Tag Archives: Simon Lewis

Lifting the mask

London’s Royal Festival Hall hosted the most prestigious night of the year for British television as prizes were handed out to dramas including Peaky Blinders, Three Girls and The Handmaid’s Tale. DQ went behind the scenes at the Bafta Television Awards 2018.

Crowds were hanging over balconies, hoping to catch a glimpse of their favourite TV stars as dozens of plush cars lined up to drop off their A-list cargo at London’s Royal Festival Hall. The red carpet outside was a scene of organised chaos as guests made their way past photographers and fans cheering their name before they arrived inside the venue for this year’s Bafta Television Awards.

Inside the grand building, which sits on the city’s Southbank beside the River Thames, the atmosphere was one of relative calm as the auditorium’s seats slowly filled up ahead of the start of the show, this year presented by former Great British Bake-Off host Sue Perkins.

BBC comedy This Country and drama Three Girls, which was based on real events, each scooped two prizes, while Molly Windsor (Three Girls) and Sean Bean (Broken) scooped the gongs for leading actress and actor. In the best drama category, Peaky Blinders beat competition from Line of Duty, The Crown and The End of the F****** World, while US series The Handmaid’s Tale triumphed over scripted rivals Big Little Lies and Feud: Bette and Joan to be named best international drama.

After the winners were escorted off stage, DQ was on hand to hear some of their reactions.

A fifth season of Peaky Blinders is on the way

Drama Series: Peaky Blinders (Caryn Mandabach Productions, Tiger Aspect Productions, BBC2)
This was Peaky Blinders‘ first Bafta award for best drama since the period drama set in 1920s Birmingham debuted on BBC2 in 2013. Season four aired last year, with a fifth commissioned by BBC2.
Steven Knight, creator and writer: “I’m shocked. I think it took that long just for people to get the idea of what it’s all about. Some things do take time. I’m really pleased. I’m hoping that next year it will be [actors] Helen [McCrory], Paul [Anderson] and Cillian [Murphy]. They are the Peaky Blinders. My ambition was to make it a story of family between two wars. I’ve always wanted to end it with first air-raid siren in Birmingham in 1939 – three more seasons. Now we’re getting approached to do all kinds of things – ballet, musical, a movie would be great. I wouldn’t want to do it at the very end but maybe between two of the seasons.”
Caryn Mandabach, executive producer: “I’m gobsmacked. What Steve’s not saying is many people were saying, ‘It’s not for me, it’s too northern, it’s too violent.’ What people didn’t understand was what he was really writing about was the effect of violence on people and the importance of respect for the family. Now finally everyone’s catching up with an honest depiction of people everywhere after some giant thing like the First World War. I don’t know how he actually writes them, personally. I think he’s got writer fairies that visit occasionally.”

O-T Fagbenle in The Handmaid’s Tale

International: The Handmaid’s Tale (MGM, Channel 4)
After claiming victory at the Golden Globes and Emmys, Hulu’s adaptation of Margret Atwood’s dystopian novel – a timely and often challenging watch – was a sure thing to continue its award-winning run following its UK broadcast on Channel 4.
O-T Fagbenle, who plays Luke, Offred (Elisabeth Moss)’s husband before Gilead: “The source material, Margaret’s book, is just a phenomenal piece of literature. Also we live in scary times, changing times, with populist governments on the rise and a greater awareness of the way patriarchy affects women’s rights in the world.
“What’s been really interesting about it is how so many people from so many walks of life related to it. When it first came out, Donald Trump had just been elected and everyone related it to Trump. Then there was the great #MeToo movement and people related it to that. Also people around the world are relating to the different ways, large and small, that men have oppressed women.
“Elisabeth is the greatest actress I’ve ever had the chance to work with, in so many ways. She’s phenomenal and she carries such a load with her. The material is so challenging and she’s just charming and generous on set. You couldn’t wish to work with a better partner in a scene.”

