July/August 2019

Werner Herzog Interview with a legend

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From the CEO We have just enjoyed We had a full house as some of televi- creative icon, Werner Herzog. His new two outstanding sion’s most successful storytellers BBC Arena film, focusing on his rela- national RTS events, shared their approaches to their craft. tionship with Bruce Chatwin, is some- the RTS Student Tele- I am very grateful to the event’s joint thing to look forward to this autumn. vision Awards and a organisers, Directors Cut Productions, Don’t miss Simon Shaps’s incisive live South Bank Show Sky Arts and Premier. review of a new book that analyses the special devoted to the I am thrilled that Alex Scott found the recent battle to own Sky, and Stewart art of screenwriting. Many thanks to time to write this edition’s Our Friend Purvis’s account of how the politics of all of you who worked hard to make column. The Women’s World Cup Brexit are challenging news broadcast- these happen. Congratulations to all really did capture and hold the pub- ers and what impartiality means in a the nominees and winners of the lic’s imagination: England’s semi-final fragmenting political landscape. awards, and a special thank you to against the US, shown on BBC One, the hosts, the totally engaging Matt delivered the year’s highest peak-time Edmondson and Mollie King. TV audience, of 11.7 million people. Inside is a full report of the writers’ Our cover story is Pippa Shawley’s evening, presented by Melvyn Bragg. brilliant interview with a genuine Theresa Wise Contents Lydia Noakes’s TV Diary The art of TV drama RTS bursary student Lydia Noakes seeks nocturnal Melvyn Bragg hosted a special event at which top writers 4 inspiration as she prepares for a career in journalism 16 revealed their modi operandi. Matthew Bell reports TV’s Top Five: Grisly ends David Harewood: Defying his demons James Cordell recalls some strange and outré demises The star of Homeland and Supergirl gives an unvarnished 5 20 account of his career to the RTS. Roz Laws is transfixed A verdict on TV Carole Solazzo hears Robert Rinder cast judgement Unsung heroes of regional production 6 on his own life A&E, Channel 5 and ITV all invest in making shows 22 outside London. Tara Conlan travels beyond the M25 Ear Candy: Obsessed with… Killing Eve to see their work Pippa Shawley savours the perfect podcast for 7 summer listening Sky’s second coming Simon Shaps enjoys a new history of Europe’s most Working lives: Location manager 24 successful pay-TV operator but thinks a key question Pippa Shawley interviews Lauren Taylor, filming is ignored 8 and locations manager of the National Trust The perfectionist Auteur, author, actor Ben Dowell meets the co-founder of drama specialist Werner Herzog tells Pippa Shawley how he met Bruce 26 Mammoth Screen, Damien Timmer, whose eye for detail 10 Chatwin, the subject of his latest film – and why lock defines him picking is an essential skill RTS Student Television Awards 2019 Our Friend in Paris Matt Edmondson and Mollie King hosted an inspirational Alex Scott, a BBC TV commentator at the Women’s 29 ceremony sponsored by Motion Content Group 13 World Cup, relishes how football is empowering women RTS news Is Brexit killing impartiality? Events and reports from around the nations and regions Stewart Purvis argues that our fragmented politics 34 14 is challenging news broadcasters as never before Cover: BBC

Editor Production, design, advertising Royal Television Society Subscription rates Printing Legal notice Steve Clarke Gordon Jamieson 3 Dorset Rise UK £115 ISSN 0308-454X © Royal Television Society 2019. [email protected] [email protected] London EC4Y 8EN Overseas (surface) £146.11 Printer: FE Burman The views expressed in Television News editor and writer Sub-editor T: 020 7822 2810 Overseas (airmail) £172.22 20 Crimscott Street are not necessarily those of the RTS. Matthew Bell Sarah Bancroft E: [email protected] Enquiries: [email protected] London SE1 5TP Registered Charity 313 728 [email protected] [email protected] W: www.rts.org.uk

Television www.rts.org.uk July/August 2019 3 TV diary

RTS bursary student Lydia Noakes seeks nocturnal inspiration as she prepares for a career in journalism

y week starts the BBC to be assessed for a journal- working on. Its record on exposing the way it has ism apprenticeship. human rights abuses is amazing. We done most I can’t believe it but I’ve managed to agree to see each other again so we Mondays for beat more than 5,000 applicants. The can discuss making my ideas a reality. the past three day consists of a group exercise, inter- years – sit- view and written assessment. Looking ■ Like the rest of the nation, I’m ting in a uni- around the room, I am reminded that hooked on Killing Eve. Villanelle, versity library. There’s one big now is an exciting time to be starting played to perfection by the awesome Mdifference. At this time of year, there a career in the media industry. Jodie Comer, is shockingly wicked is a veil of calm. The underlying cur- yet somehow disturbingly easy to rent of stress has dissipated. It’s a big ■ Like many people with an over­ relate to. change from the tensions of exam active imagination, I have developed Not the best female role model but season a month ago. what I refer to as “creative insomnia”. one of the all-time great TV villains. Chairs stand unoccupied and aca- It sounds like the title of a new Net­ Another favourite is Gogglebox. demic books are tossed aside. I am flix drama aimed at Millennials like Such a simple idea and totally com­ finally on my last chapter. This one is myself. pelling. I shudder to think what com­ entitled “The real world of television”. On my bedside table I place a note­ ments would come from my sofa. book and a pen ready to write, cross Some of the expletives would have ■ It’s been three years since I joined out and generally work up any ideas to be bleeped out. the RTS bursary scheme. Since that – if I’m lucky – might disturb then, I’ve been navigating my way my sleep. For the past year I’ve been ■ Ping! My email goes off again. through the industry, learning to producing a documentary looking at It’s the brilliant Anne Dawson from grow a thick skin and encountering organ donation in the UK. The germ the RTS. She manages the bursary unique opportunities. of the idea emerged from a 2:00am scheme and has the mammoth task Trying to find my way hasn’t always brainstorm. of organising more than 100 students. been easy. At times, it can feel like Despite this, she seems to know you’re a small fish in a shark tank. But ■ I attend a meeting with True every one of us as individuals. being a member of the Royal Televi­ Vision’s creative director, Anna Hall. This year alone, thanks to Anne, sion Society gives me the safety net I have the RTS to thank for introduc- I’ve gained work experience and an that anyone starting out on a career ing me to Anna. Being matched with apprenticeship. in TV desires so frantically. a mentor is possibly the best oppor- This time, she asks if I’d like to My mantra is: “No matter who we tunity that comes with being a bur- write the TV Diary for Television. are, we’re able to succeed with a help­ sary student. Without hesitation, I reply that I’d ing hand.” Anna passionately believes that love to. The RTS has given me documentaries should make a differ- another fantastic opportunity! ■ After being introduced to an ence and push boundaries. I agree opportunity by the RTS in 2018, I’m wholeheartedly. She tells me about Lydia Noakes is a graduate broadcast in Birmingham. I’m on my way to the programmes that True Vision is journalist and RTS bursary recipient.

4 TV’S TOP FIVE GRISLY ENDS

James Cordell recalls some strange and outré demises

Stone me! ants. This ended with Supernova The Mountain took the opportunity 1 The Colour of Magic, Sky propelling the pair into a force field. to grab Martell and knock out his Power-hungry sorcerer Ymper Try- In the commotion, Million Ants sud- teeth. He then grasped the Viper’s mon was on the cusp of learning the denly swarmed into Rail’s mouth and head and inserted his thumbs into final spell of a pow- expanded from inside his body, turn- the prince’s eye sockets. Confessing erful tome, the ing the hero into a fleshy balloon that his sins as he expired, the villain Octavo. First, exploded gorily. In the words of crushed Martell’s skull to pulp. though, he Sanchez: “Oof! Didn’t see that comin’.”

