Prisoner 951 forged and creatives talk about the factual drama based mostly on the extraordinary true story of Nazanin Zaghari-Ratcliffe and Richard Ratcliffe

Prisoner 951 is a brand new factual drama based mostly on the extraordinary true story of Nazanin Zaghari-Ratcliffe, a British-Iranian citizen who was imprisoned and held hostage by the Iranian state for six years, and her husband Richard Ratcliffe who campaigned for justice and her return.

In 2016, Nazanin Zaghari-Ratcliffe is torn from her 22-month-old daughter, arrested, falsely accused of espionage and imprisoned in Iran. Thousands of miles away, in London, her husband Richard refuses to remain silent and does all the pieces in his energy to deliver her residence. When it’s revealed that Nazanin is a pawn in a decades-old political dispute, Richard wages a marketing campaign to free her, battling tyranny overseas and seeming indifference at residence.

Based on the first-hand accounts of Nazanin and Richard in addition to in depth analysis, this highly effective true story charts one household’s extraordinary braveness and resilience within the face of unimaginable adversity.

Prisoner 951 is on the market in full on BBC iPlayer from 6am on Sunday 23 November, and airs on BBC One from 9pm that night time.

Interview with Narges Rashidi (Nazanin Zaghari-Ratcliffe)

How acquainted had been you with the story earlier than you took on the position of Nazanin?

I used to be accustomed to the story via the information headlines and social media, however on a really superficial stage. Once I learn the script and drafts of Nazanin and Richard’s e-book, A Yard of Sky, I may actually wrap my head round how horrific and emotional this odyssey has been for them, each individually and as a household.

Did you study something new about their story via this mission?

I used to be struck by how they navigated all of it, and I used to be actually impressed by their resilience. Their love for one another and the energy of the bond between them actually stood out for me. It’s extremely onerous to undergo one thing like this, one thing so atrocious, however to take action and survive it with a lot grace and hope, that was one thing that I discovered extraordinarily spectacular.

What drew you to the position?

It’s not usually you get the supply to play a present-day, real-life particular person. The weight, complexity and the duty of this position felt like a as soon as in a lifetime alternative for an actor, and that’s uncommon.

Did you do any particular preparation, analysis or study a brand new ability for this position?

I watched all Nazanin and Richard’s interviews to get the gist of her essence. I did not wish to mimic Nazanin, however I did wish to get as near her as attainable – to do justice to her and to the households. I researched rather a lot, I learn each interview that was on the market, I do not assume I’ve left something out.

Reading a draft of the e-book actually helped me to get into Nazanin’s headspace and feelings. I labored with a dialect coach as a result of I’m based mostly within the US and Nazanin is predicated within the UK, she has an English/Persian accent that could be very particular to her. We tried to get as shut as attainable to that, it is one thing I labored on intensively.

I communicate Farsi completely as a result of I grew up with the language. We would at all times communicate Farsi at residence with my dad and mom in Germany the place I grew up, however I did not know how one can write or learn it. There are scenes the place we see Nazanin writing so I needed to study, which was nice. She additionally sings so I learnt a few songs.

There had been two phases in her story when she was on starvation strike and misplaced lots of weight. I misplaced some however I couldn’t lose an excessive amount of as a result of we weren’t capturing scenes chronologically. I needed to lose simply the correct quantity that may work for the starvation strike scenes but additionally for the remainder of the story. With the assistance of costume and make-up we enhanced how I wanted to seem at any given time.

What was it like getting into Nazanin’s footwear?

Emotionally, it was most likely essentially the most demanding position I’ve ever performed. We had been capturing extremely intense scenes day after day. Some days I had as much as eight scenes with emotional climaxes, that is one thing you hardly ever get to do in a mission. It was an emotional roller-coaster, however on the finish of the day I might go residence and sleep in a heat mattress understanding I’m an actor on this position for 4 months, I do know it is not actual. But for Nazanin, that was her actuality for six years, she by no means knew how, when or if it will finish. So, actually, I do not assume it is attainable to fill these footwear in any capability, however I attempted to a minimum of be truthful to her story and my greatest to do her justice.

