Guy Hescott Producer

Total Page:16

File Type:pdf, Size:1020Kb

Guy Hescott Producer Guy Hescott Producer Guy has recently wrapped on WHITSTABLE PEARL for Buccaneer Media / Acorn TV. Prior to that he produced series three of AGATHA RAISIN, after having produced series two of the aforesaid and series twenty one of MIDSOMER MURDERS concurrently for All3Media. Guy has also produced series twenty of MIDSOMER MURDERS, leading a large team in creating the anniversary series of the world famous murder mystery drama. He has sourced new writers and directors for the show, created and developed new core characters, and overseen the project from writer pitches through to network delivery. Guy previously worked extensively as a script editor. On PRIME SUSPECT 1973 he worked closely with Lynda La Plante in adapting the book for television, and collaborated with director David Caffrey to create and develop new story strands. Other script editing credits include LEWIS, CORONATION STREET and HOLBY CITY. Agents Nick Barron Assistant Nicole Schivardi [email protected] 020 3214 0942 Credits Television Production Company Notes WHITSTABLE PEARL Buccaneer Media / Acorn TV Producer 2021 AGATHA RAISIN Company Pictures/ Free @ Last TV Producer, series 2 and series 2018 - 2020 3 MIDSOMER MURDERS Bentley Productions, ITV Producer, Series 20 & 21 2016 - 2019 United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes PRIME SUSPECT 1973 ITV Productions, Noho Script Editor 2015 - 2016 LEWIS ITV, Granada Script Editor, Series 9 2014 - 2015 CORONATION STREET ITV, Granada Television Script Editor 2014 HOLBY CITY BBC Script Editor 2013 - 2014 HOLBY CITY BBC Assistant Script Editor 2013 Film Production Company Notes THIRD ROW CENTRE Single Hand Films Producer 2013 United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected].
Recommended publications
  • Sky 1 Announces New Comedy Drama Living the Dream 23Rd May | Big Talk, Productions, TV
    7/18/2017 Big Talk | Sky 1 announces new comedy drama Livingn The Dreamews Sky 1 announces new comedy drama Living The Dream 23rd May | Big Talk, Productions, TV Philip Glenister and Lesley Sharp star alongside Kim Fields, Kevin Nash, Leslie Jordan, Paula Wilcox and Jimmy Akingbola. Living the Dream, a brand new comedy drama from the makers of Cold Feet, is coming to Sky 1 later this year. Starring Philip Glenister (Outcast, Mad Dogs) and Lesley Sharp (Scott & Bailey, Paranoid), the series has been created and written by Mick Ford (Single Father, The Five), produced by Big Talk Productions (Cold Feet, Mum, Rev.) and will be directed by Saul Metzstein (Doctor Who, You, Me and the Apocalypse) and Philippa Langdale (Dickensian, Skins). The six-part series follows a British family, the Pembertons – husband Mal (Glenister), wife Jen (Sharp) and their two teenage kids, Tina (Rosie Day) and https://www.bigtalkproductions.com/sky-1-announces-new-comedy-drama-living-the-dream/ 1/3 7/18/2017 Big Talk | Sky 1 announces new comedy drama Living The Dream Freddie (Brenock O’Connor) – who decide it’s time to leave rainy England and move to the sunshine state of Florida. Mal’s bought an RV park with plans for a booming family-run business, but it soon turns out that they are not going to be living the dream they hoped. Before they’ve even settled in, Mal discovers that the park is home to a group of eccentric residents who are not exactly thrilled to meet their new owners. Jen has to learn how to survive American suburbia and the kids have to navigate a US high school.
    [Show full text]
  • This Is Her Story Lynda La Plante
    SEPTEMBER 2017 Good Friday: Before Prime Suspect there was Tennison ? this is her story Lynda La Plante From the creator of the award-winning ITV series Prime Suspect, this is Jane Tennison's story, from rookie police officer to fully-fledged detective. Description Before Prime Suspect there was Tennison... Every legend has a beginning... During 1974 and 1975 the IRA subjected London to a terrifying bombing campaign. In one day alone, they planted seven bombs at locations across central London. Some were defused - some were not. Jane Tennison is now a fully-fledged detective. On the way to court one morning, Jane passes through Covent Garden Underground station and is caught up in a bomb blast that leaves several people dead, and many horribly injured. Jane is a key witness, but is adamant that she can't identify the bomber. When a photograph appears in the newspapers, showing Jane assisting the injured at the scene, it puts her and her family at risk from IRA retaliation. 'Good Friday' is the eagerly awaited date of the annual formal CID dinner, due to take place at St Ermin's Hotel. Hundreds of detectives and their wives will be there. It's the perfect target. As Jane arrives for the evening, she realises that she recognises the parking attendant as the bomber from Covent Garden. Can she convince her senior officers in time, or will another bomb destroy London's entire detective force? 'La Plante excels in her ability to pick out the surprising but plausible details that give her portrayal of everyday life in a police station a rare ring of authenticity' Sunday Telegraph About the Author Price: $32.99 (NZ$36.99) Lynda La Plante was born in Liverpool.