Brían F O’Byrne as grieving father Steve Jones in Little Boy Blue

Supporting Actor: Brían F O’Byrne, Little Boy Blue (ITV Studios, ITV)
O’Byrne and Sinead Keenan starred as parents Steve and Melanie Jones in the four-part ITV series, which dramatises the real-life killing of 11-year-old Rhys Jones in Liverpool in 2007.
“Jeff [Pope]’s script is so good and Paul [Whittington]’s such a wonderful director, you know you’re going to be in safe hands but also worried they may have actually called the wrong guy – there must be a mistake. I was living in LA at the time and I had just decided to move back to Ireland after being over there for three decades. I hadn’t worked in the UK before and got a call to go to Liverpool. I didn’t have the fear of getting a job until I met Mel and Steve, and then there was the realisation I could really fuck this up really badly and it would be terrible. It’s too sensitive a material.
“You’re not really thinking about it from an acting point of view as much as you’re invited into [the Jones family’s] home, and I got to meet two people who are grieving a decade later and are processing something we could all have empathy with and identify with. It would be our horror that your child, just coming back from football practice, could be indiscriminately killed.
“This award is Sinead’s really. I got to witness an incredible performance take after take. Actresses are the ones who really have to go from 0-100 right now and it’s expected take after take. She was living in grief for those several months. It was a really tough job for her.
“The odd thing was going to work on a set like that because everybody thought of it as we’re not just making a shit TV show. If you go and work on something like that, everybody there had care for the piece. There was great care and attention taken because we all met [the family at the heart of the story] and we didn’t want to lessen the loss they had in any way.
“They obviously wanted their story told because of their love for Rhys. I know they were happy about how the show ended up. [The existence of the show means] Rhys’s memory is still out there. I think ultimately that’s what they wanted. They want to show their grief continues and the senseless act of his murder is not just nightly news thing, it goes on and it stays with them.

Three Girls told the true story of a sexual abuse scandal

Miniseries: Three Girls (BBC Drama Studios, Studio Lambert, BBC1)
The BBC three-parter retold the true stories of victims of grooming and sexual abuse in the English town of Rochdale between 2008 and 2012. The series also won writing, editing and directing prizes at the Bafta Television Craft Awards last month.
Nicole Taylor, writer: “The first thing I did was turn it down repeatedly because I was scared to do it. I thought I had good reasons for turning it down but actually I was just scared  – and what I was really doing was turning away from the girls because I didn’t want to look, like everyone else. They didn’t want it to be true. I didn’t want it to be true. I was scared of approaching it, and that was actually an appropriate place to start from. Once I went up to Rochdale and met the girls and their mums and dads, I was so stunned myself at the gap between the idea of Girl A and Girl B and Girl C and these anonymous people, and getting to know them was so enormous. I was so shocked by that; I thought, ‘Right, I’m definitely going to do this – I can’t not do this.’ I didn’t really do anything else for three years.”
Philippa Lowthorpe, director: “The really urgent thing for me as a director was to get inside those girls’ heads and see their experiences from their point of view, not on the outside, but to really try to understand from the inside what they might be experiencing and to be really truthful to their experience and honour their experience and to not walk away. It was very emotional. We had a brilliant casting director in Shaheen Baig and we chose very carefully girls not only for their talent, but also their maturity to be able to deal with this kind of subject matter.”
Simon Lewis, producer: “Before the programme could be broadcast, we showed it to [the real-life victims]. They came and watched it individually because we were obviously nervous and because we knew it would be emotional. One by one, sometimes with a family member or a friend, they all came in to watch. We were expecting them to say, ‘That’s not quite right,’ or ‘I didn’t go in that door’ or ‘I was never in that car,’ but actually the essence, the big stuff, they all said that’s how it was. When we showed it to them, there were a lot of tears. But there were a lot of tears all the way through making it.”
Susan Hogg, executive producer: “One of the girls said, which has really made me proud, that until she watched the programme, she didn’t realise she was a victim. Watching the programme, because we’d interviewed her and then put her character on the screen, she could see she was absolutely a victim, and that meant a huge amount to her. It’s not just about the three girls on screen, it’s about the thousands of others who have been abused and those trials keep coming up and more and more victims come to light. It’s for all them really that we made this programme, for them to be heard, because, for a long time, even when they went to the police, they weren’t being heard and weren’t being believed. Now we know that is changing. For the BBC to support a programme like this and for [director of content] Charlotte Moore to put her weight behind it and have the confidence to commission it is massive. With the way funding now works and we have a lot of money coming in from America and the SVoD channels, we’re doing a lot of coproductions, this really important domestic drama is very hard to fund, and the BBC absolutely does that. Long may that continue.”

