England, 1936. After a scandalous celebrity divorce, British tennis star Nevile Strange (Oliver Jackson-Cohen) and his ex-wife Audrey (Ella Lily Hyland) make the unthinkable decision to spend a summer together at Gull’s Point, their childhood home and the coastal estate of Nevile’s aunt, Lady Tressilian (Anjelica Huston).
With unfinished business between the former childhood sweethearts, plus the presence of Nevile’s new wife Kay (Mimi Keene), tensions are running high. Add to this a long-suffering lady’s companion, a mysterious gentleman’s valet, an exiled cousin with a grudge, a venerable family lawyer, an inquisitive orphan and a French con man, and soon there will be murder. A troubled detective must rediscover his purpose to untangle a toxic web of jealousy, deceit and dysfunction. Can he solve the crime before another victim meets their death?
An explosive love triangle, a formidable matriarch and a house party of enemies. All compelled… Towards Zero.
Agatha Christie’s Towards Zero (3×60’) is produced by Mammoth Screen (part of ITV Studios) and Agatha Christie Limited, and is a co-commission between the BBC and BritBox International. It is adapted by Rachel Bennette, directed by Sam Yates and produced by Rebecca Durbin. Executive producers are James Prichard for Agatha Christie Limited, Sheena Bucktowonsing and Damien Timmer for Mammoth Screen, Danielle Scott-Haughton for the BBC and Jon Farrar, Stephen Nye and Robert Schildhouse for BritBox International.
Agatha Christie’s Towards Zero will be available in full on BBC iPlayer from 6am on Sunday 2 March, with episodes airing weekly on BBC One from 9pm that night.
Interview with Anjelica Huston (Lady Tressilian)
Who is Lady Tressilian?
Lady Tressilian is the matriarch of a very disjointed, unruly family. They have lots of problems and it’s up to her to try and corral everyone – or at least that’s how she sees it. She has a way of getting everyone to do what she wants them to do – commandeering the ship and running it the way she sees it should be run. It was a lot of fun to play Lady Tressilian, she runs the whole place from her roost, her bed, which is a very nice way to act. I basically went onto set and rolled into bed every day! It was the opposite of my usual function.
Can you describe Lady Tressilian in three words?
Domineering, calculating and iconoclastic.
What makes Lady Tressilian so powerful?
Lady Tressilian is running the show the way a man would – or at least, she’s attempting to. She’s trying to make everyone understand that she’s in charge. That’s quite unusual for a woman of that time. She’s not without her vanities… She has her favourites and she’s discerning and judgemental. She loves all the ‘kids’ but she’s not going to let anyone get away with anything.
What is Lady Tressilian’s relationship with her companion Mary Aldin like?
Mary is one of her children – she’s not really her child but she’s the daughter of Lady Tressilian’s oldest friend. And it’s up to Lady Tressilian to rule, correct and admonish her. Mary is very patient and long-suffering. Lady Tressilian has very definite ideas about Mary and what she should think, what she should read, what she should do… She applies them rather stringently to poor Mary.
How did you master the English accent?
I grew up in the west of Ireland and in England so I did my research then. It means I have a storied education in English accents.
Have you met a Lady Tressilian in real life?
Yes, I grew up with many real life Lady Tressilians. On the hunting fields, mostly. At the Galway Blazers – my father’s hunt club – we had quite a few women like Lady Tressilian who were very opinionated and strong. They pretty much ruled.
What are the key themes of Towards Zero?
I’d say family, loyalty, fidelity and… murder.
How would you sum up Towards Zero?
It’s classic, witty, surprising and smart.
Lady Tressilian’s look is fantastic! Can you tell us about your costumes?
Bed is one of my favourite places to be, so I was immediately happy with that. The costume relates to the bedroom so I was also happy in the costume. I’m in a nightie and a dressing gown. Comfy!
Where is Towards Zero set?
It’s set in a village amongst sand dunes called Gull’s Point. It’s a small English village, on the Devonshire coast. Lady Tressilian lives in maybe the grandest house in the area. It’s a place with a lot of echoes, and a lot of ancestors.
Why do you think people are still so compelled by Agatha Christie’s stories?
One likes a success and I think it’s nice when people like something that’s smart, witty and classic. Agatha Christie is symbolic of that. She was writing at a time when women weren’t really at the forefront. Her observations and involvement with her characters is very succinct. It’s no wonder she has such a following.
What were the highlights of filming?
Bed! It’s not often one is called onto a film and placed in bed. Usually it’s the other way around. So I appreciated all my moments in bed.
Would you survive an Agatha Christie plot?
I don’t think I’d survive for longer than 5 minutes. You have to be smart!
Interview with Clarke Peters (Mr Treves)
Can you tell us about Mr Treves?
Treves is the lawyer of an upper-class family – wealthy, generational wealth. He knows the secrets, knows where the money is hidden, knows who wants what. He is the confidante of the head of the family, Lady Tressilian. If he were to be put on the stand, he would probably bring this family to ruin. He knows the secrets that Lady Tressilian would prefer not to deal with. He knows Thomas Royde’s secrets, and I believe empathises with him. I believe he understands Nevile and Audrey from childhood and has seen how their relationship works – the motivation of children and that dynamic. I think he understands their secrets more than they do themselves!
What is Towards Zero?
It’s a whodunnit. A very complicated whodunnit dealing with infidelity, murder, selfishness and greed. It’s about what happens when you hide secrets, when you keep secrets, and how they fester.
What’s the dynamic between Nevile and Audrey?
We know that Nevile has been a cad, but also it’s not like Audrey is just a sweet little thing. She’s just as competitive and strong willed as he is. Yet there’s a deeper love that none of us can ever imagine, from children through adulthood and marriage.
Can you describe Towards Zero in three words?
Can I describe Towards Zero in three words… No I can’t. Because of my limited vocabulary! Even if I had Shakespeare’s mastery of the language I think Towards Zero needs a lot more than three words or one sentence to sum it up because there are so many strands that are connected and so many surprises. It is not a simple whodunnit. It sounded like I was joking when I said my vocabulary is limited, but I don’t think you can do this succinctly!
What are the key themes of Towards Zero?
The theme is that the truth will out. Everyone has a secret and each one of those secrets that they’ve been harbouring forever has to come out.
Can you tell us about the two main locations of Towards Zero?
