Knapman: ‘Since the 9/11 attacks and the London and Bali bombings, a climate of fear has pervaded western society.  The media and politicians have exploited this fear to sell copy and win votes.  There seems to be no difference between asylum seekers and terrorists, ethnic communities and gangs, policing and going to war.  It is well-known animal behaviour that when a community is exposed to a threat, the community unites.

The purpose of drama is to get us to empathise.  It makes us put on someone else’s shoes and walk around in them for a while.  In experiencing the world from a new perspective the viewer gains understanding and learns tolerance.  By identifying emotionally with the suffering of others, we learn humility.

At the same time, it is a dramatic principle that when you portray a bad character, you look for the good in him.  When you portray a good character, you seek the flaw.  This is the balance and truth and complexity of the human condition that is fundamental to the humanitarian approach of the series.

The show is also a metaphor – for East and West, for the conscious and unconscious, for reconciliation and difference, for hope versus despair, as Malik struggles toward the sunlight while Crowley descends into the abyss.  The tragedy, that the only thing that separated them was their own inability to know themselves is a universal human truth that transcends the difference between Muslim and non-Muslim.

EAST WEST 101 is a crime show.  But what makes it different is that it seeks to redress the imbalance that would have us deny our place as citizens of the world.’ Top

PRODUCER – Kris Wyld
Kris has been involved in the creation and script development of a number of award winning and ground breaking television drama series.

Her creative partnership with Steve Knapman began on the ABC Drama Series WILDSIDE, where she worked with him as a Writer and Script Producer.  Kris was nominated for an AFI ‘Best Screenplay’ for Episode 59 WILDSIDE which won the 1999 AFI Award for ‘Best Episode in a TV Series’.

The collaboration between Knapman and Wyld continued after the close of WILDSIDE. Together, they have created a number of projects, including WHITE COLLAR BLUE, EAST WEST 101 and several other film and television projects currently in development.

Wyld: ‘Part of the pleasure of creation is the research phase, when Steve and I work with researchers, consultants and writers to evolve characters and stories that start to have a life of their own. 

EAST WEST 101 involved a two year gestation period and we were fortunate to have a team of writers, including Kristen Dunphy, Michael Miller, Michelle Offen, Kris Mrska, who were dedicated and enthusiastic about the concept and prepared to sweat blood to achieve the layering of story telling we were after. 

Steve and I treasure our relationship with the consultant detectives who brought their own insights, reality and humour into the process. 

Our objective in making EAST WEST 101 was to explore the post 9/11 world through the eyes of a Muslim detective who feels tugs from both the East and the West and who struggles to find the truth, both in his work and in his life.  It’s been refreshing to work with SBS who have encouraged us to take risks and push boundaries. SBS are very explorative in their approach to both drama and documentary.  They gave us a chance to explore contemporary issues and conflicts in a fearless way.’  Top

DIRECTOR – Peter Andrikidis
Peter Andrikidis is one of Australia's most experienced directors. Winner of 3 Australian Film Institute Awards for Best Direction, 2 of which were for WILDSIDE, as well as a further 8 AFI Nominations and 2 Silver Hugos and 2 Gold/Silver Plaques at the Chicago International Television Awards.

Andrikidis: ‘I have received many scripts in my 24-year career and  these are six of the best scripts I have ever read. The multi-layered script is highly cinematic.  This is a fascinating and moving story with clearly developed characters, which are brilliantly crafted by the writers, headed by Kris Wyld and Steve Knapman. They are very clearly defined.

One of the keys to the series was the casting of the character of Malik. His strength of purpose is very important.  Malik’s journey is the audience’s journey. He is a well-conceived three-dimensional character who has convictions as well as flaws. The audience will be seeing Australia through his Islamic eyes – a man caught between two worlds, the police force (Conservative establishment world) and Arab Western suburbs (Islamic world).

Our television screens are filled with images of a ‘world on fire’, scenes of Bagdad burning, the charred bodies of civilians, the aftermath of suicide bombings and of course the twin towers on fire.  Malik is a man searching for a place in this conflicted modern world. He is in a psychological sense ‘a man on fire’.

Don Hany brings so much warmth and reality to the role of Malik.  He has shouldered a huge load; he’s in pretty much every scene. 

The challenge in directing the actors is keeping it real, keeping the style natural so that there is a sense of immediacy even though it is a heavily scripted piece. I wanted the dialogue to sound improvised without being so.

EAST WEST 101 has been filmed in a very cinematic energetic style.  I’ve worked with Joe Pickering, the Director of Photography, on a number of productions and we have a great shorthand communication. EAST WEST 101 is as much about the forces of light against the forces of ignorance and so darkness is an important lighting element of this series.