Vanessa Kirby accepts her award for her performance in The Crown

Supporting Actress: Vanessa Kirby, The Crown (Left Bank Pictures, Netflix)
Kirby stars in the epic British royal drama as Princess Margaret, Queen Elizabeth II (Claire Foy)’s younger sister. The award marked the first major Bafta for Netflix, following craft prizes for photography & lighting and sound
“I just felt like the luckiest person in the world to play someone so colourful, vivid, brave and strong, so actually this is for Margaret, wherever she is.”

Aysha Rafaele on stage at the Baftas last night

Single Drama: Murdered for Being Different (BBC Studios Documentary Unit, BBC3)
This film, from the award-winning team behind Murdered by my Boyfriend, retold the brutal 2007 killing of 20-year-old Sophie Lancaster, who was kicked to death by a gang of teenagers. Her boyfriend Robert Maltby was also severely beaten and ended up in a coma. Both were targeted because they were goths.
Aysha Rafaele, the former creative director of BBC Studios Documentary Unit who is now setting up a drama hub within the organisation: “A big thank you to Robert Maltby and Sylvia Lancaster, Sophie’s mum, for their bravery and courage in allowing us to tell this devastating story. Sadly since Sophie’s death, hate crime in this country has continued to rise. It’s our duty and our privilege as filmmakers to not look away from the dark corners in our society.”

Daisy May Cooper writes and stars in This Country

Scripted Comedy: This Country (BBC Studios, BBC3)
Female Performance in a Comedy Programme: Daisy May Cooper, This Country
The BBC3 mockumentary, about two young people living in a small village in the Cotswolds, also earned its stars and co-creators (and siblings) writing accolades at the Bafta TV Craft Awards last month.
Charlie Cooper, writer and actor: “We had an idea in our head that we thought might be funny but we were never intelligent enough to articulate it. As soon as we met these guys [producers Tom George and Simon Mayhew-Archer], they knew immediately what we were on about and transformed what was a seed of an idea into something that’s good and funny. It’s amazing.”
Daisy May Cooper, writer and actor: “What we were worried about when the first season came out was that people might not be able to find it [on online network BBC3]. Now with a second season coming out, people are really talking about it and I get stopped a lot more, which is brilliant. I absolutely love it.”

Toby Jones clutches his award

Male Performance in a Comedy Programme: Toby Jones, Detectorists (Channel X North, Treasure Trove Productions, Lola Entertainment, BBC4)
The comedy series, written and directed by Mackenzie Crook, saw Crook and Jones play a pair of metal-detecting enthusiasts. It previously won the 2015 Bafta for scripted comedy. Jones won the award for its third and final season.
“I think it’s fantastic writing. It’s a strange thing in world of TV now that I was cycling through New Orleans making a film last October and these guys came out of a bar and just went, ‘Man we love the Detectorists.’ It’s so extraordinary that a show made in a village in Suffolk is big in America and Canada. It’s a testament to how Mackenzie’s created characters that are archetypal. It’s about friendships, maybe about a life a lot of people want, where they can go to the pub with their mates and they have time.
“Mackenzie and I have worked on the same things before but never worked in a scene together. Then we were in Muppets Most Wanted as a double act and he said to me, ‘I’ve written this thing with you in mind. You don’t have to do it. I know it’s a nightmare when people tell you they’ve written something for you but, if you don’t mind, I’ll email it to you. You probably won’t like it and you don’t want to do a comedy show, do you?’ He emailed it to me and it was just the most amazing dialogue. It’s not comedy in the sense of gags, it’s about humane characters. That’s what appealed to me.
“I always think the most glamorous thing about our job is the contrast. You get to move medium, you get to move where you’re working, the scale you’re working at and the people you’re working with. That always feels to me like the most glamorous thing you can possibly do. So to work on Jurassic World: Fallen Kingdom and then go and stay in a pub and make Detectorists, it just feels fantastic. Neither one is better. It’s just a huge contrast.
“Mackenzie was pretty clear that he didn’t want to say goodbye in a big way, but there’s a challenge in the show that you find treasure. You can’t keep finding treasure. It felt great that he’d found a third season because it felt like the second one, where we found treasure at the end, that was a good place to stop. Nut he said, ‘What if the treasure was up in the sky?’ So it actually feels good and appropriate to finish it. I really miss those actors because it was such a chilled-out job. You stroll to work in a field in the sunshine every day. The scripts are immaculate. It’s very rare you don’t have to change anything.”

