Doherty set to shoot new series of Crá

A second series of Irish language crime series Crá has been commissioned. Series one saw Cavan’s Philip Doherty in the director’s chair as the drama unfolded in the Donegal Gaeltacht. The series followed Garda Conall Ó Súilleabháin as he was plunged into a deeply personal case as the body of his mother turned up 15 years after she vanished. Here Philip speaks to the Celt’s Damian McCarney about the draw of Donegal, writing in collaboration, and making shots count.

Celt: What do you think won audiences over in series one?

Philip: Everyone loves a good mystery don’t they? The main character Conall had an intriguing journey, a Garda investigating his own mother’s murder, powerfully played by Dónal Héalaí. But I think what’s unique about Crá, from other crime dramas, is the breathtaking scenery of Gweedore, Donegal... vast boglands, stunning beaches, barren landscapes, crumbling hotels, and tiny houses that look like they’ve been battered into the side of a mountain... a rich world to escape into, with a twisty story keeping us hooked.

Celt: What particular scene from Crá has remained with you?

Philip: That’s an interesting question, because two pop in my head straight away, and both are very different. In Episode 2, there’s a funeral sequence that resonates a lot with me emotionally. When shooting it, I had recently lost my father, and was still going through the grief of his passing; the surreal kaleidoscope of locals’ faces sympathising, was an expression of what I had recently experienced. We shot it in a heightened style, with the deep, soulful voice of balladeer John Francis Flynn, adding emotional gravitas to the score.

And there was a dream sequence in the abandoned hotel of Óstán Gweedore at the very start of Episode 6, which was wildly ostentatious and hallucinogenic. And the most fun to shoot.

Celt: Having been sat in the director’s chair for series one, is it tricky to insert yourself within the script writing team who had already came up with the main characters of series one?

Philip: Not for me, thankfully. I always see myself as a writer firstly, so I’m delighted to be part of the script writing team this time round. For me everything starts with the script. The script is the bible, and I was lucky in season one, to work with writers who were very open to collaboration and ideas for the script. Having the bedrock of working on season one, I knew the characters very well, so I loved having a go at being inside their heads, tumbling words out of their mouths, and seeing where they would go.

Celt: Have you all begun to pen the second series yet?

Philip: Yes, all episodes are at draft two stage. There are six writers involved in the scripting this season. We had a writers-room set up where we all worked out the shape and story of the entire season together. I’m normally alone writing, so it was such a fresh and open and creative experience.

Celt: Will you also be directing the new series?

Philip: Yes, thankfully, I’m back in the director’s chair for all six episodes. We are shooting from January to April in the spectacular wilds of Donegal in winter. Can’t wait to get the old thermals back on.

Celt: After such a success is there even greater pressure on the follow up?

Philip: The most pressure is showing up on set that first morning of the shoot. The main thing for me is to be as creative as possible with what you have. Try to make every shot and every scene as good as it can be, and trust it will all weave together exquisitely in post. It’s a privilege to be working in this art-form, and if you love what you’re making, you have to believe other people will love it too. We were blown away by the reaction to season one and I’m just grateful for people tuning in, and to have the opportunity to make a second season. The world and characters are already established. I hope people will enjoy the new, twisty ride we bring them on.