{"id":122279,"date":"2025-04-20T23:32:18","date_gmt":"2025-04-20T23:32:18","guid":{"rendered":"https:\/\/teknomers.com\/en\/jacob-elordi-and-justin-kurzel-discuss-the-narrow-road-to-the-deep-north-series\/"},"modified":"2025-04-20T23:32:18","modified_gmt":"2025-04-20T23:32:18","slug":"jacob-elordi-and-justin-kurzel-discuss-the-narrow-road-to-the-deep-north-series","status":"publish","type":"post","link":"https:\/\/teknomers.com\/en\/jacob-elordi-and-justin-kurzel-discuss-the-narrow-road-to-the-deep-north-series\/","title":{"rendered":"Jacob Elordi and Justin Kurzel Discuss the “Narrow Road to the Deep North” Series"},"content":{"rendered":"

What unique opportunities does the television adaptation of The Narrow Road to the Deep North<\/em> present for the filmmakers?<\/strong> How does the series address the dual themes of love and trauma as experienced by Dorrigo?<\/strong> In what ways did the filmmakers feel pressure to accurately represent Richard Flanagan’s acclaimed novel?<\/strong> How has the adaptation been received critically, especially in comparison to notable Australian war films?<\/strong> What techniques did the director use to convey the complexities of time and memory in the storytelling?<\/strong> <\/p>\n

The television adaptation of Richard Flanagan\u2019s prize-winning book The Narrow Road to the Deep North<\/em> brings with it a number of firsts. It is acclaimed Australian filmmaker Justin Kurzel\u2019s first work for television and also the first time Euphoria<\/em> and Saltburn<\/em> star Jacob Elordi has returned home to lead a major Australian production.<\/p>\n

Produced by Sony Pictures Television\u2019s Curio Pictures and Amazon MGM Studios Australia, Narrow Road<\/em> debuted on Amazon Prime Video on April 18, but the limited series, speaking to its feature-like qualities, premiered its first two episodes at the Berlin Film Festival earlier this year. In his review, The Hollywood Reporter<\/em>\u2018s film critic David Rooney was gushing in his praise of those first two episodes, describing Narrow Road<\/em> as \u201cbig, bold and strikingly cinematic.\u201d \u201cBased on the first 90 minutes, The Narrow Road to the Deep North<\/em> has potential to stand alongside films like Peter Weir\u2019s Gallipoli<\/em> and Bruce Beresford\u2019s Breaker Morant<\/em> as a nuanced and compassionate study of Australians at war,\u201d Rooney wrote.<\/p>\n

As well as winning the prestigious Booker Prize in 2014, Flanagan\u2019s book has been feted around the world and become a work of national significance in Australia, so, as Kurzel told THR<\/em>, there was an \u201cinherent\u201d pressure to get the adaptation right. Kurzel, who has directed some of the most critically acclaimed Australian films released this century, including Snowtown<\/em> (2011), True History of the Kelly Gang<\/em> (2018), and Nitram<\/em> (2021) and who is also coming off another critical success with 2024\u2019s The Order<\/em>, has been working on a Narrow Road<\/em> adaptation since 2019 when the project was set up at Fremantle, before it moved to Curio and Amazon.<\/p>\n

Set during and after WWII, the limited series follows Australian surgeon Dorrigo Evans, who endures horrific conditions as a prisoner of war forced to build the Burma Railway under brutal Japanese command. Haunted by a lost love as well as wartime atrocities, the story shifts between Dorrigo\u2019s traumatic past and postwar life, where he grapples with guilt, memory, and the weight of heroism.<\/p>\n

The five-part series was written and co-created by Kurzel\u2019s longtime collaborator Shaun Grant and features a haunting score by Jed Kurzel. As well as Elordi, Narrow Road<\/em> stars a number of up-and-coming Australian actors including Odessa Young, Olivia DeJonge, Thomas Weatherall, and Charles An. The series also stars veteran actors Ciar\u00e1n Hinds, Heather Mitchell, Essie Davis, and Simon Baker and Japanese actors Sho Kasamatsu, Taki Abe, and Akira Fujii. <\/p>\n

