Cillian Murphy, Steven Knight & Caryn Mandabach Of "Peaky Blinders" On The Show's Fifth Season

[Music] thanks everybody well I'm gonna build I'm your host Ricky Camilleri for going on five seasons now writer Steven Knight producer Karen manda Beck and star Killian Murphy have beautifully brought to life early 20th century England complete with gangsters politicians tommy guns drugs boxing and the rugged sounds of smoke-filled throats and the upcoming fifth season of peaky blinders Murphy's Tommy Shelby is looking to take over politics but once again an ensuing war could foil his plans let's take a look when I sleep Jane and in my dream there is God none of the big e blunders [Music] people thinking I'm gonna fall who's gonna take the throne Weber we have never even heard of your paper so we are not afraid of your threats I said that Tony Shelby was a spent force and he was spent in the head three two one so Thomas Shelby that's what you want at worries [Music] [Applause] [Music] but which one I cannot tell mr. Shelby who have come to my attention I will have named it here my kid except there is no other man like you so I'm killing it economist Thomas Shelby who's crucified and there will be no reservation [Music] on the rugs is gonna hang us now no one is gonna hang you Tommy you're gonna hang yourself dad wish mr. silver what could stop us [Music] [Applause] [Music] now you've heard of us [Music] everybody please welcome from peaky blinders Steven Knight Karin manda back and Tommy Shelby himself Gillian Murphy thank you so much for being here you guys I love the show it's beautiful incredible performances amazing production design and incredible storytelling by a man who writes every episode how first off how the hell do you do that you've also written and directed movies not so long ago as well how are you doing that I do not getting asked that question Kong don't know what the answer is I think the simplest answers are get up early hours in you when it comes to writing can you where to get up early and go all day or no no I would say if you six till 2:30 that's but just just keep going just keep I mean the way I tend to write is just to start and not plan it and just let it happen like a dream and just write it and then see what happened when you read it back and figure out yeah when peaky blinders started when you first started this series did you expect that you would be writing every episode that you would hold on to it like this or did you think you would eventually bring on teams a team of writers or anything else yeah we did experiment funnily enough in the first series we'd bring another people on but I think it's it's such a personal thing to me you know to directors in the first series yes then you've only had one per season right we had one yep they'd used to be I mean I think peaky changed a lot of things in the way that this stuff is done and in those days it used to be two directors so that the first director could get on with editing while the second director was doing but we found it's better to get one director in and do the whole series so and in terms of other writers we tried it but I find it much more difficult to do with other writers because it just is more difficult I find it much easier to be on my own and just do it you know I was interviewing Don Winslow's not that long ago the novelist and he said that in the morning he writes his first draft and in the afternoon he's researching for the next book often how when are you doing the research for peaky blinders how much research is required for these scripts it's what what tends to happen with peak is that it moves on two or three years so they're not take a look and it's not an in-depth look it's a look at what was happening at that time and then I try to research not via history books wherever I can through anecdotes people speaking people who you know have recorded their experiences local newspapers are great and sometimes a trick that I do is like say Birmingham 1934 ice cream there's something random and if you're on the Intel take you to something that happened somewhere in that story and and thing will come up and you can get other run and that will lead you to another random thing because I think in my opinion history is random events and it's only historians who find the pattern subsequently and make it appear that it was inevitable that what actually happened was inevitable it never was so I think there is a randomness and an oddness and a quirkiness about reality that if you can try and get that in that helps and if you look at most historical movies and and and historical shows the best moments in them are not necessarily the moments where Churchill gave the speech or something it's the moment when Churchill was getting out of bed and doing something weird and that becomes an iconic moment of some kind yeah absolutely and I think it's the you know it's the individual human frailties and strengths that people are actually interested in rather than the collective consequence of the small event how do you focus on the individual frailties and strengths of Tommy Shelby as well as make sure that you're presenting in some way a sympathetic character who is on this other side of the law and is ostensibly doing terrible things at times I'm sure you are aware consistently that you want the audience to be on his side yes for sure I mean it all starts with the writing because the writing is so rich and so complex and so detailed for Tommy's character and for all of the characters but you know Steve said something recently which made sense to me and you know he is inevitably I suppose it would be classed as an antihero and in our kind of in the vernacular of TV shows or you know the way we look at gangster shows but but Steve said something you said you know he's a good man who