Let’s call “The Killing” deliberate, not slow, so as to not scare away viewers accustomed to the murder-of-the-week style of most criminal procedurals.
“CSI” this is not. It’s so much better.
“I just thought it was one of the most beautiful pieces of storytelling I had read in any genre in years,” said the show’s star, Mireille Enos. “It was so cinematic and thoughtful, and paced so slowly, which is a gift in TV.”
“The Killing” (8 p.m. Sunday, AMC; **** stars) follows with meticulous detail a Seattle police probe into the brutal murder of teen Rosie Larsen. Executive producer Veena Sud, who based her chilling whodunit on the wildly popular Danish drama “Forbrydelsen,” structured the tale so that each of the 13 episodes represents roughly one day in the investigation.
Enos says the reverential treatment gives viewers a chance—rare in many broadcast network series—to get to know the characters thoroughly.
“It’s a character piece under the umbrella of a crime drama,” she said. “And that’s so fun when … you have this compelling story that pulls these characters along. It’s the best of both worlds.”
Enos plays Det. Sarah Linden, a veteran investigator who is handed the case the day she’s supposed to leave Seattle and move with her son to
She would be giving up on Rosie—and on her devastated parents, Stan (Brent Sexton) and Mitch (Michelle Forbes). So she takes her kid to a friend’s, offers excuses to her fiance and partners up with her replacement, Stephen Holder (Joel Kinnaman). As she and Stephen dig deeper, they uncover connections to a local politician (Billy Campbell), Rosie’s schoolmates and others.
Enos’s Sarah is a deeply intelligent, introspective and dogged investigator who keeps her cards close to the vest. Sarah reveals little of what she’s thinking or feeling, but through Enos’ portrayal you know much is stirring under that surface calm. She's juggling her commitment to Rosie, to her son and fiance, and to her driving need to do what she does best.
“I think this is a person who is capable of stepping over the line into that world of addiction where she can’t walk away,” Enos said. “Sure, it’s about the case and it’s about being responsible to the dead, but it’s also about what she’s getting out of it—her own sense of making her life worth something.”
Enos, most recently seen portraying twin sisters Jodeen and Kathy Marquart on “Big Love,” is making a full life for herself. She’s married to actor Alan Ruck, who spent years on such Chicago stages as the Wisdom Bridge Theatre before playing Cameron Frye in “Ferris Bueller’s Day Off.” They had their first child together, daughter Vesper Vivianne, in September.
Moving with her family to Vancouver just months after the baby was born to film “The Killing” has been a challenge for Enos, but she thinks it was all destined to be.
“I think the fact that it all happened at the same time isn’t an accident,” she said. “That my daughter showed up and this amazing part showed up and my life is so full, it feels like it’s all of a piece … It’s going really great.”
Enos talked more about Sarah Linden, “The Killing” and her roles on “Big Love.”
Give me your take on "The Killing."
I think it is such a responsible, intriguing piece of television. Veena [Sud], the creator, is such a hugely intelligent woman. She wanted to tell the story of the death of a child. To do that with anything less than total honesty and responsibility would be so unfair to audience members who may or may not have gone through that experience. There's such a sense of respect and reverence in the creating of this.
And the cast of characters that she's created are so varied and so diverse. Because the structure of the show is that every [episode] is one day in the unfolding of this case, it's like time is slowed down. The audience gets to actually know these people.
Did you try to find the original Danish show?
I did not because I didn't want to have that wonderful performance in my mind. I felt that would be distracting for me.
Your character, Sarah Linden, seems to be very closed up. She's built these walls. Tell me about her.
Yes. She's a deeply private person, and she feels kind of like an alien in this world. And sometimes, like both ends of the spectrum of that. Sometimes she feels like an alien because she feels so superior to everyone, and sometimes she's an alien because she feels incapable of connecting to other people. The qualities that make her good at being a detective make her less good at the rest of life and less good at choosing happiness.
And she's flawed. She's complicated and flawed. She's not necessarily being a successful mother right now. She's brusque and she has a hard time with commitment and she's cagy, but underneath all that kind of weirdness and toughness, there's a really big heart that she's trying to protect.