Casualty first aired in 1986

Soap & Continuing Drama: Casualty (BBC Studios Continuing Drama, BBC1)
The long-running BBC drama follows the staff and patients at the fictional Holby City Hospital’s emergency department.
George Rainsford, who plays Ethan Hardy: “Casualty has been around for 30 years. It keeps challenging itself and keeps challenging the viewers, keeps producing big stories people can relate to, hopefully, and it keeps championing the NHS. I’m really speechless. I genuinely didn’t think we’d be here.”
Chelsea Halfpenny, who plays Alicia Munroe: “I think it shows authentically the realities of the NHS. The business, the lack of funding…  I get a lot of tweets and messages from nurses and doctors saying thank you for showing the struggles.”
Simon Harper, executive producer: “There isn’t particularly a gender pay gap on Casualty, I wouldn’t say. One thing that came to light in the [BBC] pay publication thing last summer was just how hard our artists work, and every single one of them deserves every single penny that they earn. I would agree in the industry wide there’s still a lot of work to be done but I think we can hold our heads high on that issue.”

Sean Bean collects the leading actor prize

Leading Actor: Sean Bean, Broken (LA Productions, BBC1)
Former Game of Thrones star Bean won the award for his portrayal of Father Michael Kerrigan, a Roman Catholic priest who tries to be a confidant, counsellor and confessor for a congregation struggling with its beliefs amid the challenges of daily life in contemporary Britain. The series was written by Jimmy McGovern.
“It kind of developed with Jimmy as an idea. I’ve worked with Jimmy before on a thing called Tracie’s Story, where I played a transvestite, so I knew it would be something unusual. It was kind of semi-autobiographical for Jimmy; it was based on his experiences but it stemmed from scratch really. There was no script, no story, it was just his ideas and he was very passionate about that. I got on board very early and said I’d love to work with him again and let’s see what you come up with. I wasn’t really taking a gamble because I love him – and whatever he comes up with, it’s going to be interesting. But it was very exciting for me. It was a nucleus that developed.
“We got the first episode and that was brilliant. It started off well and it was great to work with Anna [who played Christina Fitzsimmons], who was someone I’d wanted to work with for a long time. She was so perfect for the role, she was so fragile and vulnerable and yet a very strong woman, a woman with great self-belief but who has been battered around by her circumstances.
“I like looking at who the characters are, how they’re written and how they develop. That’s always been the case. When you read a script, if there’s detail that’s great but, in terms of characters, there are not a great deal of scripts that have characters that develop and we can relate to. There are quite a few one-dimensional characters you can play but you’re trying to supplement it with whatever you do to improve the character, whereas something like Broken, Game of Thrones or Lord of the Rings, the characters are there and you live up to their expectations. It’s up to you to reach that peak of characterisation. I’m just a bit more selective [now] and I like to know the directors and producers. Fortunately I’ve worked a few years and got to know quite a few people. I look forward to playing characters like Father Michael Kerrigan again.
“I worked as a producer on Broken. I’d like to spend some time looking at other things and maybe books I’ve read or ideas people have and become a producer. I wouldn’t say I’d like to direct, I can’t see myself doing that at the moment, but I’d like to be involved in the process of starting something from scratch and developing it and finding interesting characters to play. I don’t want to play something extreme. I think often the very simple stories as in Broken are the most powerful.”