Gull’s Point is what holds this moral compass together. On the other side the lake, at Easterhead Bay Hotel, there are no boundaries. You can only imagine that anyone leaving the safety and security of Gull’s Point has an intention that is not in harmony with it. Having these two environments is like the story – we all have dark parts of ourselves as well as the light we’re trying to find. It’s all right there within a couple of miles of each other!
What makes Towards Zero unique?
It’s a different Agatha Christie. If you take your time and go into the psychology of each one of these characters you’ll find it’s not just a simple romp through a series of events that leads up to a murder which you have to figure out. There’s a reason why it’s called Towards Zero…
What have the highlights of filming been?
I’ve enjoyed the court scene when I have to really lay into Kay. I love it because of the language and because it became more theatrical. I thought I was going really over the top, but I think it was accurate for the drama of the court – to be as grand as one can be and knowing that if I say this, the court room is going to erupt. I love that, I think I’d like to do that scene again! As a matter of fact I might just go home and do it with my wife.
Would you survive an Agatha Christie plot?
Oh I’d survive. I wouldn’t be the one to do it. But then again… You just never know do you?!
Interview with Matthew Rhys (Inspector Leach)
Can you tell us about Inspector Leach?
He’s a very interesting character, a man of great depth and sensitivity. His trauma from the First World War has isolated him to such a degree that he is very much on the outside and periphery of almost every social circle. That gives him great advantages as a police inspector to look in and observe what is happening around him.
What is Towards Zero?
To me, Towards Zero is a psychological thriller masquerading as a simple whodunnit. That’s the beautiful coat hook on which this elaborate embroidered coat is hung, but the rich tapestry of that coat is far deeper in its psychoanalysis. Leach isn’t Poirot. He’s very succinct in his thoughts. He’s in a soup of a swirl in this world as he’s trying to make sense of all of these crazy loose ends, these strange people and this strange location. He’s dealing with his own personal demons and the demons of others who are laid out in front of him. I enjoy that it’s not linear and clean-cut. It’s a messy investigation.
Can you tell us about Leach’s relationship with Sylvia? How does it help him?
When we first meet Leach he’s at the lowest point of his life. There’s a moment between him and the young girl of the series, Sylvia, which I think sparks something in him. He finally realises the fragility of life, but also how precious it is. He has an incredibly strong sense of principles and I think those are reignited in him and he tries to fix what is broken within him. The great thing about Sylvia and Leach is that they’re two peas in a pod. They’re complete kindred spirits. They’re alone in the world and have a great sense of abandonment. They see something in each other that they both recognise immediately, a loneliness. It surprises Leach because she’s a very unlikely. They help each other find their way back to an understanding or trust in humanity.
What are the key themes of Towards Zero?
Some might argue that some of the key themes are purely the seven deadly sins when you put this group together. Certainly there is a ruthless ambition to many of these characters. The danger of ambition seems to be quite a theme, quite a lesson. These are ancient themes that will always appeal to any modern audience – power, money, revenge. To a degree the root cause of it is love, which is ironic in itself.
What does Leach’s look say about him?
There’s nothing that stands out in this costume – it allows him to move quite seamlessly and blend in to many different scenarios, settings, backgrounds, which I think is what Leach is. The cuff lining is starting to come out, there are frays and a number of small intricacies are just off, which is very indicative of Leach.
The series is set in the 1930s – do you think this has an impact on the characters?
I love this period because of how it inhibits people. To point out the obvious, we weren’t as free and easy. There’s a rigidity and something that’s quite held in everyone. People’s feelings and emotions were certainly reserved and a little trapped. I like that – I think it fuels something on the inside when a number of things are held back.
What do you hope audiences take away from Towards Zero?
My hope is that it’ll do two things – as soon as you say Agatha Christie you have that incredible audience that love it anyway. Everyone is always drawn to a whodunnit. People always challenge themselves as to naming the murderer from the offset, it appeals to everyone’s ego that they can crack the case. What I hope then is that people realise that it is something far greater, deeper and more intricate.
Who is Leach’s modern day hero?
I think Leach would be a big fan of Philip Marlowe, the detective created by Raymond Chandler. For the simple reason that he would associate and relate very well to Mr Marlowe in that they are both loners and they both have a slightly romantic sense of justice which they will always see through to the end. But they’re deeply flawed which always makes them interesting.
What have the highlights of filming Towards Zero been?
Me and Oliver have to play tennis in the show and Sam (Yates, director) on the first day said: ‘do you both play tennis?’ to which we promptly answered: “we’ve never played tennis”. They’ve chosen two actors who have never played tennis. We had this wonderful South African coach called Francoise who looked on with abject horror at our first lesson. And at one point he said “you know what, you two are so bad that you’re on exactly the same level and maybe people will think that’s just how they played tennis in 1936.” So I really looked forward to the big tennis scene which was shot at the very end of the shoot. You’ll have to watch and judge if either of us made any progress since that first fated lesson.
Why do people love Agatha Christie?
What I do love about Agatha Christie is that her whodunnits are a disservice to her because they’re so much more than that. She writes fully fleshed human beings and you’re so invested in these people so the pay-off is always far greater.
Would you survive an Agatha Christie?
I personally wouldn’t do well at all in an Agatha Christie plot, for several reasons. One is that even when a policeman looks at me I give a very guilty look. I always feel like I’ve done something wrong. So I would look guilty regardless of whether I was guilty or not. I’m not the sharpest tool in the box so helping crack the case would not be a forte of mine. I generally just get in the way a lot. I’d certainly enjoy the unravelling or unveiling of whoever it was, the culprit at work, but if I were to be of help… quite the opposite, I’d be a hindrance because of my guilty look!
Interview with Oliver Jackson-Cohen (Nevile Strange)
Nevile is a famous sportsman – can you tell us more about his character?
Nevile is a celebrated tennis player in the 1930s. He’s sort of the David Beckham of his time. His wife, Audrey, and him are a celebrity couple. Always in the papers, much beloved. You’d probably describe him as the arrogant cad – he’s a very good sportsman and is beloved by the public, but he has an incredibly complicated emotional life at home.
Where do we meet Nevile at the start of the show?