What had been essentially the most memorable scene to shoot?

There had been lots of very memorable scenes, one is a second set in Evin jail at Nowruz, Persian New Year’s Day. The ladies collect outdoors within the yard to rejoice, they maintain arms and sing freedom songs. That scene was extraordinarily emotional and highly effective; I’ll always remember that second. We rehearsed with 40 or 50 ladies in a single room, together with our director, Philippa Lowthorpe and assistant administrators, and one thing massively cathartic occurred. All the ladies acquired so emotional, one began crying then everyone began crying and tearing up. We all ended up singing this track in an enormous group hug. It sounds a bit tacky speaking about it however if you had been there in that room… me describing it can by no means do it justice. It was so extraordinary and so highly effective, it can stick with me eternally.

There was one other scene I had with the actor who performs the decide giving Nazanin her five-year sentence. In character as Nazanin, I used to be pleading to him not to try this. During the scene he was actually conserving it collectively however as soon as we reduce, he broke down in tears. It occurred many instances all through the shoot the place our actors would get emotional, I’ll always remember these moments.

Is there a scene that you just’re most pleased with?

It’s onerous to speak about your personal work in that means however what I’m actually pleased with is how your entire crew, all of the supporting actors and each single individual concerned within the mission actually tried their greatest to shed mild to this story. I’m extraordinarily proud to be part of that.

There is a scene the place Nazanin and Richard are on the cellphone, he’s within the UK and he or she is in jail in Iran. Joseph and I at all times tried to be there for one another to learn these scenes in-person. This is uncommon, often you shoot a cellphone name with an Assistant Director studying the opposite a part of the dialogue. It’s such a unique expertise and efficiency when you’ve got the chance to do it together with your precise scene accomplice. We had been capturing Joseph’s aspect of the decision and he helped me nail it. When I learn that scene I hadn’t imagined it in the best way Joseph delivered it, he introduced a uncooked vulnerability and performed it so otherwise to what I anticipated. I used to be in awe of his efficiency and it’s one other second I’ll always remember.

Why do you assume individuals ought to watch this sequence? Why do you assume it is essential to deliver the story to TV?

Because it is a story that may occur to anybody. Nazanin did not do something incorrect, she simply went on trip along with her little daughter, and but her total life and that of her household acquired derailed. This story reveals us that injustice would not come knocking, it simply arrives. It additionally reveals us how susceptible our freedom is. These are the tales price telling, the form of tales that matter. It’s why I grew to become an actress; I wished to be a part of that storytelling neighborhood due to tales like this.

What do you hope viewers will take away from this sequence?

I hope that it opens our eyes to how fragile our freedom is, and that we’ve got to guard it.

How was working with director, Philippa Lowthorpe?

Philippa has many superpowers however there’s one factor so particular to her – the mix of her energy and her full gentleness is one thing I’ve by no means seen in anybody earlier than.

She’s an actor’s director; she loves each single one in every of her actors. It would not matter if they arrive in for an hour, a day or 5 days, she makes certain that everyone feels secure to allow them to let go. If you’re feeling secure you might be courageous.

I keep in mind one emotional scene I had a bit drawback with; I simply couldn’t get to the place I wished to go. I informed Philippa this in our rehearsal, and he or she modified my positioning subsequent to some tissues we had been utilizing as a prop. That opened the knot for me straight away, it was a small factor however she acquired it immediately and adjusted it for me – then I may simply let go and the scene took off from there, no drawback. That’s how good she is, she actually will get all of the little particulars. She is magic.

How did you discover studying a draft of Nazanin and Richard’s e-book?

