GREAT TELEVISION


Chernobyl was a show that had every ingredient just right and, says the programme’s creator and writer Craig Mazin, it had a sense about it throughout the production that the planets would align for this one. “Every step of the way, when things could go wrong or right, they went right,” says Mazin. Jane Featherstone at Sister Pictures (now renamed Sister) declared Mazin’s treatment


to be the “best treatment I had ever read,” saying the show had all the elements for success: “It was a horror film, a war movie, a character piece. It just had such epic scale. I thought it was staggering.” It was also a show that seems to have brought out the best from every department, right from director Johan Renck, through to the detailed and innovative score by Hildur Guðnadóttir, Jakob


Ihre’s inspired cinematography and every craft department along the way.


As Mazin says of the production: “It was the most ego-less, ulterior motive-less, pure kind of collaboration because we cared primarily about making something meaningful, beautiful and impactful.” And that has clearly shone through with the finished product.


Special Supplement Spring 2021 televisual.com


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