When we meet Nevile, him and Audrey are going through a very public, humiliating divorce. There’s a huge amount of attention on them. We meet Nevile in and amongst that because of an infidelity with a woman called Kay who he subsequently marries and decides to bring to the place that means the most to him, Gull’s Point, his aunt’s house. It’s where he grew up with Audrey, his now ex-wife. So they go there for the honeymoon and Audrey shows up, as do some old ghosts…
How is your tennis game?
I am the most un-sporty type there is. I thought “oh it’ll be fine with the tennis because they’ll get doubles in!” And then I realised I was going to have to do some of it. When we shot Wimbledon we had to tell the crowd – “Even if he misses the ball, cheer and make it look like he’s winning!” So it was quite the experience… As you find a lot with anyone in sports, there is a drive to win. It’s all about tactics and how you get to that final result. That plays out into his personal life and relationships. It’s how he’s wired, there’s a real strong drive in Nevile to win.
What is Neville’s relationship with Lady Tressilian like?
She’s his aunt, so they have an incredibly maternal and son relationship. He’s always known how to work her, manipulate her, and she’s loving in the way that mothers can sometimes be blind to what their children do. He drapes himself across her on her bed – it’s an incredibly intimate and probably a little bit disturbing relationship between the two of them. His mother died in childbirth so she took on that role and raised him.
Can you tell us about the love triangle between Nevile, Audrey and Kay?
You’d categorise it as a love triangle, but it feels like it’s so much more than that because it’s incredibly complicated. As with all Agatha Christies, it’s like peeling the onion – the more you peel the more you uncover. It’s very clever how we discover what’s underneath the dynamics between this trio and what they’re all up to.
What brings Nevile and Audrey together?
They share this intense desire to win. At anything. I think that’s borne form the two of them growing up together. It’s a very Burton and Taylor-esque. It’s a constant exploration of co-dependence and how ugly and dangerous it can get. They take such joy out of the playing of the game – no matter how much it costs them, they cannot stop playing.
What are the key themes of the series?
One of the biggest themes is this idea of game playing and doing what you have to do to survive. There’s a survival element, a childlike element to it all. Ultimately it’s about the game.
Why is Towards Zero an unmissable show?
There is something about this one that makes it feel very distinctive. With Agatha Christie, you’re always going to have a certain formula and that’s what makes her work so popular. That’s very much at the heart of what we’re making, but there’s something about the way our story unfolds that makes it incredibly unique.
Can you tell us about Nevile’s look?
Nevile dresses incredibly well. We have a brilliant team – Charlotte Mitchell, our costume designer, was incredibly collaborative. He was probably the most fashionable person at the time and always had the latest clothes. He was probably quite daring in his dress sense. It’s interesting because we first meet Nevile in London and he’s dressed how you would be for the city, and then the minute you get to Gull’s Point he’s on holiday, so it’s swimming trunks and tennis shorts. I actually think my favourite outfit is the tennis playing outfit – very chic!
Would you survive an Agatha Christie plot?
I don’t think I’d do too well. During filming we talked about The Traitors – as there are definite similarities with Towards Zero’s plot – and I feel like I would be so bad at lying. I think people assume because you’re an actor, that’s what you do, you lie. But you don’t really because you spend most of your time trying to believe that you’re telling the truth! I would crack under the pressure. I think I’d do very badly. I think Mimi would be excellent, she would handle it very well, but I think if I, as Oliver, found myself in any of this I would struggle immensely.
What was your highlight of filming?
The second week we were in Devon on a beach. It was absolutely freezing trying to get into the water. That is always a good bonding experience for a couple of days!
We see Oliver as the focus of a number of newspaper headlines. What would your news headline for Towards Zero be?
Game, set, murder.
What’s it like being in an Agatha Christie adaptation?
My dad used to love Agatha Christie. I bought him the DVD boxset of Poirot and we used to sit and watch them. Sadly he’s no longer with us, so when the phone call came in to do this, I wanted to do it for him.
Interview with Ella Lily Hyland (Audrey Strange)
Where do we find Audrey at the start of the series?
Audrey moved to Gull’s Point when she was a kid because she was an orphan. Her and Nevile were together from a really early age – a sibling relationship that turned into something romantic. We meet Audrey as she’s filed for divorce from her marriage with Nevile. She’s very much a woman wronged. I think she’s in pursuit of her freedom because they have a very toxic, twisted, exhausting relationship dynamic.
How would you describe Audrey?
I would describe her as twisted, nihilistic and hedonistic.
What is Audrey and Nevile’s relationship like?
They grew up together and are very dependent on each other. It’s quite childlike. I think something was stunted when they were growing up – they were probably running amuck playing lady and lord of the manor. There’s a veneer of sophistication, but underneath there’s a very childish need. They know each other so deeply, so they almost try to predict the move the other person makes. That’s a part of their intimacy. They don’t have boundaries, they never learnt boundaries as kids, so it gets quite dangerous as adults because they don’t know when to stop. It’s an insatiable need to win and beat each other. Or win each other! That’s what drives them apart, that’s the push and pull.
Can you tell us about the love triangle between Audrey, Nevile and Kay?
A big aspect of Nevile and Audrey’s relationship is that they never want to be bored. Nevile is with Kay now, but he feels he needs to keep playing this game with Audrey and they communicate that in a weird and twisted way. I definitely think there’s a part of Audrey that is attracted to Kay – because she’s with Nevile, or maybe separately anyway. It’s a weird taboo of feelings that can happen in that dynamic.
What power does Audrey hold in the love triangle?
She has an ability to detach herself from her emotions. She’s a pro at keeping her feelings at bay, which makes her quite cat-like. She’s able to live in the moment, she’s very instinctive. That gives her an element of power. She also knows Nevile way better than anyone in the world. She knows him inside out, all of his faults, everything that makes him vulnerable, fallible and weak. As well as everything that makes him strong – or what he needs to make him feel strong and powerful.
Could Audrey and Kay ever get along?
If it wasn’t for Nevile, I think they’d really like each other. I can see them really fighting but also having such an exhilarating time. I think Audrey would really admire Kay.
Where is Towards Zero set?
It’s set on the English coast in 1936. Something Sam, the director, mentioned in rehearsals is that people want to live at this time. They want to enjoy life and have luxury and pleasure. It’s interesting because I don’t know if that is a time we’re in now. The two locations – Gull’s Point and Easterhead Bay Hotel – are representative of the polarities going on with a lot of characters. For Audrey and Nevile, it’s how they grew up. They had a veneer of being polite and good children, but that amount of money and luxury allowed them to run amuck. I think Easterhead Bay Hotel feels like their inner life. It’s what everyone wants.
