Tag Archives: Vertigo Films

All guns blazing

On the set of Sky1 original drama Bulletproof, stars and co-creators Noel Clarke and Ashley Walters discuss the relationship at the heart of the series and explain how its action-packed stories make it stand out in the crowded crime genre.

On a quiet weekday lunchtime in central London, the world-famous Fabric nightclub is undergoing something of a transformation. Outside, new signs have been installed to rebrand the underground venue as Prometheus, while crew members are carrying equipment and cables between the numerous levels and twisting staircases.

It’s in the basement, beneath the ambient glow of blue and pink neon lights, that scenes from the second season of UK crime drama Bulletproof are being filmed. Series co-creators and stars Noel Clarke and Ashley Walters are in character as detectives Aaron Bishop and Ronnie Pike respectively, sitting on one side of a table and drinking glasses of what appears to be champagne.

Launching in May 2018, the series became Sky1’s biggest drama of that year, with childhood friends Bishop and Pike – the former grew up in foster homes and on the streets, while the latter comes from a high-achieving middle-class family – working together inside the National Crime Agency where they deal with serious organised crime while putting their family and friendships to the test.

Produced by Vertigo Films and distributed by NBCUniversal International Distribution, Bulletproof was quickly recommissioned following the conclusion of its first run, and filming on season two began in February last year. When DQ visits the set, it’s day 69, with the shoot having already taken in scenes on location in Amsterdam and Malta, which doubles for Cyprus. Today, two cameras are in play, one focusing on Clarke and the other side on to Walters.

Ashley Walters (let) and Noel Clarke filming in London nightclub Fabric

Season two, expanded from six to eight episodes, aims to have more of an international feel, with the drama also moving away from its episodic format to focus more on one serialised story. Stunts and locations have all been scaled up from season one, and while Bulletproof has never shied away from a bit of action, that greater ambition is particularly evident in car chases filmed through the streets of Amsterdam.

Back in London, as the sounds of a train passing overhead rumble through the foundations, the cameras are re-set on Mikey (Ben Tavassoli). Sitting opposite Bishop and Pike, the character is the nephew of a Cypriot crime family the undercover detectives are attempting to infiltrate.

Throughout its first season, Bulletproof stood out for its buddy-cop humour, high-octane action sequences and the chemistry between its two leads – factors that saw the series picked up by US network The CW.

“What makes the show different is you have a level of action a lot of shows don’t have,” Clarke explains during a break from filming. “That’s one of the things that makes it stand out, as well as the humour and the chemistry we bring to it as the two main characters. For me, whether it’s a day where both of us are having banter with each other or it’s an action-packed day, every day is enjoyable.”

“There isn’t another show like this on UK TV,” says Walters. “From the beginning, we’ve always said this cannot be your standard UK cop drama. We want it on the same scale as Lethal Weapon and Bad Boys. That’s what we’ve always been reaching for. We’re not doing Miss Marple! This is some real stuff. So it’s always been this way for us, it’s what we’ve always wanted. We’re always mindful, when we’re going through scripts or concepts and ideas, that we always keep that element in there. It’s one of the things that sets us aside from everything else.”

Clarke and Walters promise an action-packed season two

Also differentiating the show from its genre peers are Clarke and Walters themselves, with former Doctor Who star Clarke noting: “Once you put both of us in it, immediately there’s a show with two black male leads. You then sit down and think, ‘Should we be proud we did it, or should everyone else be ashamed it hadn’t been done before?’

“Then once we are doing it, there’s things we can say. We can be in the woods together and one of us can say, ‘You know, we always get killed in the woods first.’ It’s funny because, in a lot of films over the years, when there’s a group of friends including a black guy, it became a running joke within the ether that the black man would die first. So when there’s two of us in the woods, we can say stuff like that. If it was a pair of people of different colours, you probably couldn’t say that. You can’t always make those in-jokes, and that’s what sets us apart.”

Having created Bulletproof with Nick Love (The Football Factory), the actors are extensively involved in the development and plotting of the series. While Clarke is a regular writer and director, with films like Kidulthood to his name, Walters also stepped in to co-write an episode this season.