does bad things to a good end and and that that to me kind of sums up the contradiction of the character because there are so many things about him that you could you know isolate and admire than this many many many things that she would be horrified by and yet to try and play that contradiction is brilliant because ultimately drama is contradiction I think do you find that often because there's a there's a scene right away by the third third episode of the new season that immediately establishes Shelby's moral code and gives the audience in some way I don't want to say an out with him but a moment where we can identify and sympathize with him this is where the line gets crossed for for him do you find that those scenes help you as well as an actor to make sure that you stand on the same side with with Tommy no I don't necessarily need as Killian to agree with any character I play that would limit two characters I could play drastically fair but I need to understand and comprehend and I think if you're referring to and Tommy begins to recognize that fascism for example as represented by Oswald Mosley I was referring to the orphanage of the orphanage okay well that's that's another example of where Eclair like to use a cliche terms that kind of a save the cat moment where suddenly we see he cares very deeply about this this one thing that everybody would care about for sure yeah and I don't want to give anything away about that but yeah that is an example and I think it's like if for if you watch the whole show you'll begin to realize that what's happening gradually is that we're beginning to see more and more of the character that existed pre first world war before he was so traumatized and devastated by his experiences in France and the trenches and we're beginning to see I think some of those values and things that made that more important to him seeing them be kind of you know being they were dormant for a long time and they're now coming back to life I think Karen you've been with the show since the beginning right how has the show I mean Stephen was kind of alluding to it that after the first season he sort of figured new things out as to the flow I think the workflow of the show how did that how did that work for you like I mean you had two directors on the first season and you you know he had said that he tried to bring new writers and as a producer what did you notice had to had to change and had to work differently it was always a problem money was always a problem just to start with that so it's a show that looks like it cost but doesn't and so they're really really okay really we probably spend about a fifth of what the crown spends if that gives you a little bit maybe a fourth but we are broke I think you'd have to say insofar as the ambition of the quality of talent so we've done a lot with as we had to make really specific choices and luckily early on people great artists the the directors we've had every ever everyone we've worked with the obviously the musicians and actually wanted to work on the show as opposed to thinking of it as just another gig so that gained a bit of momentum and we were able to attract people who it was as if it's like falling in love you know you can say well I really want to fall in love by six o'clock today you know sometimes you get lucky mostly you don't but because because people were looking for this kind of love we got to work with all the best look at the actors we got I mean I'm out chewable we're out now to a fancy person to play a next season and I literally had to say to the agent look I know she's extremely extremely fancy but tell her she's not gonna get milk in her tea there will not be a car I'm sorry to say we like buses I mean it's a real it's a real gift that we've been given by the creative community who in in kind like he said response to the writing so so you therefore are enabling the community to do something they really really want to do therefore you can do it for cheaper hods do it for half their half their fee I mean we've been extremely fortunate just simply because we are handcrafted the company is CMP it's my company so it's not like a giant Corp you know we handcraft he's the executive producer we don't always go to this my father he's there so we take responsibility for each other what did you say we don't he's there we don't always well he's there all the time you know he's on almost every scene so he's an executive producer who makes note of things that are important to the rest of the committee the producing and directing community that we didn't have it have you been executive producer since the beginning no since I think there's three seriously I begged him you begged him yeah what was that what was it like making that decision well you know for me it was very illuminating really because generally as an actor you know you turn up you do your work as best you can you say the lines you go home and then you see it a year later or however long it takes to make the product that's a terrible word to make the piece of art and then why did I use that tape well no you've totally forgotten why then see what I mean but so this was a very interesting exercise in you know having to watch the Edit for example and to be able to watch my own performance in a kind of a completely objective sober sort of way that's been very educational for me you can actually sort of ask questions about your performance in your talk I don't do that don't go get it I would not go in the Edit room that's it that's a sort of that's a sacred place for the director and the editor really but but when the edits of you know it'll go through various edits yeah yeah then then you can talk about it but so that's been very interesting and all the you know cool stuff like special effects and grading and music and all that