven, intense and emotionally explosive. And from the beginning – which is actually the end – the hunt for the killer is a personal obsession for Gabriel. Viewers will see the acid attack play out midway through the series.

“He’s so driven to catch the person who did this that he comes back to work. He’s not psychologically, emotionally or physically prepared to do that, but he does it anyway,” Dormer says about Gabriel’s life-changing injuries. “That’s why the drama is so good, because you’re watching somebody unravel. He’s a pretty unpredictable, scary guy. He’s scary because of his absolute intense conviction. He’ll do anything and break any rule to get this guy who’s done this to him.”

Jodi Balfour stars alongside Dormer as police officer Elaine

Actors often say the toughest roles to play are those that are most similar to their real lives. Dormer agrees with that sentiment, describing Rellik as the hardest thing he has ever done, despite battling the undead in Game of Thrones and prehistoric wasps in the freezing environs of Fortitude.

“The weird thing with this person, I’ve discovered, is that I’m almost playing myself but in an altered reality, which is very interesting,” the Northern Irish actor explains. “It’s very strange. As soon as I hear my accent – I’m speaking in my own accent – I’m a different person but I’m not. Obviously I’m not a cop, but what if 20 years ago instead of coming to London to become an actor, I came over to become a cop? That’s how close it is to me.

“The one thing I’ve always done with every character I’ve ever played is I’ve crawled into somebody else, I’ve become this other thing, which is really liberating because then you have no fear of showing ugliness because you’re a different person. But if you’re playing yourself, it’s a lot rawer and can be very truthful, and that’s pretty scary. But that’s what it’s all about. It’s a scary story.”

It’s proven to be a particularly challenging role for Dormer, who admits he has struggled to switch off after a hard day’s filming and has found listening to classical music with a glass of red wine in hand helps him to unwind.

Peep Show and The Leftovers actor Paterson Joseph is also among the cast

“Otherwise,” he says, “your head is buzzing with all the emotions and thoughts and fears you’ve been feeling all day. If it feels very real, it’s done something to your psyche. It’s invaded some part of you and shaken things up, so it’s important to recognise what those things might be and put them to bed and remind yourself they’re not your problems.”

Sharing the screen with Gabriel is his police partner Elaine, who “rocks his world,” Dormer says. “She’s a very mysterious, exciting woman and he is attracted to her. He’s married, it’s very complicated!” he adds.

Playing Elaine is South African-born Jodi Balfour, who starred in Canadian drama Bomb Girls and US series Quarry before landing her part in Rellik. She will also be seen on screen later this year as Jackie Kennedy in season two of Netflix’s royal biopic The Crown.

Describing the appeal of starring in the series, Balfour explains: “So often what draws you to acting is those great two-hander scenes where you get to have a really in-depth conversation with someone. But in this show, any time that’s happening, the characters are usually playing against what they really want or they’re concealing what they’re thinking, so that’s been really fun.

“The other thing I wanted to do, which I hardly ever get to do, is just to play someone who’s quite tormented as a human being, and [Elaine’s] whole life has been pretty dark and difficult. I hardly ever get to play those kinds of roles, so that was really exciting.”

Balfour says she has also found it difficult to switch off after filming, so much so that she set herself boundaries during the shoot. “The most boring and laughable of which is I don’t really work at night, on the script or anything,” she reveals. “Obviously we work at night but when I was prepping and running lines, I didn’t work at night. Any time close to bed it really has been affecting my dreams and my sleep and all sorts of stuff. I have a completely separate life to this character and really work at maintaining that.”

Was she surprised when she discovered who the killer was? “I was pretty shocked,” the actor admits, adding: “I think everyone was. No one knew who the killer was for the longest time. Then slowly as people started finding out, it was really funny to see everyone’s reactions. For all of us who are on the inside of it all and knew all the dynamics, it was quite a shock so hopefully the audience will be even more surprised.”