    [Show full text]
  • 10 November 2016 ITV Plc Q3 Trading Update – 9 Months to 30
    10 November 2016 ITV plc Q3 Trading update – 9 months to 30 September 2016 Rebalanced ITV continues to deliver good revenue growth Good revenue growth driven by double-digit increase in non-NAR Total external revenue up 5% to £2,157m (2015: £2,045m), including currency benefit Non-NAR revenue up 15% to £1,252m (2015: £1,085m) Total ITV Studios revenue up 18% at £923m (2015: £782m), driven by acquisitions Broadcast & Online revenue up 1% at £1,537m (2015: £1,528m), with ITV Family NAR down 1% as expected Continued strong growth in Online, Pay & Interactive up 22% Strong on screen and online performance ITV share of viewing up 3% and ITV Family flat Online viewing up 49% and long form video requests up 22% Healthy pipeline of new and returning programmes Strong Studios performance across key genres, with scripted programmes such as Victoria, Poldark and The Good Witch all sold to over 100 countries around 60 formats sold internationally including The Voice, Hell’s Kitchen, Love Island and This Time Next Year 162 new commissions and 139 recommissions across the business which will drive a return to good organic revenue growth in 2017 Outlook for 2016 In line with previous guidance we expect to deliver double-digit revenue growth in Online, Pay & Interactive, and double-digit revenue and profit growth in ITV Studios driven by acquisitions ITV Family NAR forecast to be down around 7% in Q4 and down 3% over the full year, with ITV outperforming the TV ad market Expect 2016 full year earnings to be broadly in line with prior year
    [Show full text]
  • Prime Suspect
    Contents Acknowledgments...................................................vi Introduction: Locating the Evidence of a ‘TV Classic’.....1 1 Investigating the Evolution of Prime Suspect ...........12 2 It’s a Fair Cop: Women and TV Crime Drama.............29 3 Reimagining Realism: Murder, Forensics and the Body in Prime Suspect..............................68 Conclusion: ‘I got what I wanted. I got my job’: Tennison Takes a Bow .........................................94 Notes.................................................................115 Resources...........................................................119 Credits...............................................................120 Index .................................................................129 1 Investigating the Evolution of Prime Suspect There is a tradition within British television history of approaching our 12 most celebrated shows and series as ‘belonging’ to the creative vision of one or two individuals. Typically, such an approach has elevated a (largely male) pantheon of screenwriters to auteur status. There is undeniably something romantic and appealing about this methodology which perpetuates the myth of ‘the great artist’ and brings this cachet to bear on a medium often looked down upon as the poor relation of cinema. And yet television production is in fact a highly collaborative creative endeavour, one best understood as evolving within a whole web of connected social and historical contexts. This includes the aspirations and talents of individuals but also the needs of the industry at any one time, as well as its textual and generic histories. It is with this latter approach in mind that this chapter discusses some of the creative forces, generic conventions and other contexts that were central to how the series came to be made. From writer Lynda La Plante to police consultant Jackie Malton and Tennison’s fictional predecessors, together these interests form the ‘back story’ to Prime Suspect.