They joke that a lot of their lines are improvised. “We don’t really pay attention to the script, unless we’ve written the episode ourselves,” Clarke says. “We’re in the story room, we storyline and we’re there all the time, so we know the story from A to B. Our script supervisor has a nightmare. She says, ‘Are you going to say this here?’ and I say, ‘I don’t know what I’m going to say, to be honest.’”

The duo’s confidence in ad-libbing stems from the fact they helped create the characters themselves. “It’s easy for us because we know the characters inside and out,” says Walters, who also stars in Top Boy, the UK crime drama series recently revived by Netflix via a helping hand from hip-hop star Drake. “We created them. Working together as long as we have, we get the timing. We know when the other person is going to speak and when they’re not; we know each other’s facial expressions. So, for us, it’s simple. For the other actors, they’ve been learning their lines and we just throw the pages out of the window.”

The leading duo improvise much of their dialogue

Clarke, himself an avid film and TV viewer, says he was confident Bulletproof would find an audience because it’s the kind of show that was missing from the schedules, yet one no one wanted to make. “It was one of those things where [even though UK viewers] eat up Lethal Weapon, Bad Boys, Miami Vice and all those titles, we flick on [detective series] Inspector Morse. Why are we not doing that sort of stuff?

“Years ago, we almost did it in our very British way – The Professionals, The Sweeney. Those shows had a different edge because they were very ‘geezerish.’ But it was always the case I felt people, especially working-class people, needed to see a show that represented them. They come home after a hard day’s work and [want to find something they relate to]. Part of the success of the show and the reason people talk about it is they feel it is theirs, they have ownership of it and can relate to us. We’re tangible. That’s an important thing.”

Discussing his move into writing, Walters says it’s something he had always wanted to do, with the process leading him to start his own production company. “But I’ve always understood how much of your time it takes and how disciplined you have to be, and in season one I didn’t think I was ready to do it,” he adds. “This time around, I took on the responsibility of co-writing one of the episodes, which was fun. I’m enjoying that – I hope I can do it a bit more.”

It was Love’s idea to pursue the undercover storyline in season two, with around 12 people gathering together for an initial two-week writing room that broke down the story. After a fortnight’s break, they reconvened for a further week to finish the outlines. “It’s a process. Some of them are very young, diverse writers coming through who would probably never have got a look-in. But because it’s our show, we’re involved in making sure they’re in the room,” Clarke explains. “You need all the people in the room just to question things, just to interrogate things. That’s how we do it.”

Set a year after season one, Bulletproof returns with a new action-packed story that promises to push Bishop and Pike’s friendship to the extreme. “Bishop really wants to focus on bringing people down and being a real lonesome person. He relies heavily on Pike, probably more than he knows, but of course Pike’s got a family,” Clarke says.

“He has a wife and kids, so he’s being pulled from pillar to post, especially after last season. His daughter was kidnapped at one stage, so his wife is still reeling from all of that stuff. That stress is there. Bishop doesn’t really understand that. So that’s how they’re tested a little bit. Bishop pulls them further and further undercover and Pike’s a little reticent at first.”

It’s the relationship between the two leading characters that Clarke and Walters believe viewers have responded to the most, with both actors saying they are now recognised more for Bulletproof than any of their previous roles.

“You know you’ve created something when people stop mentioning Kidulthood or Doctor Who,” says Clarke. “I really believe in the way people have invested in the characters – and not just us two but the extended team. You could just have an episode where we’re just staking a place out and have that banter and people would buy into it because of the relationship with the two guys. That was the prime thing we wanted [in season two], and we wanted to make sure the action levels stayed up, which they have. Everyone will be really happy with season two.”

“We were quietly confident [about the show’s success], but there’s always a part of you that thinks, ‘Are people going to love it?’” Walters adds. “We both come from huge shows like Doctor Who and Top Boy – stuff people will never forget, it never dies. The first inkling I had that this show was good was that people stopped talking about Top Boy. For five or six years, I’ve just had Top Boy. I have been working on other stuff, but now it’s fully Bulletproof. People just love it and we’re very happy.”