What's interesting to me is, you could see her as the viewers see her [crash sounds on the line]. Oops.
Hello? Sorry, that was my chin. I'm sorry.
Do you have the baby with you?
Yeah, she's in my arms. Can you hear her?
She's practicing her coughing. She thinks this is a very fun game. I shifted and … OK, sorry.
No worries. Congrats by the way. I was saying that some viewers might say Sarah is not too lovable, but I do love the way that her co-workers seem to have great affection for her. And she has a good sense of humor, too. But still, a little dark, isn't she?
Yeah. I think when she is in situations where she doesn't have to try to prove herself, [she has a sense of humor]. Like with her co-workers, they know her. They know who she is, they know she's proven that she's good at what she does and so she doesn't feel any responsibility to kind of be anything that she's not. She can be her kind of best version of herself. She can show her sense of humor; she can show herself relaxed.
But when she's around people she doesn't know, like with her new partner or with the people she's interrogating about the case [she's different]. I think it's a version of shyness, that thing of, "I'm not going to like you before you can not like me." … As the show unfolds, you see her in different situations with her son, and with her fiancé and she's multi-faceted, she's not just a prickly pear.
You mentioned her partner. It appears Sarah is equally appalled and impressed by him. When he questions a male teacher about the victim, he says something really inappropriate…
Totally inappropriate, yeah.
I'm wondering, though, is she thinking, "OK, I know what you're doing, but don't do it again," or do you think she just thinks he's a loser?
I think she's saying that was really inappropriate, but effective. I think there was an acknowledgement that while it was wrong, he got an interesting job done. And while she is not willing to go there, she doesn't mind that he did.
I think it was part of what's interesting about their dynamic is that these two people are so different and they're first response is to not like each other, but both of them have to acknowledge that the other actually has instincts that are really interesting in terms of their police work.
Do you think that Sarah's kind of addicted to this work?
To the point of distraction, it seems. It's not that she's not there for her son, but she does seem to not be there…
Yeah, she's absentee a lot. And you know that word, "addiction," it's a very weighted word and I think Sarah would say to herself, "I have to earn a living. I'm a single-mother. The job asks for what it asks. I'm good at it. It requires a certain amount."
To some degree those things are true and justifiable, but I think this is a person who is capable of stepping over the line into that world of addiction where she can't walk away. Sure it's about the case and it's about being responsible to the dead, but it's also about what she's getting out of it—her own sense of making her life worth something.
And that's what it is? She feels that this is how I can make my life worth something?
I think her identity is deeply entangled in to her work.
It's interesting. She is ready to leave and move to Sonoma to get married. It is her last day and she gets sucked back in.
Yeah, she's right on the edge of leaving. And if this case hadn't shown up on that day, I think she was getting on that plane. Now how long she would have been able to stay in Sonoma and how restless she would have been, that's a different story. But I do think she planned to get on the plane and, and at least make a go of it.
Do you think that she was sort of, "All right, I'm over it?" And then she met this guy?
I think it was really wearing on her and I think she had come to a point where she was at least willing to try something else.
I love the way that in the field Sarah just takes her time and contemplates even though everyone's telling her to hurry up. Do you think that she's trying to get into the killer's head or the victim's head, or both?
Both, I think both. I think mostly the victim, but I think both. I think she identifies with the victims and that's who she is trying to be the advocate for. But she bounces back and forth.
Are we going to actually see her blow up ever, lose it? Or can you tell?
[Laughs.] Yeah, I'm not gonna tell you.
There's another great scene with her and Steven in the car he suggest she's running away from something by leaving her job. Do you think she is running away from something, or running to something?
Well, running away there are negative implications, like "You can't deal." … Maybe she's just trying to consciously step away, maybe she recognizes that there are things about this career that are not serving her anymore. She's trying to remove herself from a bad situation. I think the line has gotten really blurry for her about who the bad guys are. I spent a lot of time talking to Veena and she is fascinated with this whole world. She's spent a lot of time with undercover cops and she was saying to me that so much of the time, murders of children, especially, or a family member or a close friend of the family, it's rare that it's a really random person [who did it]. That has to just taint your view of the world, when over and over and over again, [someone close] ends up being part of the crime. It would make you really jaded.