♪ (TENSE MUSIC PLAYING) ♪ Owen Quine is a very famous
novelist. -ORLANDO QUINE: Who’s that man?
-He’s helping us find Daddy. ♪ (SOFT MUSIC PLAYING) ♪The Silkwormtakes place in the
sort of world of the literati.In a very kind of vibrant way.LEONORA QUINE: He said it was
gonna be a book about how a silkworm gets boiled alive
like he has been by the critics. J.K. ROWLING:
Strike receives a visit from
the wife of a novelist,
who’s gone missing. He’s gone off before, only
this time it’s been 10 days. And our girl’s missing
her daddy and getting upset, and we need him back. ROWLING: She doesn’t think
anything’s happened to him, she thinks he’s just
gone off in a sulk, because no one liked
his new book enough. (CHUCKLES)And she implores Strike
to find him.
LEONORA: Please. He’s written a book which
exists in manuscript form.And it says a lot of things
about a lot of people.
LIZ TASSEL: He attacks
his publisher, his editor, me, other writers,
it is a thinly disguised… nasty little allegory that
deserves nothing but burning. So, there’s immediately
a lot of suspects. ROWLING:
It’s a novel about novels,
with another novel inside it.-♪ (SINISTER MUSIC PLAYING) ♪
Quine, has written this book
calledBombyx Mori.And, uh, we get sort of flashes
of the world that he’s written,
which is like a Jacobean,
sort of like, mad, kind of,
murderous sort of landscape.They can all grab a bit
and rip it… It’s Jo’s take on
the literary world. Never trust a novelist. A lot of whatSilkworm’s
about is the fact that writers can’t hide their true
feeling about something. If you want lifelong
camaraderie, join the army. If you want peers who’ll
glory in your failure, work with novelists. Jo writes amazing dialogue,
and I got a lot about the character from that. I– I mean, I really felt
a rhythm to him from the way he talked
to other people. He’s quite rude to other people,
sometimes. Robin, would you make up
Mr. Baker’s final bill? -But you’re not finished.
-We are. The Strike world’s interesting,
’cause there is something that’s sort of…
timeless about it,and there’s something that
sort of nods back to,
sort of that detective world
and stuff, but it’s also quite fresh. He’s a very important writer. (STRIKE EXHALES)
Those any good? He’s not a fan
of short sentences. HAWKES:I think Robin’s
because she’s complicated.She’s more than just a psychic,
’cause she’s got proper sort of desires, you know,
she knows what she wants, she’s a strong female character. I’ll drive us. You sure? I can probably manage
with an automatic. No, I’m sure.
I’ll drive us. Definitely. Strike is almost allowing her
to be who she always wanted to be. He kind of embodies that kind of
freedom, and a sense of like,respect for herself.-This is a bit…
-I’ve got this, trust me. (CAR ENGINE REVVING) I am a very visual writer,
I do see things very vividly in my mind’s eye,
and I tend to describewhat I’m literally seeing
in the case of the Strike books.
HAWKES:One of the great things
Silkwormis thatit does show all the different
parts of London.
Jo’s publishers allowed us
to shoot
on the roof of their building.Work with great writers,
and your readers will come. HAWKES:And it looks out over
the whole of the Thames.
Textually, visually,
it’s fantastic.
about declining book sales. Everyone I’ve met so far
in publishing, either has a drink in their hand
or will only meet for lunch. (GIGGLES) It’s not a bad life,
is it? Cut there, reset. Lovely. HAWKES: Ithink what
differentiates this show
from other detective showsis the complexity
of the characters.
It’s just how well-rounded
Strike and Robin are.
The sort of complexity
of their relationship, the… sort of slow growth of
whatever it is,wherever they’re going because
they’re interesting characters.
STRIKE: Got something for you. -What is it?
-Open it. ROBIN: Surveillance costs.
You find it, I’ll pay for it. So, partners, yeah? ♪ (SOFT MUSIC CONTINUES) ♪