Working Title, renowned for romantic comedies such as “Bridget Jones” and “Notting Hill,” is set to surprise audiences with its latest venture, “Jo Nesbø’s Detective Hole.” This new project trades the lighthearted themes for intense action, featuring semi-automatic weapons and dramatic on-screen demises.
Adapted from Jo Nesbø’s crime novels, the series follows the complex detective Harry Hole (pronounced Hoo-ley), with Nesbø himself involved in the adaptation process. The nine-episode series, a polished yet gritty Norwegian drama in its native language, presents a thrilling narrative as Hole, portrayed by Tobias Santelmann, and his team pursue a serial killer on the streets of Oslo while navigating corruption within their ranks.
According to Working Title co-chair Eric Fellner, who spoke with Variety, “There’s some pretty shocking stuff in it, but one person’s shocking is entertaining, another person’s shocking is depraved.”
Discover more about the making of this action-packed series, how the team learned from their earlier attempt to adapt a Harry Hole novel, and why viewers will be kept guessing about the identity of the killer.
What can you tell me about the show?
I can’t reveal specifics, but as the series progresses, audiences delve deeper into Nesbø’s world, which is both tough and darkly influenced. The characters are authentically flawed, and these imperfections are fully explored, adding to the excitement of the TV show.
Episode 1 is pretty dark. Does it get darker than that?
I wouldn’t say it gets darker, but it does become more intense. There are elements that one might find shocking, much like the violence in Tarantino films, which audiences tend to enjoy. Jo is a brilliant storyteller, and this series presents his unique take on his books, offering a double dose of Nesbø’s storytelling.
How did Working Title get involved in the project?
Amelia Granger, head of film and TV at Working Title, introduced the books to me more than 10 years ago, suggesting a TV series adaptation. Although Jo was initially interested in a movie, we secured the rights, and it’s taken us this long to bring it to fruition.
What did you learn from your experience of adapting Nesbø’s “The Snowman” that you brought to this show?
To successfully adapt Jo Nesbø’s work, it’s crucial to have him at the forefront of the project!
The series is based on the fifth book in Nesbø’s “Detective Hole” series. Is there a reason you didn’t start with the first?
Jo was particularly passionate about telling this story, believing it to be an excellent starting point for what could become multiple series. He incorporated elements from other books, and if viewers respond well, we’ll explore additional adaptations.
The number five becomes a crucial element in the show, with clues scattered across Episodes 6, 7, and 8, designed to keep viewers guessing the killer’s identity.
Was it commissioned out of the U.S.?
The series was commissioned in the U.S. before being transferred to the Nordics.
Joel Kinnaman in ‘Jo Nesbø’s Detective Hole’ (courtesy of Netflix)
Was there any discussion about doing it in English?
Initially, we considered setting it in America with English dialogue. However, we decided it should be culturally specific and set in Norway. Netflix later suggested that if we aim for cultural specificity, the series should be in the local language, which proved to be the right choice.
How did it work in terms of Working Title being able to look over the scripts?
We approached it like a film, overseeing every creative aspect. The only difference was the language, which required us to trust Jo and the directors Øystein Karlsen and Anna Zackrisson. Their work resulted in a visually stunning series that resonates with cultural specificity while appealing to a global audience.
Their collaboration, combined with our input, aimed to broaden the show’s appeal. We hope viewers will appreciate the unique setting.
The show definitely looks high-end. Are you able to share what the budget was?
We can’t disclose the budget, but it’s considered high-end for Norway, though low-end for America.
It doesn’t look low-end for America.
I’m proud to say it doesn’t. Øystein and Anna aimed for a mainstream appeal. The cinematographer, Ronald Plante, achieved a glossy, big-show feel, while the crew delivered exceptional work.
It opens with a helicopter, was it a real helicopter?
In filmmaking, everything is made to appear real.
Helicopters cost a lot of money.
The opening scene features a helicopter, followed by a car chase, a tram collision, and a dramatic crash. It’s a producer’s job to make things look as big and engaging as possible. With Netflix, capturing the audience’s attention in the first five minutes is crucial, and we may have overdelivered.
I can’t believe you killed off [spoiler] in the first episode.
And she’s a prominent actress in Norway. It will shock viewers expecting her to be a main character.
Were there any scenes or set pieces that particularly stood out for you?
We faced challenges with more story than time, leading to tough decisions about cutting scenes. Episodes initially ran over an hour, so we had to condense and reorganize. Despite limited funds, we creatively achieved our vision, thanks to the directors’ contributions to the show’s feel and look.
How did you end up with Nick Cave and Warren Ellis doing soundtrack?
I would have Nick Cave do the soundtrack for everything, including my life. He’s a genius, and when we asked, he and Warren agreed to collaborate. They are musical icons to me.
What else is on the horizon for Working Title?
We’ve got many projects in the works, including films in various stages and the “Billy Elliot” tour heading to the West End. We are also delving more into musical theater, with new projects expected by 2027. Though not a pivot, it’s a focus area for us.
Has that been a conscious decision or just how things have worked out?
These projects take time, and sometimes opportunities align. We’re seizing them, especially as it’s currently challenging to draw cinema audiences. We remain committed to creating quality projects we believe in.
Our approach is evolving, with a focus on TV, documentaries, and theater. We’re not changing our identity but are exploring podcasts and other media. It’s a challenging yet exciting time, and we’re fortunate to have a strong company reputation and talent connections that keep us moving forward.
This interview has been edited and condensed.
