By executive producer / writer Bruno Heller and executive producer / director Danny Cannon based on DC characters produced by Bob Kane with Bill was created Finger the 10-part epix drama series Pennyworth follows Bruce Wayne's butler Alfred Pennyworth ( Jack Bannon ) as a former British SAS soldier in his twenties, who has a security record Forms Company and goes to work with Thomas Wayne ( Ben Aldridge ) in the 1
Collider: This is an interesting show because we can learn so much more about Alfred Pennyworth and Thomas Wayne, who are two characters we know believe, but clearly I do not know it at all.
BEN ALDRIDGE: I think so. It is quite exciting to know that we are dealing with the legend, the myth and the consequences of these comics and take the fandom with them, but we start at the point of origin, which means that Bruno [Heller] has enormous scope to create it what he wants, and then us as actors in these roles. It's pretty exciting.
JACK BANNON: Yeah, it's very exciting. We know where all these characters end up, which some people might consider restrictive in the sense that they say, "Why do I want to watch 10 hours if I know where it's going to land?" We may know where to land End, but we do not know how they got there. We play with history, so to speak. As far as offspring of Jack the Ripper are concerned, it's the way they met and how they end up at the endpoint. I do not think people will expect anything from what's going on.
Paloma, is it fun to come in and be the one who shakes things up?
PALOMA FAITH: I really like her. The interesting thing about the writing is that I did not really see the previous Batman and what I think is really wise is that you can really explore the plains as part of the TV show. There were hundreds of people who played psychopaths. We examine what is behind it and how profound it is to be able to relate to it. All humans have certain qualities that connect us and make us equal. As a person who likes to see himself as a good and moral person, I sometimes refer to Bet. Sometimes I feel compassion for Bet. I have a preference for her and that is good to write. I did a master's in theater and my teacher said to me, "The greatest art form can be enjoyed from the head of a child with a basic level of entertainment and pleasure to the most profound intellectual. That's how you value great art. "And that's exactly what this show tries to achieve. It's fun to watch on one level. It's funny and exciting, but then it has many levels, and you as a viewer decide how deep you want to go. All characters have these levels, so it's up to you what you take from them.
When this came to you, did you know exactly what this was? How much was said to you in the beginning?  ALDRIDGE: We got the script, so we all had a clear idea of the world they had set up.
FAITH: But it was just this one script.
BANNON: I think we do not know anymore where to go h But beyond that.
The mood and tone of the show are so clear. Have you been given any hint in this regard?
ALDRIDGE: The script contained a lot about the world, so to some extent. But visually not so much.
FAITH: It has an exaggerated darkness.
BANNON: It's awesome. I do not think I really got that under control until I saw episode one. It's really dark, pretty funny and it has a mind.
ALDRIDGE: The way she's The time has come, she's not just playing there. The music and everything is reminiscent of that time, not just because it's in the 60s. It feels like it's not bound to anything. It's not really tied to time, it's not tied to history, it uses different music in places and anything can happen. We have the license for anything to happen, and that's a good thing to be in because you do not know where it will go.
Are there things you appreciate the longer you play this character?
FAITH: Yes, I said to Bruno, "I'm worried because I think I love her. "And he said," Good. Great! I'm happy because I do it too. "It's evolving." Because of the process I'm working on, I do not know. "The bow of my character." We do not know where to go. "It's written while we're filming. It's not a definitive thing, we research, and as we continue, and as we get to know each other on set and build closer relationships, these characters become what they become, and when people talk about playing with those already existing characters, it's a very natural process I sense that the boundaries between what we are and what we play can blur … ALDRIDGE: I feel like that sometimes FAITH: I'll say, I do not know where it came from, but me Today I was completely forced to kill someone. "We all felt that, and the big existential question is:" What can we all do? What can we do? "The Alfred character is very clever, because we see him as a good man and other characters as bad people, but they do the same by nature, killing people, but falling and justifying it morally." What's the difference between It's a very fuzzy line, and there's a lot of fear.
ALDRIDGE: I think the series also does that by and large – the comics and the past incarnations of the films have These two sides of good and evil are not so clear in Pennyworth It is not that there is a good and a bad party, the water is murky and muddy, and Bruno can not care Someone who is good or bad.
FAITH: He loves all the characters He cares about everyone There is a friendliness behind all
ALDRIDGE: Even the people we perceive as psychopaths