Ahead of the Prime Video debut of Narrow Road<\/em>, THR<\/em> spoke with Kurzel and Elordi about the making of the limited series, the pressure they felt in adapting Flanagan\u2019s work, and how the series speaks to modern Australia. <\/p>\n

Justin, let\u2019s start with the book itself. The Narrow Road to the Deep North<\/em> is quite epic and deeply introspective at the same time. How did you as a director balance the horrors faced by POWs and the camps and also Dorrigo\u2019s internal struggle?<\/strong> And was it easier to adapt the book via television rather than a film?<\/strong> <\/p>\n

JUSTIN KURZEL<\/strong> Definitely the opportunity of doing it on TV was just that length that it allowed, you know, over five episodes it allows enough time and space for the sort of tapestry of the older Dorrigo looking back in memory, at the same time being present in this relationship with Ella, and understanding what that relationship means to him, and then obviously the prisoner of war camp and then the summer of love.<\/p>\n

Richard always said to me the most important thing to him \u2014 even though he gave his permission for me to really own it in some way as a piece of cinema \u2014 was the tapestry of different time changes. Being deliberately forced into those different moments of memory were really important to him. That was the only feeling I had going into it.<\/p>\n

I always thought that the book was so unique in that it was looking at war and the horrors of war and the experience that Dorrigo had through the prism of a love story. And that love story was quite unique in that it only sort of happened over a short six-week period, this \u201csummer of love,\u201d and then grew and sustained itself for Dorrigo through the war, and especially through [his time in the] camp, and that relationship grew almost as a ghost romance. Amy evolved and grew next to [Dorrigo\u2019s] trauma through the awful things that he saw, endured, experienced and [trying to] keep these men alive, there was always the memory of her and what she was to those experiences. I found that terribly moving. It could have been a relationship if it went one week, two weeks longer \u2014 it may have finished. He could have come back from the war and started the relationship with Amy, and it would have been something different. But for [Dorrigo] it was what she was to him, through that awful period and time, and she then existed as that figure all the way until the end. I\u2019ve never really seen that in a story about the trauma of war and the legacy of those experiences told through the prism of a relationship like the one between Dorrigo and Amy.<\/p>\n

The structure of the piece is really interesting because you flip between lots of different timelines. It\u2019s initially confusing but then you get into the flow of the story and it all makes sense. Were you worried about keeping the audience with you?<\/strong> <\/p>\n

KURZEL<\/strong> There\u2019s something about the book that does that as well, like you start reading it and at first you\u2019re jumping around in a particular way and then it all just melds really beautifully and seamlessly. I noticed that as I was editing the first episode. OK, here we go, our audience is going to go with these jumps and you just get into a story and then you\u2019re taking them out. What I found was that there was just some DNA in the material that really played like memory. You really felt as though each of these pieces were terribly interconnected and that there was something very, strong and interesting in how they started to overlap rather than cut. I got quite excited by that. I was very cautious about it, but trusted that there was something that worked so beautifully in the book that would translate as a piece of cinema in terms of how those scenes all buttered up against each other, ultimately kind of overlap and were able to live with each other.<\/p>\n

Your work is known for dealing with things like trauma and masculinity, and there\u2019s a lot of trauma and a lot of masculinity in Narrow Road<\/em>, are those issues something that you wanted to explore further with characters like Dorrigo?<\/strong> <\/p>\n

KURZEL<\/strong> I found it quite different from stuff that I\u2019ve done before. I mean, essentially at the heart of it is this love story between Dorrigo and Amy. I think there is trauma in the prisoner of war camp, obviously, that\u2019s experienced and that\u2019s recalled in memory and that does sort of shift and change Dorrigo. But I always saw it through the prism of love, not only with Amy, but also with this sort of beautiful relationship he has with the men, not only to keep them alive, but for all of them to be gentle to each other and show care and really look after each other. I saw it more through that. I think sometimes my work can be classed as masculine and there being violence to it, but a lot of my work too is about family, and it is about people desperately trying to be with one another and communicate and support each other, and this, in some sense, this was a departure from my previous work. But, at the same time there are certain areas that I\u2019ve always been interested in.<\/p>\n

