Tag Archives: Two Brothers Pictures

Writing The Widow

Writer brothers Harry and Jack Williams discuss the origins of The Widow, the globetrotting ITV drama starring Kate Beckinsale in her first TV role in more than two decades.

As is par for the course for a Hollywood actress, much of the media attention around Kate Beckinsale focuses on her romantic relationships.

But in the Underworld star’s new TV drama – her first small-screen project in more than 20 years – it’s the absence of a partner that drives the action.

The Widow focuses on Beckinsale’s Georgia Wells, who has been living as a recluse in the Welsh countryside for three years since her husband Will’s death in a plane crash in the Democratic Republic of Congo.

Everything changes for Georgia when she spots a man with a remarkable resemblance to Will (Matt Le Nevez) in the background of a news report about the troubled African country. Convinced that, somehow, Will is still alive, she returns to DRC capital Kinshasa for the first time since the plane crash, embarking on a quest for truth that takes her down a dangerous and difficult path.

Harry (left) and Jack Williams

So begins the latest series from Harry and Jack Williams, the writing brothers behind acclaimed dramas such as The Missing (BBC1), Liar (ITV) and, most recently, Baptiste, a spin-off from The Missing. The show is produced by the writers’ prodco Two Brothers Pictures and distributed by All3Media International.

Making its UK debut on ITV last week after being released in its entirety on Amazon elsewhere in March, The Widow first began to take shape following conversations Harry had with his then girlfriend (now his fiancée), herself a widow. “She had actually written a blog about it, and being in that emotional place was something we’d been talking about – so naturally I ended up coming up with a TV drama with that at the heart of it,” he says wryly.

“We thought it was intriguing to start with a character who’s lost someone. And then, putting our mystery and thriller hats on, we thought, ‘What happens if you see that person again, and what does that do to you?’ It felt like there were a lot of stories there and a lot of ideas, which we were keen to embrace.”

The writers had hoped from the off that Beckinsale could be secured as their lead – something that must have seemed a tall order given it had been two decades since her last dabble with TV, in 1998 telemovie Alice Through the Looking Glass. Sam Donovan, a director on The Widow alongside Olly Blackburn, says: “She was nervous about doing eight hours. It’s a lot of work – four feature films back-to-back, essentially.

The Widow stars Kate Beckinsale, best known for her work in the Underworld movie franchise

“We had a lot of rehearsals, we worked with all the other actors together, we did big page-turns, we had chats on the phone. It was the whole kind of skirting round each other before she agreed, before we agreed. We checked each other out, essentially, before we all said yes. But she got it – she got the character, she got the loss and the determination that Georgia has, and she was super excited to get stuck into the eight hours.”

Donovan was one of several members of the team behind Liar who reunited for The Widow, alongside the Williams brothers and producer Eliza Mellor. “Sam directed the second block of Liar,” says Jack. “There are some scenes that you write and you go, ‘This could be awful’ – it’s a good scene but it could, in the wrong hands, be shit. There was a scene where Joanne Froggatt’s character drugs Ioan Gruffudd’s character and kidnaps him, and it was one of those that could have been awful. But it was amazing when we watched it, so we were like, ‘He’s good – let’s get him again.’”

Harry adds: “It looked fantastic, everything he did in Liar, and we were on the same page in this one as well.”

Beckinsale was undoubtedly encouraged by the continuing success other movie actors have found by migrating to the small screen, offering them the opportunity to flesh out a character across several hours of drama. The latest include Richard Gere in BBC series MotherFatherSon and Julia Roberts in Amazon’s Homecoming.

“You can tell proper character stories over a longer period of time,” Harry says of TV drama. “You can really dig into character. For us as writers, we love having eight hours to dig into a story and tell loads of stories, so I suppose the same must apply to actors when they’re looking at roles. People don’t see it as a step down to go and do a TV show.”

Much of the action unfolds in the Democratic Republic of the Congo, although these scenes were filmed in South Africa

Jack adds: “Everyone’s getting spoilt by the amount of good TV. Actors want something to get their teeth into, a proper role to get stuck into.”

Georgia is the latest in a long line of strong, believable female characters written by Jack and Harry Williams. “With her character in particular, it was quite interesting. You see her in Wales, very closed off, very shut off emotionally. Over the first hour, it’s interesting to watch someone face the challenges that she goes through,” says Jack.

“It was a very good character to write but a very hard one to play,” says Harry, praising Beckinsale for both her performance and her stunt work throughout the show, with Donovan describing her as a “one-take wonder” when it comes to action scenes.

The brothers decided to marry their widow starting point with a longstanding aim to place a drama in Africa. “We’d been talking about something set in Africa for a while, something about the Congo,” says Jack. “It’s just a very interesting place to set something. It was lots of different ideas coming together at the right time.”

While the series is fictitious, it touches on many real-life issues facing countries like the DRC, including child soldiers and corruption. Jack also admits true events helped feed the story, but adds: “I can’t fully say what. A lot of it was informed by the Congo as a place – historically why it’s important, why it’s interesting and why the country faces challenges. Some of that has been in the news recently and I think that’s reflected here. There are some specific things that I won’t spoil.

“This story couldn’t happen anywhere else; by the time you get to the end, this is not a story that could have happened in any other country. It’s not an issue-led show, but that’s there and it’s part of the tapestry. Hopefully it’s accurate.”

Harry adds: “There was a lot of research. A lot goes into it.”

The supporting cast includes Game of Thrones’ Charles Dance

Unfortunately, it proved too complicated to actually film in the DRC, so much of the action was shot in South Africa instead, with the globetrotting production also spending time in Wales and the Dutch city of Rotterdam. The latter plays host to a subplot involving experimental treatment for the blind, which promises to tie into The Widow’s complex narrative as the plot develops.

“We’ve done a lot of shows that are very intricate and involved, but this one more than anything. It’s one of those that, when you get to the end, it would bear re-watching,” says Jack, revealing that the writing process for the series took around 18 months.

“Quite often, we’re working it out as we go, but with this one we kind of knew the shape and the arc of the whole thing a little bit more,” adds Harry. “It took a long time, but I really enjoyed it.”

Despite their impressive hit list, the brothers say the way they write together is far from a fine science. “There’s no process or anything,” says Jack. “It’s like making sausages – no one wants to see that; you just want to eat them.”

Harry picks up: “It’s struggling through ideas and thoughts for a really long time and talking about what the story might be, what we want to say, and then interrogating it as much as we can. Once we’ve figured out what the story is, we divide it in half and go away and not look at each other. Then we write our own halves and swap them over. You can kind of rewrite over the other person’s as much as you want.”

The approach often leads to confusion in terms of who has written what in the final script, with Jack admitting he has found himself praising his brother for his own work on more than one occasion. “I turned to Harry after watching something the other day and I was like, ‘That’s so good, that was a great scene,’ and he said, ‘Well, you wrote it,’” he explains. “I did feel quite ashamed but also quite proud of myself, like, ‘Good on me!’”

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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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