- Last year, when we filmed series one, I had the best time I've ever had on a TV set and the idea that we get to go again is just phenomenal.

(train whooshes) - So the process of bringing series two from script to screen was sort of fairly similar to series one, in that we were lucky that Steve Barron, our director, wanted to return and we've got the same DOP, so they know each other really well, and then we've sort of injected something new in.

We have a new production designer and costume designer and producer, so it means you sort of have a nice continuity of look and feel and style, but also new people with new ideas bringing something fresh.

- I was very pleased to be invited to join the second series.

There are differences structurally.

The second series is three 90 minute stories.

There are three sets of murders, three different sets of locations, and three sets of guest cast, so it's quite a feat.

- The inspiration came from series one.

I decided that I would just enhance what I'd already seen and progress without changing the look.

The whole show has got a sort of brightness to it, a loveliness to it.

There's nothing, you know, we're not going down sort of gritty, dark world at all.

You know, it's heightened though in that we exaggerate the picturesque nature of the show.

It's really special.

It's not just a small English town.

I mean, I think the river gives it this, you know, extraordinary kind of atmosphere.

It's very, it's magical, especially in the sunlight.

- There's more to find with all the locations, because we are telling three different stories.

- Locations, in particular, this time have just played an absolute blinder.

- Series one was kind of quite focused around the center of Marlow and really tying in the landmarks of Marlow.

Whereas this series, we kind of spread out a bit, especially for our kind of big location for episode one, which is the Peter Bailey's house.

- We shot all over that location, so in lots of ways that was very helpful.

The second episode is set in a close, which is largely derelict, shut down.

- And I think it was the boarding up actually that just told the story really, really well.

- [Serena] So we had to convince a whole cul-de-sac of people to let us board up their windows and pretend they weren't there for a week, if not more.

- We also needed, for our sailing club story, quite specific geography between where the sailing club was, and then there's an archeological dig site just opposite across the river.

We've managed to get these locations where we'll be able to film it in exactly the right places, so we won't have to cheat on anything.

All the actors get to play it for real.

It's astonishing really.

(suspenseful music)