Interview with Willow Grylls, Executive Producer
Interview with Willow Grylls, Executive Producer of Requiem.
Published: 22 January 2018
One of the most exciting elements is that everyone working on the show, apart from the writer and the first assistant director, was female. That made it a very special production.
What gripped you about Requiem?
About three years ago, Kris sent me a two-page treatment. I was immediately struck by how strong it was. I was intrigued by its mix of genres and by the fact that it was influenced by lots of films I really admire, including Picnic At Hanging Rock, Don't Look Now and Rosemary's Baby.
What else caught your eye?
The fact that it was based on the very personal experience of Kris's mother dying. Everyone is searching for identity. When his mother died, she was a repository for a lot of his identity. Tied up with his grief was a sense that some of his identity had been taken away from him. So Requiem is a very hooky thriller. It has great scares combined with great psychological questions - and that combination really appealed to me.
What does Mahalia bring to the party?
She has an eye for great performances that are deeply heartfelt. She also has a fabulous visual sense. It was very important that we had a director with the vision to elevate the whole production. Mahalia delivered that in spades.
Does it add something that she directs all six episodes?
Yes. Mahalia was brilliant - and perhaps foolhardy - enough to take on all six episodes. The authority with which Requiem announces itself elevates the piece. The look, design, performances and music all have a coherence to them. A director not afraid to take on the baton of authorship was essential. She had only done a single drama before, so she might not have been able to step up to the rigours of making a six-parter. But in the event, she rose to the challenge superbly.
What else distinguishes Requiem?
One of the most exciting elements is that everyone working on the show, apart from the writer and the first assistant director, was female. That made it a very special production.
As Matilda, what does Lydia give us?
She’s just a very smart and surprising actress. Matilda explodes into the story and into this community like a grenade going off. She’s a complete force of nature, and yet she has to carry us with her. We have to feel her grief, but not wallow in it.
In order to make sense of her mother’s death, Matilda has to embark on this crazy journey. Lydia has the ability to approach that in a fearless, truthful way which will take the audience with her. As Matilda guides us into ever more challenging territory, Lydia leads us all the way. It’s a quite remarkable performance.
How does the Welsh setting enhance the drama?
Wales is such a beautiful place. There is also a sense in which Wales is a frontier and there are lots of secrets buried under its hills. Wales is the perfect theatre to situate a story like this. It gives us a great sense of myths and mysticism. That’s essential to Requiem because although the story is rooted in real people, it also touches on ancient myths.
What are the benefits of working with BBC and Netflix?
The BBC and Netflix have stayed very true to what Kris set out to do. We’ve had two partners who have really been on board. We’ve been very blessed with their support.
One other advantage is that with Netflix, you are tapping into a service that gives you an immediate release right across the world. We’re all trying to make shows with global audience, and Netflix allows us instant access to that. That is really exciting.
Why do you think that Requiem will make an impact on its audience?
It’s much better to take risks, and Requiem does take risks. That doesn’t always work, but I really believe that in this case it will work. It’s thrilling. I haven’t seen anything like this on TV for a while.
