Interview with Mackenzie Crook (Co - director)

What drew you to series one, and what did you enjoy most about it?

The first I heard of The Change was when Bridget invited me to a preview screening of the first three episodes.  She thought that it shared some DNA with Detectorists and that I would enjoy the connection with the British landscape and folklore.  I thought it was beautiful and poignant, with a community of characters that you'd like to know, and, above all, it was very funny.

How did your involvement in the show come about?

They needed a director for series two and asked if I was interested. Beforehand I had mainly directed TV that I had also written but I had, for a long time, been wanting to try directing someone else's scripts again. 

Filming in the Forest of Dean must’ve been incredible.  What was it like shooting in that stunning environment?

Most of the directing I've done has been set in the English countryside and it's where I am most happy and inspired.  To spend a summer in the Forest didn't seem like work, where every way you turn reveals a new, stunning vista.  We were spoilt for choice.

The forest itself feels like a character in the series. How aware were you of that during filming and how did you keep that theme in series two?

The Forest of Dean has a unique feel and atmosphere about it, it's unmistakable, beautiful but also dark and foreboding.  It's an important part of Bridget's life and although I'd shot there before, I don't think I'd tuned in to its magic until this time. 

What scene in series two are you particularly proud of, and why?

The scenes with lots of cast and lots of dialogue are always challenging and rewarding.  There are some very dream-like sequence and flashbacks in the forest that look stunning. I love including details of nature in amongst the comedy and drama and there is a drone shot that skims over the treetops before cutting to an extreme close-up over moss on the forest floor.  At first you think you are still high over the trees until an apparently gigantic beetle comes clambering over them.

Was there a specific moment or sequence that proved particularly challenging to film?

The first scene of series two is a direct continuation of the last scene of series one.  The original location wasn't available, so we had to find a matching one. And where series one ended in blazing summer sunshine, we inevitably had overcast skies and drizzle when we returned.  Despite all this you'd be hard pushed to tell it wasn't filmed on the same day.

How would you describe series two to someone who hasn’t seen it yet?

In series one, Linda is searching for connection. I feel that in this series, she has found her place in the landscape and the people she wants to be around.  She is stronger and wiser, and people are drawn to her.  It's a funny and heartwarming story and a lovely place to spend some time.

Did you have a favourite character to work with this series?

The whole cast is a who's who of British comedy actors, hardly any of whom I'd worked with before.  Paul Whitehouse, Jerome Flynn, Liza Tarbuck, Tanya Moodie Susan Lynch, Laura Checkley, Jim Howick were all a joy to direct.  But Linda, played by writer and creator Bridget Christie, is necessarily the most nuanced, funny and richly drawn character.  The Change is Linda's story, and she was a brilliant character to see brought to life.

As someone who has both acted and directed, do you feel that being an actor gives you a unique perspective when it comes to directing?

A director has to collaborate with all the heads-of-department who are all experts in their field. I think my niche job within all of that is to get the right performances from the actors.  I love actors and find they are always responsive to and grateful for confident direction. 

Do you prefer directing over acting, or is it the balance between both that appeals to you?

This was the first project I've done where I didn't also take an acting role and I relished that opportunity to concentrate wholly on the directing.  I still enjoy acting but to be more deeply involved in the making of a show is more rewarding for me these days.

Did you manage to sneak any props from the set as mementos?

Part of the set dressing in the Eel Cafe was a strange, long-handled rake with barbs at the ends of the tines.  I discovered that it was a very old eel-fork used for catching those fish. I wasn't about to steal it so I just let everyone know how great I thought it was and what an interesting item it would be to own.  To my delight and surprise, I was presented with a beautiful eel-fork at the end of the shoot.

What do you hope viewers will take away after watching series two?

A love for the characters and a thirst for more.