This question is particularly about episode four, so the scenes involving the POWs in the camp and the extreme torture they went through, it\u2019s quite harrowing material. How do you film something like that as a director?<\/strong> <\/p>\n

KURZEL<\/strong> It\u2019s immersive and it\u2019s confronting, and you know that day is coming up. It was a very important part of the book, what these men witnessed, and also what these men did to each other. I wanted it to feel as real and immersive as possible. We did extremely long takes. [Thomas Weatherell] who played Frank was unbelievably courageous and it was incredibly exhausting and confronting for him. It\u2019s a hard thing, part of it is also it\u2019s choreographed to a T, those scenes, there\u2019s an artifice to it all that is about hitting marks and hitting particular points and there are emotional beats that you want to discuss and talk about. But at the same time, I also wanted it to sort of feel continuous, so they were five, 10-minute takes that we did with two cameras that were continuously roving. Number one is so that we don\u2019t have to do it 20 times \u2014 there\u2019s only so many times that you can do [those kinds of scenes]. But also, there is something about the continuous takes that allow a reality for the other boys to experience it and be in it and no matter how much they\u2019re seeing their actor friend between cut and take, taking directions from me, it still feels incredibly visceral and real.<\/p>\n

They\u2019re hard scenes to shoot, but they\u2019re important scenes, everyone takes them very seriously, and everyone really looks after each other.<\/p>\n

Jacob, you play Dorrigo, he\u2019s a war hero, but he\u2019s also a deeply flawed man. How did you find \u2014 this is gonna sound a little bit cheesy \u2014 but how did you find the humanity in his contradictions?<\/strong> <\/p>\n

JACOB ELORDI<\/strong> I think that the question kind of answers itself. The most humanity you\u2019ll find in people is probably in their contradictions. That\u2019s what makes people human \u2014 the light and the dark \u2014 [Dorrigo] wouldn\u2019t be a real person if he was. If he was just this great heroic man and he was saving all these people, then he would be flawed because there\u2019s something quite indulgent about that as well. I think \u2014 now this sounds cheesy \u2014 but the duality of Dorrigo is what makes him shockingly human. It\u2019s the most honest that you can be.<\/p>\n

Were there particular choices you made in terms of how to approach the Dorrigo character?<\/strong> <\/p>\n

ELORDI<\/strong> I think I probably came in with a lot of choices! [Laughs<\/em>] And Justin said to leave the choices at the door, because he created theater in cinema. Every moment was alive. The takes were five or 10 minutes long, so when you came in, if you had an idea, and that idea would be gone after 30 seconds and you\u2019d still be watching [the character of Frank] get beat, and then the moment is so alive on the set that Justin creates that things just appear and come to you in the moment, because the camps themselves were built round, like a stage. We were in the jungle and there was something happening on every corner of the set, so it was really just \u2014 again it sounds cheesy but it was \u2014 it was more about responding in the moment, I suppose.<\/p>\n

I felt like the love scenes were just as brutal as the war scenes, but for different reasons, so you had trauma squared. Did you find that challenging to play as well?<\/strong> <\/p>\n

ELORDI<\/strong> You know the love scenes actually ended up becoming quite peaceful, we called it the \u201csummer of love,\u201d and there were moments with Odessa, who plays Amy, we had this pub and it was just us in this pub just outside Canberra, and it was beautiful. You check in every day and then you kind of live in this time period in the pub. As Justin said before, it wasn\u2019t completely harrowing and like trauma because it was a lot of \u2018hey, I love you,\u2019 \u2018do you want a cup of tea?\u2019 It was very collaborative and everyone was working toward the same point. It was honestly just enjoyable. <\/p>\n

