In 2019, Netflix and Shawn Levy’s production company 21 Laps Entertainment secured the rights to adapt Anthony Doerr’s acclaimed war novel, All the Light We Cannot See, for television. The Pulitzer Prize-winning book tells the captivating story of two teenagers, Marie-Laure LeBlanc, a blind French girl, and Werner Pfennig, a German boy forced to become a Nazi soldier, whose lives intersect during the height of World War II in occupied France.
The highly anticipated adaptation, a four-part limited series, boasts an impressive cast including Mark Ruffalo and Hugh Laurie. British screenwriter Steven Knight, known for his work on Peaky Blinders, developed the series and also serves as an executive producer. Knight emphasizes the importance of telling the story authentically and allowing it to unfold naturally, without being constrained by conventional episode lengths.
Knight states, “I hope a trend will be set where people will have the freedom to say, ‘This is the story I want to tell. It’s going to take three hours, it’s going to take four hours, it’s going to take five hours.’ That would be a more authentic way of storytelling.”
Authenticity is at the heart of the project, starting with the casting of two new actresses in the lead role of Marie-Laure. Aria Mia Loberti takes on the role of the teenage Marie-Laure, whose radio broadcasts during the war connect listeners across France in unexpected ways and serve as a thread between past and present for viewers. Nell Sutton portrays the younger version of Marie in flashbacks.
Knight explains their decision to cast actors who are blind or have low visibility for these roles, saying, “We collectively decided that we had to have actors who were either blind or low visibility.” He praises the faith of Shawn Levy and Netflix in entrusting these inexperienced actresses with such crucial roles, calling it a “miracle” that turned out successful.
Filming took place in various locations, including Saint-Malo, France, which played a central role in the novel. Knight notes that the filming coincided with Russia’s invasion of Ukraine in February 2022, adding a poignant layer to the project. The imagery of the historic French port, Saint-Malo, serves as a symbol of hope in the series, particularly for those affected by the current war.
After acquiring the rights in 2019, the production of the series faced several challenges, including the impact of the COVID-19 pandemic. However, Knight describes the adaptation process as a labor of love, as he had already been a fan of Doerr’s book before being invited to adapt it. He praises Levy’s execution of the project on an impressive scale and highlights the incredible performances of the cast, particularly the inexperienced leads, Aria Mia Loberti and Nell Sutton.
Another notable addition to the cast is Hugh Laurie, who plays the role of Etienne, a war hero living with his own demons. Knight explains that Laurie’s portrayal of the damaged character, despite being English playing a French character, was a perfect fit due to the restricted Englishness that Laurie has displayed in previous roles.
One of the novel’s strengths is its sensory details, and Knight and the production team aimed to bring that aspect to life on screen. They paid particular attention to the audio experience, making sure that every sound, even the fluttering of a leaflet, could be heard to immerse viewers in the environment. The visual elements were also crucial, with the scale and striking imagery designed to make even the darkest moments look beautiful, conveying a sense of hope in the midst of devastation.
Knight praises the score by James Newton Howard, noting that music has the power to evoke emotions and enhance the viewing experience. He describes the score as powerful and emotional, capable of moving viewers to tears.
As with any adaptation, there were challenges in translating the Pulitzer Prize-winning novel to the screen. Knight acknowledges the pressure of adapting such a revered book but expresses satisfaction with the smooth and open nature of the project. He mentions the time jumps and managing different time periods as the most significant challenges, but ultimately, being true to the characters and their journeys was the priority.
Finally, Knight discusses the importance of Anthony Doerr’s opinion on the final product. As the author of the source material, Doerr’s feedback carries immense weight for Knight. He emphasizes the sense of relief that comes when Doerr approves of the adaptation, as the author’s opinion matters more than anything else.
Overall, the adaptation of All the Light We Cannot See has been a labor of love for Steven Knight and the production team. They have strived to capture the authenticity and sensory aspects of Doerr’s novel while delivering a visually striking and emotionally powerful viewing experience. As the series finally makes its debut, audiences can expect a gripping and poignant portrayal of the characters and their experiences during World War II.
