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**Nitrus** · 24-08-2009, 09:42 AM

Here's an interview Peter Firth did with TVScoop a while back.

Quote:TV Scoop: We've voted Spooks number one in our Top 50 shows of the year. How do you react to that epoch-making news Peter?
Peter Firth: Obviously I'm delighted. It's great to get some recognition. I think one of the best things on, and it doesn't really... well it gets great viewing figures but not necessarily the recognition it deserves, so this is great.

TVS: I really do think that Spooks has been very consistent over its seven series, but this one seems to have really gone up a notch. In fact, every series of Spooks seems to be better than the last. Any theories as to why that is?
PF: Well, we're compelled really - expectations are so high now that as soon as we don't reach those expectations it'll be seen as the beginning of a downward spiral. We have to strive so highly all the time, and I think everyone involved in the show is aware of that. We can't really rest on our laurels. As soon as you do that in television, it's over. We don't want it to be. We have a really winning formula and we want to continue. But it is necessary to up the ante every year. As to how... hahaha... I don't know. Other than sharing the common knowledge that we have to do that, it's hard to say quite how we do it. Obviously it's initially down to scripts, and there's just an absolute mine of material out there about this particular subject. All you have to do is keep an eye on the news. And if not inspiration, and hopefully try to tie in our drama with actual events, which we've been able to do, partly through skill and partly through luck.

TVS: Let's talk about series seven then Peter. What are you memories of it? Was it a tough series to film? Was it fun? Harry's character got involved in all kinds of things, and it was an incredibly tense series for him...
PF: I had asked to get out and about a bit more, and they certainly managed to do that for me and fulfilled that request. It was a tough shoot, mainly because of the scripts. They're always very, very late with scripts, partly because of topicality and wanting to one step ahead. They have t be written last minute, and in series seven it really was last minute. Often we were getting scenes on the day we were shooting them, hot of the press. You know, it's not an ideal way to work, but I can cope with that and so can other people involved in the show. It's all in a good cause - it's happening not because of laziness or sloppy business, it's happening because that's the way with Spooks. But the scripts were very late and that made things quite difficult. We also introducing Richard Armitage, which was painless actually. There's always a bit of trepidation there when we introduce a new character.

TVS: And of course, you've been through that twice in show, where the two big male leads - Tom and Adam - have left. One of the things Spooks is famed for is killing off key characters at any given time. It's very brave. Does that make it difficult for the surviving group of actors to gel? Does it keep you all on your toes?
PF: It does a little bit. Just from a practical point of view, as an actor you don't know whether you're going to make it through to the end of the series and lose your job. There's that element. It was established early on though. We apparently killed a leading character in the second episode of the first series, and that had such a massive effect - it's such a powerful, dramatic device - to kill heroes, because nobody expected that. Heroes are normally protected and cherished. But that doesn't happen in Spooks, no one is immune to that. That has been demonstrated in series seven, with Rupert going in number one, Connie going in number eight, and also Ben somewhere else in between. It has become too valuable as a device not to use it, and in fact people expect it now.

TVS: What else do you think Spooks has going for it? Why do so many people really love it?
PF: I think it's a few things. Largely it's escapism - it's an hour of hi-octane hokum, which you can involve yourself in and get some emotion and adrenaline stirred. On a more realistic note, I think it's interesting to see what might be happening and taking place behind certain stories in the news. If we can dramatise certain scenarios... you know, we get the news and we don't really know what's going on. It's the news printed to fit isn't it? We're fed a diet of what has been prepared, and I think Spooks can offer a probable view of behind the scenes. I think that's interesting.

TVS: Do you ever get much feedback from the real MI5?
PF: Absolute silence. I'm sure they have a good laugh. Its bearing on reality is pretty slim. We've asked for help from them from the get-go, and we've always been met with silence. They're not interested in the flimsy world of television. In fact, that has probably been a good thing because it has given us license to make things up, which is what television is all about. In fact, we make things a lot sexier than the real job actually is. When we first started you know, MI5 got a massive increase in applications. I think that was because people thought they were going to get to work with Keeley Hawes. There aren't many Keeleys to go around.

TVS: You mentioned that you asked for a more active role in series seven, and Harry certainly got his wish there. Do you ever get bored with appearing in the same show after all these years? Obviously we saw Harry being bundled into the boot of a car, so it would be remiss of me not to ask what's going to happen in series eight...
PF: I've never done a show for this long, and I've never actually done episodic television before. Never had a leading role in a continuing series. I never get bored; every day is so exciting. Sometimes, mid-afternoon, when there's a lull it can get a bit dull, but generally speaking I start every day really looking forward to it because no two days are ever the same.

TVS: So, erm, what about Harry? You can't really say can you... or can you? Perhaps you can. Or can you?
PF: I don't know. I genuinely don't know. We had a meeting last week and they are no scripts around and they're asking for ideas. They write things on the hoof, they really do. Putting Harry in the boot of a car was actually a really good negotiating tool for the next series. It's quite easy to dispose of a character after that. But I think... I think... the plan is that there's considerable peril involved for Harry in the next series, and somebody is going to save him...

TVS: Wow! I think I need to sit down... who, who, WHO WILL SAVE HARRY?
PF: Let's just say somebody very unexpected is going to save him from his situation...

I think the last couple of questions point towards these spoilers:

Spoiler: show

**Nitrus** · 25-08-2009, 09:15 AM

Bump.

Surprised noone has commented... this pretty much confirms one of the big rumors!

**Silktie** · 25-08-2009, 04:45 PM

Yeah, I assumed the comment about Harry being saved by someone unexpected points to

Spoiler: show

Is it October yet?!

**Nitrus** · 25-08-2009, 05:57 PM

(25-08-2009 04:45 PM)Silktie Wrote: Yeah, I assumed the comment about Harry being saved by someone unexpected points to
Spoiler: show
Ruth's return. I'm very interested to see how she will fit into the saving of Harry, though. I mean, she wasn't exactly a field agent, so I can't see her getting in there and fighting off the Russians to physically save Harry. So I'm guessing she'll either have information on his whereabouts to give to the team, or will be brought back by the team to help find Harry through her analytical skills.

Is it October yet?!

Lol.. it's not even September yet!!

Spoiler: show