Poldark is set to be one of the BBC’s big dramas of the year when it begins soon, here Aidan Turner tells all about the new series.
Aidan Turner was amazed by the breadth of the role of Ross Poldark in the new adaptation of Winston Graham’s novels.
“It’s fantastic as an actor to have the chance to play such a wide range in one series. Every step of the way there is something new. When I first read Debbie Horsfield’s script I knew there was a huge scope there with Ross.”
Aidan recalls: “I had never heard of Poldark but when I told my parents I was going to play Ross they nearly had a fit! The previous 1970s series was popular in Ireland, I guess because people could relate to it – the farming, the scenery, the horses…it is continually surprising meeting people who are so excited to hear we are making a new adaptation.
“Debbie’s scripts are brilliant and she creates such a vivid and coherent Cornish world, just as Winston Graham does. The dynamic between the characters is ever changing which feels very exciting for an actor – all the different roles are so very distinctive; each of us has a different energy and agenda going on.”
So what kind of a man is Ross Poldark?
“When we first meet Ross he is in turmoil. He went away to war a young, cocky, confident character with a carefree attitude, who was running away from a lot of things. In America he was faced with death on a daily basis and then when he returns to England he doesn’t really know who he is anymore.
“When he arrives back in Cornwall everything’s changed for him: his father has died, his land is barren, the local tin mines are going through a hard time and laying off workers, leaving the region on its knees, and he’s lost Elizabeth, his childhood sweetheart who he expected to marry on his return.
“Ross knows he needs to pick himself up and try and find who he is and where he lies in this new world. He’s strong – that’s what I love about him – he’s someone who can get on with things; he doesn’t wallow in self-pity or despair. He sees a situation for what it is and drags himself through it. He admires hard working people and treats people with respect if they earn it – no matter what their position in life. He is an original class warrior!”
So what changes do we see in Ross throughout the series?
“Ross is 23 when he comes home and you can see changes quite fast. When he realises that Elizabeth is out of the picture, he changes his frame of mind and concentrates more on getting his land back together, looking after his tenants, and resolves to revive the ruined mine on his estate.”
And soon after Ross meets a woman who will change the course of his life, an urchin who he first takes to be a young boy. She is Demelza Carne.
“Taking on Demelza as his kitchen maid and understanding how that whole relationship develops is a huge moment for Ross. He doesn’t care what people think, but he’s taken a huge punt bringing her into the house and having her as a kitchen maid. Eventually he takes charge, doesn’t quite know what he’s got himself in for but very quickly he realises he’s got to do something about it. Ross just grabs everything by the horns and runs with it!
“He is continually facing something new; his changing relationship with his cousin Francis, his Uncle Charles who he has looked up to all his life and who is a rock for him, even though he might not admit it, the feud with George Warleggan.”
Did Aidan delve into the history of the time in Cornwall?
“You can always learn more about what is going on at the time, whether it is pertinent to the story or not. The research is the fun part that helps you play the character– to polish up on historical facts and understand what it was like living there at the time. Life was a lot harder, you have no idea until you start researching and see how difficult things were. Even small chores like washing clothes and getting fresh water was so hard.
” The differences between Cornwall and London, the population, what people were living on, what the industries were. Even little things like travel time – nowadays London to Cornwall isn’t a big feat but in those days it would take you over a week to travel there so people just didn’t do it. It was a Duchy, like its own country with its own legislation. I didn’t know much about Cornwall at all before, I had never been, hadn’t heard much about it so to find out so much about it was great.”
And Aidan relished his time filming in Cornwall.
“It was simply stunning, we had the best weather there over the Summer. We filmed at so many gorgeous locations but the weather really made it work. People know Poldark so well down there and are proud of it so we were welcomed all the time. It was surprising getting fans turning up to set and people travel to show their support and see what was going on. It reminded me of home in Ireland, and it was great to be able to film there so much.”
A distinct lack of underwear…
So what were the hardest scenes for Aidan to film?
“Even if you thought something was scary, the great thing about playing Ross is that you can never chicken out of doing anything!
“I was going to the gym a lot the first couple of months as I had a couple of topless scenes. One of the things I did find out is that they didn’t actually wear underwear at the time so it made it quite difficult to shoot some of the stuff we did. They would just wear the shirt and then tuck it in and around.”
And the highlight for Aidan?
“Has to be Seamus the horse. You can’t do bad acting on a horse, you look too cool. There’s an energy when you deliver dialogue on a horse, its empowering especially for Ross, he thrives on these kinds of situations, so anytime I could get on the horse I would do it.