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Aiming high

A walk in the desert marked a turning point for Vertigo Films as it turned its attention to television. DQ hears how the company plans to follow its initial success with historical drama Britannia and buddy cop thriller Bulletproof.

James Richardson

At first glance, there’s little to compare British dramas Britannia (pictured above) and Bulletproof. The first is an anarchic historical drama pitting a Roman army against unruly bands of warriors and druids, while the other is a high-octane, action-filled buddy cop thriller.

Yet both series share the same basic DNA, comprising a bold idea, passionate creators and, in Vertigo Films, a production company that wants to make series that challenge the status quo and break the mould of contemporary storytelling.

“I don’t think we would do traditional British shows,” says Vertigo co-founder James Richardson. “I look at The Crown and I think it’s a masterpiece – absolute dramatic perfection. But I don’t think we’d ever make it. I look at Broadchurch and Line of Duty; they’re brilliant, genius pieces of TV, but I don’t think we’d ever make them.

“What Bulletproof and Britannia share is a slightly rebellious quality. Bulletproof is a cop show with lots of humour and two black leads, which had never been done in Britain, bizarrely, while Britannia is a totally crazy, non-historical historical show, which again has a rebellious spirit built into it.”

Both have also been renewed for second seasons – and it’s easy to see why. Britannia debuted to 1.88 million viewers this January, making it the biggest Sky original production launch on Sky Atlantic since Fortitude in 2015, while Bulletproof became the biggest Sky1 series of the year when its first episode pulled in 1.59 million viewers in May. Both series are distributed by Sky Vision.


It’s been a long road to this point. Vertigo was established in 2002 and the film producer/distributor has backed more than 30 features, including The Football Factory, It’s All Gone Pete Tong and Streetdance 3D. But four years ago, Richardson and fellow co-founder Allan Niblo abruptly cancelled their meetings at an LA film market and drove into the Californian desert, where they picked over the bones of the declining movie business.

Having identified the value of DVD sales to the film business, they similarly recognised the evolution happening in the television industry through the emergence of platforms like Netflix and Amazon, and started discussing how to target the small screen.

Allan Niblo

“Because our success in the beginning was primarily in the DVD market, not the box office, we witnessed the snobbery of something that would have a seismic change years later,” Niblo says. “So when Netflix and Amazon came along and did pick up our films and paid a lot of money, every single filmmaker was snobby about them. But we saw that there was a massive audience there. If people are watching your material, it doesn’t matter if it’s in the cinema or on DVD. We predicted a few years ago this would all change and everybody would be clamouring to get on Netflix.”

Richardson compares the current television landscape to the Wild West. “Our greatest disadvantage is we have no idea how the TV world works, but that’s also our greatest advantage,” he says. “We’re not really interested. What we’re interested in is can we make some exciting, international, cinematic shows? We’re starting to work with some really exciting people, quality filmmakers and writers, and we don’t have any paymasters or anyone telling us what to do, which is an amazing luxury.”

Britannia came from an idea by Richardson, who then took the series to Jez Butterworth (Edge of Tomorrow) and Tom Butterworth, with the brothers writing it together. Bulletproof, meanwhile, came to Vertigo from co-stars Noel Clarke and Ashley Walters. They subsequently partnered with Vertigo’s Nick Love (The Football Factory) to develop the series.


“When you’re working with someone like Jez Butterworth, you let them do what they want to do,” Richardson notes. “It’s the same with Noel and Ashley. What show do you want to make? We’ll back that and support it. I like to think we’re quite empowering. We might have ideas from the beginning but Jez, Noel and Ashley then made them their own, which we totally celebrate.”

Vertigo’s 2010 film Monsters is also getting the television treatment, with Ronan Bennett (Top Boy) leading the adaptation, which is in development at Channel 4.

“What’s crucial for us is to make it its own thing,” Richardson says, noting that the series will steer away from Gareth Edwards’ feature film about a photojournalist who must escort his employer’s daughter back to the US through an ‘infected zone’ full of creatures in Mexico. “Ronan wants to make something that’s unique in its own world, but we’re also being respectful of its origins and making sure the stuff we loved about it in terms of atmosphere and tone comes to the TV show. It’s an opportunity to explore a world we felt we only just touched on and to do something unique.”