Made up

While Richard Dormer points to the similarities between himself and his character in Rellik, one thing that certainly sets them apart is the horrific injuries Gabriel suffers from an acid attack.

The hugely disfiguring scars his character bears give him a route into his performance, but they also meant the actor could look forward to spending two hours every morning having the silicon prosthetics attached to one side of his face. He then spent another 30 minutes each evening having them removed.

Heading a seven-strong make-up team was make-up designer Pippa Woods, who began work three months before the show started production.

“I started researching actual acid burns, which is the most horrific kind of research you’ll ever have to do,” she tells DQ on the set of the series. “We got Richard from about three or four weeks before the actual shoot started so we could only get the ball rolling from then. So we were gathering images of things we liked and talking to the directors and producers to find out how they wanted it to look as well.

“When we got Richard, we sent him to get a life cast from [make-up effects expert] Kristyan Mallet, who’s been making prosthetics for Gabriel and Christine [played by Rosalind Eleazar]. Christian took the designs and sculpted bits and pieces, and those images go backwards and forward between all the different companies and directors and execs, and you try and piece it all together.

“We bought the moulds from Kristyan and we’ve got two full-time prosthetics artists: one who does make-up with me and one who’s always running the pieces in the workshop and painting them up and getting other bits ready for other things.

“Gabriel’s got a few different stages of his make-up. His main one that you see was sculpted with all the big moulds, and then there are different stages where he’s got a recovery mask on, which stops the face from stretching, so it stops a lot of the scarring. We made a few separate pieces that go into his hair and down his neck. Everything under the mask is just colour, just to stop pieces from sticking to the skin, and it cuts down the time a lot. It’s been ongoing because you keep tweaking things. Even now we’re still changing little bits.”

New prosthetics had to be created each day of shooting, with a dedicated ‘prosthetics bus’ on set to handle the different pieces as they moved different stages of construction.

“In the bus at the moment, there’s 10 pieces in a row all at different stages of being painted,” Woods notes. “So they have to be painted exactly the same, and then we just have to try to stick them on in the same place every day. We worked out [Dormer] has had 60 days in full prosthetics.”

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Williams brothers plot deceitful drama

The Williams brothers
The Williams brothers’ Liars is coming to ITV

Harry and Jack Williams burst onto the international drama scene in 2014 with The Missing, a compelling crime drama for the BBC in the UK. So successful was the show that the BBC ordered a second season of what has morphed into an anthology scripted series.

Now, the Williams brothers have been commissioned to write a series for UK commercial broadcaster ITV via their indie company Two Brothers Pictures.

The new six-part drama is called Liar and will explore the consequences of deceit. Starring Joanne Froggatt and Ioan Gruffudd, it tells the story of a teacher and a surgeon who start seeing each other, neither realising the consequences that their meeting will have for each other or their families.

Commenting on the show, ITV head of drama Polly Hill said Jack and Harry Williams “are brilliant storytellers who have written a gripping thriller that doesn’t shy away from exploring a powerful subject. I’m thrilled we’ve commissioned Liar for ITV.”

The Missing saw premium pay TV network Starz come on board as US partner, so it’s no real surprise to see that Liar has also managed to secure a US partner in the shape of AMC sister channel SundanceTV.

Das Boot is being adapted as a television series
Das Boot is being adapted as a television series

Sundance has previously come on board high-profile European dramas such as The Honourable Woman and The Last Panthers.

Joel Stillerman, president of original programming and development for AMC and SundanceTV, said: “Liar is that rare combination of a thoughtful and emotional exploration of the human condition, and a page-turner. The Williams brothers have created something relevant and compelling – attributes our audience respects and embraces.”

As for the brothers, they said: “This story deals with highly emotional and important subject matter, exploring gender politics through the lens of a character-driven emotional thriller. We couldn’t be happier with the calibre of the team working on this.”

All3Media International, which handled distribution on The Missing, did the SundanceTV deal and is handling TV sales on Liar.