In playing Dorrigo, I guess in comparison to other characters you\u2019ve played, were there any particular elements of his character that are still living with you?<\/strong> <\/p>\n

ELORDI<\/strong> No, I mean there\u2019s parts of yourself that you can\u2019t really get away from when you play something, and the thing that struck me the most when Justin gave me the book was the similarities that we had, which may just be from being Australian men, and the upbringing and things like that, but no, nothing so alarming. I\u2019m not great at surgery or anything like that, no. [Laughs<\/em>]<\/p>\n

This question is for both of you. Narrow Road<\/em> is a really important book for Australians and it\u2019s been incredibly successful globally, did you both feel the added pressure to get this adaptation right?<\/strong> <\/p>\n

KURZEL<\/strong> Yeah, I did. Richard Flanagan\u2019s a really good friend of mine and actually asked me whether I would like to do this. There\u2019s an inherent pressure in accepting that. I was with Richard in London, we had dinner the night after he won the Booker Prize. So I was really aware of the prestige that was granted to this book, but I think he\u2019s one of the best writers in the world. I\u2019ve had that experience before with The True History of the Kelly Gang<\/em> and working with these incredible novelists. <\/p>\n

As I said before, what Richard was very good at doing was at the beginning saying, \u201cLook, it\u2019s going to be different, and I accept that this is yours and Shaun\u2019s to really take on, find your way as to what that cinematic point of view is with it.\u201d That didn\u2019t mean that every day I was thinking, \u201cI hope I don\u2019t fuck this up for Richard.\u201d But it also allowed me to always think about what an adaptation is and that it inherently has to be different from the book, and there are things that you leave out, and there are things that you add, and there\u2019s a certain point of view you bring. And then all these great actors claim these characters and have to find their own truth with them that is different from the book. That truth that speaks to them on the day and in the scenes and with each other and what they kind of learn from that to help guide them as to where the characters should go. You have to go into it thinking, \u201cOK, there\u2019s a point here where we have to try to embrace how the book\u2019s speaking to us.\u201d<\/p>\n

Given his previous work involving features, did Richard Flanagan want to get involved in the adaptation?<\/strong> <\/p>\n

KURZEL<\/strong> No, Richard came to set and he was an incredibly valuable source to the boys. Jacob went to Tasmania and actually saw certain areas in which it was made and Richard took Jacob and [Thomas Weatherell], up the mountain, Mount Wellington. They had some amazing, one-on-one time with him because he\u2019s an incredibly interesting, loving, extraordinary man. [Richard] has this big, big heart, so even just having a conversation with Richard, you can feel the DNA of what the work is.<\/p>\n

ELORDI<\/strong> Yeah, he doesn\u2019t mince words and he doesn\u2019t waste words. He\u2019s certainly not somebody I was keen to disappoint. So there\u2019s pressure in that, but I mean he\u2019s brilliant.<\/p>\n

A lot of people may not be totally familiar with the importance of the book and also Australian war history, but do you guys think Narrow Road<\/em> speaks to a modern Australia?<\/strong> <\/p>\n

ELORDI<\/strong> For me, outside of the war and outside of everything, it\u2019s a deeply human book and it\u2019ll live forever like all great literature does, because you strip away all the story elements, the historical elements, and there\u2019s these character studies that I think are relatable and relevant to every kind of person, and that\u2019s why the book is so popular overseas as well. I think it\u2019s incredibly relevant to modern Australia, to anywhere.<\/p>\n

Justin, when you started working with Jacob, did his physicality and his manner of being an actor shape how you saw Dorrigo, or was Dorrigo on the page already?<\/strong> <\/p>\n