What do Audrey’s costumes bring to the character?
Charlotte, the costume designer, puts so much character into all of her costumes. It’s been brilliant to collaborate with her because you learn so much about what Audrey’s energy is as a person. She adorns herself, but everything is really harmonious which I love. There’s a lot of mask in her makeup and how she does her hair. There’s a ‘heldness’ which I think is really beautiful. It’s just great learning about all the different ways that they would’ve done their lipstick and powder, stuff we really don’t do now. It really transforms the whole look and character.
Towards Zero is more than just a whodunnit. What makes this story stand out?
It’s definitely in the genre of psychological thriller, but it also explores themes of sex, sexuality and desire. That’s what makes it interesting. It’s not just about rage and anger. It’s about passion. At certain points it feels a bit like a Greek tragedy.
Why do people love Agatha Christie?
Agatha Christie stories are fascinating because they’re a great study of how people lie. Everyone who watches them has a different idea of what honesty looks like. It’s almost like The Traitors. What Agatha Christie does really cleverly is depict what facets of human nature our society is most comfortable with. It’s like a mirror for the audience. That’s what makes it really interesting – families fighting around the dinner table! It brings people together and evokes conversation.
What were your highlights of filming?
The dinner party scenes were really enjoyable because you only really imagine things from your character’s perspective – what they feel and what they want – but then you’re met with everyone else and there’s a really interesting energy in the room.
Interview with Mimi Keene (Kay Elliot)
Where is Kay Elliot at the start of Towards Zero?
Kay is Nevile’s new wife. She’s loving life – they’re just married and all of her dreams have come true. It all goes downhill from there, but it starts very happy! Kay is more worldly than people perceive her. She has life experience. Kay gets a lot thrown at her and stands strong. I don’t think I’d be as strong as Kay, I think I’d cry a little bit at times when she would stand tall.
Can you explain the relationship between Kay, Nevile and Audrey?
Kay is the new wife. She is involved in the court case and makes herself very known. I don’t think Kay is expecting the connection between Nevile and Audrey to remain so strong. Nevile’s justification to get Kay on the honeymoon is the fact that it’s a very special place to him, but it’s also a very special place for Audrey because they grew up there together. That’s Nevile’s way of getting Kay to agree to go to this house.
What power does Kay hold in the love triangle?
The power Kay has is that she’s currently the wife. I’d say that’s about it, she’s not got much! I think she’s expecting to have a lot more power than she has, which in time she realises she doesn’t.
Could Audrey and Kay get along?
In a world with no Nevile… I think there are two answers. They’re strong female characters and they don’t back down. They could either be a dynamic duo or fight to the death!
What makes the story relevant to modern audience?
Even though it’s set in the 30s and a lot has changed, we’re still humans and we still have emotions. A lot of the things that come up in this would still come up in everyday life, it just looks different.
Can you tell us about Kay’s costumes?
Charlotte, the costume designer, has done a really amazing job. Beach pyjamas – let’s bring those back! Very me. I’m never in a flat shoe which was no good for my feet, but looks fab.
Of the two key locations in the series, does Kay prefer being at Gull’s Point or Easterhead Bay Hotel?
Kay is definitely more at home at Easterhead Bay Hotel – she loves dancing, partying, and drawing attention to herself. It’s her time to shine. At Gull’s Point, she feels very out of place. It’s all a bit serious.
What’s it like being in an Agatha Christie adaptation?
It’s crazy to be part of an Agatha Christie story because they are so iconic. It’s a great honour.
Why is Towards Zero unmissable?
I mean it’s Agatha Christie. They’re iconic, timeless. Everyone loves a mystery!
Would you survive an Agatha Christie plot?
I’d go home. I’d leave before people start getting killed. I don’t know if I’d have the smarts to work it out!
Interview with Jack Farthing (Thomas Royde)
Where do we meet Thomas Royde?
It’s 1936 in Malaya and he has been given the task of managing a rubber plantation but he’s certainly not built for that task. He’s definitely not management material and he’s struggling and running out of money. The plantation is falling apart and he can’t keep up so he’s desperate for an excuse to be able to come home and be bailed out financially, so we find him in this state of panic and he’s hunting for a solution. I think he is a product of arrested development – he’s never moved on from a period in his childhood where things took a sort of dramatic turn for him. When Thomas is twelve he witnesses a traumatic event that he then tries to speak the truth about but is sort of silenced by the family. They want to cover it up, so he lives with that still now as a 30 year old man. There is definitely a level of attention and frustration and repression in him that can be quite tense.
Can you explain Thomas’s relationship with Mary?
We first meet Thomas as a kind of pen pal of Mary, who is Lady Tressilian’s companion. It transpires that they’ve been writing to each other on Thomas’s impulse and I think their correspondence starts as deception. He is creating the potential for a relationship in order to get Mary as a supporter and use her as a way back to coming back to the house. But crucially, I think as their letters go on Thomas is given an outlet to talk like no outlet he’s ever been given, and he’s listened to, he’s responded to, and he makes a connection with Mary that, by the end of the three episodes, we realise is very genuine.
What is the experience of returning to Gull’s Point like for Thomas?
Returning to Gull’s Point is very complicated for him. On the one hand, he’s desperate to get there and to get money from Lady Tressilian. He’s also desperate in some masochistic way to get back in Nevile’s company, even though he is someone who he has resented his whole life. When he gets back to Gull’s Point he is immediately that child again and all the ghosts that haunted him there are very much still in the room. The relationships between the children fall into the same old patterns, his relationship with Lady Tressilian falls into the same old pattern. So it’s a very thorny atmosphere and he tries and fails to navigate it.
What are the key themes of Towards Zero?
I think it’s about love, attraction, relationships that we form as children that never change even when we’re adults, power dynamics in families – lots of very contemporary, relatable, interesting, meaty stuff.
Can you tell us about Thomas’s costumes? Do they differ from how other characters present themselves?