Three Girls star Molly Windsor on stage

Leading Actress: Molly Windsor, Three Girls
Windsor plays Holly, a young girl new to Rochdale who is keen to make friends and fit in, but soon finds herself drawn into a world she cannot escape, despite her pleas for help.
“It’s surreal, absolutely bizarre. Philippa [Lowthorpe, director], Nicole [Taylor, writer] and Simon [Lewis, producer] were working on Three Girls for a long time before I came on board. They’d done so much research that they were my first port of call and they introduced me to Sara [Rowbotham, an NHS health worker] and Maggie [Oliver, a police officer who investigated the real case] and some of the real girls. Any questions or bits of research or bits of things I wanted to know, they were so great and kept us all in the loop and told us everything. The biggest challenge was the responsibility, the weight of knowing, because you want to do it right. If you look at it as a big mountain, that becomes a bit scary. So for me it was taking it scene by scene and taking it each day as it came and just committing to it – because if you look at it as a big project, that’s a big challenge.”

Hear from the winners of the Bafta Television Craft Awards 2018 here.

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Mummy’s the word

Guy Burt explores the discovery of the boy king’s tomb in four-parter Tutankhamun. DQ speaks to the writer and the show’s executive producers about retelling this famous story for a new audience.

As you might expect from its title, Tutankhamun is a historical series set in Egypt. But the four-part period piece might also be the unlikeliest buddy drama of the year.

Rather than the boy king himself, Guy Burt’s screenplay focuses on British archaeologist Howard Carter – the man who would become world famous with the discovery of the pharaoh’s tomb on November 4, 1922 – and his partnership with aristocratic benefactor Lord Carnarvon.

The story opens as the hot-headed Carter’s licence to dig is revoked by Cairo’s Antiquities Service. He then spends years ostracised, forced to sell ancient relics to buy food. But a chance meeting with Lord Carnarvon brings a change of fortunes and they begin an unlikely friendship that leads to the discovery of Tutankhamun’s tomb – against all odds and at great personal expense.

Max Irons and Sam Neill star as Carter and Carnarvon (pictured above left and right respectively) in the series, which is produced by Simon Lewis, directed by Peter Webber and executive produced by Francis Hopkinson and Catherine Oldfield for ITV Studios. ITV Studios Global Entertainment is distributing the show worldwide, with SBS in Australia having picked it up already.

Burt admits his inner eight-year-old quickly agreed to write the series when he was first sounded out about the project. “A lot of enthusiasm probably came through on the page because it is something I was obsessed with as a kid,” he says. “I think everybody knows the story a bit, and it’s a magical tale. It was a no-brainer.”

The writer, whose credits include The Bletchley Circle, The Borgias and Jekyll & Hyde, spent many hours researching Carter through the archaeologist’s notebooks and material from digs, as well as his personal archive at Oxford University’s Bodleian library and its centre of Egyptology, The Griffin Institute.

“As far as we could, we wanted to stay true to the history,” Burt explains. “The only significant piece of artistic licence is the portrayal of the romance between Carter and Lord Carnarvon’s daughter Evelyn, which is one of those frustrating bits of history that is hinted at but nobody quite comes out and boldly states it – or at least when they do, historians argue about whether it’s true.

“In my mind there is one letter in particular from Carnarvon to Carter that doesn’t really make sense unless there is some kind of love interest. So the tricky bit for us was just threading our way through the history, making sure we were as accurate as we could possibly be while at the same time telling a story that is gripping as a quest for both treasure and love.

“It’s a fascinating, weird story, full of all the things that writers dream about getting into their scripts – reversals of fortune and moments where you think everything is coming right at last, only to have the rocks pulled out from under your feet. Those are the sort of things you usually craft in the course of a narrative, but here they actually happened.”

Tutankhamun
Production challenges included the need for ‘scorpion wranglers’ on set

Burt says he had a vivid picture of the show during the writing process but admits he has learned to scale back the number of notes he includes in his scripts. “You don’t want to alienate your director by telling them their job,” he explains. “I used to write scripts that were pretty fastidious in terms of what I wanted the camera to do and it took me a while to realise you shouldn’t do that.