“Seamus is quite skittish, but he’s a real actor’s horse as you can rehearse something once and he knows where he’s at, the direction he’s going in, when he has to stop and reset. We had to change words as he would just set off when we shouted ‘Action’. He was so sharp and was always moving and on the go. Him and Ross are well suited!
“Luckily I did a lot of riding in New Zealand when we were there filming The Hobbit. I trained a lot and thought I’d leave a pretty good rider – thank god I did as there was a lot of riding in Poldark. It’s very much a part of who Ross is so it’s immediately getting you into character.”
And while Aidan wasn’t allowed to do all his own riding stunts, he did do as much as possible.
“They wouldn’t let me gallop along the cliff top, for obvious reasons, but I did as much as possible. There were some great moment when Eleanor (Tomlinson – Demelza) and I ride double together on Seamus. It can be tricky, it all depends who is on the back as it’s always a rocky ride for them! Eleanor was great because she’s such a good rider herself. She’s confident so if the horse did anything strange she wouldn’t freak out. There’s something really romantic about it and it’s a lovely image to watch. We’d always whisper stuff and crack each other up which was fun.
“Eleanor and I work very well together. I don’t think you can create that chemistry – you either have it or you don’t. It was just right from the very beginning, and even off screen that energy was still there. We had the same respect for each other as the characters did. Sometimes you just click; that’s the joy of good casting. We knew we had something quite special together and didn’t need to work on that, we just trusted Debbie’s writing. We could read each other, and guide each other through a scene and we never panicked.”
But did Aidan feel any pressure tackling such a beloved role?
“Not really. I don’t want to let people down, especially fans of the character , but I don’t think it’s productive to think about how you can disappoint people. We took our inspiration from the original novels by Winston Graham and Debbie Horsfield’s scripts.
“The fan base of the 1970s adaptation of Poldark is very supportive, they have been very generous and kind and genuinely excited to see what we have done with this. It’s like breathing new life into it. But we need to remember that a lot of people haven’t seen the previous adaptation as it was 40 years ago, and there’s a lot of people that won’t have heard of it either!
“Having scenes with Robin Ellis, who played Ross in the seventies series, was brilliant. He is such a lovely guy and still receives fan mail! You can only imagine what it was like – that show was just absolutely huge.”
The Miniaturist Interviews: Romola Garai
Romola Garai plays Marin Brandt in The Miniaturist, premiering soon on BBC-1, here she talks about what drew her to the drama and being in a costume drama where she pretty much only gets to wear one costume.
What attracted you to the role of Marin?
I’d read the book shortly after it came out and I thought it was a really surprising novel, really interesting and with very strong feminist themes in it, so I was very excited about it. Time passed and then an email popped into my inbox with the subject, The Miniaturist. I thought it was fantastic they were making it and I was really excited to read the script.
It’s a very genre-bending novel; it appears to be like a costume drama we have seen before, but very quickly we realise that it’s not that. It’s about a woman coming into her own in a society that’s very patriarchal, it’s about a love affair, it’s about discrimination, and it’s about people trying to survive in an incredibly controlled state. It’s a thriller and it’s also a story about political and emotional awakening.
Marin is a particularly interesting character, I think she has one of the best arcs. When I first read the book, she was the character that stayed with me, and when I read the scripts I immediately remembered everything about her. She’s told in beautiful detail in the novel, which John has retained in the script. Marin is just a great character to play, it was a real treat.
Tell us about Marin.
When you first meet her, because the story is told through Nella’s perspective, you meet a woman who seems very cold and intimidating. Then gradually you get this drip-feed of information about her; you see she’s been helping Johannes run the business and you learn that they were orphaned at a young age. She’s very intellectual, she’s very well read, and she’s not married, which is very unusual at the time.
One of the reasons I found her such a fascinating character is that she’s full of secrets and she’s layered; very conflicted and has great faith, but also passions. The house they live in is essentially a tinder box of secrets that Marin has been sitting on to try and stop the secrets exploding out. However although it seems she is trying to keep a lid on it I think she believes that they could subtly break all the rules and be free within the house at least, if only her brother stopped acting so recklessly.
Hopefully audiences will question what is driving her hostility towards Nella. Marin needs Nella a lot to maintain the appearance of being a normal household but it’s also very important that Nella is afraid of her so that she doesn’t try digging and discovering the secrets that they are all trying to keep – because if anyone finds out then their futures are ruined.
What was it like doing the scenes between Marin and Nella?
I loved working with Anya, she’s an incredibly accomplished actress. She’s got a difficult job in this, because Nella has to be very innocent at the beginning of the story, which is always difficult for an actor to play, and also more innocent that a woman of that age would be now. She’s constantly making discoveries, she doesn’t have the information that the rest of us do so she’s always learning new things, and she’s done that with real beauty and subtlety. I really enjoyed doing all our scenes together.