post-production stuff that as an actor you're never generally privy to that's been very very interesting for me why did you beg him to come on as an executive producer well because he's valuable you know we take the the role of we people producers like me longtime producers take the role seriously we don't believe in just giving anybody a credit just because they're you know married to someone or because so it's someone's manager or there's some kind of a language quid pro quo where they have to he because he specific circumstance generally but because of the additive value of his intellect and the nature of his participation I felt strongly that it would be helpful to the product and keep the budget to be quite frank in a way and all things related to the budget choices had to be made exquisitely well no room for messing about we should say that you know you are a in your own way a kind of legendary producer you've produced an incredible amount of movie legend I don't know if people some people don't like being called legend I don't know how you feel about it but it's sure you haven't you have a filmography that isn't that is amazing yeah so what just throw my ass kiss back at me I love it thank you what made you I mean had you been thinking about TV for a long time what made you jump onto peaky blinders well I'm lucky obviously so that's craft is the answer so if we are in show business we have one foot on the dock and one foot on the boat and a lot of people really are on the dock I really didn't want to be on the dock I really wanted to be on the boat I wanted to be part of the commuter that crafts things so that to be on the dock is safe to be on the dock has to be a lawyer who calls him or herself chief creative officer having never read a script so I had respect for the everyone in the community and what you do as a producer is start with respect who could not I mean that's in who could not respect what he was up to who could not respect what he is up to so they be able to do that and not have to have any corporate diktats is is the joy what he talks this openly about producing on this stage because I think people are afraid to say say some of the things that you I invested my own money started my own company it entrepreneurs all day long and when you met with Stephen Stephen how much did you have written when it came to the first series it was something that I wanted to do since I was first started to write because these are the story the backstory of peaky blinders is basically the story of my family and my parents I grew up in small eath in the 20s and my mom worked for an illegal bookmaking dad's uncles were illegal bookmakers have record the peaky blinders so I heard all these stories when I was a kid they experienced these things when they were kids so that there was this double mythology so I always felt that there was a drama to be told here in spite of the fact that it was Birmingham which is in the UK is quite an unfashionable City it was the twenties it was a sort of it's a tough sell if you like but I always felt it would work and probably 20 years at least 20 years before this whole thing started going I'd written a sort of a script when I was because I was working in television there and then I worked in film more and then when television started to change I've got a call from Karen who instead of having an office had a table at the Royal Festival Hall there's bar members bar so we used to have meetings there and she said you know have you got anything to any television stuff and I said well this thing that's in the bottom drawer which has been a passion project of mine for so long and we went to see a wonderful person called and Mentzer at the BBC the BBC by the way are fantastic for taking a creative idea if they like it they'll say okay go off and do it you don't get the endless meetings you don't get the you know the studio notes you don't get all of that stuff you get given the freedom to actually develop this thing and do it so I think I wrote three scripts and they greenlit it and then we as a writer you see I mean just based off of writing all of this show the movies that you've written somewhat prolific when someone comes to you and says you know what do you got for a TV show how many things did you actually have in your drawer at that time for TV not just that because you've got to remember this was at the beginning of when TV became what it is now you know and it was just the beginning of all these great dramas coming out of the US and the great stuff coming out of Britain as well so consider like any of your movie scripts that you could possibly turn into TV shows not even a Time Lord oh that's that's the industry now I mean that's what everybody's doing now at the time I think there are different things I think on reflection there is a vast difference between what you should do as a movie and what you should do as a TV and a TV I think is now opening that locked library door of some class stuff that are great novels that I think you can do justice to in eight hours or 24 hours even you can do justice to those great stories whereas before with a film in 90 minutes it was tough so I think television is it a in a very exciting place I think we were ahead of the game thanks to Karen who's always ahead of the game and is a legend and I think we got we got incredibly lucky with getting Killian the first thing was getting Killian once we got Killian everything else seen he's a he brings with him a cachet and he brings with him a reputation that suddenly lots of people want to get involved so we sort of got a credibility very early on because of Killian I'm not sure if you're aware of your credibility when you jump on to something but what made you want to bring along your credibility and cachet as as Stephen has said it when