The countdown to the start of The Enfield Haunting has begun with just three-weeks to go until the first episode airs on May 3.

The three-part Sky Living drama will explore the spooky events that occurred at 284 Green Street, Enfield in 1977- the home of single mother Peggy Hodgson and her four children.

They began experiencing paranormal activity and said it was due to the presence of a poltergeist who was later said to possess 11-year-old Janet Hodgson.

The drama will follow the efforts of two members of the Society for Psychical Research - Maurice Grosse, played by Timothy Spall, and Guy Lyon Playfair, played by Matthew Macfadyen- as they attempt to unravel the ghostly goings on.

You can watch the latest chilling trailer below and we'll be bringing you interviews with the cast and creative team in the lead up to the show. Here is the first with Juliet Stevenson who plays Maurice's wife Betty Grosse.

Why did you want to be a part of The Enfield Haunting?

I’m very interested in the phenomenon. On the face of it, I would say I don’t believe in poltergeists, but I do believe something is going on. perhaps science just hasn’t caught up yet. What persuaded me about the script is that it is as much about ordinary human lives as the extraordinary situation they’re embroiled in. It’s a bewildering and thrilling but also intelligent and humane look at the story of all the lives involved and how they became plaited together. I was excited about working with Kristoffer Nyholm, too.

Had you heard about the ghostly goings on at the Hodgson house before the script came your way?

No, I hadn’t, but I bought Guy Lyon Playfair’s book and read chunks of that, although not all of it because there’s quite a lot of detail. I also went on YouTube and watched interviews with the family at various stages of their lives. It’s fascinating stuff.

Do you buy the Hodgsons’ claims, or do you think they’re bogus?

I’m totally puzzled by it. By nature, I would be a sceptic in this situation. People don’t go trailing around in grey rags, holding their heads under their arms - I don’t believe in that kind of ghost. I do believe, however, that there are kinds of energy left behind in buildings, a potent human experience, maybe, that remains. It’s especially interesting that these stories often involve young girls. There is a chaos in that burgeoning sexuality, the coming into adulthood, of a young girl caught between childhood and womanhood, unplaced energy in that transition of identity. I don’t ultimately know what to believe, but I don’t think it was fraudulent or hocus pocus.

How would you describe your character, Betty?

Betty is a lovely person. Before tragedy struck, she was very happy, outgoing and popular, a loving wife and mum. Then she lost her youngest daughter and, suddenly, she and husband Maurice are thrown into this lost, wretched phase of their lives. She’s not only struggling with the loss of her beloved daughter, but her husband, who keeps disappearing into the vortex of the story, to this strange, unknown family. She is terrified of losing him at the very moment when she needs him most. She feels things are spiralling out of control.

The great Timothy Spall plays your on-screen husband, Maurice. Was he a joy to work with?

I love working with Tim. We were at RADA together all those years ago. I think I was one year above, but I remember him vividly.Then we worked together on a wonderful film called Pierrepoint, which is about the last executioner in England. I played his wife in that, so we’ve been married before. We go a long way back, which is lovely when you’re playing man and wife. You get a lot of marital history for free as it were. Tim is a complete pro. When you’re playing a scene, you look into his eyes and he simply is that character. You don’t ever see any cogs working. He’s funny off set as well.

Looking back over your career, can you single out an actor or actress you’ve learned the most from?

I’ve learned a huge amount from a friend of mine, Paola Dionisotti, a wonderful actress who is not so well known to the public. She does a lot of theatre. Movieswise, Meryl Streep is a genius. She utterly transforms herself from one role to the next.

A frequent grumble in the industry is about the lack of meaty roles for actresses over the age of 40. Do you think the situation has improved or is changing?

I’ve talked about this a lot. It’s definitely true that there is this extraordinary wasteland when you get to 40, but I’ve been really lucky and have kept working. I would say, though, that the parts are often secondary or not as interesting, in that you’re there to support somebody else who is having the action. I think it may be improving. Recently, there has been a spate of stories written with middle-aged or older characters at the centre of them and I welcome it because there is a huge audience who are that age, who would like to see their experiences told. Life goes on happening in a big way. We don’t stop having fun or falling in love.