It was harrowing, there have been moments I needed to put the e-book down and take a breath as a result of it was very emotional. It actually helped me to get into Nazanin’s headspace and to grasp her feelings. The draft was one of many largest anchors and methods into the character. I didn’t learn the entire of the draft although, solely Nazanin’s chapters and never Richard’s. Philippa thought it will be a terrific concept for me to only learn Nazanin’s components so I may go into filming with a really subjective perspective. That means I didn’t know what Richard was considering or what or what he’d gone via, I simply noticed the position from Nazanin’s perspective. That disconnection was one thing that we wished to play with.

How did you discover working with the three youngster actors taking part in Nazanin and Richard’s daughter?

They had been beautiful. One was two, the opposite was 5 and we had an eight-year-old. They had been in such totally different levels of their improvement as little people.

With the two-year-old, clearly you can not persist with any kind of script, you need to improvise. But she was so good and he or she would give us gold as a result of it was so spontaneous and actual. I keep in mind one scene the place the household are visiting Nazanin in jail and Nazanin is making an attempt to cover a bit observe into her daughter’s doll. Our two-year-old noticed it and saved asking me within the scene: ‘What is that? What did you put in there?’ I attempted to distract her, however she wouldn’t let it go, proper in entrance of the supporting artists taking part in guards. I could not say something, but it surely was nice as a result of it simply added that further layer to our efficiency, which was stunning. You needed to simply go along with her circulation, she was main each scene.

The five-year-old was in a really totally different headspace. She may already say her traces so we did not must improvise as a lot. She was in a part the place she actually knew what she wished and what she didn’t. She was extraordinarily sensible and tremendous skilled, after we referred to as ‘action’ she was there. She was emotionally sensible too, delicate and open.

With the eight-year-old she was candy and wonderful, a bit shy, however a professional.

Their moms had been nice too. It is essential if you work with kids that it’s enjoyable for them, and that their dad and mom are on board.

Where do you assume Nazanin drew her energy from?

Many issues, I feel it modified over time. I feel at first of the entire odyssey, it got here from her innocence. She thought, that is all a mistake, it will be over quickly and it’s all an enormous mistake. I feel these ideas saved her going at first. Then the solitary confinement for 9 months was simply horrendous.

Obviously, the love for her youngster, husband and her household had been large all through your entire ordeal. Her spirituality helped her rather a lot throughout that point. I feel she prayed rather a lot, and studying how one can do these prayers is one thing else I learnt for the position.

Later on, as soon as she was in Evin jail ladies’s ward, these friendships gave her lots of energy to manage and survive. Those human connections and the ladies’s shared ache, I feel these had been issues that helped her get via it.

Interview with Joseph Fiennes (Richard Ratcliffe)

How acquainted had been you with these occasions earlier than you grew to become concerned within the mission?

I used to be conscious of the story when it hit the headlines, and positively when Richard went on a starvation strike, however not with the total story. Through my analysis, filming and since finishing the mission, I discovered these particulars notably arresting. I feel it is important that these particulars are revealed in the best way each author Stephen Butchard and director Philippa Lowthorpe have managed to do via this drama.

What did you find out about Nazanin and Richard’s story?

The massive studying for me is waking as much as the notion that harmless individuals – and on this case, an harmless individual carrying twin nationality – might be topic to State hostage taking. What we’re not conscious of are the behind-the-scenes occasions and points that invariably can have, because it did on this case, an impact on the personal lives of harmless individuals.

What I discovered unbelievable had been the broader occasions that surrounded Nazanin and Richard’s story. So, now I have a look at the information when somebody is accused by a rustic of spying and take into account that it may not be so easy. As it pertains to this story, what I discovered extraordinary is the truth that the British MOD had engaged with Iran in manufacturing tanks once I was simply born in 1970, and 40 years on that debt had not been settled and paid due to sanctions. When sanctions had been lifted that debt was legally because of be paid as The Hague had come to that call. 40 years on an harmless mom and youngster, a household, are fully decimated by the actions of a rustic that has determined to take a citizen as collateral for that debt. It’s a narrative of atypical individuals drawn into the horror of a rare scenario.

What drew you to the position?