EAST WEST 101 is an original, powerful and emotionally moving series, which I was very proud to direct.  I hope the audience like it. EAST WEST 101 gives an insight into the Muslim world. Christian, Muslim, or Greek Orthodox; we’re all the same.  That’s the key to the series.’ Top

ALI RAFIK
Ali is no longer able to make comment on East West 101.

PITO SEFO
Pito is currently under cover so we are not able to disclose anything about this most interesting detective consultant.

NICK BINGHAM
Nick is a very senior Police Officer who has been with NSW Police for 22 years.  Twenty of those years have been spent as a detective in some of the rougher parts of the city, undertaking complex murder investigations and dealing with armed robberies and rapes.  Nick spent seven years in a mainly covert operation tracking down the Mr Bigs of drugs and organised crime and now spends his day driving his desk, in charge of the Arson, Breaking and Motor Units of NSW Police.

Nick has consulted with Steve Knapman and Kris Wyld on WILDSIDE, WHITE COLLAR BLUE and now EAST WEST 101.  He has added his own unique blend of humour and wisdom to the storytelling process. Top

KRISTEN DUNPHY wrote Episode 1 - ‘The Enemy Within’
Award winning writer, Kristen Dunphy, has worked with Steve Knapman and Kris Wyld on many television series over the past twenty years, including crime series ‘Wildside’ and ‘White Collar Blue’. 

QUOTES:
Re ‘spiritual dimension of series’…
‘One of the most challenging aspects of this project was exploring spiritual or existential questions within the framework of what is effectively a crime show.  Because Malik has a spiritual life, it forced us to look at the other characters in terms of this dimension.  So when it came to Crowley for example, the absence of any kind of faith, or belief in a higher power or whatever you want to call it, was a defining aspect of his character and of the choices he made.’

Re writing ‘big picture stuff’
‘During the writing of the series we, as storytellers, got ourselves into all sorts of curly arguments about the ‘big questions’ of life.  Is there a God?  What are we here for?  Is there such a thing as Destiny?  It’s not always a comfortable place to go.  But the differences between us simply added grist for the mill.’

Re the Muslim element:
‘Islam is no different to Christianity in the sense that it is complex and often paradoxical.   It’s not easy to grasp.  It’s a view of the world - a way of seeing things - that manifests in all sorts of subtle ways. As writers, we relied quite heavily on advice from our consultants so we could inject authenticity into the scenes about Malik, his family and the Muslim community.’ Top

KRIS WYLD wrote Episode 2 - ‘Death at the Station’
Kris Wyld and Steve Knapman created EAST WEST 101 and its on going storyline.  They have worked together since WILDSIDE also creating WHITE COLLAR BLUE.  Kris wrote Episode 59 of WILDSIDE, directed by Peter Andrikidis which won an AFI for Best Television Episode.

QUOTE:
‘In this episode the focus moves away from the protagonist, Zane Malik, and onto his nemesis, Ray Crowley.  Crowley enters the dark night of his soul when he loses his son.  His pre-occupation with this leads to further tension between the two detectives.  There are two crimes in this episode. The crime that the Squad are investigating is the murder of an aboriginal lawyer, a leader to his people.  In this episode we wanted to portray a contemporary aboriginal character that is not a stereotype and that reflects the lives of indigenous people we know.  Adam King is a workaholic lawyer, who, like Malik, has all kinds of pulls on his time and energy.  Until his time runs out.  There is a thematic motif in this episode of time, life and journeys.  The lawyer, Adam King, is played by Aaron Pedersen, who Steve and I worked with on WILDSIDE.  He is really charismatic and a terrific actor.  Lisa Flanagan plays Sara King and Hunter Page-Lochard, son of Bangarra choreographer, Stephen Page, plays the troubled son.  They’re all fantastic to work with.  Our consultant, said he knew several aboriginal Muslims, so we thought it would be great to include a character who reflected that and came up with Wal Burnham, played by Michael Longbottom.  Wal is a coach and a mentor to King’s son, Kari, and other youths in the Redfern Community.’ Top

MICHAEL MILLER wrote Episode 3 - ‘Islander Sacrifice’
Michael Miller is a half Russian Australian who grew up in the noisy Osadchy household.  His mother, a war refugee, came out to Australia in the 50’s fleeing persecution and hunger.

After graduating from the University of Canberra in Communications and Professional Writing, Michael joined the creative team at Roadshow, Coote and Carroll.  He worked as writer and editor on 'G.P.', won Best Script for his very first script about male rape.  

