The new 大象传媒 One thriller The Capture begins on Tuesday 3rd September at 9pm and on 大象传媒 iPlayer. We caught up with its writer and director, Ben Chanan, to ask about how he got the idea for the drama, whether he was concerned that real events would overtake the story and if he was influenced by any existing TV or films.
When did you begin writing scripts?
I was originally a director (and still direct more than write). I think my first writing credit was on Blackout back in 2013. I had started out directing documentaries and then moved into drama. I had a commission from Channel 4 to make a 鈥榳hat-if鈥� drama about a cyber-attack, using found footage, which became Blackout. On Blackout I co-wrote with Joe Barton, whose script I鈥檇 directed for Our World War for 大象传媒 Three.
Channel 4 were pleased with Blackout and asked for more pitches in a similar vein (you always get asked for more of the same thing again!) I said I wanted to write something different next and this turned out to be Cyberbully (starring Maisie Williams). Again Cyberbully was a co-write, my first single writing credit was for The People Next Door (2016).
When did you have the idea for The Capture?
I鈥檇 first thought of the idea of The Capture years ago and started to develop it and even pitched it as an idea. It wasn鈥檛 picked up then, so having finished directing The Missing Series 2 (2016) I was at a loose end. It was January and I thought 鈥業 haven鈥檛 got a job鈥� so I鈥檒l sit here at home and have a stab at this idea. Out of this came the first episode鈥檚 spec鈥� script. I needed to sit down and give it that time.
Where did the idea of The Capture originate?
The foundations were laid years ago when I was making documentaries. I was interviewing counter-terrorism operatives in the UK and USA and learnt a lot about their worlds and what they think about. One of the things that became really clear was how central video evidence is, and how it is often the most effective way of securing a conviction. At the same time I was increasingly aware of how much better and faster visual effects were becoming 鈥� and how it was possible to manipulate video. Those two worlds were colliding, and wouldn鈥檛 that make an interesting world for a drama? However it took a long time to come up with a plot to service the idea.
Were you worried that real events would overtake you?
As I was writing people were sending me links to articles and stories about the new dangers presented by fake news, facial recognition software etc. I was concerned to get the drama out as soon as possible. It鈥檚 hard to be timely in TV drama as things take at least two years. Fortunately it鈥檚 hit the right moment and I think we鈥檙e not just talking about what鈥檚 going on right now but also advancing the conversation, so there is plenty about the drama which feels fresh and relevant.
Were there films or TV shows that influenced the style or tone of The Capture?
, 鈥� in other words 1970s conspiracy films. I love those movies and I miss them. and (the 1978 version). They touch on horror and sci-fi but the narrative is a conspiracy thriller. That鈥檚 the model and tone that I was going for. I remember thinking that I don鈥檛 care if The Capture is contemporary in feeling or not as I 鈥榤 going to make it in the tone of a 1970s conspiracy thriller. I also worried that might not fit with our world today 鈥� but now I think this is the perfect time to bring back 70s conspiracy thrillers. I had this idea before any of the recent political events and never thought the tone of contemporary politics would fit with the show, but things have moved in that direction鈥�
In terms of recent TV, Bodyguard came out and we thought it had a lot of superficial similarities, but actually once you get into the story the similarities are soon forgotten as the differences become pretty apparent. When I think of TV dramas that I鈥檝e admired that have informed The Capture then I would turn to State of Play. I didn鈥檛 initially know whether The Capture was going to be a Film, TV or whatever and when I decided it was a 6-parter for TV I went back to watch State of Play and remembered how it combined a great plot and characters 鈥� which are the same things to me 鈥� the plot is defined by what the characters have to go through. State of Play was also entertaining, with murder and betrayal, but also humour, and that鈥檚 what I want The Capture to be 鈥� not just grim and bleak but also fun and entertaining.
What was the commissioning process like? Can you share any advice about that?
Well because I鈥檇 been a documentary director, most of the dramas I鈥檇 worked on had a documentary tone 鈥� although with Cyberbully I tried to move away from that with a heightened, almost theatrical feel to the drama which focussed on one person in one room for one hour. It鈥檚 been an evolution for me into actually being able to say 鈥業鈥檓 a writer鈥�, and getting The Capture commissioned as a series has been a big part of that. Writing a whole series is a big step up.
As I mentioned, I鈥檇 pitched it before as a one-page proposal, and had some interest, but it was only once I鈥檇 written a full first episode that everything changed, and producers Heyday Television took it on. I know it sounds so obvious, but you need to write the script. It鈥檚 hard for people to take a punt on a proposal, they need to be able to read the characters and see them walking and talking. You need to have an idea of where the story is going next but people are really obsessed with the first episode and a good script really raises your stock.
I don鈥檛 give advice very freely but people like a good script, and if you can deliver a good first episode then you鈥檙e on your way.
You both wrote and directed The Capture, what are the advantages and disadvantages?
I don鈥檛 think I can direct everything that I write and I鈥檓 looking forward to writing for other directors. However it brings lots of practical benefits to be a writer / director. When you鈥檙e trying to get a project greenlit it鈥檚 hard to find the right director for a script, if you come with one already then that particular headache is gone. When you鈥檙e directing a script and you have questions for the writer 鈥� for example you need to change a location - you cut through all that and you metaphorically turn to ask yourself and say 鈥榶es鈥�. However on the negative side there鈥檚 no one else to blame!
Watch The Capture on 大象传媒 One from Tuesday 3rd September at 9pm and on 大象传媒 iPlayer