First and foremost, it was Stephen’s writing which I felt to be politically partaking. It turns into a thriller of types, it is very actual, prescient and it is occurred in my time. I felt the extraordinary love story that evolves via the sequence, the love of relations, and between the prisoners who assist one another get via horrific occasions. There’s this human drama juxtaposed with the political, we’ve got two tales operating alongside one another however they’re each joined on the hip by the notion of profound love and by how individuals get via the darkest of instances, that is what drew me in.

The second cause was Philippa, assembly her and understanding her work. When you’ve got extraordinary figureheads in our business who’re main this sort of topic it turns into actually enriching for me to be part of it.

You’ve performed a lot of real-life people all through your profession – the Earl of Leicester (Elizabeth), James Gregory (Goodbye Bafana) Gareth Southgate (Dear England) – how does your expertise of a task change when portraying a historic character versus a present-day determine?

The expertise of taking part in historic, fictionalised and present-day figures is far the identical, we’re within the enterprise of the human situation and that stretches past the boundaries of whether or not it is interval, fashionable or fictionalised. You hope that when and wherever a task is ready, whether or not fantasy or truth, we arrive at a semblance of fact or a minimum of the beginnings of a dialog round an essential topic. I’m at all times cognisant, no matter it’s – a laugh-out-loud comedy or a psychological drama – that it promotes some dialogue.

Did you do any particular preparation for this position, like studying a ability or language?

It’s attention-grabbing to speak about abilities, Richard’s ability is actually auditing, he is a forensic auditor in order that’s his tremendous ability. I’ve acquired a sense part of that diligence actually put him forward of most of us in coping with this extraordinary disaster. On each event his phrase could be ‘show me the receipts’, that is his means of attending to the reality.

I did not must discover ways to audit or go to accountancy college, however I did speak to Richard at size for a number of hours. As far as analysis went it was a case of assembly him in individual, feeling his spirit, sensing his physicality, listening to first-hand concerning the occasions he and his household needed to dwell via; then marrying that to the script and my concept of Richard on this planet of our drama.

How was it making ready to movie Richard’s starvation strike scenes?

Like all filming, the capturing schedule is rarely aligned with the timeline of the story, in some circumstances I’ve shot the very finish of a movie or sequence on the primary day. When we acquired to the sequence the place Richard is on starvation strike, the week earlier than, or the following, we might be right into a scene which might invariably be one the place he seemed a lot more healthy. So, there wasn’t an opportunity to go deep right into a lack of weight. During these starvation strike shoot days I had numerous teas and liquids somewhat than solids however there wasn’t sufficient time within the schedule to take my physique bodily via what Richard would have gone via.

What was essentially the most memorable scene to movie?

I’ve to say that what stands proud from me is the sisterhood within the jail, I really like these scenes. I’m not in them however I used to be on location on these days and noticed the recreation of the prisons. The set design and that sense of being there was made so vivid and actual by the extraordinary skills of our set and costume design groups.

But in any other case, I couldn’t single out a specific scene. The sequence is about love and household help. We have a British household and a Persian household, though there are large cultural variations they had been all fully the identical within the love and help for one another. I felt that the family-related scenes had been actually integral and I cherished being in these exhibiting how that help helped Richard and Nazanin via this terrible chapter of their lives.

Why do you assume it is essential to deliver this this story to TV? Why do you assume individuals ought to watch it?

I feel most individuals who learn the information or actually who’ve lived in Britain will fairly presumably have heard of Nazanin’s story, however I feel it is actually essential that we perceive the main points. It’s essential we perceive the human harm achieved when atypical individuals are caught up in political occasions, and that we’re conscious of the actual fact State hostage taking does go on. It’s an essential reminder that we’ve got to maintain our governments accountable to issues like this, and of how essential it’s to help people who find themselves harmless and but are going unheard. There are many tales like this internationally and we needs to be alert to that plight. In a second somebody might be picked from a line, accused of one thing and by no means see their household once more – and it occurs all too commonly. But the large conquering facet is the help of a neighborhood, when communities come collectively to hunt out fact and justice.