Thomas only has a few costumes because he’s well-travelled, which I like. Unlike Neville, he’s very contained and he’s kind of wearing the wrong thing. He shows up for dinner – the first night black tie dinner – wearing this kind of scruffy old three-piece suit. I think it’s the one proper suit he has – it doesn’t quite fit anymore, it’s a bit tatty and probably full of Malayan dust and mud. Thomas is definitely, as with all of them, very much reflected in the clothes that he wears, in the lack of variety and slightly dowdy tones. He’s not what I would call a conscious dresser, he’s someone who has some clothes and he puts them on. The fact that he’s travelled however many miles he’s travelled to get here means that he’s got limited resources, which I think is the perfect image.
What kind of impact does the setting, 1930s England, have on the series?
Towards Zero is set in 1936 England in Devon in a big house and hotel by the coast. It’s a really interesting time historically, but also socially in terms of the demands that were put on people, the pressures to repress obviously has a huge impact on this story. This is not a bunch of people whose first instinct is to say what they feel, and it’s that in part that kind of drives the story forward and drives the relationships forward. I think it’s a fascinating time to look at what it’s like to be a human.
How do Gull’s Point and Easterhead Bay Hotel differ?
Even though they’re very close, they’re very different places. Lady Tressilian rails against the noise and the fireworks and the parties that go on there! So when the group go to the Easterhead Bay Hotel, there’s a kind of release. Not so much for Thomas because he’s very much trapped in himself, but for the others there’s dancing and alcohol and a kind of freedom. There’s music there in the way that there is only silence, dust and darkness at Gull’s Point. Thomas is, as usual, a fish out of water there and resorts to whiskey as his only saviour! It sets Gull’s Point up as this prison-like fortress that Lady Tressilian rules over – she looks out of the window at the world and doesn’t want anything to do with it. That sets the tone for the house as quite formidable and intimidating.
What has working with Anjelica Huston been like?
Anjelica is obviously extraordinary, she’s a complete acting legend. I’ve just shot a scene with her in her bedroom, cowering in her formidable presence which isn’t hard, even though she’s the kindest and loveliest person! What a joy to be able to work with her – she’s been wonderful.
What sets Towards Zero apart from other adaptations?
The way the story reveals itself feels new. It doesn’t feel like one of the more direct Agatha Christie stories, it feels like a slightly more indirect one, which I’m interested in. I think the adaptation that’s been done is magnificent and so full. Its human side and psychological realism has really grown. I think it will be unmissable television because the people making it are very good. Sam, the director, is wonderful and, as I say, Rachel’s adaptation is great. I think all of the people who’ve been putting the show together – the cast, the crew, the heads of department – are doing magical stuff and it’s a very talented group of people.
Interview with Anjana Vasan (Mary Aldin)
Can you tell us about Mary Aldin?
Mary Aldin is a lady’s companion, as they called them back in 1936. She is Lady Tressilian’s companion, that is her official title and position. When we first see her she is in a place of real frustration, life feels like it has passed her by a little bit. There is also this glimmer of hope that is present – you feel like there are two paths Mary can go on in the beginning of the story.
What is Towards Zero?
It’s one of Agatha Christie’s best stories, one of her most psychologically dense stories, and one that is this amazing mix of sensuality and danger, mystery and excitement. I feel like every character has a dangerous side but also a side that you root for – that’s what drew me to this story.
What is Mary’s relationship with Lady Tressilian like?
Being Lady Tressilian’s companion is not a job that Mary found by choice, it was a job she landed on by circumstance and chance. At first it was like a lifesaving opportunity – they are friends and it feels like they are equals. But as a companion you are stuck in this position. Where other women of that time found partners and a life of their own, she is stuck being a companion for longer than she’d hoped to be. At the point we find her in the story she starts to grow a resentment towards where she is. I think that resentment grows towards Lady Tressilian, so even though they are friends, there is tension.
How has it been working with Anjelica Huston?
First of all she is an icon, and I was very nervous about our scenes together because there is such a strong relationship between Mary and Lady Tressilian. Ms Huston, Anjelica, was lovely and she has a very gentle, kind and calm energy which feels so different from Lady Tressilian’s energy which is quite intimidating, ferocious and intense. She called everyone ‘darling’ and was just fabulous.
Mary has a complicated relationship with Thomas Royde. Can you tell us more about this?
You sense that there is this a blossoming romance between herself and Thomas Royde. She is very excited for his arrival at Gull’s Point. She is trying to mend what she thinks is a family rift between Thomas and Lady Tressilian, and she thinks she is helping. They write letters to each other but, when he arrives suddenly in episode one, something is not quite right. It’s quite heartbreaking and yet you’ll sense there is a connection between them, but at the same time there is a lot of mystery, danger and question marks as in any Agatha Christie story. The question marks grow bigger and bigger throughout the story.
What makes Towards Zero an interesting story?
The best Agatha Christie stories are ones that feel very psychological. I know we like to say murder mystery or whodunnit, but actually what I find most interesting is not just the reveal of who has done the murder, it’s how we arrive at that point. All of these characters are deeply flawed, but you understand them and their motivations. It’s important to understand how people are good and empathetic and all of the best qualities of themselves, but also how they might be driven to the worst parts of themselves and humanity. I think those two things collide fantastically in Towards Zero.
Why do you think people keep returning to Agatha Christie stories?
Even though it’s set in 1936, I think the reason why Agatha Christie has endured for so long is because she’s written all of the characters so honestly and vividly that somehow there is still a sense of the modern and the now in all her stories, and the way people speak to each other. Yes we’re in costumes and different hair and the settings are more elaborate, but I don’t think we’re that removed from now. It feels very contemporary and fresh in that sense.
Is Mary’s look different to the other characters?
Mary is not particularly glamorous when we first see her, unlike the other women in the story like Kay and Audrey who arrive from London into Gull’s Point. Their gowns are very fashionable and on trend, whereas Mary is slightly behind that. She has a sense of style about her, but I would say it’s a lot more conservative and considered. I love the journey of her costumes, when you see her first it’s quite simple and practical, but I think with the arrival of Neville, Kay and Audrey, and the excitement of what Thomas might bring into her life, she starts to dress how she would like to dress rather than the practical everyday outfits that she puts on because she’s got lots of work to get done and she’s not really thinking about herself. You sense a little evolution in her wardrobe choices throughout the story.
Who would Mary’s modern day hero be?
Well she is a reader, she loves books. I think she would fan girl over Sally Rooney, the writer.
What was the best moment of filming?