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Television www.rts.org.uk July/August 2019 5 A verdict on TV

Interview Carole Solazzo hears Robert Rinder cast judgement on his own life ITV

eople say I used to do government officers. However, Rinder corporate visionary”, and “within four a serious job and now recalled how he would “wake up feeling or five months” he’d been commis- I just do television. But bankrupt, depleted”, and eventually sioned to front Judge Rinder. look at what television realised he was “desperately depressed”. As “the beneficiary” of the “extraor- can do – look at its He began working on scripts with dinary creativity and emotional intelli- power and importance.” Storyvault Films, hoping to relaunch gence” of the “broad and diverse team” Robert “Judge” Rinder was speaking the successful 1970s and 1980s ITV behind the show, Rinder said that, in ‘aboutP his career – from would-be series Crown Court, but couldn’t sell the the North West, “no one gets into that actor to television presenter via the Bar idea. But it did lead to a meeting with team by virtue of nepotism… but by and British Overseas Territories – with ITV Studios’ (now) director of entertain- merit”. They are “wholly indifferent to… Granada Reports presenter Lucy Mea- ment in the North, Tom McLennan, “a first-class degrees. [What is important cock at an RTS North West event at the Lowry in June. He has fronted the ITV daytime show Judge Rinder, in which he arbitrates over civil cases, since its Remembering the Holocaust launch in 2014. Arguing that “life can switch on Robert Rinder – who is set to make story, but to tell it for my family’. Morris the throw of a die”, Rinder gave up on a two-part documentary with Wall to was rescued and sent to Windermere, acting after he heard Benedict Cumber- Wall for next year’s Holocaust Remem- which ‘made him proud to be English’. batch at an audition deliver the same brance Day – described appearing in Rinder acknowledged a resonance with lines. So, he studied law and was called Who Do You Think You Are? as ‘without the current treatment of refugees: ‘This to the Bar at the tender age of 21. question, the most important privilege is an optimistic story,’ he said. ‘This is As a barrister for the defence, Rinder I’ve had in television’. what Britain is at our best.’ worked on many high-profile criminal The BBC One series won a Bafta Discussing the recent increase in cases, such as the drive-by shooting this year for a powerful episode in anti-Semitism, Rinder quoted Maya of Letisha Shakespeare and Charlene which Rinder traced the story of his Angelou on the necessity of everyone Ellis in 2003. Later, “as poacher turned grandfather Morris, who survived the making a stand when witnessing wrong: gamekeeper”, he was sent to the Turks Holocaust. He said the show was a ‘Without courage we cannot practise and Caicos Islands, where he was ‘gift, not just for being able to tell that any other virtue with consistency.’ involved in prosecuting corrupt

6 EAR CANDY

Obsessed with… Judge Rinder is] can you speak to people? [Can Killing Eve you] listen?” Rinder offered anecdotes of “almost pantomimic” episodes, but insisted Pippa Shawley savours the perfect there is a serious aspect to the show: “I’m very proud… that it’s enabled podcast for summer listening people to feel confident to bring their own cases to court.” Of his participation nce upon a time, not too Shimada host Obsessed with… Killing in BBC One’s Strictly Come Dancing, long ago, big TV series Eve, the BBC’s official companion pod- Rinder described it as “more than would be discussed around cast, produced by Chalk & Blade. escapism – it’s deliverance into joy”. the office watercooler. While In each instalment, superfans Tsjeng Recently, Rinder has come almost ITV2’sO summer sizzler Love Island has and Shimada dissect an episode of the full circle, using his expertise in crimi- gone some way to bringing that back, show, alongside guests including Queer nal law to investigate true crime in for television dramas the choice is now Eye’s Tan France and psychopathy ITV’s Judge Rinder’s Crime Stories. The so vast that everyone is watching consultant Mark Freestone. episode about the 1988 murder of something different. And, thanks to TV There are also bonus episodes featur- Helen McCourt, whose body has never on-demand, even if people are watch- ing interviews with stars of the show been found, won the Current Affairs ing the same series, it’s likely to be at a Kim Bodnia, who played Konstantin, Programme prize at last year’s RTS different pace. and Henry Lloyd-Hughes, the actor North West Awards. Take Killing Eve. Viewers were behind the loathsome Aaron Peel. Rinder added: “Nearly all new par- chomping at the bit in anticipation of The pair cover topics millennial ticipants in the show are recom- series 2, which aired in the US two women would discuss down the pub mended by previous [contributors],” months before it landed in the UK. Once – if we still went to pubs instead of because they feel “this is a creative it arrived, fans had the choice of making DIY Aperol spritzers at home. community you can trust.” n binge-watching the whole series in one These range from Villanelle’s ward- go via iPlayer, or savouring it over eight robe to how the show portrays sexual The RTS North West event ‘An evening Saturday nights on BBC One. dynamics and queerness on main- with Judge Rinder’ was held at the Lowry Enter the podcast. Vice UK executive stream TV, plus plenty of outrageous Theatre, Salford, on 19 June and produced editor Zing Tsjeng and model Naomi anecdotes of their own. n

by Kate Broadhurst and Rachel Pinkney. BBC

Television www.rts.org.uk July/August 2019 7 WORKING LIVES

Location manager for the National Trust

he National Trust’s film- adaptation of A Christmas Carol, starring from still photos, to documentaries,­ to ing and locations man- Tom Hardy, plus the Downton Abbey film. dramas, to films. ager Lauren Taylor Alongside the charity’s head of film- studied history and film ing and locations, Harvey Edgington, At what stage in production do you at university before Taylor has co-authored National Trust on usually come on board? joining the charity as a Screen, a guide to over 50 major shoots Sometimes people call up and they marketingT assistant and going on to join that have taken place around the know where they want to go, or they its film office. The film team liaises country, due out next spring. might need help finding somewhere. between National Trust properties and They’ll say, “we need a house that film and TV location managers on pro- What does a filming and locations looks like Kensington Palace” or “we jects ranging from daytime shows to manager do? know we want to film at Chartwell big-budget dramas. My job at the National Trust involves because that’s Churchill’s house”. They have assisted on several project managing, booking filming, and We suggest locations to fit their brief, upcoming series including Poldark dealing with initial inquiries through to then we arrange for recces. And we help series 5, The Crown series 3, new Netflix the actual shoot. There are three of us in the properties work out if they can show Watchmen and the BBC’s latest the office and we manage everything definitely take on a project, because

8 Pride and Prejudice d’être – filming has to fit around that. What’s the best thing about your job? star Keira Knightley These are not empty location houses, It’s great seeing all these places in the National Trust’s they are living, breathing visitor brought back to how they were in their Stourhead Gardens attractions. heyday. In Pride and Prejudice, with Keira Knightley, the Netherfield ball Is there anything you can’t film at scenes were filmed at Basildon Park, National Trust properties? near Reading. As a charity, we have to be impartial. I was there the day they shot the When it comes to documentaries, we arrival at the ball and the whole ball don’t do religion or politics. We can’t scene. There were 250 people in do a party political broadcast or costume, six horses and carriages, and something for the Jehovah’s Witnesses, braziers outside lighting the way in. for example. Our contracts say no There was Donald Sutherland, Keira nudity unless you discuss it with us Knightley and Rosamund Pike – all first, but it’s quite infrequent really. I’ve these people there, dressed in their had an instance where there’s been an beautiful outfits and you just think, actor naked in a scene and I was like, “My goodness, this is what it would “OK, but he just can’t turn around and have been like”. face the land.” It’s a chance to see these places as they were used for entertaining, for What impact does filming have on parties, for breakfast. Now, they’re not National Trust properties? so much museums, but obviously Big films and even TV dramas and they’re not as lively as they were then. factual shows such as Countryfile will bring more people in. A classic What are some common example is Tim Burton’s Alice in misconceptions about your job? Wonderland, filmed at Antony House People think we get to meet the stars, in Cornwall. We’d never done a shoot but we don’t. We see them, but no one there before, not even a documentary, bothers them because they’re doing and their numbers went from 20,000 their job. to 100,000. What’s great is that visitor People also think it must be quite numbers never go back to where they glamorous and it isn’t really. It’s a lot were before. of slog. There’s a lot of thinking about where the trucks are going to park and How do you prepare properties for talking to all sorts of people. I once had that sort of visitor growth? to ring a vicar and ask if we could dig a We’ll warn them and say, “Look, this grave in his graveyard, which was odd! will probably be a big film”, but you never really know. Sometimes it looks What kind of challenges are unique to like it’s going to be a big film and it your job? isn’t. At Antony House, they put in Sometimes the outdoors can be as some more car parking spaces and had complicated as the historic buildings. a big think about how they were going On a show such as Poldark, for to manage that flow of people. example, we were joined by Natural Generally, properties can absorb England, which advises us on what can higher visitor numbers and a lot of and can’t be done on Sites of Special

Comcast the houses have timed tickets anyway. Scientific Interest. Bats are a big thing, they get every- it’s quite a lot of work for them. Once What could film and TV crews do to where, such as at Woodchester Park it’s all happening, we attend the recces make your job easier? when we did The Crown. There is a and generally act as liaison between They need to understand that it is a scene where Prince Philip is in a boat- the properties and the location manag- historic space and not a studio. We’re house over a lake and falls out of the ers. We also set the location fees and not being difficult or putting loads of window. It’s a very important habitat all the boring logistical stuff such as restrictions in on purpose. We ask for for lesser horseshoe bats. We had to contracts. those things because they’re necessary get a bat ecologist down to come and Our main challenge is trying to and because we are a charity and we advise what times of the day they make things work in very important, have all these priceless things. could actually film. delicate, historical places that have to We have 5 million members, we need In those situations, you’ve got to see be left as they’re found. If it’s going to to be seen to be looking after these if you can get hold of the bat person. be too risky then we just don’t do it, places properly. They are of importance Can they come out at the right time? If because it’s not worth it. and they will be for hundreds of years they can’t, then we haven’t got the Our main priority, as an organisation, to come. At the Trust, we don’t think in advice we need and can’t proceed. n is looking after these places and open- terms of 10 years, we think in hundreds ing them to the public. That’s our raison of years. Interview by Pippa Shawley.

