I’ve come to accept she’ll be in everything I do. I didn’t add humour, humour is always there at every party, funeral and war, although often uninvited, she’s always there, and I, for some reason, I always seem to find myself in a corner with her, even when in a police station giving a witness statement about being raped by a stranger. How do you add humour into a series that focuses on such serious subject matters? I am particularly grateful to Piers Wenger from the BBC ( Controller of BBC Drama Commissioning), who really did read my drafts with mindful attention, even in their very early, barely coherent, phases. That was the process for about a one and a half years, and I always worked on all 12 episodes at one time. I would then go away again and write revisions. I went away and wrote the first drafts for all 12 episodes and returned to London where my team of co-exec producers and script editor would question my writing and intentions. In September 2017 I was given a commission without having written a treatment or a pilot. They were very gracious and had a lot of belief in me. I was working on another show with the BBC when I went in to meet with them about this show. Without this setting being at both the core of my writing and my life, this story does not exist as it is.Ĭan you talk about the writing process that went into the series? A melting pot, with different cultures, ideas, huge economic disparity, all squished together in a city starving of trees. London does not inform how I tell the story, London is both the teller of the story, and the essence of the story itself. The story is set mainly in London and there are a couple of episodes in Italy. Where is the story set and how does that inform how you tell this story? Across the 12 episodes she learns that allowing herself to disassociate from what she struggles to accept can have unsavoury consequences. Without giving too much away can you give an insight into Arabella’s journey across the 12 episodes?Īrabella must understand that everything is connected, that she is connected even to the thing she despises the most: her trauma. Beyond her work she lives in a two-bed flat-share in Hackney and has a cool group of friends, also trying to find themselves within this little concrete jungle. She’s now got an agent, and there’s a sudden professional demand for her writing. After a spontaneous piece of writing of hers goes viral on the internet she receives a commission to write a book. Could you introduce us to her?Īrabella is Londoner, a lover of life and a lover of Twitter. Looking for more TV recommendations and discussion? Head over to our Facebook Group to see new picks every day, and chat with other readers about what they're watching right now.I May Destroy You is about how the personal identity we create in order to understand ourselves as beings in this world, how traumatic events may warp, contort and throw that sense of self into questioning. Readers in the US are encouraged to contact RAINN, or the National Sexual Assault Hotline on 80.ĭigital Spy now has a newsletter – sign up to get it sent straight to your inbox. Rape Crisis Scotland’s helpline number is 08088 01 03 02. If you’ve been affected by the issues raised in this story, you can access more information on their website or by calling the National Rape Crisis Helpline on 08. Rape Crisis England and Wales works towards the elimination of all forms of sexual violence and sexual misconduct. Had that level of creative control been snatched away from her, the end product could have been a very different kettle of fish, watered down to suit someone else's idea of what it should look like.īut Coel's vision, thankfully, burns bright. Not only did Coel write I May Destroy You – and solo, we should add, choosing not to employ the help of a writers' room – she also executive produced and co-directed, ensuring that her fingerprints are all over the final version.
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