-DIRECTOR: Action. My name is Cormoran Strike.
I’m a private investigator. I’m Robin. Robin Ellacott.
I’m the new temp. How can I help you, John? It’s about my sister. Lula Landry.
I think she was murdered. (CAMERA SHUTTERS) ♪ (MUSIC PLAYING) ♪ I had thought about
writing crime for years. Before I wrote Cuckoo’s Calling, I wanted to go back
to the beginning. I just wanted it to be about
the writing. I had this dream
that I might be able to get maybe three books out
under the pseudonym before anyone realized
it was me. The pseudonym was just a way
of disconnecting myself from all of the baggage
that comes with being me. Cormoran Strike?
That’s an unusual name. Nobody’s ever
mentioned it before. Cuckoo’s Calling is really
a chance to introduce Cormoran Strike to the world.
Detective with one leg. Night. He’s somewhat in debt,
doesn’t have that many clients. J.K. ROWLING:
And an old acquaintance turns up in his office,
and asks him to investigate what the police have decided
was a suicide. People have been coming all day
to pay tribute to Lula Landry, -who fell to her death–
-(CAMERA SHUTTERING) At the same time,
he has a new assistant. Robin Ellacott. And… Cuckoo really finds
these two characters coming together,
Robin trying to… discover her love for detecting, and is learning about Cormoran
and his skills. This is a car registration
and its normal location. All right. If you were to get inside
and check something for me. Strike is entirely imaginary, in that he just walked
into my head. MICHAEL KEILLOR: He’s a modern
guy, he’s fought in Helmand. He’s also a guy
kind of out of time. (SLURRING) You know
what’s ruining everything? Digitalization. Letters… gone.
What happened to love letters? -Digitalization.
-That’s what I said. You’re never going to write
a love mail, are you? What really sets Strike apart
from other detectives is he has encountered evil, and, uh, he does know what it
looks like and smells like, and he’s ready to act on it
if it needs to be confronted. Cocteau described it as
being an in– that life
is an infernal machine. (EXPLOSION) I think when Robin arrived… Strike is a little bit
of surprised about the sense of just something different here
and… (GASPS) KEILLOR:
She’s the bright light. She’s the new thing
that comes in. Robin is the most purely lovable
character I’ve ever written. You know, she starts
as a temporary secretary, and then by the end
of book three, she’s… business partner and she’s
kind of learning on the job. And she’s very practical
and she’s very passionate, and she’s very grounded. Lula Landry in came here a lot,
didn’t she? I bet she was like always
in her lists, like “Top ten things to do
in London.” The world of
The Cuckoo’s Calling just came to life
on London streets. -It was very fun.
-ROWLING: I really enjoy the fact that these books
are grounded in the real world. DIRECTOR: And action. ROWLING: And I was sent to an office in Denmark Street
years ago, and I was only there a week, and I loosely based
Strike’s offices on that place where I temped,
yeah. (CAR ENGINE WHIRRING) KEILLOR:
So whether it was SoHo, and Denmark Street,
where he lives, Mayfair, which is the kind of
money of Lula Landry’s story, and also Hackney and Dalston, which is the sort of New London
of cool fashion, so those three areas
were broken down for Cuckoo. -Excuse me.
-We’re going with the feathers. We’re doing the Milan shoot. We enjoy those characters
who feel a bit like ourselves, whose lives are a bit
like our own, they don’t quite work properly. But at the same time,
there’s a certain romance to Strike, if you wanted
to be a one-legged detective, living in your office,
you want to be him, living in Denmark Street. There’s something about TV,
detectives on TV. They just work. It was you. You killed Lula.