    [Show full text]
  • ITV on Track to Deliver
    Interim Results 2017 ITV plc ITV on track to deliver Interim results for the six months to 30 June 2017 Peter Bazalgette, ITV Executive Chairman, said: “ITV’s performance in the first six months of the year is very much as we anticipated and our guidance for the full year remains unchanged. “Total external revenue was down 3% with the decline in NAR partly offset by continued good growth in non-advertising revenues, which is a clear indication that our strategy of rebalancing the business is working. We are confident in the underlying strength of the business as we continue to invest both organically and through acquisitions. “ITV Studios total revenues grew 7% to £697m including currency benefit. ITV Studios adjusted EBITA was down 9% at £110m. This was impacted by our ongoing investment in our US scripted business and the fact that the prior year includes the full benefit of the four year license deal for The Voice of China. We have a very strong pipeline of new and returning drama and formats and we are building momentum in our US scripted business. We continue to grow our global family of production companies and in H1 we further strengthened our international drama and format business with the acquisition of Line of Duty producer World Productions in the UK, Tetra Media Studio in France and Elk Production in Sweden. “The Broadcast business remains robust despite the 8% decline in NAR caused by ongoing economic and political uncertainty with Broadcast & Online adjusted EBITA down 8% at £293m. On-screen we are performing well.
    [Show full text]
  • James Bain Production Sound Mixer
    Shepperton Studios, Studios Road, Shepperton, Middx, TW17 OQD Tel: +44 (0)1932 571044 Website: www.saraputt.co.uk James Bain Production Sound Mixer TV Drama THE LARK Netflix Prod: Declan De Barra Series I Prod: Lauren Hissrich 6x60' Prod: Matt O'Toole Dir: Sarah O'Gorman Dir: Vicky Jewson THE GREAT MRC Studios Prod: Tony McNamara Series II Hulu Prod: Mark Winemaker Episodes 1, 7, 8, 9 & 10 Prod: Marian Macgowan Dir: Colin Bucksey Dir: Ally Pankiw THE WITCHER Netflix Exec: Lauren Schmidt Hissrich Series II Prod: Matt O’Toole 8x60' Dir: Sara O'Gorman Dir: Edward Bazalgette Dir: Louise Hooper Dir: Stephen Surjik CURSED NETFLIX Prod: Alex Boden 10x60' Prod: Tom Wheeler Prod: Frank Miller Dir: Zetna Fuentes Dir: Daniel Nettheim Dir: Jon East Dir: Sarah O'Gorman WILD BILL 42 Management Production Prod: Chris Thompson 6x60' ITV Dir: Charles Martin WATCHMEN DC Comics Exec: Nicole Kassell UK Unit HBO Exec: Stephen Williams Dir: Nicole Kassell Dir: Stephen Williams ORIGIN Left Bank Pictures Prod: Rob Bullock 10x60' YouTube Prod: John Philips Dir: Mark Brozel Dir: Juan Carlos Medina PRESS Lookout Point Prod: Paul Gilbert 6x60' BBC One Dir: Tom Vaughan MOTHERLAND Merman & Delightful Industries Prod: Richard Boden Series I BBC Two Dir: Juliet May 6x30' RELLIK New Pictures Prod: Chris Clough 6x60' BBC One Dir: Sam Miller HBO Dir: Hans Herbots WILL TNT Prod: Craig Pearce Double Bank Prod: Andrew Wood Dir: Jonathan Teplitzky Page 1 of 3 LUCKY MAN Carnival Film & Television Prod: Madonna Baptiste Series I & II Sky One Dir: Andy Hay 10x60' Dir: Jamie Childs
    [Show full text]
  • Above Suspicion: the Red Dahlia
    1 ABOVE SUSPICION: THE RED DAHLIA Above Suspicion: The Red Dahlia DC Anna Travis (Kelly Reilly) is back, reunited with the inimitable DCI James Langton (Ciarán Hinds), to face her most challenging and terrifying case yet. When the body of a young woman is discovered by the Thames, sadistically mutilated and drained of blood, it would seem an ominous re-enactment of the infamously unsolved murder, from 1940s Los Angeles, dubbed The Black Dahlia. The three part drama, Above Suspicion: The Red Dahlia, is adapted by Lynda La Plante from her successful second novel about rookie detective, Anna Travis. It is produced by La Plante Productions for ITV1. Kelly Reilly (He Kills Coppers, Joe’s Palace, Eden Lake, Mrs Henderson Presents) returns to the role of Anna Travis. Acclaimed actor Ciarán Hinds (There Will Be Blood, Margot at the Wedding, The Mayor of Casterbridge, Prime Suspect) stars as her boss, the volatile Detective Chief Inspector James Langton. They are joined by Shaun Dingwall as Detective Inspector Mike Lewis, Celyn Jones (First, Joe’s Palace, Grange Hill) as Detective Sergeant Paul Barolli, Michelle Holmes (Red Riding: 1980, The Chase, Merseybeat) as Detective Constable Barbara Maddox and Amanda Lawrence (Little Dorrit, Clone) as Detective Constable Joan Faukland. Guest stars in the new series include Simon Williams (Spooks, Sense and Sensibility), Sylvia Syms (Collision, The Queen), Holliday Grainger (Merlin, Demons), Edward Bennett (After You’re Gone, Silent Witness) and Hannah Murray (In Bruges, Skins) Director of Drama Laura Mackie says: “Above Suspicion was one of the highlights of the Winter Season on ITV1 and I’m delighted that Lynda is bringing Anna Travis back for another gripping investigation”.