My favourite day of filming was the day at Easterhead Bay Hotel and was the big dance sequence. We had a live jazz band and these amazing dancers. The set looked incredible – it was an art deco bar and I just got to spend all day dancing. That’s not a bad way to spend a day!
What is being part of an Agatha Christie adaptation like?
I’ve always wanted to be in an Agatha Christie story because I love them myself. I remember my grandmother loved Agatha Christie so I feel a particular warmth towards them. These stories have endured for so long because they are so well-written and the characters are so interesting. Yes we find out at the end of the story who has done the murder and how you get there is also really exciting, but I think it wouldn’t be exciting if the characters weren’t interesting. Mary is a character that I particularly loved reading on the page, there was just a kind of lovely softness and sadness about her but also with that she really surprised that she wasn’t so straight laced or boring – she was a lot more than that. I think that is testament to how Agatha Christie writes her characters, they are always very surprising and there is always more than one dimension to them. Rachel who has adapted the scripts has somehow managed to improve on Agatha Christie which is a really difficult thing to do.
Would you survive an Agatha Christie plot?
I mean if I was in an Agatha Christie story I would probably be the first one to die, I don’t think I would fair very well. I definitely wouldn’t be the killer.
Interview with Adam Hugill (Mac)
Where do we first meet Mac?
When we’re introduced to Mac – at the court during Nevile and Audrey’s high profile divorce case-you don’t know who he is, what he’s doing there, and why he does what he does. He worms his way into Neville’s life and becomes his personal valet through interesting means. It’s quite enigmatic and mysterious – that’s how it’s meant to be for the audience too. Mac has a bit of a troubled past and as with all Agatha Christie characters he’s has a secret which unravels slowly during the story. He’s quite a stoic, quiet, man of few words, but calculated at the same time.
Who is Mac closest to?
Mac’s a hard one to be connected to because he works in the service of role of this family, but if he’s connected to anyone it would be Neville. They have a deeper connection than you at first realise and it’s slowly revealed over the course of the three episodes.
What are the locations like in the series?
Some of it is set in London and some is in Devon in a country house. We were not on a studio backlot, we were surrounded by the real period, the real setting. Everything was there for us, it was so immersive and perfect, because we were in the costumes and in the real rooms.
Why should people watch Towards Zero?
I think Towards Zero is unmissable television simply because it’s Agatha Christie and it’s a BBC British television staple. It’s everything I grew up watching and everything I think the British public enjoy.
Who is Mac’s modern day hero?
Maybe a musician. I like metal music and I do think he’d be into something like Metallica, just something a bit angsty and a bit aggressive. So maybe James Hetfield from Metallica.
Would you survive an Agatha Christie plot?
If I found myself in a real Agatha Christie I think I’d act much the same as Mac. I’d be very quiet, keep my thoughts to myself and my cards very close to the chest.
Interview with Khalil Gharbia (Louis Morel)
Who is Louis Morel?
Louis is a playboy kind of guy. He’s a lounge lizard – that’s what someone told me and I kept it in my head. What I love about him is that he brings me to a place of sensuality that’s really refreshing in a story like this.
What is puzzling about 1930s English society?
What I find puzzling about English society, which hasn’t really changed, is the politeness. All the taboo about sexuality and sensuality. I don’t know how the 30s were in France as I wasn’t there, but I image it was less square.
What are the key themes of the series?
One of the main themes is idle time – idle time is the devil’s play thing, as they say. Rich people have a lot of that.
Why is Towards Zero an unmissable show?
It’s a simple story about a murder that gets more and more complicated. It’s like hypnosis, it really holds you.
Can you tell us about your costumes?
It was silk, a sensual fabric. He needs to be comfortable at all times for his job.
Interview with James Prichard and Damien Timmer (Executive Producers)
This is the eighth Christie you’ve worked on together. Why does the collaboration between Mammoth Screen and Agatha Christie Limited work so well?
James: The collaboration works because Damien has a knowledge and respect for Agatha Christie that is second to none. That permeates everything and makes my life much easier. It’s far from me having to teach Damien Agatha Christie – he teaches me Agatha Christie. The fact that he knows and respects the work so much just makes everything easier. From Agatha Christie Limited’s point of view, Mammoth just make good TV, but sometimes that’s not enough because if you don’t understand Agatha Christie, you can make good TV that’s not Agatha Christie. The thing about Mammoth is they understand Agatha Christie, so they make good Agatha Christie.
Damien: I have spent so much of my life reading Agatha Christie. As a child, I collected the novels because I liked the covers and titles before I was even able to properly understand them! I’ve always had a fascination with Agatha Christie in print, on stage, on screen, and have journeyed around these stories and orbited the Agatha Christie world so many times in my life. I do have a deep respect for Agatha Christie. She’s a foundation stone in my creative hinterland – which sounds pretentious, but it’s true to say I have deep respect for her. The great thing about Agatha Christie and why her work endures is that there are always new things to see and she always seems to speak to a modern audience. Her stories always fizz with something that feels new and unexpected. So making adaptations for television is a very stimulating and exciting process. Agatha Christie Limited and James share that. It always feels exciting and fresh when we embark on a new story. I think we all feel that Agatha Christie’s work is a living thing that gives us a lot of energy, so each time we agree on a title and go on a journey with it, it always feels very refreshing and fun.
Why do you think people still find Agatha Christie’s stories so compelling and relevant?
James: Because the stories are genius, and genius plots and stories stand the test of time. The premise of them all is very modern – she basically writes about people and people haven’t changed in any serious way. So the preoccupations of people in the 1930s are not dissimilar to the preoccupations or motivations of people now. I know murder is extreme, but I think potentially, and bizarrely, she thought none of us were that far away from murder given the right or wrong impetus! I think she puts people in extreme circumstances and you see them act that out. It’s all about human nature and that’s why we still watch them, but they are also wrapped in these incredibly beautiful plots that still work.
Damien: I think it’s interesting from a twenty first century perspective. There were many other people writing Golden Age crime novels and many years later we see so many others fall away. I think Agatha Christie just endures and dazzles. You take any novel off the shelf and cannot help but be impressed. The characterisation in a novel like Towards Zero is so detailed, but on top of that there are dazzling plots. She’s so ingenious with plotting, but also leaning into emotion and how people interact with each other. I’m always struck when I return to a book I haven’t read in years how sharp they are.
Why did you choose Towards Zero? What is it that’s different and new about it?