The TV space allows Vertigo to experiment with more “tweener” ideas – their word to describe projects that sit in-between genres – which are always the most difficult to get away but often have the most interesting results. So for a show like Monsters, “we’re going to have some [monsters] and the fanboys and girls will see the show they’re excited to see,” Richardson explains. “In the same breath, we want to undercut it and do something a bit different. It’s the same with history like Britannia, and Bulletproof also played with genre. We get excited about that because it’s an area where perhaps some viewers feel they aren’t being catered to. There’s not enough things like that coming out of the UK.”

Vertigo will certainly be looking to scale further up the TV industry, with Richardson and Niblo admitting their focus going forward will remain firmly on the small screen. “Because we’ve done 35 movies, we feel we’ve done a lot of the 90-minute format, and this is a whole new world,” Richardson concludes. “None of us are feeling excited about doing a film, because we’ve got an opportunity to explore this brave new world.”

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Roman invasion

Set in 43AD, anarchic drama Britannia follows the Roman army as they return to crush the Celtic heart of Britannia, a mysterious land led by warrior women and powerful Druids who claim to channel the forces of the underworld.

David Morrissey stars as Roman general Aulus, alongside Kelly Reilly, Zoe Wanamaker, Ian McDiarmid and Mackenzie Crook.

In this DQTV interview, Morrissey reveals what drew him to the unusual role and how he was captivated by the show’s stunning set design.

The actor and executive producer James Richardson also discuss working with co-creator Jez Butterworth, the acclaimed playwright behind Jerusalem and The Ferryman, and explain why this isn’t just another historical drama.

Britannia is produced by Vertigo Films and Neal Street Productions for Sky Atlantic and Amazon Prime Video in the US. Sky Vision is the distributor.

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Tribes and tribulations

Hair, make-up and prosthetics designer Davina Lamont discusses her work on epic Sky and Amazon historical drama Britannia, in which a Roman army faces up to Druids and Celts in 43AD.

When Davina Lamont received a last-minute call asking her if she wanted to come and work on a “nice little Roman job,” there’s little chance she realised the scale of what was to come.

In fact, the hair, make-up and prosthetics designer could not have joined a more ambitious and visually striking series than Britannia, the Roman Empire-set drama coming to Sky Atlantic and Amazon.

But having worked on The Lord of the Rings film trilogy and series such as Sons of Liberty, Legends and two seasons of National Geographic’s Genius, she had the experience needed to bring to life the three vastly different tribes that feature in the story.

“They told me for Genius season one that they had this little project and it’s going to be a nice little script – and then it turned into a monster,” Lamont recalls. “Britannia was the same. I got called in at the last minute and was told, ‘It’ll be really cool.’ Then it just went crazy. But I’m happy for those jobs.

Britannia stars David Morrissey as Aulus

“Producers are starting to like the fact they have one designer who does all three, instead of splitting up the team and having a hair designer, prosthetic designer and make-up designer. They like the fact, budget-wise, they pay one person to do all three, and I enjoy it too. I love the fact I can go from one job to the next and it’s really different – and creatively different. I do prefer to take on those sorts of jobs – the big and difficult ones.”

In television, they don’t come much bigger than Britannia, which is set in 43AD and follows the Roman army as it sets out to crush the Celtic heart of the mysterious titular land, one led by warrior women and powerful Druids who claim to channel the forces of the underworld.

The nine-part historical drama stars Kelly Reilly as fearless Celtic princess Kerra, David Morrissey as Aulus, the head of the invading Roman army, Nikolaj Lie Kaas as rogue Druid Divis and Zoë Wanamaker as Celtic queen Antedia.

All episodes of the series, produced by Vertigo Films in association with Neal Street Productions and distributed by Sky Vision, are available to view from Thursday on Sky Atlantic and Now TV.

With just five weeks of pre-production to put her ideas together, Lamont worked with costume designer Ann Maskrey and production designer Tom Burton to create this unknown world and decide how they would represent the different tribes.