Television www.rts.org.uk July/August 2019 9 Auteur Author Actor

or a straight-talking man, isn’t a workaholic. He’s made three Interview it’s hard to define Werner films in the past 12 months: Meeting Herzog. “Legend” is per- Gorbachev, featuring a series of inter- haps the easiest way to views with the last leader of the Soviet Werner Herzog tells describe the 76-year-old, Union; Family Romance, LLC, a surreal Pippa Shawley how he at least based on the drama about a Japanese firm that loans reverentialF whispers that run around actors to serve as surrogate figures, met Bruce Chatwin, the Sheffield’s Crucible Theatre ahead of such as absent fathers and funeral his appearance at the city’s annual corpses; and Nomad: In the Footsteps of subject of his latest film DocFest. Best known as the writer, Bruce Chatwin, the BBC Arena film that – and why lock picking director and producer of more than he’s in Sheffield to promote. 60 films, Bavarian-born Herzog is also “I work in a very leisurely fashion, is an essential skill an author, actor and opera director. but [with] concentrated, short days of Herzog’s vision is unique – his 1982 shooting, very little time editing,” Her- filmFitzcarraldo saw him persuade his zog explains over coffee (black, with crew to haul a 340-ton steamship over sugar). He doesn’t shoot coverage (dif- a Peruvian mountain; in Grizzly Man he ferent shots and angles of the same used footage shot by Timothy Tread- scene that can be used in post-­ well to document his experience of production) “which everybody spends living with bears, including the audio endless days [doing]”. On average, he of Treadwell being eaten alive by one; spends just nine days editing a film. A he pulled a gun on his notoriously screenplay takes him a week to write. difficult protagonist Klaus Kinski dur- An icon of cinema, he’s often asked ing production of Aguirre, the Wrath of for his tips to young film-makers: “I try God; and ate his own shoe after losing to encourage them to become self-­ a bet for Les Blank’s short film Werner reliant, and stick to their own culture Herzog Eats His Shoe. and stick to their own vision,” he Herzog’s work rate is enviable, par- explains. “Today, you can make a nar- ticularly for someone who claims he rative feature film in theatrical quality doesn’t have a career. He insists he for under $20,000.”

10 Werner Herzog, with Bruce Chatwin’s rucksack during the making of Nomad BBC

The auteur also runs the Rogue Film efficiently under extreme conditions.” School, where he spends time listening ‘PROJECTS COME Herzog remembers being stunned to students’ ideas and helping them by Chatwin’s ability to tell stories non- overcome obstacles. “The only two [LIKE] BURGLARS stop. “And I mean non-stop, until the things that I literally teach are lock IN THE MIDDLE day was over, deep into the night, then picking and the forging of documents. OF THE NIGHT’ a few hours’ sleep. Nothing else.” “We would meet at breakfast and he He can still use those skills today: would continue the half-finished sen- “[If] I’m crossing the Alps, for example, tence from the evening before.” and there’s a lot of chalets, holiday BBC Arts’ Mark Bell to mark 30 years The pair met in Australia, where homes that are only occupied for five since the death of the renowned travel Herzog was preparing his feature film weeks during the entire year, I would writer and novelist. Chatwin was a When the Green Ants Dream, and Chatwin open them with tiny surgical tools, close friend of Herzog’s. The pair worked was researching his book The Songlines, silently and without any damage… and together on Cobra Verde, Herzog’s film about the country’s aboriginal people. sleep in the bed when there is a rain- adaptation of Chatwin’s novel The Viceroy “I think both of us were searching storm out there.” of Ouidah. The novel was one of only six for each other,” says Herzog. “It was When it comes to planning his work, books published by Chatwin before he like two critical masses heated up to Herzog has no problem compartmen- died with Aids, aged just 48. He is per- [make] something much bigger.” talising his ideas, nor in finding new haps best known for his debut, In Pata- Nomad sees Herzog follow in his ones. “Normally, projects come with gonia, and his 1987 work, The Songlines. friend’s footsteps, as he travels to the great vehemence at me, very often “It’s a pity that he didn’t have Australian Outback, Patagonia and the uninvited burglars in the middle of enough time in his life to do much Black Mountains in Wales, carrying the night.” He doesn’t carry a battered more,” Herzog laments. Chatwin’s rucksack, which was given notebook around to save these ideas Chatwin wrote about his friend in his to him after the writer’s death. because “when somebody is coming essay Gone to Ghana: “He was, I discov- It was a deeply personal journey for wildly, swinging at you in the middle ered, a compendium of contradictions: Herzog, who visited Chatwin just days of the night, you better deal with that immensely tough yet vulnerable, affec- before he died. Towards the end of the one first.” tionate and remote, austere and sensual, documentary, the film-maker talks His latest film, Nomad: In the Footsteps not particularly well adjusted to the about the moment his friend told him of Bruce Chatwin, was commissioned by strains of everyday life but functioning he was too weak to carry his rucksack. �

Television www.rts.org.uk July/August 2019 11 Werner Herzog Alberto Rodriguez/WireImage

� Herzog offered to carry it for him. It substance in the US, if not the entire is a moving scene for the viewer, but ‘SENTIMENTALITY world.” Herzog insists that it isn’t emotional. IS RAMPANT… IT IS It’s not often you hear the city “When you say emotional, I imme- where Barbie dolls were invented and diately think about TV sentimentality, AN ABOMINATION’ the coroner’s office has a gift shop these men crying when they think named Skeletons in the Closet talked about difficult times,” says Herzog about in this way. But Herzog argues in his signature German drawl. “It’s conversation on what I would call the that LA is the nerve centre of this rampant, I can’t stand it.” sacramental aspect of walking,” wrote century’s technological advances. For any particular reason? “It’s just Chatwin. “He and I share a belief that “I’m not speaking of the glitz and an abomination, that’s it.” walking is not simply therapeutic for glamour of Hollywood,” he explains. Herzog avoids this sentimentality oneself but is a poetic activity that “Everything that had relevance in the by being laconic, “as I was when can cure the world of its ills.” last half century or so, even longer, Bruce was dying.… He was literally What would Chatwin have made of originated there, including the inter- only a skeleton and glowing eyes,” he the 21st century? Herzog thinks for a net, video games… [and] stupidities remembers. “The first thing he said to long time. “I have not thought about like aerobic studios.… Almost every­ me was, ‘Werner, I’m dying.’ this but, of course, he would have thing of real importance comes from “And I said to him, matter of fact, been a writer with 20, 30 books fin- California.” ‘Bruce, I can see that.’ So it was not a ished by today.… We can only specu- It’s hard to disagree. In fact, it’s hard tearful sort of sentimental encounter late, but we know we would have to disagree with much Herzog says, with someone who was close to me much, much more great literature.” although it’s tricky to tell if that’s and seeing him die. It was laconic and Today, Herzog lives with his wife, because he’s right about everything, not sentimental.” Lena, a photographer, in Los Angeles. or if it’s the effect of his hypnotic, The resulting film is not a straightfor- It’s a surprising choice for someone heavily accented intonations that ward biography of Bruce Chatwin, but who eschews conventional film-­ have bewitched viewers for almost is inspired by their friendship, shared making and many aspects of modern 60 years. n worldview and the mutual interest life. He doesn’t have a mobile phone, in nomadic peoples that originally isn’t on social media and chooses Arena: Nomad – In the Footsteps of brought them together in Australia. reading and cooking over watching Bruce Chatwin will air on BBC Two The pair also bonded over their television. this autumn. It was written, directed and common belief in the power of mak- “I’ve always been curious about the narrated by Werner Herzog and commis- ing long journeys on foot. world, and living in Los Angeles has sioned for BBC Two and Arena by Mark “He was also the only person with something grandiose about it because Bell. The executive producer for BBC whom I could have a one-to-one it’s certainly the city with the most Studios was Richard Bright.