James: Put simply, Towards Zero is a great story. And the more we began to think about it the more we appreciated what this story has to offer. It is perhaps an under appreciated story (although my great grandmother ranked it amongst her best). But it has a very modern feel with contemporary themes of love and jealousy and family relationships, all in a fantastic setting.
Damien: Christie fans all have lists and rankings, and for me this has always been a top tier novel. I’ve always thought there was something so delicious and provocative at the centre of it. This incendiary love triangle – there’s something so gloriously wicked about Nevile, Audrey and Kay going to a country house weekend for this polite holiday and, of course, you know that it is going to end in murder. That triangle just gives this story so much power and there is so much else around it that kind of crackles. I think the solution to the murder mystery is so pleasing. It really does leap off the page. That central love triangle delights a modern audience just as it must have shocked and delighted an audience back in the 1930s.
Unlike most of Agatha Christie TV adaptations, there isn’t a murder in episode one. Why is that?
Damien: Murders sometimes take their time! In Death on the Nile – one of her masterpieces and best-loved novels – the murder takes a while. So Towards Zero is a little unusual but it’s not completely without precedent. This story is as interested in what leads to the murder as it is the murder itself. I mean, all stories are about unpacking what leads to the murder, but this really takes the magnifying glass and the forces that bring people together and lead to murder.
James: I think that’s half the fun here. You’re spending the first half of the show wondering who is going to die and then, on top of that, who is going to kill them. I think the point is that there are a number of people who could kill a number of people.
Can you tell us about how you assembled such a brilliant cast for Towards Zero and what they bring to the series? And how has it been working with Sam Yates and Rachel Bennette?
Damien: Casting a Christie ensemble always feels like something of a privilege. These characters are so top tier, so well-rounded, and we were so lucky to have Sam as director and Rachel’s brilliant scripts. We were able to carefully, slowly, painstakingly, put together this top tier cast. It’s so pleasingly balanced to have Anjelica Huston and Clarke Peters being completely glorious together, and Oliver, Mimi and Ella as the bizarre and very combustible love triangle, they work together so delightfully. It feels to me like a really perfectly seasoned meal, they really complement each other so well. It felt special at the time when we were watching it be made and it feels special now. There is something so pleasing about the chemistry between the cast.
James: Part of the fun of this is that Anjelica spends most of her time in bed in the series. I thought one of the loveliest things was the way all of the younger actors had to come and sit on the bed and talk to her in the show. But also, between takes, they got to sit and talk to her in real life – I think that says something about the joy of this. It’s part of the show, but also part of the life of an actor, passing knowledge and experience of both acting and life down through the generations. Real life mimicked the series in that way. Sam is one of those extraordinary people – he’s very clever and he has an amazing feel for a story. He is also that very rare blend of someone who works equally well with cast and crew. He has a wonderful nature – whilst all sorts of chaos can be going on as it does on set, he just remains incredibly calm, and that calm filters down through the crew and cast. Rachel, like all great writers – it sounds trite – has a way with words. You have the bare bones of a great story, that’s the advantage we have, but without a great writer you don’t have a great TV show. You need someone who can use those bones and give it a modern feel and sensibility without losing any of the original. I think Rachel is up there with people we’ve worked with who are capable of doing that. I thought she was magic.
The locations of the series are fantastic – from the tennis courts to the courthouse, and Gull’s Point to Easterhead Bay Hotel. How do they bring the series to life?
James: There is something nice about having filmed some of it in Devon, which is where Agatha Christie grew up and spent a lot of time. It’s where an awful lot of the inspiration for these stories would have come from – they’re not all set there literally, but it’s in her mindscape. This show is – in terms of plot, in terms of twist – very much about the geography. The house is a character in the story, a really big character. It means things to people, it’s a place where people come and meet, it’s a place where a lot happens. Then you have the Burgh Island feel of it all – it has that stretch of water, the feeling of being one side of a stretch of water that separates you from something else. I think in some ways this story was inspired by her house in Devon, Greenway, because that stretch of river there lends itself to this, it has that feel. All these things add to it and there is something nice about having filmed some of the series in Devon, which is sort of Agatha Christie’s heartland.
Interview with Rachel Bennette (Screenwriter)
What has the process of adapting an Agatha Christie been like? What have the highlights and challenges been?
Well, obviously, adapting the Queen of Crime, the Greatest of All Time, is somewhat daunting… Adaptation is quite a brutal exercise – you have to pull the book apart to understand what makes it run, and then put it back together again in a new form, and you have to be steely about the things you love but can’t use, because the demands of a three hour drama on screen are not always compatible with what the book is doing – but of course, you want to do justice to her, to the book. It’s all quite conflicting and complicated – but I also loved it, because you have to be so on your game, it’s weirdly thrilling. And it’s an incredible privilege, to get this glimpse into the deepest workings of the Christie mind.
Are there any key changes you’ve made to the book? If so, what drove you to make these?
Christie is doing some very unusual things in Towards Zero. Most interestingly, she de-centres the detective in the story. She chooses to use Superintendent Battle, rather than Poirot or Marple – and indeed, Battle spends a lot of the case wishing he was Poirot – and then she splits the deducing duties between Battle and the character of Angus MacWhirter who is a guest at the hotel, and a wonderfully original Christie creation. This is all designed to serve the plot, but it also led me to feel that what interests her most in this book is character and theme, and so I found myself leaning into the richness of Angus’ character as the investigator figure. But that brought its own challenges, because he is very tangential to our central characters, and it quickly became apparent that I really did need a policeman to crack this extremely convoluted case. And so Inspector Leach evolved quite organically from that process, to become a detective who is perhaps a character first and a detective second, and who serves the book’s themes in Angus’ place. I did have a needle scratch moment where I realised that Leach might appear to be a ‘new’ Agatha Christie detective, but actually, he’s a mixture of Battle, Angus MacWhirter and Battle’s nephew Jim Leach who is the local policeman in the book. In his DNA, our Inspector Leach is pure Christie, and he could only have walked out of the pages of Towards Zero.
Other changes were driven by the dramatic challenges of the three hour drama, and the need to dig deeper into the characters and themes to find the emotional truths of the bigger story, and build the plot, so I had to reconceive a couple of the characters. Most notably, I needed to reorientate the characters of Nevile and Audrey Strange, and the nature of their relationship. Audrey especially is a very hidden character in the book, which was impossible to sustain over the three episodes. But she remains as powerfully charismatic as she is in the book, albeit of a very different stripe.