It took over three hours to complete Mackenzie Crook’s look, which included hooks in his nails

“Then from that point, we all went into this exploratory period,” Lamont says. “Five weeks was all we had to put it together. It was tough to try to figure out what the Druids were going to look like. I know they wanted a lot of tattoos and wanted some Vikings-cum-Game of Thrones elements involved. We just had to work it out and work out how it transcends into each and every tribe.”

That exploration process included plenty of trial and error. Lamont says she even questioned whether they should be putting tattoos on the Celtic king (Star Wars’ Ian McDiarmid, as Pellenor) and queen.

“It looked ridiculous,” she jokes. “There were times when I thought, “Oh my God, this is my last job.’ But then you put everybody else into the same world on the same set and you go, ‘Actually it looks phenomenal.’ It was scary to start with, especially with Veran.”

Veran is the leader of the Druids, a character feared and respected in equal measure and who claims to speak directly from the Gods. Portraying him on screen is Mackenzie Crook, known for turns in the Pirates of the Caribbean film franchise and TV series such as The Office and Detectorists. In Britannia, however, the star is unrecognisable, sporting a shaved head and  several layers of prosthetics and make-up that give him a skeletal appearance, with dark sunken eyes and numerous facial tattoos and scars.

“Basically I woke up one morning and wanted to change him completely,” Lamont says of creating Crook’s appearance. “That’s how he came about. I designed the look and then I sent it off to the producers and told them to sit down because this was what I wanted to do with him. But they loved it and said go for it.

“When I rang up Mackenzie for the first time and we chatted over the phone, he said it was brilliant and was exactly what he wanted to have. So it was great, it worked out perfectly. He was brilliant, and then I said I had to shave his head – he was all for it.”

At that point, however, the scripts were still being pulled together by lead writers Jez Butterworth, Tom Butterworth and Richard McBrien so it was unclear how many days Crook would be required to get into costume. But thanks to Crook’s startling look and impressive performances, his screen time grew and grew.

“I don’t remember how many prosthetics we did on him in the end, it was massive,” Lamont says. “We made it to three to three-and-a-half hours for him [to get ready]. It’s a long time.”

Crook also came in with his own ideas for Veran’s image, in particular the little round hooks we see on the end of his finger nails.

“On the very first day we did his make-up, he came in with these hooks and started drilling into his nails,” Lamont remembers. “I was like, ‘What are you doing?’ He said, ‘I’ve got something to show you – I really want to do this.’ He drilled into his own nails with a drill and put these rings on. It was brilliant. So he’s fantastic to work with, he’s down for anything. He’s a brilliant actor.”

The show debuts on Sky Atlantic this Thursday

Speaking about his transformation, Crook says: “I found it brilliant. I loved every minute of it. From the design to going and having a cast made, and the daily ritual of putting it on, we started off at five hours and then they got it down to three-and-a-half – it was a brilliant process. Watching the skill of the make-up team and seeing myself slowly transformed in front of the mirror helped me get into and form the character.”

Another actor who spent plenty of time in make-up was Gershwyn Eustache Jr, who plays Vitus. Also a Druid and part of Veran’s gang, he needed to have a similar look, calling for more tattoos and scarification on his face. Lamont continues: “We also had Divis (Lie Kaas). We really didn’t know what we were going to do with him. At one point he was also going to have a shaved head, and then the producers really loved the fact we etched runes into his forehead and made them like scarification. Everybody had tattoos, prosthetics, contact lenses, big battle wounds. Every single character had something.”

With the amount of money washing through television drama these days, you might expect the design teams get to play with a bigger budget, especially on a show such as Britannia. Yet Lamont says the figures she has worked with over the last few years haven’t seen the same upward trend as overall series budgets.

“They like to start off by giving me a budget that’s really small,” she explains. “But then the scripts don’t portray the budget I have. Nearly every job over the last 10 years, especially in TV now, I get a budget and it’s nowhere near close enough to what [we need for what] we have to do. My budgets do end up getting a lot bigger. Especially on Britannia, the scripts were still being developed as we were going along so we really didn’t know what would come up in the mix or all the new characters coming through. It was a big guessing game.