12 OUR FRIEND IN FRANCE

Alex Scott, a BBC TV commentator eing at the Fifa at the Women’s England Lionesses at the last World Women’s World Cup. I had lots of background stories Cup in France as a World Cup, relishes about the squad. BBC TV pundit this I played in three World Cups, start- year was amazing how football is ing in China in 2007. I was so proud and very different to empowering women singing the national anthem back then when I was a player. and incredibly excited because it was My job was mostly to provide game the first time our women had qualified Banalysis at the matches in the tourna- for this tournament in 12 years. ment where the major teams were The media suddenly took an interest playing, especially England and the when we reached the quarter-finals title holders, the US. that year, and the BBC showed the That meant travelling up and down game live rather than highlights. Sadly, France to attend 16 of the 52 matches we got thumped by the Americans. and, of course, watching all the other Everyone thought we were crap, games. That way, I stayed in touch but that wasn’t true because, eight with the tournament. Plus, I did some years later, I played in the England extra filming for events, including the team that won the bronze medal. World Cup legends match and in a This raised the profile of the women’s recording studio with French rapper game hugely. JXSE. You can’t really compare playing in So for the whole of the World Cup a World Cup to talking about it. But

I was running full-on, but I wouldn’t BBC this year I was part of the amazing have wanted to be doing anything amount of media coverage that the else. It was particularly good to expe- pundits on the men’s game and vice women’s game received. I’m recog- rience the atmosphere in the bars and versa. In France, I often had the ex- nised more than ever now. I was in cafés with people from all countries Manchester United and Aston Villa loads of selfies taken by fans in France. before and after the games. player Dion Dublin next to me. Everyone was so encouraging, wishing You don’t get to see that as a player The thing about being a pundit is me luck because the fans know that and yet that’s what makes these tour- that you can’t just turn up and talk. I part of my job is to promote the wom- naments so special. do plenty of research – although, of en’s game. Being a football pundit is the best course, I already knew the teams and Having the Lionesses on TV so often job ever after having been a player, many of the top players in the Wom- has inspired many women and not but it’s a totally different kind of plea- en’s World Cup because I only just in sport. I did a talk at a confer- sure. When I went to the Men’s World stopped playing as a professional in ence last month to a group of women Cup in Russia last year with the BBC, 2018. I’d spent 16 years playing the in finance. They told me how the it was my first time as a pundit at a game, mostly for Arsenal but also for Women’s World Cup was so empow- tournament and I loved it. Just talking three years in America. ering for them, too. It’s amazing for football was great fun. Since then, I’ve Being able to walk into the US team women footballers to do that. n been working regularly for the BBC hotel to find out how everyone felt and for Sky Sports at international before a game gave me some real Alex Scott MBE made 140 appearances matches and Premier League games. insights for my role as a pundit. Plus, for England and represented Great Brit- Now it’s normal to have women as I was a teammate to many of the ain at the 2012 Olympics.

Television www.rts.org.uk July/August 2019 13 TV news Stewart Purvis argues that our fragmented politics is challenging news broadcasters, especially the BBC, as never before Is Brexit killing impartiality?

n May 2018, the top two UK You probably have run out of sym- Rafael Behr of the Guardian, says the parties, as measured in opinion pathy for Chuka Umunna and his voy- Brexit referendum has turned out to be polls and real votes cast in age from Labour to the Liberal “a meltdown in the reactor core at the elections, were Labour and the Democrats via the Independent Group heart of British politics”. Some of the Conservatives. A year later, they aka Change UK. But spare a thought fallout from the continuing fragmenta- had been displaced by the for broadcasters trying to observe the tion of British politics has landed on BrexitI Party and the Liberal Democrats. regulatory requirement for “due the BBC. One man’s journey during just three impartiality” in these unusual times. “If BBC News continues to distort of those 12 months helps to illustrate The Ofcom “Digest of evidence of and withhold information from view- this wacky new world of UK politics. past electoral support and current sup- ers there will be trouble,” tweeted Tele- In March 2019, he left one party to help port”, sent to broadcasters before the graph columnist Allison Pearson. “Oh create another, which started with one European elections to help them make my... has it come to this?’ replied BBC name, changed to a different one and their judgements, contained no men- correspondent Rory Cellan-Jones. A then changed back. He then joined a tion of the eventual winner, the Brexit BBC News executive accused two third party, saying that he should prob- Party, which had only just been created. predecessors who were reviewing the ably have gone with it in the first place. One respected political observer, current output of “making a few bob to

14 supplement their pensions as armchair in its recent European election guide- generals”. ‘DEAR BBC, YOU lines, is that “the election needs to be The Observer asked: “Is BBC News seen both through the prism of Brexit broken?” The first of its contributors MUST GET THE and through the distinctions of party”. began: “Our national broadcaster has DETAIL RIGHT’ The corporation has found it difficult been defeated by Brexit.” Then came the to reflect or refract all the political Our Next Prime Minister debate, summed colours of the UK in 2019, and its chief up by the Guardian’s Jonathan Freedland coverage, the Leave campaign was political advisor, Ric Bailey, says there is as “a painful hour delivered via a format always going to be cynical and scepti- a “tension between the binary nature of that featured too much crosstalk and cal about this conversion – and issues such as Brexit and the fragmen- too little cross-examination”. remains so to this day. What was more tation of party political loyalties”. How exactly did it “come to this” surprising and significant was that the At the start of my 50 years in broad- and what’s to be done? Remain campaigners also turned casting, the election-time rules were It was as far back as a decade and a against the BBC, particularly once they just plain wrong. A committee decided half ago that the BBC got its first warn- knew they had lost the referendum. how many election broadcasts each ing that a UK referendum on the EU Craig Oliver, who, as David Camer- party should have and that became the would mean trouble for the corporation. on’s director of communications, over- formula for news coverage. Parties In 2005, an independent panel of saw the Remain campaign, said the would ring up after each bulletin and outside experts, chaired by Lord Wilson problem was that the BBC searched for argue about every extra 30 seconds they of Dinton, the former cabinet secretary “the perfect symmetry in coverage of claimed the other side had got. In 1992, I Richard Wilson, was appointed by the Leave and Remain” at the expense of announced that ITN would “throw away then-governors.­ The panel predicted challenging protagonists on the basis the stopwatch” and decide the news that “a referendum period makes of facts. coverage on news values alone. unconventional demands on broad- Others on his side constantly asked Others followed but broadcasters casters in that balance consists of giving why the BBC was not challenging found it difficult to break away from the equal treatment to the Yes and No more often the claim that £350m equation “equal time equals balance campaigns, rather than to government would be released for the NHS. The equals due impartiality”. It doesn’t and and opposition spokespeople”. BBC said it had challenged it, but it shouldn’t. The old rules have fallen away The experts forecast that the referen- didn’t have an iconic moment such as and broadcasters have more freedom dum would “free voters from party Tom Bradby’s ITV confrontation with than ever to interpret how to achieve affiliations, introduce non-politicians Boris Johnson in the back of the very due impartiality during and outside to the political arena and divide the bus that bore the claim. elections. They don’t always take it. loyalty of parliamentarians”. The complainants no longer seemed At the time of the 2016 referendum The particular referendum they were to trust the corporation. “False equiva- the BBC insisted that “news judge- BBC referring to never actually happened. lence” became their battle cry when ments continue to drive editorial As it turned out, Britain didn’t need leavers were offered the chance to ­decision-making in news-based pro- to vote in 2006 on a constitution for rebut what remainers saw as accepted grammes”. The BBC – and, indeed, all Europe because electors in France and facts and consensus opinions. broadcasters – have to keep asserting the Netherlands stopped the proposed Anti-Brexit campaigner Gina Miller the primacy of this doctrine over a treaty in its tracks. now believes that “it seems to have got time-based formula and be bolder in But when, in 2016, the UK finally did much worse since the EU referendum, defending it. get the chance to vote on Europe the this idea at the BBC that you have got The head of BBC newsgathering, panel’s 2005 prediction that a referen- to give equal weight to both sides, even Jonathan Munro, told the Radio 4 pro- dum would “free voters from party if one side is telling a lie”. gramme Feedback last month that the affiliations” was immediately vali- Professor Steven Barnett, a long-time BBC was now reviewing its approach dated. Voters now seem to find it eas- supporter of the BBC, was so unhappy to election coverage, particularly in the ier to identify as leavers or remainers with some of its analysis of the Euro light of the increased use of social rather than Conservative or Labour. elections that he recently tweeted: media. He called it “an evolution rather The impact of the BBC’s 2016 ref- “Dear BBC News, this is precisely the than a moment of change”. erendum coverage on its reputation kind of detail that your reporters are There are bound to be different was significant. As part of an action consistently getting wrong and you must views inside the BBC about the speed plan after the critical report in 2005, the get right.” of that evolution, but innovations such coverage of Europe had been improved The BBC’s current view, as stressed as Reality Check and Brexitcast show by the appointment of a Europe editor, that there are new ways in which audi- currently the award-winning Katya ences can check facts and taste the Adler. The unconscious Europhile ‘BROADCASTERS many and varied flavours of UK poli- mindset had been replaced by a com- tics. Broadcasters need to seize these mitment to “deliver to audiences HAVE MORE or face more hostility as Brexit contin- impartial and independent reporting of FREEDOM THAN ues to dominate the news agenda. n the campaign, providing them with fair coverage and rigorous scrutiny of the EVER [BUT] THEY Stewart Purvis was formerly CEO of ITN policies and campaigns of all relevant DON’T ALWAYS and an Ofcom content regulator. He is a parties and campaign groups”. non-executive director of Channel 4 and Given their past distrust of the BBC’s TAKE IT’ writes here in a personal capacity.