Unusually, there isn’t a murder for quite a while in this adaptation… What do you think this brings to the adaptation?
As I say, I think this Christie is all about character, and so delaying the murder opens up this grand opportunity to explore these stunning characters and their relationships in all their wild and compelling glory. And of course, with character comes intrigue. The dynamics between them all generate so much electricity and mystery, it’s been a joy to watch the sparks fly.
Why do you think audiences still find Agatha Christie’s stories so compelling? What do you hope viewers take away from the series?
I grew up on the great films of the 1970s – Murder on the Orient Express and Death on the Nile – and their perfection, that sweet spot where the dark glitter of the era meets the human mess at the heart of the story, and, drawing it all magically together, the 24-carat Swiss mechanism of the Christie plot. They sum up for me what it is about Christie that keeps us coming back for more – these enthralling fantasies, all crackling with ingenuity and exquisite inventiveness, all of which we delight in – but always with this deep human core. It seems to me there’s always a germ of kindness which prevails – like Poirot’s deep feeling for the anguish at the heart of Murder on the Orient Express. An unsentimental kindness, hard won, but fundamentally born of human sympathy.
It was one of the many things that captivated me about Towards Zero – set against this plot of a hateful murder is a very tender journey from despair to hope. And this is true for many of the characters. Christie gives us these powerful extremes of love and hate, despair and hope, truth and lies, and in the end, justice is done, the moral order is restored, but what she really leaves us with is the tenderness, and the hope.
Please tell us about the cast.
Casting is a kind of alchemy – it’s chemistry and magic. Something miraculous happens when the perfect cast comes together. They just elevate everything to the next level, and then some. From the moment Clarke Peters welcomes us into the story as Mr Treves (goosebumps), it really is three hours of acting heaven – and my main feeling there is that three hours is just not long enough. We really hit the jackpot – I mean, just flat-out, knock-your-socks-off sensational.
The thing that struck me most deeply about these characters is that they are all orphans. They are all nephews and aunts and cousins – there are no fathers, or mothers, or brothers and sisters – the bonds between them are very weak and so, very vulnerable. And there’s something heightened and cinematic about the feeling of ancient history between the central characters – these feral, unparented children still running wild in this loveless place. There’s a deep seam of atomisation and loneliness running through the story, which I found very haunting and poignant, and somehow very modern.
Interview with Sam Yates (Director)
What has the process of working on an Agatha Christie been like? What have the highlights and challenges been?
Any Christie adaptation comes with the challenge of honouring the feel of the novel while also presenting something that will flourish on screen. It has been an honour to get under the bonnet of Towards Zero, one of Christie’s most psychological novels, and find a way to tell this incredible story in a grounded, exciting way for today’s audiences.
It takes a little while for a murder to happen in Towards Zero… What do you think this brings to the series?
When you tell an audience there is a murder coming, the genre becomes a who’s-gonna-do-it, rather than a whodunnit. Audiences have the pleasure of guessing who is gonna do it, and then the more common satisfaction of trying to figure out who did it. So hopefully it’ll ask audiences to pay close attention to the characters from the off. I hope they’ll also enjoy the character dynamics that exist separately from a murder case, brought so vividly to life by Rachel Bennette and the wonderful cast of actors.
What were your visual references and inspirations for the look of the series?
There were many – I wanted it to feel like a classic film, formally. Phantom Thread was certainly a huge inspiration for the design, tone and grounding heightened characters. The costume design is also peerless in this film. Mulholland Drive, Challengers for tennis, Chinatown, Babylon, Atonement, the films of Jonathan Demme for subjective point of view, Ivan’s Childhood.
Why do you think audiences still find Agatha Christie’s stories so compelling?
Undoubtedly the fun of guessing who is capable of murder is a draw. The heightened world, memorable characters and ingenious plotting are woven so skilfully. They’re also especially ‘English’ in some ways. I think it’s also wrong that Agatha Christie is thought of as being cosy or in some way tame or genteel. Her books and characters are filled with sex, murder, envy, hatred and fun. She also wrote great roles for women which isn’t always the case.
How does Towards Zero differ from previous adaptations? What is it about this story that makes it so unique?
I think it has elements of noir in that we are looking at morally questionable characters, and take a journey into the darkness of the human heart.
It is also unique that the PI, Inspector Leach, played by the incomparable Matthew Rhys, is not just functionary, but is in a dark period of his own life. In this way, Christie is writing about humanity and psychology in a way that perhaps she hasn’t focussed on so much in previous novels. There seems to be a desire to look into what drives behaviour. Towards Zero refers to the point zero – the moment a murder is seeded, and in the story we look back at the origins of murder.
There’s a compelling central love triangle, and an exploration of desire, love and hate. I think this story is also unique for having a younger cast of characters.
What was the process of casting like? How has it been working with such an exciting line-up of actors and, of course, the iconic Anjelica Huston in her British TV debut?
We needed actors brimming with wit, individuality and intelligence. Each brings such singularity to the screen which creates an exciting sense of voltage – they are all powerhouse performances and each character has their own moment.
Having Matthew Rhys play Leach was especially exciting as we haven’t see him play this kind of role before. Anjelica Huston was a joy to work with. Her portrayal of Lady Tressilian is dignified, formidable and beautiful, as is she. The legendary Clarke Peters brought gravitas and power to Mr Treves. We have some of the very best young actors in the country going toe to toe: Oliver Jackson Cohen, Ella Lily Hyland, Mimi Keene, Anjana Vasan, Jack Farthing, Khalil Gharbia and Adam Hugill all deliver memorable and surprising performances.
The characters really are everything in a Christie and I’m excited for the audience to see them in Towards Zero.
How do the two main locations of the series – Gull’s Point and Easterhead Bay Hotel – differ?
Yes, Gull’s Point is the home of Lady Tressilian – a formidable, Edwardian woman who has taken to bed. Guests visit her bedside and when you stay there you’re expected to spend a lot of time with Lady Tressilian. But the young ones have other concerns. So Gull’s Point is a more conservative and formal place to be. Whereas the Easterhead Bay Hotel is a pleasure hotel, full of music, dancing, debauchery and young people running towards life following the tragedy of the Great War.