What do you hope viewers will take away from this sequence as soon as they’ve watched it?

I feel viewers may take away the facility of affection and the way essential household union and neighborhood is. It’s an enormous reminder, within the face of the political journey Nazanin and Richard went on, of how good it’s to help and be there for one another. It’s a reminder of the facility of putting up with love, and to rejoice that.

Interview with director and govt producer, Philippa Lowthorpe

What drew you to the mission?

I’ve usually been drawn to creating movies about true life tales or occasions, most of my work is predicated in actual life and I began off as a documentary maker. I discover actual tales totally irresistible.

I wished to work with Stephen Butchard once more, who I’ve labored with earlier than – on Five Daughters – as a result of he is an excellent author. He is extremely delicate and really poetic in the best way he writes about individuals. He has that good mixture of unbelievable empathy, unbelievable writing, craft and ability; it’s so thrilling to learn his writing.

When he rang me and requested if I’d like to do that mission, I assumed it was a vital story to deliver to the broader public and I assumed I simply needed to do it.

How acquainted had been you with these occasions earlier than you grew to become concerned in manufacturing?

I used to be accustomed to their story very similar to many individuals via studying about it within the information, or via Richard’s very highly effective interviews on TV. I watched information experiences the day of Nazanin’s launch with tears streaming down my face. But I had no concept of the ‘ins and outs’ or the intricacies of this story – these had been a revelation to me once I started working with the manufacturing crew and with Stephen.

When I learn Richard and Nazanin’s very private and brilliantly written account of truly what occurred behind-the-scenes I discovered it extremely highly effective and shifting. I assumed it is a crucial story to inform to focus on the plight not solely of what Nazanin went via, however of all different hostages who’re taken for political causes all around the world.

How a lot did the draft of their e-book inform your directing?

The drafts we had been working from had been brilliantly written. The means Nazanin writes about all the pieces that occurred to her from the second that she was taken on the airport is extremely vivid, stuffed with good element, extremely evocative. Richard’s components as properly are so heartfelt and shifting to learn.

What they wrote was our bible, all the pieces within the script comes from the work that we learn and in addition from interviews with different relations within the UK, the authorized crew that supported Richard and different individuals who supported them. But the primary textual content which we got to learn shaped the idea of what you see on display screen within the drama.

I completely cherished the tiny little particulars Nazanin put in. For instance, after many months in solitary confinement she is transferred to the ladies’s ward of Evin jail which homes different political prisoners. Those ladies welcome her and ask her what she wish to eat, Nazanin had no concept they’d be capable of prepare dinner for themselves not to mention select what to have – she has a dish of fried eggs. I discovered these small particulars and kindnesses extremely shifting, they introduced her expertise to life so vividly. There’s one other good meals associated story the place one of many older ladies taught Nazanin how one can make a birthday cake on prime of the range as a result of they only had two rings and no oven. It made me take into consideration how extremely resourceful these ladies had been with such restricted means.

When I used to be directing, I at all times had these phrases in my head in addition to Stephen’s script. During our enhancing I continuously went again and checked issues they’d written to make it really feel devoted to their expertise.

I used to be additionally touched by Richard’s dedication, his love of his spouse, his love of his daughter Gabriella. His dedication to see Nazanin freed is extremely shifting. I used to be studying his weblog to verify a element for our edit and located an entry he wrote at Christmas 2016 – when he’d hoped that Nazanin could be launched however that didn’t occur – and I discovered myself sitting in my kitchen with tears in my eyes. You can really feel the immediacy of Richard’s emotion and his powerlessness at the moment.

It’s a devastating story, however a narrative of affection and of hope as properly, which is what makes it so compelling.

Did you study any something new or stunning about these occasions via the analysis or the filming course of?

There had been so many stunning issues that I learnt, together with the political story and the position that the British Government performed in Nazanin’s sustained detention.