you first got the script for peaky blinders well it's it's it's very very simple you know I don't think about it in those terms you know you think about it's selfishly you you look for the best work you know and and for me it's always been about the writing that's the only metric I have in terms of the choice of may of doing something and I was aware I think that there was something changing in television this is seven or eight years ago I think everybody was kind of aware you know that those iconic American shows had been on and we'd watched them and everyone was kind of conscious of that I think the BBC were conscious of that and so I was I was keen to read some good scripts and they were the first TV scripts I got sent like really really quickly and I didn't I couldn't understand the title do you know what it meant and then and then and then and then I read it in just pure at the opening the whole the opening sequence it was so beautiful and [Music] mythical and epic and and then I was just in and hooked I knew I have to do it you know and for me as well the idea that there the the the show the writing could start at that level of quality and then keep getting richer and deeper and more complex as it as we've gone on that's never happens as far as the TV I've watched you know and that's a tribute to Stephen to Carolyn people say something someone is a great writer or the writing is so great I think sometimes people hear that and they don't know exactly what that means I think is the dialogue really great but I'm curious I think what you're referring to in that opening sequence is that on the page you could see exactly how this was gonna be executed like you could feel it and see it and there was gonna be no room for interpretation or mistakes on set in a lot of ways yeah all we have to do as a production was do justice to the writing do you know I would jump in and just say that television is my medium I've done a couple of successful movies actually but that was a long time ago and television is what I know best and I'll tell you one thing for sure it's all about the writing all about the writing all about the writing all about the writing anything else you can talk about the movie business and it's not necessarily all about the writing it helps but in television because it's so intimate and so what he's referring to with regard to the scene the opening scene is not so much the epic nature of it or the Missal mythologies nature of it but he's referring to the subtext that carries that character Harry the barman says something a couple of little kids are frightened of and there's some smoke red being blown it he's so obviously iconic and he's obviously he's got such a giant subtext he's clearly PhD PhD he's got a PhD in PSD so he's got all that going for him because that means if you have someone with subtext that means it has legs so what Steve did uniquely you could talk about returning series it has two different meanings in America it versus other England or France or anything else in America we know what that means it has a lead it has a single lead that guy's called Walter White or Don Draper or you know Tony Soprano or Nurse Jackie er they that and we don't necessarily invest in the import that the lead has and we're watching as viewers we're watching even if Tony Soprano isn't in the scene and you're watching Carmela and the priest have a conversation all you can think of was geez I wonder what Tony would think of himself so inside he knows what he's playing he's playing someone who's pretty complicated and worth your time um you know I'm curious this is an esoteric question but I believe at the beginning of your career one of the first things you did was disco pigs a play which I saw recently at the Irish rep and you weren't starring in it someone else was but it literally blew my mind I didn't know you could do that with theatre it was like Beckett on speed which was just so incredible and it's such a loquacious and fast talking work yet you've sort of settled into some ways these characters who are somewhat quiet and solemn and menacing have you noticed that transition for you in terms of your work considering you started from this place of I mean literally speaking as fast as possible as quickly as possible and in that first play oh that's an interesting question I well I still do a lot of theater playwrights name but you just tender Walsh terrific kind of one of our greatest Irish writers and I have a long relationship in fact that was my first ever professional role was in that play I don't know I mean for me like I've always thought that you're just an actor and I would never like to be categorized as a theatre actor or a television actor or a film actor you're just an actor and for me the medium is always secondary to the character and to the writing and so if I I've had great experiences in theater I have a great experiences clearly on television and I've made some films that I've enjoyed um but to me it's all about following the character and the writing and so yeah the sort of work that I do in theatre has little or no relationship arisen little or no resemblance to the work that I do in peaky blinders for example that's what you should do as an actor is be curious and experiment and gain experience from different types of writing different media and that's what you should do that's certainly what I need to do to be had to keep myself interested I have a question on Twitter it's absolute little peaky blinders how hard is it to keep with the Birmingham accents I guess that's well Steve is from Birmingham so he's no problem and it's a difficult accent to do for some reason in the UK people can do northern and southern and eastern and western but Birmingham is tricky I don't know it's it's I mean I've lost my accent now pretty much but