Television www.rts.org.uk July/August 2019 15 The art of TV drama

Line of Duty

eteran arts programme rarely more so than now – and that’s Screenwriting The South Bank Show has to do with the quality of the writing.” celebrated the best of Bragg was speaking at a special live Melvyn Bragg hosted a TV drama from its earli- edition of The South Bank Show, featuring est days. In the very first four of the UK’s leading TV writers special event at which series it aired a film on – Jed Mercurio (writer and creator of top writers revealed Dennis Potter. Since then, Andrew hit police corruption thriller Line of Davies,V Paul Abbott, Jimmy McGovern Duty); Steve Pemberton and Reece their modi operandi. and Sally Wainwright have all featured. Shearsmith (black comedy anthology “There’s nothing patronising about Inside No 9); and Heidi Thomas (period Matthew Bell reports why we started with television drama. drama Call the Midwife). I’d been going to the theatre quite a bit The RTS early-evening event was and I discovered again and again that it held at the end of June, a few weeks in wasn’t as good as what I was seeing on advance of The South Bank Show’s new television – it wasn’t as well written, run on Sky Arts, and looked at the directed or acted,” said the show’s edi- work of these four writers, plus Jack tor and presenter, Melvyn Bragg, who Thorne (National Treasure). He was famously conducted the last-ever TV ­unable to attend the RTS event as it interview with a terminally ill Potter. clashed with the opening night of his “Television drama has been at the new play, The End of History..., at the centre of this country’s cultural con- Royal Court. versation for over half a century and The South Bank Show first aired on ITV

16 Call the Midwife BBC

in 1978, moving to Sky Arts in 2012. prescription, essentially, and I’ve never Bragg, who has been at the helm found that to be of any assistance. throughout, asked the panel about the “For me, it’s not about structure: it’s Adapting the importance of storytelling. about texture – you go by the feel of Thomas argued that “people need the thing. It’s like running a cloth classics for TV stories for distraction, inspiration and through my hands, feeling my way sometimes they just need them to pass [through the story].” Heidi Thomas, whose adaptations an hour that would otherwise be pain- Thomas added that the best advice include Madame Bovary, Cranford ful for them”. she’d come across was from Charlie and Little Women for BBC One, Pemberton said: “Narrative is every- Chaplin, who said: “I have never writ- identified two ‘terrors’: ‘You can’t where – you watch a football match ten down to my audience.” let the book down and you can’t and that has an incredible narrative to There was agreement on the panel let the readership down. People it. [There’s the] Women’s World Cup at that, despite their trade, there’s more expect certain things of… a book

BBC the moment or the Tory to good drama than the that they know well. party leadership contest writing alone. ‘With Little Women, I don’t – you want to know ‘IF I WROTE “It’s no accident that know how I had the nerve. I loved what happens next. we have the same three the book so much that I couldn’t “You will find narrative [ONLY] leads [Line of Duty’s resist the offer to adapt [it] but I in everything­ and we try ABOUT Adrian Dunbar, Vicky knew there were 10 million women to serve that up to an McClure and Martin worldwide who would bay for my audience that might be WHAT I Compston] – they’re blood if I got it wrong, and that curious to see what hap- KNEW IT really good actors, but took a lot of the pleasure away.’ pens next, and see if we also get on really well With adaptations, she said, ‘I use can entertain them along WOULD with each other,” said the same skills and approach, cer- the way.” BE REALLY Mercurio. “If that hadn’t tainly to storytelling. To take a novel… Telling stories, sugges­ happened, one of them and turn it into a piece of screen ted his writing partner, BORING’ would have been killed drama is like taking a 1930s dance Shearsmith, is getting off in a completely dress and turning it into a trouser harder “because every- unexpected way to pro- suit – it’s a different genre. You have one is so sophisticated”. He explained: pel the story forward.” to dismantle and reconstruct it. “Attention spans are so short that you’ve He continued: “In Bodyguard, Richard ‘It’s about, “How do we intro- got to be pithy in hooking people into Madden and Keeley Hawes were both duce these characters? How do your story.” actors I’d worked with before. It’s hard we get into [their] world?”… That’s Thomas had no truck with “people to film television drama – you need the same whether you’re creating who often charge a lot of money for people who aren’t nuts or lazy.” original material or working with teaching screenwriting but who’ve Thomas said: “Writers don’t always something written years ago.’ never written for the screen. They sell a have control over whether people stay �

Television www.rts.org.uk July/August 2019 17 From left: Reece Shearsmith, Jed Mercurio, Melvyn Bragg, Heidi Thomas and Steve Pemberton Paul Hampartsoumian Paul How to inspire a creative child

In his youth, Reece Shearsmith was most unsuitable for a child, but I loved which ‘were all a bit middle-class. It was struck by the BBC’s Play for Today, the it.… It completely enervated me and I like watching a play, which is people dramas of Alan Bennett and Victoria think it made me realise that stories do talking about the past; it’s just dull – have Wood, ‘comedy that had a bite to it’. not always resolve in the way that you a car chase instead. As a 12-year-old boy, I ‘There was something different about want.… That’s always stayed with me.’ wanted the Americans giving us that.’ watching an Alan Bennett play on TV: ‘I watched a lot of TV as a kid,’ said Steve Pemberton watched TV ‘avidly, the language felt richer somehow, and it Jed Mercurio. I guess it was my only real especially in the summer holidays, when appealed to me because it was a voice access to the arts – I went to a very TV was yours as a kid. In the evening, that was around me in the north – I am ordinary school, didn’t really do drama or there was the one remote control on from Hull. have much access to creative things.… the side of dad’s chair and you watched ‘With Victoria’s stuff, it resonated [with TV was my only exposure to storytelling, what the family watched. me because] it was a northern voice. But apart from occasionally going to the ‘But in the summer holidays, it was there was also a savagery to it, hidden cinema.’ curtains closed and you had Laurel and between the [lines].’ US shows figured more than the BBC’s, Hardy on, The Banana Splits, The Flash- Heidi Thomas recalled that ‘there was ing Blade. a serendipity about tele­vision – sud- ‘And then there were late-night horror denly, my mother would say, “There’s a movies on BBC Two on a tiny TV when film on this afternoon” and we’d drop ‘IT MADE ME we shouldn’t have been allowed to see everything and watch National Velvet or REALISE THAT them. something. ‘Watching The Wicker Man and Don’t ‘I remember being fetched out of bed STORIES DO NOT Look Now as probably a 12- or 13-year- [to watch]… The Hunchback of Notre- old boy, both of which… have these Dame with Charles Laughton – I was ALWAYS RESOLVE horrific endings that you can’t process as only seven or eight – and my mother IN THE WAY THAT you’re watching them, has stayed with made me watch the whole film. I sobbed me.… Something that ties a nice, neat through everything… utterly harrowing, YOU WANT’ bow at the end is too easily forgotten.’