At the time I had no concept why she was being held. I do know Richard acquired into hassle for speaking about this when he first found that she was being held for an previous debt. The bravery of him pursuing that line of inquiry in opposition to the recommendation of the Foreign Office who had been telling him to be quiet is kind of one thing.

What’s so fascinating is the behind-the-scenes wrestle Richard had as soon as he found why Nazanin was being held, and the way he persuaded others to hearken to him. That is a captivating a part of the drama which we illustrate as a result of it reveals his frustrations with each governments, Iranian and British. You see Richard’s tenacity and bravado to proceed to talk about this when he was informed to be quiet.

The drama covers six years in 4 episodes, as a director how did you method conveying the passage of time?

It was a problem to compress the six-year expertise into 4 episodes. In the primary episode we deal with the instant aftermath from when Nazanin is taken as a result of it was extremely eventful throughout these first few days. In the second episode we’ve got a matter of some weeks and some months to inform, as a result of once more that was very eventful. In the third episode, we focus primarily on her switch to the ladies’s ward and the Boris Johnson gaffe which affected Nazanin’s possibilities of getting out of jail. In the fourth episode she has the second trial hanging over her and is then launched on home arrest due to COVID. The finish of the drama is the completely nail-biting days and hours during which she was informed she could be coming residence. That is an actual thriller-esque a part of story. It is thoughts blowing how Nazanin, Richard and their households all held their nerve, I actually do not understand how they did it. The climax of the story felt prefer it was on a knife edge, and that it may have gone incorrect any minute.

Is there a scene you are most pleased with?

I couldn’t single out a single scene, however one of many issues I’m most proud about are the performances of Narges and Joseph as Nazanin and Richard. Those actors had been so dedicated to their roles, they went above and past each of their preparation and their dedication to inform this unbelievable story. Even to the purpose of at all times being on set for one another’s cellphone name scenes, usually if you shoot these a primary Assistant Director reads within the different half. But Joseph and Narges each got here to set to be there for each other so that every actor may reply with the proper stage of emotion. It purchased actual integrity to these scenes. They had been great to work with and I’m so pleased with them each.

Why do you assume individuals ought to watch the sequence and why do you assume it is essential to deliver the story to TV?

I feel it is crucial to focus on the truth that over the world and together with Iran, there are nonetheless political prisoners and individuals who have been wrongfully imprisoned like Nazanin who’re victims of regimes and infrequently their tales are misplaced, their voices go unheard. By telling Nazanin and Richard’s story, we are able to spotlight what it’s prefer to be a state hostage. People do not know what it is prefer to be in solitary confinement, or to have infinite faux trials or for use as a political pawn. I feel this story illuminates what it was like for Richard and Nazanin to undergo this horrible expertise.

One of essentially the most shifting issues in my expertise of creating this sequence was getting along with all the feminine Iranian actors who seem in episode three as prisoners. All of them have tales of issue, they’re residing in exile, away from their properties in Iran. We acquired collectively in a lodge to practise singing freedom songs and it was one of the vital shifting experiences of my entire profession. These ladies have lived their troublesome experiences in Iran and at the moment are collectively on this drama. They saved saying thanks to the BBC, thanks for telling our story. Even although we’re concentrating on the story of Nazanin, the ladies stated they felt we had been telling their story, which is usually forgotten or ignored. When they acquired up and sang these songs collectively and held arms, it was simply so shifting.

One lady acquired as much as sing Morgh-e Sahar (Bird of Dawn), which is a few caged hen flying away. She went to the center of the room, began singing, after which one other lady joined her, and one other and one other till over 40 ladies had been singing collectively – it was so highly effective.

Nazanin and Richard are an atypical, loving couple and oldsters however what occurred to them was extremely uncommon – how do you assume the story will resonate with viewers?