Another high-profile US/European partnership to hit the headlines this week is Das Boot, a TV drama that will be a sequel to the classic 1981 movie (itself based on a 1973 novel).

Previously announced by Germany’s Bavaria Fernsehproduktion, the show has now added Sonar Entertainment as global distributor. The only territories Sonar will not manage are Germany, Austria, the UK, Ireland and Italy, since these have already been secured by pay-TV broadcaster Sky (a coproducer on the production).

The Heart Goes Last
Rights to The Heart Goes Last have been picked up by MGM Television

The eight-part, €25m (US$28m) series will be set in 1942 and will focus on Second World War submarine warfare, primarily from the point of view of the Germans.

David Ellender, president of global distribution and coproductions at Sonar, said: “This project reflects Sonar’s ongoing strategic commitment to pursue fully integrated creative and commercial collaborations with top tier global partners to develop and distribute high-end content. Das Boot is a property with broad-based appeal to networks and broadcasters worldwide and will play exceptionally well.”

Outside these two projects, it has been a busy and varied week in terms of scripted series development. US studio MGM Television, for example, has announced that it is extending its relationship with Canadian author Margaret Atwood by securing TV rights to her novel The Heart Goes Last. The book, published last year, tells the story of a young couple who have been hit by job losses and bankruptcy in the midst of a nationwide economic collapse.

MGM and Atwood have already worked together on a TV adaptation of the author’s classic novel The Handmaid’s Tale, which is set to launch on Hulu next year.

This show will also be part of MGM’s Mipcom line-up later this month, alongside new TV adaptations of classic movies Get Shorty and Three Days of the Condor. These join MGM’s ongoing movie-to-TV franchises Fargo and Vikings.

Alfred Hitchcock
Alfred Hitchcock’s works will be reimagined in Welcome to Hitchcock

Another interesting project to break cover this week is Welcome to Hitchcock, a new anthology series from Universal Cable Productions (UCP) that will reimagine Alfred Hitchcock classics.

The show was made possible following a deal between UCP and rights holder Alfred Hitchcock Estate. “Long after his death, Alfred Hitchcock continues to be one of the most celebrated directors and visionaries in the world, a master manipulator of the macabre,” said Dawn Olmstead, executive VP of development at UCP. “We’re honoured that The Hitchcock Estate has put its trust in our studio to pay homage to his work.”

Meanwhile, The scramble for rebootable franchises looks like it will also result in a new version of iconic TV series Dynasty. US network The CW has reportedly asked Gossip Girl creators Josh Schwartz and Stephanie Savage to breathe life back into the franchise.

The original series aired on ABC from 1981 to 1989 and was a hit for the network. There’s no guarantee the new version will catch fire, however. TNT’s recent reboot of fellow classic US glamour soap Dallas only managed three seasons before it was taken off air.

Another interesting link-up this week sees The Weinstein Company join forces with rapper Shawn ‘Jay-Z’ Carter to produce TV and film projects. Jay-Z has already been involved in films including the 2014 Annie remake and Baz Luhrmann’s The Great Gatsby, while DQ also recently reported that he is involved in an HBO project centred on the US civil rights movement.

Dynasty
Dynasty is set to be reborn on The CW

Outside the US, DQ sister publication C21 reports that South African producer Ants Multimedia is developing a Zulu drama based on a 1986 novel by the late Kenneth Bhengu. The novel tells the story of a Zulu man who is sent to woo a princess on behalf of his king, but decides to court her for himself and so faces the wrath of the ruler. Bhengu was a prolific Zulu-language writer who published 18 novels and novellas.

This week also saw New Zealand pubcaster TVNZ unveil a broad-based slate of shows for 2017. On the drama front, it highlighted Screentime NZ’s five-part drama Dear Murderer, which stars Mark Mitchinson in a saga based on colourful, larger-than-life barrister Mike Bungay. Among TVNZ’s acquisitions for next year are dramas Victoria, Cold Feet and One of Us from the UK. US imports include Time After Time and 24: Legacy.

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