KURZEL<\/strong> No, I\u2019ve just seen Jacob\u2019s work and thought he was a wonderful actor and I desperately wanted to work with him, and that\u2019s usually how it works with me and actors \u2014 having a deep admiration for someone. I love the idea in this exciting time in his career for him to come and do an Australian piece of work that he really admires. There\u2019s something really wonderful about coming home and being able to be involved in such an extraordinary Australian story. To be able to work with someone like Jacob at this point in his career, I know there\u2019s an energy to that and there\u2019s something very exciting about it. So first and foremost, I\u2019d seen his work and I think he\u2019s fantastic, so I was like let\u2019s work together and try to find out what Dorrigo could be.<\/p>\n

I have a last question for Jacob, so related to what Justin said, was it important for you to do something Australia-set or Australia-related? You\u2019re fans obviously know you\u2019re Australian, but a lot of people wouldn\u2019t necessarily know that you are.<\/strong> <\/p>\n

ELORDI<\/strong> I think the most important thing to me was working with Kurzel, because he\u2019s like my cinema father. When you\u2019re Australian \u2014 and I think it\u2019s the same for all the boys in the show \u2014 there\u2019s one man that you want to work with in Australia and it\u2019s Kurzel, so I obviously wanted to come home and work [with him].<\/p>\n

Exploring the Depths of Emotion: Jacob Elordi and Justin Kurzel Unveil ‘The Narrow Road to the Deep North’ Series<\/strong><\/p>\n

In the world of adaptation, few narratives resonate as powerfully as Richard Flanagan\u2019s acclaimed novel, The Narrow Road to the Deep North<\/em>. The story of love, loss, and warfare is a haunting exploration of the human condition, set against the backdrop of World War II and its harrowing experiences. With the announcement of an upcoming series adaptation, excitement has reached a fever pitch, particularly with the involvement of rising star Jacob Elordi and celebrated director Justin Kurzel.<\/p>\n

The Core of the Narrative<\/h3>\n

At its heart, The Narrow Road to the Deep North<\/em> chronicles the life of Dorrigo Evans, an Australian surgeon captured as a prisoner of war by the Japanese during World War II. The book deftly intertwines themes of nature, memory, and love as it explores Dorrigo’s mental struggles and the heartbreaks that shape his identity. The project\u2019s ambitious scope requires a delicate balance of maintaining the emotional integrity of the novel while also appealing to a contemporary audience.<\/p>\n

Jacob Elordi: The Rising Star<\/h3>\n

Jacob Elordi, best known for his roles in Euphoria<\/em> and The Kissing Booth<\/em>, is stepping into the shoes of Dorrigo Evans. His casting has sparked curiosity and admiration given his background in youthful roles. Elordi, however, is keen on exploring more profound narratives that challenge him as an actor.<\/p>\n

In a recent interview, Elordi expressed his commitment to portraying Dorrigo with authenticity. "Dorrigo is such a complex character with layers of emotion; he embodies both fragility and strength," he explained. "Playing a character who embodies such a wide range of experiences, especially in a time of war, is an actor’s dream." <\/p>\n

Elordi\u2019s approach to Dorrigo is heavily reliant on understanding the character\u2019s struggles on a psychological level. He noted the importance of portraying the nuances of fear, hope, and resilience that define Dorrigo\u2019s journey. "Every scene is pivotal; every choice Dorrigo makes is informed by his past and his memories of lost love. It\u2019s essential to convey that depth to the audience," he stressed.<\/p>\n

Justin Kurzel: The Visionary Director<\/h3>\n

Justin Kurzel, acclaimed for his directorial work on films such as Snowtown<\/em> and Macbeth<\/em>, brings a distinctive vision to the series adaptation. His reputation for crafting visually stunning and emotionally resonant stories sets high expectations for The Narrow Road to the Deep North<\/em>. Kurzel aims to create an immersive experience that allows viewers to feel the weight of the narrative\u2019s themes.<\/p>\n

In discussions about his vision for the series, Kurzel highlighted the necessity of creating an emotional landscape that aligns with Flanagan\u2019s lyrical prose. "The novel is filled with beautiful imagery and poignant moments. It\u2019s about translating that onto the screen in a way that feels both true to the source material and relevant to today\u2019s audiences," Kurzel stated. <\/p>\n