“When you don’t know what’s coming up, it gets really expensive because you have to have a number of wigs on hire or made and prosthetics that have to come with it. That’s what happened with Veran’s lot. We didn’t know there were going to be three other actors involved so they became big elements for us. It’s definitely changed from what TV used to be, even 10 years ago, when you could pretty much picture the budget. Now we’re basically doing five feature films in one TV show.”

Unsurprisingly, bigger budgets are demanded by dramas at the fantasy end of the spectrum, as opposed real-world stories on which Lamont has worked on like Top of the Lake. The designer admits she doesn’t know why she continues to be drawn back to genre shows, but says part of the fun is getting to create new worlds for each job.

“I feel like I’m probably meant to be in the fantasy world but I love the fact I can go from a job like Britannia and then go and do a job like Genius,” she adds. “They’re hugely different. With Genius, I have to make people look like they were from the 1900s, like Picasso [season two] and Einstein [season one] – actual people from the past. I love recreating people in that way. I’ve never really been into fantasy but I always get pushed into that genre, so I’ll run with it for now.”

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Rule Britannia

Britannia, Sky Atlantic’s epic Romans-in-Britain drama, debuts early next year. Ahead of the show’s world premiere at Mipcom this week, DQ talks to Sky drama chiefs Anne Mensah and Cameron Roach.

After the success of Sky Atlantic’s Penny Dreadful and sister channel Sky1’s Jamestown, period drama appears to be working well for Sky drama commissioners Anne Mensah and Cameron Roach.

It’s been 10 years since HBO’s classic Rome (and four since Starz’s Spartacus), but the satcaster looks to be taking advantage of a renewed interest in classical history on TV, with Britannia set to debut in January 2018.

Kudos (Sky Atlantic’s The Tunnel) is also developing a take on Robert Harris’s Cicero trilogy, with the possibly of a long-rumoured reboot of Robert Graves classic I Claudius coming from Bad Wolf (His Dark Materials).

Bad Wolf’s Jane Tranter was, of course, responsible  for overseeing Rome for HBO and the BBC alongside Anne Thomopoulos

David Morrissey and Kelly Reilly star as Aulus Plautius and Kerra respectively

And while it isn’t set in the same era, BBC1’s upcoming £8.5m (US$11.3m)-per-episode show Troy: Fall of a City certainly shares some of the appeal of these ‘sword & sandal’ drama series.

The success of Game of Thrones, with its dynastic bloodletting, treachery, hedonism and epic battles, has probably helped spark an increase in curiosity about Ancient Rome, while HBO’s 2005-07 series was felt by industry insiders to have been something of a dry run for Thrones itself, brought to grief by budgetary issues.

Rome stars James Purefoy (Mark Antony) and Kevin McKidd (Lucius Vorenus) went on the record saying they wouldn’t join former colleagues Ciaran Hinds, Indira Varma or Tobias Menzies in the hit series because they thought Rome was cancelled to set up Game of Thrones’ success.

More recently, two cinema releases used the Roman occupation of Britain south of the Antonine Wall and the disappearance of the Ninth Legion as subject matter – 2010’s Centurion (directed by regular Thrones helmer Neil Marshall), which coincidentally starred Britannia’s David Morrissey (The Walking Dead) as a veteran legionary, and the following year’s The Eagle with a cast led by Channing Tatum and Jamie Bell.

Britannia scribe Jez Butterworth has also previously tried his hand at the Roman era, co-writing 2007’s The Last Legion with his brother Tom. The film was set in the dying days of the Western Empire and starred Colin Firth, Ben Kingsley and Rome’s Kevin McKidd.

Zoe Wanamaker as Queen Antedia

The movie also featured no fewer than five prominent Thrones castmembers – Iain Glen (Jorah Mormont), Owen Teale (Alliser Thorne), Robert Pugh (Craster), James Cosmo (Joer Mormont) and Alexander Siddig (the gout-ridden Prince Doran Martell).