Michael is familiar with the crime genre and worked with Steve and Kris on WILDSIDE as writer and story and script editor and on WHITE COLLAR BLUE as a writer. 

Michael has had an extensive background in quality Australian television, including G.P., HEARTBREAK HIGH, FALLEN ANGELS, FARSCAPE, and SECRET LIFE OF US.

He also created, wrote and co-produced the innovative LOVE IS A 4 LETTER WORD and GO BIG, a romantic comedy about the dot com industry. Top

KRIS MRKSA wrote Episode 4 - ‘Hunt for the Killer’
Kris Mrksa is a Melbourne writer.  He has written extensively for television, feature films, comedy and childrens’ television.

MICHELLE OFFEN wrote Episode 5 - ‘Haunted by the Past’with Sherine Salama
Michelle Offen attended RMIT Professional Screenwriting course and made her first foray into a script department as a researcher and script editor on WHITE COLLAR BLUE.  She also worked with Knapman Wyld Television developing several new series ideas, one of which was EAST WEST 101. 

EAST WEST 101 (Episode Five) is her first television screenplay.

Quote: ‘I learned early on that research is essential for writing quality crime drama.  And while true crime books, articles and the Internet are excellent resources, nothing compares to the ‘live’ resource: our crime consultants.

Not only do they provide insight into police procedure and protocol, they offer personal stories, unique character observations and cracking lines of dialogue you only wish you could make up. 

They were a major part of making my first script a truly inspiring experience.’

Michelle’s collaborator, Sherine Salama is an acclaimed film maker whose films include the award winning ‘A Wedding in Ramallah’ and ‘In the Compound: The Last Days of Yasser Arafat’.  Top

KRISTEN DUNPHY wrote Episode 6 - ‘The Hand of Friendship’

QUOTES:
Re Crowley and Malik relationship…
‘I was fascinated by the idea that two men who appear to be enemies can share an epiphany – just one moment – where they realise that they have been driven by the same basic emotions. 

The hero in this series is not a cop who tracks down the killer and puts him behind bars.  The hero is the cop who comes face to face with his own truth and, having done that, finds the courage to continues his quest.’

Re racial tension:
‘Having a central character that is both an Arab and a Muslim means the audience witnesses first hand what it’s like to try and operate in the climate of fear and suspicion that currently pervades this country. We were in the middle of writing this series when the Cronulla riots happened.  It was quite bizarre.  Life imitating art yet again. Top

CASTING DIRECTOR – Christine King
In the course of her career Chris has cast over 600 hours of television, including telemovies, mini-series, international co-productions and all episodes of the award winning ABC series WILDSIDE and GRASS ROOTS, and for Network Ten WHITE COLLAR BLUE, TEMPTATION and THE COOKS.

In 2006 she co-ordinated all casting in Australia, New Zealand and on location in Thailand for the BBC/HBO mini-series TSUNAMI: THE AFTERMATH.  

In feature films highlights include RABBIT PROOF FENCE and THE QUIET AMERICAN.  Chris King says ‘Phillip Noyce is a director I really admire.  We were working with great material, the opportunity to explore in depth charactors and work with actors from other cultures.   And then by complete contrast, casting the last STAR WARS film – it was a thrill to work with George Lucas and to be part of such an iconic chapter in film history.’

‘In television, EAST WEST 101 and WILDSIDE are the definite highlights - best working relationship, and ground breaking television in both cases.’

Future projects include THE PACIFIC (10 episode follow up to BAND OF BROTHERS to be filmed entirely in Australia - HBO production with Tom Hanks and Steven Spielberg), and Phillip Noyce's next feature based on Tim Winton's novel DIRT MUSIC.  Chris is also attached to the Scott Hicks’ feature THE BOYS ARE BACK IN TOWN.

Quote:
Casting EAST WEST 101:
‘Casting EAST WEST 101 was indeed a very challenging experience, over 150 speaking roles from a diverse range of ethnic backgrounds, but one I also found very rewarding.
  
In terms of scripts, I felt privileged to be working with such good material, and with producers who I admire and trust. 

As a casting director I found it deeply satisfying to be able to empower so many non Anglo-Saxon actors by casting them in major roles, rather than in the background, and in stories which had some relevance to their own life experiences.  