    [Show full text]
  • Celebrating Forty Years of Films Worth Talking About
    2 NOV 18 6 DEC 18 1 | 2 NOV 18 - 6 DEC 18 88 LOTHIAN ROAD | FILMHOUSEcinema.COM CELEBRATING FORTY YEARS OF FILMS WORTH TALKING ABOUT Move over, Braveheart! Last month saw the culmination of our 40th anniversary celebrations here at Filmhouse, and it has been hugely interesting time (for me at any rate!) comparing the us of now with the us of then. I’ve thoroughly enjoyed spending time talking to Filmhouse’s first Artistic Director, Jim Hickey, and finding out in more detail than I knew what myriad ways the business of running Filmhouse has stayed the same and the as many ways it has not (one of these days I’ll write it all down and you can find out how interesting it is for yourselves!). UK film distribution itself has changed immeasurably – the dawn of the multiplex in the latter half of the 1980s saw to that. Back in 1978, Filmhouse itself was part of a sort of movement that saw the birth of a number of similar venues around the UK whose aim was to show a kind of cinema (predominantly foreign language) that simply was not catered for within mainstream film exhibition. Despite 40 years having passed and much having changed, the notion of an audience-driven, ‘curated’ cinema like Filmhouse remains something of a film exhibition anomaly; and something Jim Hickey wrote 30+ years ago rings just as true today as it did then: “But best of all, the new cinemas are being run by those who care about audiences as well as the films that they have paid to watch.” Now, we’ve got a bit of a first for you in November, for we have metaphorically got into bed with Netflix to give one of their films a hugely deserved, exclusive, short run in a cinema – namely David Mackenzie’s splendidly entertaining Robert the Bruce epic, Outlaw King.
    [Show full text]
  • Good Gore Claire Sellwood Unwraps the History of Forensic Violence on TV
    Good Gore Claire Sellwood unwraps the history of forensic violence on TV he popular success of the forensic crime genre Instead of uniformed police or plainclothes detectives, the has often raised eyebrows, not least because heroes are technicians and forensic psychologists. CSI’s some of the most graphic contributions to the success revealed the public’s interest, resulting in a flood Tgenre have come from women. of similar shows – NCIS, Wire In The Blood, Bones, Dexter, Dr Melissa Hardie, lecturer in Cultural Studies at the Waking The Dead – the list goes on. University of Sydney, says this phenomenon is difficult to Dr Natalya Lusty, lecturer on visual violence at the explain. But as popular genre fiction relies on promotion University, believes the popularity of these dramas is the and sales for success and distribution, “It might be that result of the unrealistic treatment of death in our lives. women are good ‘faces,’ literally and metaphorically, from “Our attraction to screen violence and cruelty . reflects the promotion point-of-view,” Hardie says. The truth is, in part the removal of death from our lives,” she says. however, that it’s as deep a mystery as those that appear on “With the decline of our confrontation with real death we television our screens. have witnessed an escalation of our obsession with virtual Patricia Cornwell’s 1990 novel Post-mortem is recognised violence and death.” as one of the earliest examples of forensic crime drama, Forensic television dramas often attract controversy incorporating details of autopsies witnessed by the author for their depiction of violence based closely on real- in real life.