when I was first when left home people couldn't understand what I was saying because my accent was so broad but he's got sort of attuned to it as well which is very hard to get but at the very beginning the real garrison pub these are the garrison he's a real public in small heath which is not like the garrison pub on the TV but we went out I took Killian there with some my mates who still have broad Birmingham accents and Killian bought a tape recorder and we just drank a lot of Guinness and talked and end up singing and yeah I mean it was a long we were there supposed to be there before a football match and we didn't bother going to the football match we just stayed in the pub and and I believe that Killian took that recording and and worked on it nothing killed him from the beginning has been as hit the ground running I think other people about more problems with it but yeah it can be a challenge but I never wanted it to be an obstacle to performance really on top of the accent how difficult is it to maintain the sort of cigarette whiskey-soaked throat thing that you have to do is tell me well it was a you know as a series of decisions really to for me and for the whole creative team was like how do you how do we because this guy he's a decorated war veteran he's clearly fearless and you know hugely intellectual and all of that and and and also he's very intimidating and he has this he's a sort of person that walks into a room and you know people just pay attention so and he also has this physical presence so I try to employ every every trick to try and make him a bit more intimidating because clearly I don't have that walking around so yeah I dropped the voice a little bit got their hair that vicious haircut and and you have to have a version of that though you've been cast as intimidating characters on well I mean you know a comic book villain I suppose but that's broad or a kind of you can have a bit a bit a bit of fun but this guy as well I guess so but this this guy is the real deal in terms of what he's been through and and have I was having to really be aware that you know people did live through the first world war and people did witness things that like like that sort of mechanized slaughter which had never ever been witnessed before on the planet and so to try and be respectful of that that he has been through this and there is a reason why he is behaving not to justify it but you can see why he got to that place so anyway it was a series of exercises and decisions to try and give him that that's sort of that air of like you don't know one of those things where once you make that decision when you're on set you kind of can't drop that you have to sort of maintain that throughout and I don't mean like a method acting you know emotional thing I just mean in order to keep your voice in that register now it's really simple for me it's drop in and out of it yeah I'm not gonna do it it's no it's it's I don't know it's like riding a bike now not that it's easy but is is with ease in my DNA now he's in my genes you know what I mean he's there so yeah you know I have to shake him to get him going again but he's there if there's an imprint there you know right here hi hi so my question is for Killian I first saw you in Cork in the aforementioned production of disco pigs lucky you and most recently a Jitsu in grief is a thing with feathers at st. Ann's warehouse I just wanted to know how did that relationship with into Walsh begin and how have you managed to maintain it for like 20 plus years now oh well I was kind of I was I wanted to be a musician and that wasn't really working out and then I was very curious about theatre I've never really been to the theatre properly and then I went to see a production of Clockwork Orange at the Anthony Burgess book they did a production at Cork City and end there was part of the company that made that show and it blew my window was completely I thought it was the most exhilarating sexy frightening thing I'd ever seen in my life and so I just pestered him I pestered him in the pub I walked he's to follow him down the road and then eventually he gave me an audition for that play when I was 19 and then we kept in touch and we've made four or five shows now since then over the years and he's a tremendous writer and a really dear friend was pigs also I mean I know you said he was part of the company for a clockwork but wasn't pigs one of his first shows as well or mine as a writer yeah he will need written a few but it was the first successful show okay next question and sir I'm actually from Birmingham myself were you ever shocked that people were so invested in a show set in this little city and what do you think of the impact it's had on the city it's been amazing I mean going back there now obviously it you know I thought I think this will take off in the UK that but maybe know what breweries are like it's like they're probably going this is not us they're not doing it right you know but it's really taken off there now as well but in terms of how does the story of 1920s Birmingham a very specific geography and time location how does that resonate with so many people around the world I don't know I don't know the answer I just know that the breadth of people who are responding to it I mean a friend of mine came back from Panama and said that in the hotel in Panama City the barman was saving up money to get to Birmingham because they wanted to see the streets where the peaky blinders not oh you poor possibly well you know you know you know and people that you know Snoop Dogg is a fan and I had I'd spent three hours with Snoop Dogg when he came to London because he said he wanted to talk about P keys and he said it reminded him I know it reminded him of how he got involved in gang culture now how that that happens I