As the process of casting took us well outside the mainstream.  We discovered a wealth of untapped talent, and were fortunate to be working with a director and producers who were willing to embrace actors, who in many cases, had little or no acting experience.  We were united in our determination to aim for absolute truth and authenticity wherever possible, and not to compromise by favouring  acting experience and technical training over great raw material.  I think this approach resulted in a very fresh and exciting cast.’ Top

DIRECTOR OF PHOTOGRAPHY – Joseph H. Pickering
A graduate of AFTRS, Joe Pickering has been a leading light in Australia’s film and television industry.  He previously worked with Knapman and Wyld as Director of Photography for WILDSIDE and WHITE COLLAR BLUE.  Other television work includes HEARTBREAK HIGH and MARY BRYANT.  Joe won an AFI craft award for the film THE FOREST.

Quote:
‘On EAST WEST 101, I took a more subjective approach.  This story is seen through the eyes of Zane Malik and Ray Crowley.  While in some ways the lighting and camera style is a little similar to WILDSIDE, EAST WEST 101 is actually more structured.  The world we explore in EAST WEST 101 is a darker, more intriguing world, than say the brightness of WHITE COLLAR BLUE.  There is more use of darkness, more grunge.  In parts there is an ugly look, but out of ugliness, comes beauty. 

There is more variety in camera style to reflect the multi stranded story telling.  Malik is a man on a sort of spiritual quest, so when we touch on that area of his life, the camera is more controlled.   But the action sequences on the crime line are more jagged, with a more handheld approach.’ Top

COMPOSER – Guy Gross
Guy Gross is one of Australia’s most respected and diverse screen composers. Over his 25 year career, Guy has composed music for many hundreds of hours of television, including television miniseries, children’s animated television, documentaries and also feature films.  This diversity is reflected in the numerous peer awards he has received from the Australian Guild of Screen Composers.  Guy has worked previously with Steve Knapman on the ABC drama series BORDERTOWN and with Kris Wyld on Peter Butt’s film ‘Who Killed Dr Bogle and Mrs Chandler.’

Quote:  
‘The challenge for the musical underscore of EAST WEST 101 is to carefully balance the tensions and dramas of day to day police work with the human and more emotional story of our main characters.  Added to this is the wonderfully rich musical influences I can draw upon of the cultural origins of our characters.  The whole "east meets west" conflict of the stories will be directly reflected in the score.  From its instrumentation, to its harmonies and rhythms.’ Top

LINE PRODUCER – Kerrie Mainwaring
During a long and successful career managing television drama productions at the ABC Kerrie was responsible for line producing many much loved programmes.  She production managed WILDSIDE where she worked closely with Steve Knapman and Kris Wyld.  The opportunity to work with them again was the lure that brought her into the freelance world and WHITE COLLAR BLUE.  Since then she has line produced many local drama productions such as DANGEROUS, SMALL CLAIMS, THE SILENCE, HELL HAS HARBOUR VIEWS.

Kerrie continues the successful working relations with Knapman Wyld on their latest production, EAST WEST 101.

‘A major part of my job is bringing together a dedicated and hard working crew of talented individuals who also work well as part of a team. The crew and production staff have excelled in their work and I think those high standards are reflected in the final product.’

DESIGNER – Tim Ferrier
‘When approaching the design of EAST WEST 101 we wanted to establish a hard hot world in which the characters of EAST WEST 101 work. We consistently chose locations around Sydney with an urban feel, places with few trees or water. One of the central motifs of the story revolves around the railway line.  When possible locations were found that incorporated trains or train lines in the shot.  The colour palette we endeavoured to create was one of contrasts. A bleached hot feel for the working environment and an enriched calmer home for Malik.  The overall image we wanted to create was a frenetic, layered world with plenty of texture to reflect the reality of the police and their world.‘ Top

WARDROBE – Wendy Cork
‘On EAST WEST 101 my goal was to represent each culture visually and there are quite a few throughout the six hours.  From Islamic culture to the Aboriginal culture, Polynesian in Ep 3, and Croatian and Serb…
 
The Islamic culture, in terms of culture and look, is quite varied.  For instance, there are many ways of tying the hijab, some of them relate to the countries the women come from.  The younger ones, some of whom are Australian born, are re-interpreting the hijab so that it is both fashionable and attractive to them, but is also respectful of the traditions and guidelines in Islamic culture.’

EDITOR  - Nicole La Macchia
Nicole has a long professional relationship with Steve Knapman, Kris Wyld, Peter Andrikidis and Kerrie Mainwaring.  Her work as an editor in television drama is extensive, including WILDSIDE, WHITE COLLAR BLUE, SMALL CLAIMS, BLACK JACK, STUPID STUPID MAN, LOVE MY WAY.  She has edited all six episodes of EAST WEST 101. Top