Tell us about Marin’s costume.
Marin only had one costume until a very late stage of the story. Her costume is typical of the puritan values of the period which rejected anything that smacked of luxury or louche values. They also didn’t wear make-up in this period at all, certainly not women of this class and station, and the hair was very simple and scraped back. Her head would have been covered at all times, so I had a black cap that I wore, but to be honest when I wore it I couldn’t really hear what anyone was saying and also talked incredibly loudly because I couldn’t hear myself, so essentially I was shouting at the other actors!
What makes The Miniaturist stand out from other period dramas?
I’ve done lots of historical pieces but there’s something very unusual about this. When you do contemporary novels set in the past the writers are able to do a lot more, and tackle complex themes which writers writing at the time weren’t able to do. More than that, it’s interesting in that it explores a number of different genres. It has elements of a thriller and then it becomes a family drama and then it becomes a polemic about what happens in societies that are so controlling.
I hope people will sit down to watch the show because it’s a pretty costume drama and will be surprised that it is actually rebellious and constantly bringing up important issues – and that they’ll be so engaged they won’t be able to look away.
Trust Me Interviews: Sharon Small
Interview with Sharon Small, who plays Dr. Brigitte McAdams in new three part psychological thriller Trust Me which airs this August on BBC One.
What attracted you to this project?
I liked the character and the premise of the piece – I don’t think we’ve seen this before. And everyone is like an armchair detective, everyone is an armchair actor or doctor, so I thought that people would get off on that and think, gosh what would I do in that circumstance? The audience are the people who are privy to the truth and not us. With my character, Brigitte, I like her neediness, her sassiness – she’s fun and quick-fire talking – and quite honestly I rather fancied myself as a doctor [laughs].
How would you describe your character?
Brigitte is a good person; she’s sassy and is a really good doctor. She has got some issues, but she is trying her best to run this ward and with great intentions, which I think a lot of NHS doctors are.
How did you prepare for the role?
I grew my hair so that I could tie it up – normally I have short hair. We had a fantastic medical training day with Dan and got to do airways and cannulas and stitching and things like that, I loved that. The most important thing for me was to go around the actual A&E department (or ED department as I now know it’s called) in Edinburgh. We met this fantastic doctor – just watching him and really getting to observe what goes on in a ward, the dynamic, what people do and noticing that people are always looking at folders, everyone’s always collaborating and talking to each other. Everyone is always moving around, a lot more than you think and not that quickly. It’s less dramatic than you think.
Is your character challenging to play?
She was. Similarly in something that Jodie mentioned, I had quite a lot of medical jargon to say quite quickly, but I had less of the procedural stuff to do in terms of operational things. As the character is more and more revealed I had to make sure that I took care of how that happened, and that it was subtly done.
What makes a hospital a good arena for a drama?
It’s an ever-changing landscape, a hospital. Every new sort of event that you’re presented with means that you’re having to make life-saving decisions. People’s lives really are at stake, and honestly, my little taste of pretending that I was an ED doctor made me feel quite powerful. If I could fix people so that they survived, that would be an amazing ability.
What are the biggest challenges that you have faced so far during filming?
Saying the medical words Metronidazole – Met-ron-ida-zole, Metron-i-dazole – and trying to make scrubs look even remotely interesting, I don’t rock scrubs like Jodie does, I’m way too curvy for that!
What do you hope audiences will take away from this drama?
I hope that they’ll find themselves in that dilemma of wanting Cath/Ally to succeed, because she’s a good person and she ironically is brilliant at the job. I’m hoping that they’ll see the dilemma that she has, and as you want her to keep succeeding, it means she’s going to keep compromising people as she goes, as well as herself.
Trust Me Interviews: Jodie Whittaker
Jodie Whittaker plays Cath in three part psychological thriller Trust Me which airs on BBC One this August.
What appealed to you about this project?
I was sent the script for the first episode and it fascinated me because it went in a completely different direction to how I thought it was going to. Particularly at the beginning when she’s suspended for whistleblowing and loses her job. It could have gone so many ways, and the fact that she takes on this new identity isn’t the way that I thought it would go. I love the fact that her choices are quite morally dubious – they certainly aren’t black and white. She makes decisions that are quite challenging to justify, even though we know her reasons. I’ve never acted in anything medical before, so it felt completely new.
How does Cath’s lie come about?
Cath starts off by having a conversation with her best friend, Ally, who is a middle grade doctor in A&E and is giving it all up to emigrate to New Zealand. Ally is packing up the life that Cath would have loved to have had, leaving it all behind to go and do something completely different. Suddenly there is an opportunity for her to take on the identity of her friend and in that panic, not necessarily the clearest thinking moment in her life, she does it. Once you set off on a path of lies it’s very difficult to undo it without bringing everything crashing down.