For Britannia, Butterworth has once again partnered with his brother Tom and James Richardson to create a story set in AD43 that follows the Roman army as it returns to conquer the land held by warrior women and powerful Druids who claim to channel the forces of the underworld.

Kelly Reilly (True Detective) plays Kerra, daughter of the King of the Cantii, who is forced to put her differences with arch-rival Queen Antedia (Zoe Wanamaker) aside to face their invaders. The Romans, led by General Aulus Plautius (Morrissey), are determined to succeed where Julius Caesar failed and conquer this mythical land at the far edge of the Roman Empire.

As tribes and Druids, led by Mackenzie Crook’s Veran, unite to fight the Romans, Kerra is thrust into the most important role of her life as she spearheads the resistance against the might of the Roman army.

The show is produced by Vertigo Films and Neal Street Productions and distributed by Sky Vision. It will also air on Sky Atlantic in Ireland, Germany and Italy, while Amazon Prime holds the US rights.

Mackenzie Crook plays Druid Veran

Asked if there were any particular influences that led to the commissioning of Britannia, Roach says: “The fact that period drama in the shape of Penny Dreadful worked for Sky Atlantic led us to look at something similarly experiential, with Britannia offering a truly original experience – one that doesn’t ape other shows.”

Mensah is also keen to emphasise the “visceral” nature of Britannia: “It combines epic scale with a human, personal level – some of the communal pagan rites that the Britons and Druids go through bear comparison to modern-day festivals such as Burning Man.”

Mensah is confident the show’s presumably hefty budget will all be up on the screen for viewers to see. With more than 200 people working on the production and reconstructions of Stonehenge and the Celtic underworld (which included animating hundreds of life-size skeletons and disembodied skulls), Britannia doesn’t aim to stint on arresting visuals.

Flashes of unexpected Burning Man-type modernity will apparently not be reflected in the show’s dialogue, which Mensah and Roach assure will stay true to Butterworth’s “unique voice,” rather than attempt a cod-Classical or a slangy contemporary style.

Although Butterworth did not consciously base Britannia on any specific contemporary account of the Roman invasion of Britain (the third after Julius Caesar’s two abortive attempts a century earlier), he did consult with historian Jonathan Stamp – a BBC History producer and a consultant for HBO’s Rome – to ensure the look and veracity of the series was generally accurate.

Britannia is set to debut on Sky Atlantic in January

In terms of casting, Mensah and Roach stress how happy they to secure such familiar and audience-friendly names as Morrissey, Reilly, Wanamaker, Crook (The Office), Ian McDiarmid (Star Wars) and Julian Rhind-Tutt (Green Wing), with fresh faces including The Enfield Haunting’s breakout star Eleanor Worthington Cox.

Crook previously co-starred with Mark Rylance in Butterworth’s hit stage play Jerusalem.

The visual style of Britannia is also going to be a change from some of the bleakness and windswept vistas seen in similar genre pieces such as the aforementioned Centurion, with Roach promising “a look to the show that really hasn’t been seen before, with lush primary colours and a vibrancy not usually associated with period drama.”

Both Roach and Mensah stress that amid the carnage of the invasion, Britannia will not be without humour, and that the Romans, although understandably the antagonists in the series, will possess shades of grey, as will the native Britons and the Druids.

“Complex characters and believable motivations” are key, according to Mensah, hence Britannia’s presence on Sky Atlantic – which, according to Sky Entertainment director of programmes Zai Bennett, is primarily the home of “heavily serialised, smart, grown-up storytelling,” in contrast to Sky1, where series such as Stan Lee’s Lucky Man have “really clear heroes and villains.”

And while Mensah and Roach are wary of comparisons with Game of Thrones, they are upbeat on the prospect of Britannia extending beyond season one, with story arcs mapped out at least to a possible third season.

In Mensah’s words: “The ambition is to be big.”

With speculation rife that Thrones’ eighth and final season will not appear until 2019 and the attendant spin-offs in the following years, Britannia may have the potential to provide Sky with a homegrown show appealing to a similar audience, which could score a swift season two pick-up (as have Tin Star for Sky Atlantic and Jamestown for Sky1), echoing the success of Vikings for History.

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