Although his father was a German Jew who arrived in London in 1933 fleeing the Nazis and his mother was a Polish Catholic who arrived that same year escaping the Soviets, Peter Morgan has triumphed in his career by perfectly describing English society and its ruling class. With two Oscar nominations for best screenplay, for The Queen (for which he also won the Golden Globe) and The Challenge: Frost vs. Nixon, Peter Morgan reflects on what is undoubtedly the greatest achievement of his entire career: portraying the British monarchy from 1947 to 2005, over six seasons.
Does the end result of 'The Crown' look like how you imagined the series?
Yes. I had the idea in 2012 of three series, each with a queen, but the concept was the same. When I sat down to write the first script, I realized that it was going to need more time. Therefore, in the end there have been two seasons per queen. But I'm surprised how similar what we've done is to what I first thought.
What is the difference between working on a film and a series like 'The Crown'?
Not much, because in The Crown the size of the technical team and the number of trucks was the same as in a movie. And the way the scripts were written and the endless rewrites were like in a film. The truth is that what we do is not typical television. Filming The Crown was very similar to when we worked on The Queen, The Challenge: Frost vs. Nixon or The King's Speech. They are films that were made with similar budgets. The only difference is the number of episodes. The amount of work has changed, but not the process. That's why I think this is cinematic television.
Has it been difficult to find a balance between historical fidelity and entertainment?
Everything depends on the tone. In the United Kingdom we like to tell history with a satirical perspective. We have a healthy lack of respect for institutions of power. On the other hand, I have always used the gaze of a playwright, although I have had to be very careful so that it does not become a boring history lesson. My strategy is very simple: if I start writing and I get bored, I throw it away. I have to start from the basis that if it entertains me, it will also interest the audience.
He has said that 'The Crown', particularly this final season, is his love letter to the queen. How does he ensure that her admiration for her does not prevent him from telling the story objectively?
The queen was born in 1926, as was my mother. It's not that she had a particular interest in the monarchy, but she did feel an affinity for someone who belonged to the same generation as my mother. My mother came from a very humble background in Poland, but she had many qualities that were very similar to those of the queen. And that made things a lot easier for me. My mother passed away in 2009, and writing the series was a way for me to reconnect with her. The indestructibility, tranquility, stoicism, pragmatism and modesty that she defined that generation are very different values from the millennial. The truth is that even anti-monarchists recognize that she was a sensational queen. Everyone in the UK has grown up with this woman since the day we were born. The omnipresence of her image, on stamps, banknotes and photographs, makes one want to explore this character who for so many years has simply been a face of her.
How has working with Helen Mirren in the film 'The Queen' and with Imelda Staunton in the series 'The Crown', playing the same role, been different?
When I made the film, because of my long connection with Helen Mirren I had no doubt that she must be the queen. But then, we had a very good conversation in which we agreed that that chapter was his and that now there should be a new one. And from the moment I knew I wouldn't have the chance to work with Mirren again I decided I wanted Staunton. They are both extraordinary actresses and very generous theater leaders. Helen first played the Queen on the stage with my play The Audience, and then on film. And they are both very beloved actresses, who command the respect of their colleagues. They do not hesitate to express their opinions and if they feel that I have been wrong about something as a playwright, they tell me. They share a sharp and very intelligent instinct, although they are very different. Helen is much more comfortable with the public and Imelda is a very shy person. But on set, they are both powerful and brilliant.