I feel it is as a result of Nazanin and Richard are an atypical couple that we discover them really easy to narrate to. It’s the story of the couple, their relationship and the way a lot they cherished one another, but additionally that of the broader households who supported Nazanin and Richard. It was essential to me that we confirmed everyone as being the very regular, on a regular basis individuals they’re.

What do you assume lies on the coronary heart of the story?

At the center of this sequence is a narrative about love and hope. It’s the love between Nazanin, Richard, their daughter, and that of the broader households supporting their grownup kids going via these extraordinary occasions. It can be about human braveness and resilience within the face of one thing so horrific.

What do you hope viewers will take away from the sequence as soon as they’ve watched it?

To see how Nazanin and Richard held on to their love, how the households held on to like, how the ladies within the jail held on to like within the face of horrific abuses and horrendous remedy is extremely inspiring. I hope the general public really feel very impressed by this story of bravery, love and hope.

I additionally hope the sequence shines a light-weight on different regimes and locations the place individuals are taken as State hostages.

The different factor the sequence highlights is the injustice that Nazanin suffered. She at all times maintained her innocence and he or she is harmless of all the pieces, any prices of the Iranian authorities. That could be very a robust message that I might wish to give to the viewers – that Nazanin was at all times harmless, and the braveness and dignity with which she confronted her ordeal is humbling.

What do you assume a dramatisation can inform individuals about these occasions which they won’t get from, say, a information report?

The dramatisation provides us a singular and really private perception into the emotional journey that Richard, Nazanin and their households went on – which a information report cannot fairly do. In a drama we are able to see the within and the behind-the-scenes story in a means that is very vivid and compelling.

Interview with author Stephen Butchard 

What first drew you to the mission?

I got here to the mission initially when Nazanin was nonetheless in jail. The producers had been speaking to Richard, and I used to be requested if I’d have an interest. Speaking to Richard I assumed he was a stunning and articulate man. I felt there was a really human however on the identical time political and world story there, one with many aspects.

Then issues started to occur and Nazanin was launched, which was unbelievable. I assumed that was it, one of the best outcome, however the finish of the mission. However, after Nazanin had been launched we had her aspect of the story as properly. She and Richard had been eager to shine a light-weight on the prisoners who’re nonetheless held. It grew to become a deeper and even richer emotional story. It’s atypical individuals developing in opposition to one thing seemingly so immoveable, however they carry on chipping away at it, discovering a means of surviving.

I’m frequently amazed at how good the human being might be. There’s numerous darkish, unhealthy information, however if you come all the way down to people, we’re able to essentially the most good issues. This story in my view, is an instance of that.

How acquainted had been you with these occasions earlier than you grew to become concerned within the mission?

I used to be solely acquainted from what I’d seen on the information. Nazanin was within the information and folks empathised as a result of it was a horrible story of younger dad and mom separated from one another and their daughter, and the longer it went on the extra tragic it grew to become. But I used to be conscious of Nazanin’s story from the perspective of a client of reports. At that point, I didn’t dig notably deep into it, however I signed a petition like many and was conscious of what was occurring.

What was the influence of studying the draft of the e-book?

We’d spoken with Richard a good quantity, so we knew virtually all the pieces from his perspective. Things modified when Nazanin wrote her chapters. It began to turn into an ever-expanding story throughout an ever-expanding variety of individuals. It wasn’t nearly Nazanin and Richard, it was about their households, after which two governments, the individuals surrounding them and the historical past behind them. It was changing into a very knotted internet, however the driving drive behind it was Richard, Nazanin, their daughter Gabriella and their households. The households had been comparable – dad and mom, brothers and sisters – all struggling however doing no matter they may to result in Nazanin’s freedom.

Did you undertake another analysis?

It was a case of chatting with the individuals concerned, some members of the federal government and making an attempt to get minutes of conferences. This is as true and factful as we are able to make it, all the pieces that’s on display screen we’ve tried to again up with data of the actual occasions. We had been chatting with MPs and politicians, and relations resident within the UK, asking how they remembered issues. It was about making it as truthful and as based mostly on truth as attainable. When you’re coping with a drama like this that’s the duty you’ve got.