18 comes into hospital with a medical problem and then, remarkably, they find someone who gives a shit about their personal problems and then gives them [advice]. In real life, that just does not happen – you go in with a personal problem and, ‘Who gives a toss?’ “The way to challenge that earnest- ness was through humour.” Pemberton agreed: “Humour is something that any drama should have and drama is something that any com- edy should have – you don’t separate them in your mind.” He came to writing via acting. “For us, it was a question of how we give ourselves the roles that no one else is giving us,” he said. “Gradually, over time, I think the writer has stepped forth and improved.” Pemberton and Shearsmith’s first TV writing credits (with Jeremy Dyson and Mark Gatiss) came on BBC Two comedy series The League of Gentlemen, in 1999. “The first things that we wrote were about [government job scheme] Restart rooms, really bad theatre com- panies and strange northern towns, where you couldn’t wait to get out but somehow you couldn’t escape. “Now, in Inside No 9, we write about anything. Something has to draw you to the subject in the first place.… There are your life experiences as a writer plus what you draw from other peo- ple’s as well.” But even the most prolific dramatist experiences writer’s block from time to time. Pemberton argued that he was fortunate to be part of a writing partner­ ship with Shearsmith: “We talk and talk and talk. If we don’t actually write Inside No 9

BBC anything, the day hasn’t been wasted. I have written things on my own and � or not. Writing Call the Midwife for Mercurio was a hospital doctor found it really hard to dig my way out nine years has been an exercise in before turning to writing. His first of [a block]. forbearance – young ladies come on drama, 1994’s BBC One series Cardiac “You just have to get something on the show and, three years later, they Arrest, was firmly rooted in that experi- the page… and I have to tell it to myself decide it’s time to go to Hollywood. ence. Cardiac Arrest, which ran for three every single time I sit down to write.” “Every time it’s like a stab through series, was a darkly comic programme, Thomas revealed that she suffers the heart but I’ve now learned that this unafraid to show the reality of working writer’s block daily. She advised: “First refreshes the brand and the company, in an NHS hospital. drafts don’t have to be perfect, they bringing in new characters and stories.” He said he was reacting against the just have to be written. However rag- Bragg asked if dramatists should “sanitised version of what was going ged and full of holes it is, however write about what they know. “I started on in hospitals” in shows such as much you’re embarrassed by it, you writing very young and I didn’t know Casualty – a “juggernaut [that will] can then start to make it better.” n much, so I would have got to a dead be on long after the world is dust”. end quite quickly if I’d only written Mercurio was keen to capture the The RTS early-evening event ‘The South about what I knew,” answered Thomas. “gallows humour” and challenge the Bank Show Live’ was held at Kings Place “I’ve led quite a tedious existence “earnest way” in which people talked in central London on 27 June. It was pro- – if I wrote [only] about what I knew in medical dramas: “The way medical duced by the RTS, Directors Cut Produc- it would be really boring,” she joked. dramas tend to work is that someone tions, Sky Arts and Premier.

Television www.rts.org.uk July/August 2019 19 David Harewood: Defying his demons

Star power The star of Homeland and Supergirl gives an unvarnished account of his career to the RTS. Roz Laws is transfixed

ctor David Harewood sectioning 30 years ago following a Manhunter, in Supergirl, a part he has spoke about his bumpy breakdown. This last was the subject of played for five seasons. He also directed road to success – his acclaimed BBC Two documentary, one episode of the show and has been including the tough life Psychosis and Me, aired as part of Mental asked to do more. lessons he learned from Health Awareness Week earlier this He said: “I knew I had to get to Spike Lee and from summer. America because it’s extremely diffi- Erik Estrada of CHiPs – in a candid and Harewood’s UK TV credits include cult to make it as a black actor in this entertainingA homecoming evening in Babyfather, Robin Hood, Doctor Who and country. The people who make the Birmingham. The Night Manager. But he had just £80 decisions are a small cabal, who are During the RTS Midlands’ “In con- in his bank account and was on the very white, middle class and Oxbridge. versation with…” event, the Homeland verge of quitting acting before audi- “It is changing, but very slowly. Set- star enthralled the audience in the tioning for Homeland. ting up a production company is defi- prestigious surroundings of the Coun- The son of a lorry driver and a nitely the next step for me, so I can cil House’s Banqueting Suite. caterer, Harewood played CIA chief have some control. The 53-year-old discussed his work- David Estes, before he was blown up at “I would enjoy introducing things ing-class roots, having to move to the the end of the second series, and is now that maybe sometimes people are US to further his career and his cast as J’onn J’onzz, the Martian afraid to touch on. I think we need to

20 be brave in production. Britain is very dynamic but, sometimes, I watch TV and I don’t see that.” Not that Harewood has been wel- Harewood: Psychosis and me comed by everyone in the US. Samuel L Jackson began a row when he criti- In the BBC documentary David Hare- to survive and not be criminalised. cised the casting of black British actors wood: Psychosis and Me, the actor I was literally sat on by the police in films, suggesting that they were read his medical notes and tracked officers and I realised that lots of peo- cheaper to hire. down old friends to discover exactly ple die like that. Or they are restrained Harewood wrote an article in the what happened to him during his men- and imprisoned. That’s scary, to wake Guardian in response. This was subse- tal breakdown at the age of 23. up in prison as a psychotic. quently attacked by Spike Lee in a He heard voices, one telling him that ‘Halfway through making the doc- scene in his Netflix series She’s Gotta he was Martin Luther King and that he umentary, I realised that I was on the Have It. should walk to Camden at 3:00am. He verge of having another breakdown.… When Lee was castigated for his lead didn’t sleep and he sat in front of the I wasn’t being allowed to say what I character’s harsh comments by indus- mirror for hours, convinced his reflec- wanted. They had kept me in the dark. try players, including John Boyega of tion was going to move. He told his I needed to talk about race but they Star Wars, who tweeted that it was friends that he had three brains. hadn’t figured that into the film. “trash” – he hit back on social media. In the film, Harewood broke down ‘It meant something to me and I Lee wrote on Instagram: “If you are in tears when told how he had been called them out on it. I said I needed hurt by the conversation then vent on wrestled to the floor by six policemen, to speak to a black psychologist – it your black Brit actor Dave Harewood.” who then pumped him with sedatives. has to be part of the programme. They At the time, Harewood declined to He was briefly sectioned under the found me a great person but that comment. He still doesn’t want to add Mental Health Act. whole question of race and identity fuel to the fire but he told the RTS: “It He said: ‘The documentary was hadn’t been part of it, because they is very hurtful when your heroes use the toughest thing I have ever done. didn’t know. Had I been in control, it your name in a derogatory way and I had to bare my soul and become would have been front and centre. dismiss you as cheap. very exposed. I was confronted by the ‘I have never been so nervous about “They think that we are somehow truth about what actually happened – anything before the film was screened, not black enough and are insulted that because I didn’t remember. but the reaction has been overwhelm- we are able to imitate them. I find it ‘It made me realise how lucky I was, ing and has given me great courage.’ bizarre. The arguments they are using don’t make sense to me. “Learning that your hero does not like you is the hardest lesson for me. The Harewood: An actor’s life best lesson was actually given to me by that guy from CHiPs, Erik Estrada. Harewood was refreshingly honest He confessed that he had never “When the first series of Homeland about the TV jobs he took after leaving done an American accent before won all the Emmys [for Outstanding Rada, including roles in Casualty, The Homeland, but it was one of several Drama Series and the drama prizes for Bill, Game On, Medics, Fat Friends and new skills he learned on the job. for Writing, Lead Actor and Lead Ballykissangel. ‘I was so green and had lost my Actress], I was celebrating after the ‘When I look back on my career,’ he confidence after not working for nine

CBS ceremony, drinking Champagne and said, ‘I realise that I never knew how to months. It was tough but it felt amaz- puffing on my cigar while people such say no. In hindsight, there were some ing for me to be there, a skint lad from as De Niro and Sidney Poitier congrat- jobs I shouldn’t have done. Birmingham, working with people such ulated us. I felt like a million dollars, ‘But 30% of stuff was done to pay as Claire Danes and Mandy Patinkin. then I noticed the guy from CHiPs. the rent. There’s no point in saying, “I ‘I learned how these great actors “I went over to introduce myself and can’t do The Bill because I want to be a were doing their thing. I would some- he told me ‘Be ready for when it’s movie star.” times go in on my day off just to watch over’. I thought: ‘That’s a weird thing to ‘I was never strategic in my career. them work. say, I’m having the time of my life over I was just glad someone was offering ‘I always tell young actors, don’t just here!’ But I thought about it, so when me a job. Maybe it diluted my pedigree, sit in your trailer and wait for your turn, they blew me up, I was ready. I didn’t but I just said yes to everything.’ go out and be on set and take it all in.’ moan, I just sent them an email thank- Harewood raised a huge laugh from He is now advising his elder teenage ing them for a great two years.” n the audience when he revealed the five daughter, Maize, on the TV industry: stages of an actor’s life: Who’s David ‘She’s said that she wants to act. She’s ‘In conversation with David Harewood’ Harewood? Get me David Harewood. so bright. I said that acting is just one was held in Birmingham’s Council House We’ve got David Harewood. Get me a part of a huge industry and it’s really on 6 June. It was an RTS Midlands event young David Harewood. Who’s David tough. I think she’d enjoy writing or in partnership with Film Birmingham and Harewood? going into production.’ was hosted by Radio WM’s Samantha Meah.

