The Amazon miniseries based on Neil Gaiman and Terry Prattchet’s beloved book is coming to BBC Two on January 15th at 9PM (GMT). Read Michael’s interview to the British channel:

What drew you to Good Omens?

I have been a huge fan of Neil’s work for years. I first read Good Omens at drama school when someone in my year introduced me to comic books, and Neil’s work in particular. I read all the classic comic books – Sandman, Hellblazer, Watchmen and Swamp Thing. I loved them. I had always assumed that comic books were about superheroes and wasn’t that interested in them. But this stuff was brilliant. It was great storytelling; it was dark, gritty and fantastical. It really rang my bell. So I’m absolutely delighted to be involved in the TV version of Good Omens.

At the heart of Good Omens is the relationship between Aziraphale and Crowley. What brings them together?

They both begin to realise they are rather more fond of the human race than they should be. When Aziraphale and Crowley start to appreciate each other’s positions, that compromises them, but it also draws them together. It is something that is particular to them. Over hundreds of years, we see that bond developing. They’re on opposite sides, but they’re actually very similar. They’re both supernatural, but both very appreciative of humanity.

Do they come to that realisation at the same time?

No. Much later than Crowley, Aziraphale starts to see the contradictions in the position of each team. Part of being a demon is being cynical about everything from the beginning, so Crowley realises it much more quickly. Aziraphale, on the other hand, brings an innocence and an openness to things. He’s not exactly naive, but he possesses this innate goodness.

Has it been fun to play?

Definitely. What I love about it is the idea that these two characters are special and magical. They can do miracles, but at the same time, they are very much of this world. There is also something Odd Couple-ish about them, which is great.

What do you love about the script for Good Omens?

There is a lot more humour in Good Omens than the stuff Neil has done on his own. The subject is very serious, but it is dealt with in a comic way. In revisiting it for TV, Neil has balanced it out more. There is more potential for darker notes, but it’s still very much a comedy. This script is a triangulation of the young Neil, Terry and the older Neil.

Does the fans’ passion for the book make it harder to bring Good Omens to life on screen?

Yes. It makes it difficult to adapt that world and make it exist on TV because people have very particular ideas about what it is for them. Good Omens is such a widely loved book. A lot of people have a very fond relationship with the book and have developed a strong sense of who the characters are and what they should look like.

Has fantasy writing been underrated by critics?

Yes. But by writing about things that come out of the here and now from left field, sci-fi dislocates our critical faculties and opens us up to seeing the world more clearly than some other forms. It is a great way of getting into our consciousness and sneaking up on us. It has real power.

Authors such as Neil and Alan Moore and Grant Morrison have produced some of the best writing of the last 50 years. Just because it happens to be in comic book form, people tend not to give it the attention it deserves. Maybe that’s good because it appeals to a passionate audience and doesn’t have to deal with mainstream critics gobbing off about things!

Here are some words from Good Omens cast, crew and creators as well:

Miranda Richardson (Madam Tracy):

How have you found it working with David Tennant and Michael Sheen?

They’re both phenomenal. I am in awe of their work on this monster project. I’m so admiring of the fact that David and Michael can even say the words in the right order – that’s more than I can manage at times! They are playing proper characters, and they look great. The fact that David and Michael have done as much theatre as they have is very useful for this project. You have to be very resilient because it’s so demanding. If you have done a lot of theatre, that will stand you in good stead. This is also quite theatrical in its look and feel.

Michael McKean (Witchfinder Sargent Shadwell):

What has been your experience of collaborating with David Tennant and Michael Sheen?

They are both genuinely angels, but don’t tell David that – it might put him off his character! It’s wonderful to be working with actors whose work you’ve already loved and then to find out that they’re fabulous people as well. David and Michael are so much fun to watch together. The first day I saw them filming, I thought: “There’s the money right here. They did not get this wrong.” You couldn’t imagine anyone else in those roles.

Jack Whitehall (Newton Pulsifer):

How have you found it collaborating with David and Michael?

They’re both incredible. They’re such good actors, you could see them in either role. But this is perfect casting. Even at the read through, they were both already singing. The heart of what will make this work is their dynamic. That is the core of this piece. The great thing about working with people like that is that you soak up so much from them. You can learn a great deal from them. They’re so smart and so brilliant. You have to up your game with them.

Neil Gaiman (Writer and Executive Producer):

Why is Michael Sheen so well suited to the role of Aziraphale?

He is a massive fan of the book. He read it as a 20-something at drama school and loved it. When this production was being discussed, he was the first person I went to. He said: “Ah, yes, you want me to play Crowley.” “No,” I replied, “I want you to play Aziraphale.” Crowley is the sexy dude in the sunglasses, but Aziraphale is the heart of this story. He is also the one that changes. That’s very important to the story – who changes? The Crowley at the end is the same as the Crowley at the beginning. But the Aziraphale at the end is not quite the same as the one we went in with. He’s grown and changed. I needed someone who could show that progress.

Douglas Mackinnon (Director and Executive Producer):

Why does the partnership between David and Michael work so well in Good Omens?

The success of the show lies in their chemistry, which comes from them enjoying doing something different from their previous projects. Michael has described their scenes together as like a little dance. It’s a very high-powered version of Strictly Come Dancing. Does that mean I am Bruce Forsyth?

Claire Anderson (Costume Designer):

Did you work very closely with Michael and David?

Yes. They were both involved in creating their looks. When you put something very distinctive on them, that helps them find the character. They are more interested in getting the look exactly right, rather than being vain. We had mood boards – light for good, dark for evil. Michael’s costume is ethereal. He wanted something timeless that wouldn’t look out of place now or in Victorian England. He found a way of contemporising his Victorian look. We were able to use aspects of his costume all the way through.

We gave him a tartan bowtie, but all tartans are owned, so we had to design our own specifically, incorporating golden thread and heavenly aspects. He also wears a Victorian waistcoat that is almost bald. We dyed things a lot to get the pale blue on his shirt that would give him serenity and warmth. He wears soft suede shoes and soft light cashmere trousers. It’s about balancing colours with his very white hair to give him the right look. He needs an ethereal aura, and all of the colour palette needs to emphasise his heavenly glow. He’s deliciously cherubic.