    [Show full text]
  • The Mother of All Murder Mysteries: Los Misterios De Laura
    Louis, A 2020 The Mother of All Murder Mysteries: Los misterios de Laura. Modern Languages Open, 2020(1): 51 pp. 1–18. DOI: https://doi.org/10.3828/mlo.v0i0.269 ARTICLE – FILM The Mother of All Murder Mysteries: Los misterios de Laura Anja Louis Sheffield Hallam University, UK [email protected] Police Inspector Laura Lebrel, divorced mother of twins, with a disorganised per- sonal and professional life is an unlikely heroine for a police procedural. Yet not only does she solve every murder mystery with uncanny ease, she is one of Television Española’s (Spanish State Television) poster girls of success. As an extreme exam- ple of genre hybridization (police procedural, murder mystery, sitcom, workplace and family drama), there is something for everybody in the identification process and entertainment value, thus maximising the target audience, bringing the whole family to reunite in front of the TV set. This article explores if and how female identities are still embedded in a phallocentric imaginary and to what extent this series breaks the conventions of crime drama. To this end I discuss Cawelti’s now classic notions on the social function of formula culture such as murder mysteries and combine them in a fruitful discussion with Plantinga’s concepts of character engagement and concern-based construals. Plantinga’s analysis of the emotional viewing experience allows us to take seriously a popular TV show that might oth- erwise be decried for its cheap emotionalism. This article fills a significant critical gap in the field of Spanish visual culture. Positioned at the intersection between Hispanic Studies, gender studies and TV studies, it gives space to a productive cross-fertilisation of theories of spectatorship, comedy, and formula culture.
    [Show full text]
  • Carly Paradis Composer
    Carly Paradis Composer Royal Television Society nominated Carly Paradis (Canadian born) is a film and TV composer, songwriter and pianist, whose credits include sole composer of RTS winning and BAFTA nominated series Line of Duty, Netflix Original teen supernatural drama The Innocents (2018), for which she won a Hollywood Music in Media Award for best song, Sky’s Sick Note series 1 and 2 (Rupert Grint, Nick Frost, Don Johnson), PBS Masterpiece/ITV’s Prime Suspect:1973 (prequel to Prime Suspect) and first female-driven horror anthology XX which had its world pr Agents Silvia Llaguno Associate Agent Shannon Black [email protected] +44 (0) 20 3214 0889 Credits Drama Production Company Notes THE RISING Sky Studios / Sky One Composer 2022 Dirs: Ed Lilly, Thora Hilmarsdottir Exec Prod: Julian Stevens WHITSTABLE PEARL Buccaneer Media / Dirs: David Caffrey, Jon Jones 2021 Acorn TV Prod: Guy Hescott LINE OF DUTY World Productions / Composer SERIES 6 BBC One Dirs: Daniel Nettheim, Gareth Bryn, 2021 Jennie Darnell Prod: Ken Horn THE PEMBROKESHIRE Severn Screen / World Composer MURDERS Productions / ITV Dir: Marc Evans 2021 Prod: Ed Talfan United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes LINE OF DUTY World Productions / Composer SERIES 5 BBC One Dirs: John Strickland, Susan Tully 2019 Prod: Ken Horn THE INNOCENTS New Pictures / Netflix Composer 2018 Dirs: Farren Blackburn, Jamie Donoughue Prod: Chris Croucher * Won: Best Original Song
    [Show full text]
  • Top Pick Thursday 20 July 8.30Pm World Premiere
    1 Top Pick Thursday 20 July 8.30pm World Premiere Pulse It’s eight years since high-flying financial analyst Frankie’s failing kidneys landed her at death’s door, and a transplant offered her a second chance. Now a doctor in her second year, it’s Frankie’s (Claire van der Boom) first day in a Renal rotation, where she wants to earn a permanent spot working under Renal boss, Chad Berger (Owen Teale), the very doctor who saved her life. But for Frankie especially, a hospital can be a dangerous world. Though uniquely qualified to understand her patients as a transplant recipient herself, she is also vulnerable to infection, and her compassion for others may very well endanger her own life. Frankie’s best friend, Lou Tannis (Andrea Demetriades), is training to be a surgeon, but is confronting the limitations in her own cutthroat field, and the boys’ club of surgical training teams. Will her fling with hotshot surgeon Rowan Mitri (Blessing Mokgohloa) help or hinder her progress? Female surgeon, Maggie Cutter (Susie Porter), is Lou’s hardest taskmaster. But will she become the mentor Lou needs? Meanwhile, Frankie and Lou’s housemate Tabb (Arka Das) is on his first day as an intern, terrified that he won’t stand up to the pressures, particularly when faced with his prickly, wounded-warzone cardio registrar Eli Nader (Liam McIntyre). Frankie correctly diagnoses the mystery behind patient Zoe’s (Melissa Bonne) symptoms: Zoe needs a new heart, but is soon in strife after sending Shawn (Daniel Amalm) home without his life-saving dialysis.
    [Show full text]