Television www.rts.org.uk July/August 2019 21 Unsung heroes of regional production

n recent years, Channel 4’s She explains that shows on the new national HQ in Leeds Programme-making Crime+Investigation channel are often and the BBC’s relocation of more successful outside of London, 2,300 posts to Salford have with “heavy viewing in the Midlands, dominated our perception of A&E, Channel 5 and north east, north west and Scotland,” out-of-London programme ITV all invest in making and “valued because people are seeing production.I themselves in them”. This is perhaps not surprising: the shows outside London. Jones has overseen a conscious corporation has the largest Ofcom effort to harness the “huge opportuni- quota for UK production outside the Tara Conlan travels ties to tell stories outside London.… In M25 – 50% – followed by Channel 4 beyond the M25 to archaeology series River Hunters we and ITV, who both have 35%, and were genuinely discovering local his- Channel 5, with 10%. see their work tory. The most important thing I said But even channels not subject to the was: I do not want to see rivers south same quotas as the big public service of Birmingham.” broadcasters are quietly making She acknowledges that it’s cheaper regional shows. Some, such as History to commission outside London – but channel owner A&E Networks, are it comes with “multiple benefits”, making more shows than ever outside including “the beautiful scenery”. London and reaping the benefit by Regional shows can also fill some reaching audiences across Britain. of the gap left by the decline in local In a review of regional TV produc- newspapers: “Local media is very sparse tion, published earlier this summer, these days. It’s the duty of the national Ofcom said: “Television production broadcasters, it’s part of our remit. We’re outside of London is a crucial part of there to serve all the viewers.” the UK’s broadcasting sector. It helps Jones says that series such as C+I’s to disperse and stimulate investment most popular original show, Murder- and job opportunities in the sector town, “demonstrate the [role] of local throughout the UK [and] benefits stories. London didn’t feature, it was viewers by ensuring a diverse range of Hull or Pontypridd.” programmes and editorial perspectives.” She argues that structural change is So why is there not more recognition necessary to support enough experi- of what the other channels are doing? enced talent, adding: “I applaud Chan- A&E Networks’ general manager UK nel 4 going to Leeds. There are certain and senior vice-president, content and corners of Britain that have owned creative, Heather Jones, thinks part of genres – Bristol [for example, has] the “problem is that people who live in natural history. We have to start London and media circles” do not tend building these talent pools, and the to watch as much on her five UK chan­ only way to do that is by building nels as those outside the English capital. proper structural ways to tell these However, when she tells Londoners stories.” about shows on History, such as Al Channel 5 has also quietly Murray: Why Does Everyone Hate the Eng- ‘WE NEED TO increased its regional investment lish? or the forthcoming Damian Lewis by a whopping 40% – exceeding documentary Spy Wars, they are invari- REFLECT OUR its Ofcom regional target of 10% ably impressed. VIEWERS AND twofold. Director of program­ Around 40% of A&E’s UK spend goes mes Ben Frow explains his out of London. This is an increase of HAVE REGIONAL strategy: “Being an indie has 25% over the previous year. “We just FACES AND got to be one of the hardest got on with it. It’s something we are VOICES’ jobs – and being a regional very committed to doing,” says Jones. indie is even harder. As a A&E Networks

22 broadcaster, we all ITV Studios staff and 23 of its labels owe it to them to are based outside London. In 2017, the support them as most recent figures available from much as possible.” Ofcom show that ITV made more than Last year, he tried its quota of 35% – some 44%. to improve regional- Whiston points out that the amount ity by “buddying up” of filming required by Coronation Street commissioners with and Emmerdale is equivalent to “two regional companies so feature films a week” in Manchester that they could get to and Leeds. know the channel. This He says of Coronation Street: “We’re led to commissions one of the biggest outside lots in worth £4m – the Europe. We invested massively and 35 hours of programmes we’re doing the same in Leeds and included Warship: Life at expanding there for Emmerdale. We just Sea, made by Artlab Films, get on with it. Other companies have based in the north west. more strategic reasons to be shouting But Frow admits that “it about it.” is hard for us to do regional “Talent outside London is huge. commissions because of the Quite a lot of people want to work time it involves.… It requires outside London, as I’ve done most of effort on our part and their my career.” part to keep up the relation- He points to quiz show producer ship – it’s not just a few hops 12 Yard in Glasgow as a prime example down the Tube line.” of how specialist talent can act as an “We’ve still got more to do, incubator for a genre. The BBC’s Natu- but we increased the number of ral History Unit in Bristol also shows regional hours in primetime by how this can happen. And, he says, 40% to 16.4 hours. It seems small “what’s great” is when a brand such fry still, but it’s an indication. as Twofour Group’s Channel 4 series “It’s more difficult from a practi- Educating Essex can be extended into cal commissioning level, as it’s not other areas and even into the US. as easy to have face-to-face conver- Whiston also admits that regional sations. But we’re going in the right production is “of course… cheaper. No direction.” Particularly, he says, in doubt about it.” Sunday-night drama northern England and in the west, as Victoria uses houses in Yorkshire for Ofcom noted in its regional review. key scenes so that programme-makers “We’re not a metropolitan channel,” can film “without having to disturb the says Frow. “We need to reflect our whole of London”. viewers and have regional faces and He notes that it is now trickier to voices. Our most successful shows are hire freelancers in Salford – a “sign of made in the regions, such as The York- a buoyant market”. Having the BBC in shire Vet or Cruising with Jane McDonald. Salford, however, is a “fantastic” “I only have nine commissioners. advantage. “We share initiatives and Three of them do live in the regions, so training schemes… [and the corpora- they help keep us grounded and not tion’s] big commitment [to MediaCity] ‘West London up our own arses’.” has really transformed the area.” Quotas “make sure you keep an eye The axing of The Jeremy Kyle Show, on the ball,” Frow believes, but he which provided great volume and “intends to do more”. “It doesn’t just training for ITV Studios staff in Salford, come down to money, it comes down has been a blow. Whiston believes that to time. You get so sucked up in the Kyle’s show will likely be replaced by day to day… it’s difficult to find time to another regional series. take a step back, but I’m passionate He is not enthusiastic about produc- about it.” tion quotas, and suggests that “quotas Unlike Channel 5, ITV’s regional feel quite old-fashioned” in the inter- roots run deep. “ITV never gets enough national marketplace that ITV now C+I’s recognition” for its regional contribu- finds itself a player in. most tion, argues Managing Director of ITV “We’re expanding on our own mer- popular continuing drama and ITV North John its” he says. “Talent, place and cost” are original Whiston. driving ITV’s expansion in the regions: show, ITV makes 2,000 hours of content “we’ll carry on whether quotas are in Murdertown from its regional bases. Around half of place or not”. n

Television www.rts.org.uk July/August 2019 23 Sky’s second coming

s it just me, or does this Comcast. Keep an eye open for Phila- account of the relentless march Book review delphia cheesecake in the next series of Sky feel less like a window of Bake Off. McKerrow and Beattie into the “future of entertain- Simon Shaps enjoys a probably thought they would end up ment” and more the TV equiv- being owned by Fox or Disney. alent of ancient history? new history of Europe’s Of course, money in the bank from IThere are glorious deeds and all-con- most successful pay-TV the initial sale of the company softens quering heroes. Step forward Jeremy the blow of waking up to discover you Darroch, and the man who appointed operator but thinks a have new and unexpected corporate him CEO of Sky, James Murdoch. Not bosses. Carnival, maker of Downton forgetting the tragic fate of doomed and key question is ignored Abbey, certainly seems to have thrived misguided rivals: hold your heads in in the NBCU-Comcast family, and Left shame, Setanta and a host of others. The Battle for Sky: Bank, maker of The Crown doesn’t seem Christopher Williams, deputy busi- The Murdochs, Disney, to have done too badly under Sony’s ness editor of the Telegraph, has written Comcast and the ownership, nor Wall to Wall within the a highly readable and comprehensive Future of Enter- Warners empire, now owned by AT&T. sequel to Matthew Horsman’s Sky High: tainment by Chris- But across broadcasting and produc- The Rise and Rise of BSkyB, published topher Williams tion, many of our most prized television some 20 years ago. But the story we is published by companies are no longer in control of most want to read about, a story with Bloomsbury, priced their own destinies. Bleary-eyed exec- far-reaching consequences for UK £25.00. ISBN: utives complaining that they have media, is the final shoot-out between 978-1472964908 been up late “talking to the US” are the Murdochs, Disney and Comcast and now a common sight in London’s how that might indeed shape the future Much of the rest of UK television has media haunts. of entertainment. And that is only cov- a very different focus. Ultimate deci- Sometime in the next few years an ered in the final section of the book. sions about what happens here are enterprising financial journalist – The rest, as they say, is history. now routinely taken in New York and somebody very like Christopher Wil- Before we come to the extraordinary Los Angeles, Philadelphia (home of liams – should write a book to answer climax of the story, as rival bidders sat Sky’s new owner, Comcast) and Den- a strangely unexamined question: are in five-star hotel rooms on either side ver (the US home of Liberty Global). the US media giants good custodians of London playing a multi-billion-­ The fate of Love Productions, creator of companies they acquire outside pound game of poker, with Sky the of The Great British Bake-Off, is not really their home market? prize, there is another important ques- a question Christopher Williams feels I will offer one anecdote to get that tion that this book barely raises: the he needs to consider, not least because analysis started. At the end of a period huge shift in the ownership of UK TV. the company could only have ever been doing some work for an LA-based The companies involved in the final a rounding error in the Sky acquisition, company, a senior executive there shoot-out for Sky were, of course, all but it is worth dwelling on for a moment. asked me to tell him what time it was American, and it is westwards that Love’s founders, Richard McKerrow in London and what currency we used ownership of the UK production and and Anna Beattie, who sold their busi- in the UK. It seemed funny at the time. broadcasting industries are moving ness to Sky Vision, Sky’s smallish, There are many things that can be – and at some speed. wholly owned distribution company, said about the Murdochs, but I am Williams does quote Andrew Neil, now find themselves owned by pretty confident they always knew Sky’s founding Chairman, who told the what time it was in Osterley or Wap- competition investigation into the Fox ping, as well as Mumbai and Shanghai. bid for Sky: “We are in danger of end- They also had a pretty good handle on ing up in the situation where nearly all ‘THE SALE OF SKY currency fluctuations across the world, our commercial broadcasters will be TO COMCAST down to the last cent. foreign owned. We will have given The story of how Rupert Murdoch away the crown jewels.” WAS A “SUB- bet the shop on Sky, installed a succes- All this has happened at a time when PLOT IN THE END sion of hand-picked CEOs to run the the BBC and, more recently, Channel 4 company (falling out with some) and have been spending huge sums of OF AN ERA FOR ended up, in the teeth of considerable money as well as management time THE MURDOCH shareholder hostility, giving the gig to regionalising their UK operations, his son, James, is largely familiar. largely in response to political pressure. DYNASTY”’ Under James Murdoch, the success