Did you receive any training on medical procedures?
Yes! The writer, Dan, who is also medical consultant and a doctor outside of TV production, showed us a load of stuff that he used when he was training people. He brought in the CPR dummy and showed us how to do a cannula and he, very bravely, let me put a cannula in his vein. I did it right, thank God! Also, YouTube is amazing. The genius of the internet is that you can basically sit at home and Google medical procedures, and TV shows such as 24 hours in A&E, which I watched hours of.
How else did you prepare for the role?
With regards to the technical stuff, we had an on-set consultant so that there was always someone to help when we had to do the procedures. The best thing for me was that my character was also out of her depth and didn’t always know what she was doing, so it kind of covered my own personal fumbles. I’m not someone who likes to over prepare for dialogue scenes, because I think that makes me not listen to what the other person is saying as I’ve already decided how I’m going to do it. It immediately makes it interesting and new and you can’t plan for that, which is great. You can’t ‘wing’ the medical stuff so I had to do my research for that. One of my friends is a Sister in A&E and I sent her a lot of messages asking ‘how do you pronounce this?’ and ‘what does that mean?’, so basically she was my personal medical coach even though she works full time!
Is it challenging playing someone who leads a double life?
Yes, but no more challenging that playing someone who has had something happen to them that I haven’t personally experienced. What’s hard is trying to gauge how good a liar she is, or how in a panic she is. You’ve got to be careful, because you can’t make the other actors seem stupid. These are intelligent, fully formed characters that you’re working with, so it was a fine line of being able to deceive and it not being something that comes easily to her. However, it can’t be that it makes everyone around her feel a bit like an idiot for not working it out. That was tricky, but the director is there to help guide you through it.
Did the uniform help to get you into character?
Yes. It feels odd when you put it on. I did five weeks of studio filming, back to back – all the medical stuff was contained so everything started to become a bit like second nature. The first few times I had to put on an apron, the ‘take’ ended up being about 15 minutes long. Then I worked out that you shouldn’t put the gloves on before the apron! There was lots of daft stuff like that, but you then get into a rhythm. It’s good because it makes you immediately feel like you look the part and then all I had to do was make sure that I knew the lines!
What were some of the challenges that you faced during filming?
I’m not very good with learning dialogue when there are lots of medical terms! I enjoy the adrenaline of being on set because I’m quite good at choreography, I respond well to being taught something physically. That’s why I was terrible at school, because they talk you through things rather than physically show you. I enjoyed doing the different types of surgery as it was fascinating, it’s nerve-wracking but you realise that you can do it. Also, the team who created the props put in so much hard work to make sure we didn’t mess up our bits. I struggled with having massive speeches that involved these medical words. I don’t have a brain for that!
Did you enjoy working in Scotland?
I absolutely loved Glasgow! The crew were phenomenal and the city is wonderful. I could move my family up there and we had a great time as there were loads of brilliant restaurants and everyone was lovely. It was brilliant and I would snap up another job there very quickly, although it does get very dark and cold over winter!
THIS JUST IN
Hazell: Hazell and Hyde (ITV 7 June 1979, with Maev Alexander)
In Hazell and Hyde James is asked to find a young woman, Claudine, who has apparently joined a group of...
Hazell: Hazell and the Suffolk Ghost (ITV 31 May 1979, with Meg Davies)
In Hazell and the Suffolk Ghost our intrepid hero pays a visit to the seaside when an accountant, Peter Harlow,...
Hazell: Hazell Gets The Boot (ITV 10 May 1979, with Billy Murray)
In Hazell Gets The Boot Hazell finds himself more or less coerced into taking on a supposedly simple job for villain...
More to View
Previews2 months ago
Father Brown: The Dance of Death (BBC-1 9 Jan 2018, with Diana Kent)
Previews2 months ago
Father Brown: The Angel of Mercy (BBC-1 4 Jan 2018, with Wanda Ventham)
Previews3 months ago
Spy School Series Premiere Sun 7 Jan on CITV
News3 months ago
Channel 9, Married At First Sight 2018 New Series Premieres 29 Jan
Previews3 months ago
Extraordinary Teens: Young, Gifted And Broke – Shane Thomas airs Tues 19 Dec on Channel 4
Previews3 months ago
Father Brown: The Jackdaw’s Revenge (BBC-1 2 Jan 2018, with Kate O’Flynn)
Previews2 months ago
Father Brown: The Devil You Know (BBC-1 8 Jan 2018, with Clive Wood)
Previews2 months ago
Father Brown: The Face of the Enemy (BBC-1 5 Jan 2018, with Nancy Carroll)