have no idea and check out his new video by the way of red right hand oh right reckless red right hand is used yeah yeah yeah it's but so snoop did a version of red right yes on you it's it's it is amazing two more questions hi my questions for Killian what's bit the most challenging scene for you to shoot and how do you typically prepare for a challenging day or a challenging scene in particular well we we have a really really intense schedule you know it's a TV schedule it's broke she's a legend I'm a legend and we're broke spoken like a true producer so the the the amount of setups I mean by that I mean scenes that you get through in one day is quite staggering and for all this sort of you know explosions and set pieces and gun battles that happen in the in the show a lot of it is actually people talking in rooms you know with this exquisite dialogue and these kind of brilliantly drawn characters so the biggest challenge for me is always these big six page eight page scenes that take place between my character and generally sort of an antagonistic character or sayhello McCrory's character so they require a lot of preparation and then we shoot them almost like a play like two cameras and then one on the other actor one on me so you don't have the problem of one actor going first and you know so wish you didn't cross shoot them so you can have like these 20 25 minute takes which are deeply satisfying as a performer and as an actor because it's such a great text and they're to me the the they're the ones I look forward to most I gotta say all that like fighting machine guns is is is fine but unless you have that wonderful story and tension between the characters and that's the audience invests and the tension between the character between the characters and the characters themselves all that stuff is meaningless really I mean outside of two cameras it's so surprising to hear one that you're broke and to that that you move so quickly because there is an extensive amount of coverage in in in each scene a six-page scene or a six-minute scene you wouldn't just get the cross-cutting you've got wides you've got close-ups you've got the cross-cutting plus you've got attention to detail of things that are being talked about that's what I'm saying about these amazing craftspeople yeah our director this year Anthony incredible and our producer Annie incredible they're so clever he does episode 1 scene 1 and then later that afternoon episode 16 6 in other words like that's not quite that bad but it is mind-boggling because we don't shoot in order get that to facts he writes all the episodes he shoots out of order so all the roads all your order out of order get it so and you bless you he's he's right block shoot we can't block shoot everything has to be done that's why the printers Jesus every everything has to be done scheduling wise to a fare-thee-well and so that affects and terribly impacts how do you you know how do you as an actor ask an actor to do things out of order and and and we do the best we can but it nothing ever works so episode 1 scene 1 and then you're doing episode 6 scene 4 5 whatever how do you have someone that you're working with that knows that later in the day so you can at least bounce that off of is working with the producer on the schedule he's informed of the schedule the director is informed of the schedule nobody can believe how hard the schedule is everyone's in a state of shock all the time but the fact that he'll respond so beautifully is so not I mean you know that's really hard work to know the scripts very intimately and very well and get them all beforehand that's another yeah you spend a month or a few weeks reading this 400 pages that is these six scripts yes and that again is unusual to get all six scripts in their final draft like these beautifully realized scripts to get them prior to shooting many TV shows are shooting while the scripts are being written which to me seems like if you could think of the worst possible way to shoot something it would be that way so we don't have that issue we have everything is set and ready to go but yeah it's intense stepped up is the wrong word excuse me that implies like step up why have you not directed a season considering that you're done writing them by the time your your shooting it's I mean directing is very hard work anyway but directing piki is it's an achievement beyond my powers of physical strength because it's like relentless it's constant and I wouldn't ever sort of Swan in and say oh I want to do an episode you know someone has to really commit to the whole thing and if you're going to commit to the whole thing it's a year of your life at least you know and you'd have to stop and not do anything else are you on set for the shooting to answer questions I I make the occasional visit and smoke some herbal cigarettes but no I mean you know this thing works like as caring as own because we're broke this thing works like sort of clockwork because it has to you know it's got a system a lot of the people who are on the crew come back because they love the show and as I say a lot of people work for half what they would normally work for cuz they love it and so there is a team of people and the system that really works and there's absolutely no point as a writer going in you know and doing the showrunner thing where you go in and start well we need to answer a question we email them and say we're about to shoot this scene please can you help so he doesn't actually physically nor do I actually physically have because we've got such a fantastic team on the ground and it's a real tribute to them the whole thing we couldn't blah blah blah us but it's really really important to recognize that incredible talent the the fact that there's such terrific craftspeople editors everybody so