Kurzel recognizes the challenges of adapting such a profound narrative. "War stories often depict the brutality of conflict, and while this series will address the harsh realities faced by Dorrigo and his comrades, it\u2019s equally important to delve into the emotional ramifications of those experiences. It\u2019s about survival, but also about the emotional scars that linger long after the fighting has stopped."<\/p>\n

Collaboration and Expectation<\/h3>\n

The collaboration between Elordi and Kurzel has already hinted at a potent synergy. Both are driven by a shared desire to honor Flanagan’s original narrative while ensuring the adaptation has a modern tone. Their discussions have centered on building an authentic representation of characters impacted by war, love, and loss.<\/p>\n

"We want to ensure that audiences relate to Dorrigo not just as a war hero, but as a human being grappling with grief and guilt," Kurzel stated. "There\u2019s complexity in his relationships, especially with his love interest, and that\u2019s where Jacob\u2019s talents truly shine. He has the ability to portray vulnerability while also showcasing resilience."<\/p>\n

The stakes are high as they embark on this creative journey. As with any adaptation of a beloved literary work, there\u2019s an inherent tension between staying true to the novel and reinterpreting it for a new medium. Their combined efforts aim to not only meet the expectations of Flanagan\u2019s existing readership but also to draw in new viewers who may be less familiar with the source material.<\/p>\n

Conclusion<\/h3>\n

As Jacob Elordi\u2019s journey as Dorrigo Evans begins alongside Justin Kurzel\u2019s visionary direction, The Narrow Road to the Deep North<\/em> series stands poised to captivate audiences. By intertwining the intense emotional narratives of love, loss, and survival, the adaptation is set to evoke a profound exploration of the human experience, reminding viewers of the tenderness that exists even in the darkest of times. As the project develops, fans eagerly await its release, hopeful that it will breathe new life into a classic story while remaining faithful to its poignant heart.<\/p>\n

Jacob Elordi and Justin Kurzel recently discussed their collaboration on the series adaptation of “The Narrow Road to the Deep North.” The series, based on Richard Flanagan’s acclaimed novel, delves into the harrowing experiences of Australian prisoners of war during World War II, particularly their forced labor on the Thai-Burma Death Railway.<\/p>\n

Elordi, known for his roles in “Euphoria” and “The Kissing Booth,” brings a youthful intensity to the role, while Kurzel, a renowned filmmaker with a knack for portraying complex narratives, emphasizes the emotional weight of the story. Both have expressed their commitment to authentically representing the struggles and resilience of those affected by the brutal historical events depicted in the series.<\/p>\n

In their discussions, Elordi highlighted the challenge of embodying a character who endures immense physical and emotional hardship, while Kurzel spoke about the importance of capturing the historical context with sensitivity and depth. Their collaborative efforts aim to create a powerful and thought-provoking viewing experience that honors the legacy of those who suffered and sacrificed during the war. Through their combined talents, they aspire to resonate with audiences and provoke reflection on the themes of love, loss, and survival.<\/p>\n

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What unique opportunities does the television adaptation of The Narrow Road to the Deep North present for the filmmakers? How does the series address the dual themes of love and trauma as experienced by Dorrigo? In what ways did the filmmakers feel pressure to accurately represent Richard Flanagan’s acclaimed novel? How has the adaptation been […]<\/p>\n","protected":false},"author":1,"featured_media":110274,"comment_status":"","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[8365,7028,30748,9749,1863,31082,5195,1194,765,2157],"class_list":["post-122279","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mazagine","tag-deep","tag-discuss","tag-elordi","tag-jacob","tag-justin","tag-kurzel","tag-narrow","tag-north","tag-road","tag-series"],"_links":{"self":[{"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/posts\/122279","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/comments?post=122279"}],"version-history":[{"count":0,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/posts\/122279\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/media\/110274"}],"wp:attachment":[{"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/media?parent=122279"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/categories?post=122279"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/tags?post=122279"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}