I mean, I'm going to by asking
I mean, about the success of the first season, even though
even I'm sure you're incredibly proud of what you did.
Is it always come as a nice, pleasant surprise when you make something
put out there and people respond to it in the way that they did best?
Definitely.
I mean, I actually live my life without expectations,
so I don't sort of preempt what people are going to feel about something
because you may be disappointed or maybe it's like level,
but when you don't expect anything, you're either surprised or it's like, okay,
that's how it was.
And so it's to put it out there and be like everyone not roaring about it
and like social media going off because obviously
we were locked inside our houses for that year,
which probably meant more people watched it than maybe they would.
But yeah,
I don't care how we got audiences as long as we keep them in the second series.
Yeah, but yeah, the response was was excellent and even like being stopped
in the street to be like your season to come in that excitement, it's a yes.
So it's a wonderful experience.
It's affirming because it also just kind of reaffirms
the decisions you made, all the things, the instincts you had
when you put it together that first season,
you know, not it wasn't just us getting excited about them
carried on.
Is there more of like a swagger going into second season
when you know something's being more received, this reward?
Is there a slightly different atmosphere on set with different walk?
Yeah, we all start with.
I was definitely like a confident.
Yeah, that's not like just like, hey, this, this works.
Let's listen to myself.
It was more of an efficiency.
I certainly
we could hit the ground running a bit because we had done all the work
and building that world, hoping it would translate people would enjoy it.
And then once they did and we got season to it was like, right,
we know the characters, you know, we know the world
we don't have to worry about that can get on with getting into the next season.
But one thing I love about this is not just the kind of
gritty undercurrent, but the kind of choreographed
so fun sequences of sequences that were incredible to watch.
How are they to prepare for from both of your perspectives?
I was you know, I learned a lot in season one watching Gareth Evans work,
and he's obviously come from that and he's the master of action.
And but then to a lot of extent, putting together great action sequences
is like putting together a horror sequence, just suspense sequence,
and you have to really prepare.
You can't accidentally just make a great action scene.
It takes incredible time crafting lots of departments
so that when you get to the actual day when we're filming and they're on set
and we've got two or three days to pull it off, everything kind of goes to plan.
So it's a real it's fun and it's crazy, but it also comes down
to a lot of meticulous planning.
I think I just went to this opportunity to shout out the action department,
you know, the stunt designer coordinators
for me, sort of just a really good time.
You know,
obviously you're putting your body through it and sometimes that hurts.
But actually I don't think
I've ever been badly injured doing any of the sequences on the series
because we have a deep respect and take good care of each other.
So yeah, I mean, there's some physical preparation
that goes into it and there's the rehearsal, the choreography.
More often than not, my memories coming away
from all of that pre preparation is just like
really enjoyed hanging out with the boys.
They had a nice before eight hour
conversation mentality that was asking shut down reports but I think it was.
But in terms of depicting violence on screen
because this is a very violent series
and you want to make it cinematic, you want to make entertaining.
But is there a balance because you never want to make it
feel glorified, never want it to be gratuitous.
I just wondered about the kind of conscious.
So a balancing act when it comes to the violence is exactly that.
I'm very conscious of it. It is a balancing act.
It is partly a matter of taste.
You know, it's it's juggling
a kind of visual, visceral esthetic with, you know,
what is demanded in the narrative and then how that how you present that.
And it's a very cinematic show.
I think it got the reaction it got because of the way in part
we were, you know, showing the action and showing the violence.
And, you know, I just think there's a
lot of elements to it and it's an art and doing it right.
And that's what we just tried to do.
But any scenes where you just thought, okay, this one might be a bit too much,
and if there were scenes like that
just out of interest, did they make the final cut?
Yes, there were.
Yes, they did.
Yeah.
Well, I love that characters die in this.
How important
you think it is to have a series that isn't afraid to kill off people
because it shows how high the stakes on Game of Thrones
to changed the landscape, I reckon.
Like when they took off Ned Stark, you know, at the end of Series one
and I think the entire viewership was just like, hang on, so who's safe?
Like, who are we supposed to root for now?
Maybe it'll be Rob Stark.
He's gone as well, just like everyone that you love can go.
It's just so now if you watch something and there isn't
that peril, there isn't that jeopardy, then
I feel like it's less enjoyable.
You commit less to it, because
I don't know what the science, the reason is it needs to feel dangerous
and like I think gangs would like the tension relies on not knowing
where it's going story wise, action wise, not feeling safe.
You know, you got to kind of care for the characters and fear for them.
I was going to ask what you think being in this being associate
with this program has made you see London differently at all?
I'll tell you what Corin just mentioned, how much heroin
you can fit, the valley of the heroin you can fit in the back of a white van.
And I know from now on, every time I see a white van go past.
How much is that?
Carrying half a million..
I'm going to start sticking up. I start sticking up some white vans.
Like what have you got in the back?
Because it's worth 1.5 mil, then maybe it's mine now.
But honestly,
off the back of the first series, there's the sequence in the first episode
where Eliot takes Bess Mia through into a shop
that's got like newspapers on the outside of posters.
And there's so many of those, of course. I see.
And you think, Oh, that's just an empty unit.
No one's using that.
But as soon as you get in, you're into a different world.
You know, there are so many doors that are closed,
the ordinary person, I mean, at all levels.
So it did make me start to think about like actually, what what more is this?
See that I haven't experienced?
You and just very funny.
You mentioned people were slipping on the street
asking you about the second season.
There'll be plenty of people in a few months
time asking you about a third. So I try and get in there first.
I mean, this story is one that could go for many years.
Is that thoughts about third season already
and where this where these characters could go?
There absolutely is. And
I look forward to seeing where it goes.
Yeah.
Yeah, I think it's just a case about but
when we create the first one we like, we were on instinct.
We created this thing that we were all proud of and the response was excellent.
Hopefully, if the response is as good this time around,
then we have to continue to give the people what they want.
It will be.
Thank you so much.