terrific top of a game and they're doing it because they actually love the show so artistic choices still matter and that's what I'm most proud of one more question from the audience here hi my question so I am super concerned about Shelby just in general I know it's wants to be that gun-toting gangster but what draws me to the show is is the fact that Tommy is basically this grief and trauma some think you can change him right no not even that it's it's really a weird way but my question is for this season and maybe at least towards the end of this to the ends of the series is he gonna be okay where-where's yeah and how do you how do you how do you find that what what literature is he based on somebody that you know to get there well thank you very much for the question um yeah um she's gonna be fine yeah it's really an answer for it's a question for Steve Steven I mean I I don't know I'm too close to really to say probably I mean yeah the thing about him is we'd have to kill you obviously yeah I mean [Laughter] you can unspoilt as well but I think it's what I like is is that we see in this series is that we see generally Tommy's always got a plan you know and he's always ahead of the curve and he's always ahead of people because he's so clever and so such a brilliant strategist and I think he's just trying to hold everybody together he's trying to hold his family he's trying to hold the companies try to be an MP he's trying to do the right thing he's trying not to do the wrong thing but it keeps getting dragged back in in like classic gangster way and I think he's crumbling emotionally and sort of psychologically underneath all of that pressure yeah well yeah that's a question for this guy you know when we go in the editing star I see watches at the edits and every single time he just weeps do you feel incredibly close to Tommy he describes the whole thing into the whole the whole process of it because something I think it's a very you know you do stuff and you're right things and they go out that some things are lucky and peak ease of touchwood is a very lucky show in the we get we seem to fall upon good fortune a lot with actors and invade a bit not so much availabilities but their abilities and people come in to us and people having you know the show at heart and goodwill for the show and then when you see it happen and it comes and it goes and it's just like a dance and you watch it unfold and it's sort of a bit different to how you expected or it's the same or it's a bit better you just watch it go and you just think wow you know there is a real emotion there for me anyway and I think there is for a lot of members of the audience we did a festival in Birmingham where lots of fans came the amount of emotion there was incredible when people saw the casts were people crying and you know there's really strong emotional connection to the good like we just saw that people really want these people to be okay there's me making their lives hell does it feel like the show never gets far away from you from when you from from how you've written it yeah that's kind of what you were saying it sometimes totally you write it and it gets it just gets it gets away from you somehow you know you work in Hollywood you know what you're signing on for you know how it works you know the system you write your script maybe someone else doesn't pass the director does a pass so this thing never feels like yours unless you director yourself but with PK and because we all are close and we all work together and work together for a long time I am confident that the thing that I write that are even you know the direction the description of how the room looks that's how it's going to look and that's why writers I think in general of television because the words you write get executed and you know the writer is the person who owns the show if you like pretty much and so that's why for me it's great to do something so personal through this medium and with such fantastic Tyler I mean Killian but all the you know the whole cast of really guys I love the show it's beautiful an incredible collaboration I'm sorry that you're broke I hope you figure that out I hope you working on yeah but the show is coming to Netflix season 5 is coming to another source which I believe is soon yes Friday I believe that's Friday and God bless Netflix for taking it all over the world happy is it you know would have been for us just to exist in in BBC whom we do love and later on the iPlayer it's so great that Netflix has taken it to Panama or wherever the hell you know with it is so it's incredibly important that the you people are here and you understand I'm an American obviously and the ideal situation is for everyone in the world to get what we're up to because it's a human story told by a man about for the most part men and their families and I guess they're men everywhere and they have families everywhere so we're trying to connect you know what I'm saying so we're really grateful to that beauty blinders season 5 on Netflix this Friday everybody give them a huge round of applause for coming by let's hear thank you [Music]

Channel: BUILD Series

Views: 834,118

Keywords: AOL Advertising, BUILDseriesNYC, AOL Inc, AOL, AOLBUILD, #Aolbuild, build speaker series, build, aol build, content, aolbuildlive, BUILDSeries, Ricky Camilleri, Peaky Blinders, Cillian Murphy, Steven Knight, Caryn Mandabach, peaky blinders, cillian murphy peaky blinders, cillian murphy wife, cillian murphy heigh, cillian murphy batman, tom hardy, cillian murphy tom hardy, peaky blilnders cast, peaky blinders season, peaky blinders season 5, peaky blinders netflix

Id: FiYQwpiTOwg

Length: 44min 2sec (2642 seconds)

Published: Wed Oct 02 2019

Reddit Comments

[u/AlbionsSeed]

Thank you for posting this interview. It was very entertaining.