“But Tutankhamun is surprisingly close to what I had imagined. The set design nailed it completely. The thing you always have to deal with is the actors don’t tend to look like people you’ve got in your head. So that’s always a bit of a surprise but that’s true on every project. So I have twin Carters and twin Carnarvons – the guys who were with me when I was writing and those on screen. What we got in the end was really impressive.”

Unable to film in Egypt itself due to insurance reasons, the series settled in South Africa where almost all the interiors were built and, most importantly, The Valley of the Kings was recreated.

“This is a production built on the production design department,” admits Oldfield. “They did a fantastic job for us. We couldn’t send a camera to the valleys to get some establishing shots, so they recreated the Valley of the Kings in this abandoned valley on the Namibian border in searing heat. Everything had to be shipped up there – it’s eight hours drive from Cape Town – but we got most of the extras from Springbok, which is only an hour-and-a-half away. On one day of shooting, there was a cast and crew of 350 people out there in the middle of nowhere.”

From the start, Hopkinson says he was adamant Tutankhamun should not be a “pretty period drama” and was encouraged by director Webber’s ambition that viewers should feel the dust and dirt inside the tomb.

“When we talked to Peter, he wanted it to feel quite claustrophobic and hand-held in the tombs and then he wanted to show more scale outside,” he explains. “He was very keen to make it look like old photographs where the colours are slightly faded. Because he’s got a lot of experience in cinema, he gave it the scale and sweep you’ve got to have in a show like this. That’s why we wanted Peter to do it.”

Burt adds: “The valley shots among the workers [uncovering Tut’s tomb] are all done with handheld cameras; they’re quite unsteady and there’s a lot of dust. But the Cairo moments when you’re in the big, old, established buildings are all very steady and framed. There’s a clear pattern to how things are divided. [Webber] also had clever ideas for inside the tomb, never letting the camera lens look back past where the wall would have been. So although you’re flying walls out in order to get your crew in, there’s still that sense of claustrophobia because the lens never pulls out. It’s like you’re in there with them, and it was tremendously gratifying to see that level of precision and skill brought to it.”

samneillfaces

 

With a budget boosted by tax breaks and a drop in the value of the South African rand, Hopkinson says there was more than enough money to ensure Tutankhamun carried the production values now expected of television series.

“I remember the producer ringing me up and telling me that, for just one day of shooting, the designer had built two streets on an old borstal in the outskirts of Cape Town,” he recalls. “He said, ‘I’m just going to warn you we’re building two whole streets for a handful of scenes we’re shooting.’ I just asked if we could afford it and he said yes. It was amazing. This story had to be done with scale. People also expect that now from television – for something like Tutankhamun, you need the scale and production values that cost money. It looks fantastic.”

That’s not to say the production was without some unique challenges – namely a risk assessment that was 40 pages long and led to three ‘scorpion wranglers’ being on set. Amy Wren, who plays Evelyn, was even hospitalised for 24 hours after being bitten by a spider.

“It sounded awful,” Oldfield says of the set. “It’s got spitting cobras, mambas, snakes, spiders, scorpions that will kill you. Every morning when you get up you have to shake all your clothes and hit your shoes together before you do anything. You have to check under your pillow and throw the sheets back to make sure there are no snakes in the bed. They were finding them every day and then moving them to a valley elsewhere. And the heat – I’ve never experienced heat like it.”

Once the biggest news story in the world, the discovery of Tutankhamun’s tomb is a story that still has the power to captivate – but how does this new dramatisation hope to attract viewers? “Tutankhamun is a name that will immediately attract people,” says Hopkinson. “I’ve been surprised how many people suddenly admit they are obsessed with Tutankhamun. Our head lawyer, who doesn’t usually do compliance of scripts, said he’d like to do this one because he remembered going to the Tutankhamun exhibition at the British Museum in the 1970s. So there are lots of people who are fascinated by the story, and it also has immediate recognition internationally.”

Burt adds: “We’re hoping we can lure an audience in on the promise of treasure in the sand, but by the end of the first episode I hope they will be watching for Howard Carter and he keeps you going through it all.”

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