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It has been a decade since Damian Lewis captivated audiences in Billions, and Mark Rylance clinched an Oscar for Bridge of Spies. The duo once shared the screen in a lavish adaptation of Hilary Mantel’s acclaimed novels, Wolf Hall and Bring Up the Bodies. These works delve into the intricate dynamics between King Henry VIII and his advisor Thomas Cromwell, a figure of humble origins. The prior series received considerable acclaim, garnering eight Emmy nominations, three Golden Globe nods, and ultimately winning the award for Best Miniseries or TV Film.
Fans eagerly anticipated the final chapter of Mantel’s trilogy, but coordinating schedules—what producer Colin Callender describes as “four-dimensional chess”—was a challenge. This was particularly true for Tom Holland, whose rising stardom complicated his availability. The new series, Wolf Hall: The Mirror and the Light, commences with the execution of Anne Boleyn and chronicles the disintegration of both Cromwell’s esteemed position at court and Henry’s physical state, alongside the escalating tension between the two.
While casual history enthusiasts may recognize the eventual outcomes, the series’ strength lies in its immersive storytelling, allowing viewers to engage deeply with the characters and outcomes, bridging the gap between past and present. Callender discussed the decade-long gap between productions, the rich visuals of the series captured through handheld techniques, and Lewis’ remarkable portrayal of Henry VIII.
Gold Derby: Reuniting a cast after such an extended period is a rarity. What was your experience like watching Mark Rylance and Damian Lewis reprise their roles?
Colin Callender: It felt like returning to a beloved home. Their transition back into character was remarkably swift, as if the past decade hadn’t intervened. This reflects their extraordinary talent; they seamlessly embodied their roles, continuing from where they left off. I believe an exceptional actor can convey multiple emotions simultaneously, and both Mark and Damian displayed that complexity. Damian’s interpretation of Henry VIII offers a rich tapestry of nuance, showcasing the character’s sophistication, flaws, and hubris, elements often overlooked in previous portrayals.
The second season begins with Anne Boleyn’s execution, a critical turning point for the characters. How does this decade add depth?
Indeed, if the king can execute his wife, then the stakes are monumental. From the outset, this sense of jeopardy permeates the narrative. The story unfolds as one of loyalty and betrayal, anchored by these extraordinary characters, albeit set in a historical context from five centuries ago.
The production budget was reportedly tight, yet the series looks stunning. How did you achieve that visual quality?
We filmed for 85 days entirely on location within authentic Tudor homes that are over 500 years old. The grandeur of these settings contributes significantly to the visual splendor of the series. From costumes to set design, every aspect was meticulously crafted to enhance the show’s overall atmosphere, effectively transporting viewers to another era.
That sounds daunting, especially when working in historical sites.
It certainly presented challenges. Many of the locations were open to the public, requiring us to film in late winter or early spring to avoid tourists. The buildings lacked central heating, leading to a very cold environment—hence the heavy, layered costumes worn by the cast.
It seems the period attire came in handy!
Indeed, the warmth from those costumes was a blessing for the cast!
After the shoot, what was the editing process like?
The series is marked by a deliberate pace. The conversations often feature significant pauses that amplify the tension, which we intentionally preserved during editing. This measured rhythm enhances the storytelling experience.
Though the editing is restrained, the handheld camera contributes an immediate feel, almost as if the audience is intimately involved.
Absolutely. Every shot is handheld, which was a physically demanding endeavor for our cinematographer, Gavin Finney, who had to attend physiotherapy after carrying the camera for 85 days. Our director, Peter Kosminsky, comes from a documentary background, so that immersive approach was intrinsic to the production style.
What was your impression upon viewing the final cut?
One poignant scene presents Thomas Cromwell with an opportunity to alter his life path. I found it profoundly moving, as it reflects a universal theme—each of us must occasionally choose a direction in life, often unsure whether it’s the right one. In the end, Cromwell chooses to remain aware of the consequences, making each choice resonate on a personal level for the audience.
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www.goldderby.com