We additionally spoke to individuals who had been detained, associated charities, Nazanin’s employers, and human rights legal professionals. All the time we had been increase the related and factual info.

Was it a problem to condense occasions of six years into x4 episodes? How did you method conveying the passage of time?

Quite early on – contemplating it’s 4 episodes and there’s lots of element to cowl in these – I used to be placing myself into Richard and Nazanin’s perspective from when this all began. What that offers us is hours and days, as a result of these first hours and first days are actually scary. In episode one there’s rather a lot there; Nazanin is arrested on the airport, Richard is informed there is perhaps one thing incorrect with a passport. They’re unsure what’s going on, however issues can occur on the airport in Iran and possibly she’ll simply be held for twenty-four hours, however this doesn’t occur… Then Richard is informed he needs to be involved and take into account this an abduction, Nazanin goes lacking. So, I made a decision to pay attention simply on this first episode on hours and days as a result of there’s a lot occurring to Nazanin and Richard. It’s about mining into the very human feelings of our protagonists.

That led on to considering if episode one is ‘hours and days’, episode two might be ‘weeks’ – the place issues are altering over the area of weeks. That lead on to episode three as ‘months’, then as soon as Nazanin is sentenced and it doesn’t appear like there’s a lot hope that led to trying on the last episode as ‘years’. To me, that appeared like construction, it as time limits.

Is there a scene you’re most pleased with?

I feel I’ve captured the relationships between the ladies within the jail properly. It was actually essential to try this, to offer them their voices and personalities from the knowledge that we had.

Being a male author, I feel I do write ladies properly, and so I used to be actually happy once I acquired the cellphone name from Philippa Lowthorpe and our editor to say they’d been sobbing at a scene I’d written between the ladies of the jail. Philippa has shot it brilliantly and the actors have introduced all the pieces to it; it’s not simply me. That scene is uplifting within the bleakest of locations, and that’s the distinction you wish to discover. You wish to discover the human spirit in what’s a darkish place.

Why do you assume individuals ought to watch this sequence and why do you assume it is essential to deliver the story to TV?

It is a narrative that reveals how unbelievable we might be at instances below duress. Somehow, we are able to summon the energy to maintain going ahead, to maintain hoping, to maintain combating. Lots of people will determine with that, all of us have our struggles to varied levels. It’s what we do, we discover a means ahead, we glance to the sunshine. Some of the ladies within the jail are nonetheless there however they’re nonetheless trying in direction of the sunshine. It’s about discovering hope in every day and I feel that is essential. Despite the subject material it may be a very uplifting story.

This is a really human story but it surely additionally it brings in a thriller aspect. It might be gripping in locations, traumatic and uplifting in others. Hopefully, it’s going to be one thing that stays with the viewers and makes them speak about it the following day. I feel that’s the job of drama.

Nazanin and Richard are loving companions and oldsters, however what they went via was extremely uncommon – why do you assume it can resonate with viewers?

Viewers might not be capable of put themselves in that actual place, however individuals can determine with loss and the wrench of being separated from household. They can determine with an impediment past their management being put in place, and the query of how you’ll overcome it. I feel most individuals would really feel misplaced and hopeless, however they’d do the identical factor, they’d maintain combating and asking for individuals to hearken to them.

What do you hope viewers will take away from this sequence as soon as they’ve watched it?

I hope they discover it uplifting and galvanizing. I hope they determine with this superpower we someway discover to maintain going when family members are in hassle. This could be very a lot a human story actually and that goes again to what attracted me to the mission within the first place, it wasn’t the politics.

What do you assume a dramatisation can inform individuals about these occasions which they could not get from different sources like information experiences?

With the information experiences, it’s too simple to take a seat there and shake your head however then overlook all about it. With a dramatisation, if you happen to can have interaction somebody emotionally, that impacts them extra. If you’ll be able to transfer the emotional dial, it has extra of an influence. 

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