24 Sky’s second coming

of its triple-play strategy of bundling pounds producing pro- pay-TV with broadband and telephony, grammes which gave it access to a market three are own- times greater than it had targeted up ers of vast until that point, was fundamental. technol- More recently, with Darroch at the ogy plat- helm, it has expanded internationally, forms that principally into Italy and Germany. It could usurp has invested in its online platform Sky in living Now TV and, as the SVoD challenge rooms across has loomed, the company has contin- the world.” ued, above all, to invest in technology In Williams’s to improve its offer to its 50 million telling phrase, the sale of customers across Europe. Sky to Comcast was a “sub- At the same time, the world around plot in the end of an era for Sky has been changing fast, as a range the Murdoch dynasty”. of competitors with unimaginably Comcast had crashed Fox’s deep pockets appeared on the horizon. party with Disney, bidding Losing Champions League football to some £3bn more for the BT Sport hurt Sky – perhaps most company than Bob Iger’s damagingly, denting its self-image company. Disney had as the all-conquering upstart turned scooped up most of 21st behometh. Century Fox’s assets, its But what would happen if Amazon film and television studios, got really serious about launching a FX, Nat Geo and Star India knock-out bid for the Premier League? but, in the end, was outbid Or Apple? How would Sky fare if the for Sky. major movie studios launched stream- In his first big announce- ing platforms for their own movies? ment since the Comcast Could a platform so associated in the takeover, Darroch announced minds of consumers with sport and the launch of a new European movies compete as hard in premium production operation, called drama if the world went box-set Sky Studios. Investment in crazy? So it was that Rupert Murdoch, original programming is being sensitive to the headwinds across his doubled. empire, “confronted his own mortal- So perhaps Comcast will ity” and decided to “cash in his chips”. turn out to be one of the He had tried to tempt Time Warner good guys when the day of into a merger, but failed, only to see reckoning comes for US the US telecoms giant AT&T move in media’s ownership of vast and acquire the company for $85bn. swathes of UK television. Of course, one implication of the AT&T Comcast knows, perhaps deal was to raise a very large question better than most, that mark over the future of Sky’s deal with content owner- Warner-owned HBO, which was the ship combined foundation of Sky Atlantic. with access to True, Sky had forged a deal with paying cus- Netflix in 2018 that made the service tomers, available to its Sky Q customers. supported Williams writes that this deal helped by lead- lessen the immediate threat to Sky’s ing-edge business from Netflix. But, he says: technol- “More serious near-term challenges ogy, is may come from Amazon and Apple, TV’s new

who, as well as spending millions of black. n Images Sullivan/Getty Justin

Television www.rts.org.uk July/August 2019 25 Ben Dowell meets the co-founder of drama specialist Mammoth Screen, Damien Timmer, whose eye for detail defines him

Profile The perfectionist

or an example of the detail he expects to see on his own passionate perfectionism shows. These include Endeavour, the of drama producer Dam- Morse prequel set in the 1960s, the ien Timmer, look no Edwardian period piece Parade’s End, further than the press Victoria and Poldark, which started its screening of the first fifth and final series on BBC One in episodeF of ITV drama Victoria, starring mid-July. Jenna Coleman. “Many producers think only about On the big screen, Timmer noticed the deal. Damien thinks only about the something awry with the young show and making it as brilliant as queen’s eyes. Her contact lenses were possible,” says Victoria creator and visible. But rather than let the problem writer Daisy Goodwin. “He got the slide – after all, who would notice this idea for Victoria straight away and he small detail on a TV set? – Timmer and commissioned a pilot script straight his post-production supervisor spent away, even though I hadn’t written a the best part of August regrading each drama before. That showed imagina- and every one of Coleman’s scenes. tion and courage.” “It was very unforgiving on the big When I put these points to him, he screen and, if you’re not taking it seri- jokes that his first email was sent at ously, what’s the point?” he says from 5:00am this morning, not 5.30am. And the comfort of the West End offices of I believe him. He’s not the only hard his production company, Mammoth worker in TV but he seems to really Screen, where he is Joint Managing go the extra mile. Why? Director. “That old adage, you’re only “It slightly dominated August as good as your last show, is a couple of years ago, which something we all feel very was not particularly helpful. strongly,” he explains. But, these days, there are “That imposter syn- too many people who are drome, the sense that going to tell you – very you’re going to be vocally – that you’ve got found out with the it wrong.” next show you His dedication to the make, so you have task at hand doesn’t end got to make it as there. Friends and col- good as it possi- leagues will tell you bly could be.” about his 5:30am emails, His child- sent at the only time he hood helps to knows he can guarantee explain his being free. And there was dedicated the recent example of his passion for TV 50th birthday party, a per se and Robots and Romans drama in particular. fancy-dress event where, When he was five years half way through the old, Timmer’s parents spent celebrations, Timmer three years working in the changed from one outfit to Far East, taking him away the other. from Britain and British This speaks volumes about television. That absence

the kind of lavish attention to fuelled his desire. Mammoth

26 “I was an only child and grew up in these is already being described as the a world where television was this new Poldark. It is a script for The hugely important force. As it is now. Lymond Chronicles, Dorothy Dunnett’s But it felt even more so then.… I was wonderfully complex collection of lonely. I missed television so much, historical yarns set across Europe in which meant that, when I came back ‘IF YOU’RE the mid-16th century. The hero is the to England, I loved it even more charismatic Scottish nobleman Francis because I had had time away from it. NOT TAKING Crawford of Lymond. And I was such a fan. IT SERIOUSLY, Mammoth has also optioned Sunday “I took it terribly seriously, I suppose, Times journalist Oliver Shah’s book, because I understood its power from a WHAT’S THE Damaged Goods: The Inside Story of Sir very early age. You hear stories about POINT?’ Philip Green, the Collapse of BHS and the Michael Jackson, the ex-BBC Two con- Death of the High Street. troller, planning his imaginary schedule A new Pride and Prejudice, adapted by in his fantasy Radio Times. I was almost Nina Raine, is in the works for ITV. A as extreme as that. I did love television fourth series of Victoria is expected and had very catholic tastes.” next year, when Jenna Coleman’s So by his early twenties, and after queen faces the death of her beloved graduating from Oxford (where he read Albert (leading some to speculate that history), he found he “wasn’t equipped it could be her final outing in the tiara). to do anything but enter that world”. But don’t think that because it’s Post-graduation, he quickly became owned by ITV, Mammoth is predomi- fascinated by an Australian soap opera nantly a supplier to that particular called E Street. He went to the reading network. Timmer describes World on room of the Australian Embassy and Fire, Peter Bowker’s seven-part Second learnt about it in Australian newspa- World War drama for BBC One, star- pers. Eventually, he wrote to the pro- ring Helen Hunt, as “the biggest thing ducers. They told him that, if he could we have ever made in terms of scale.” pay his own fare, he could come and Mammoth is also working on an work on it. This is what he did until eight-hour drama, The Serpent, for the E Street was axed. BBC, based on the real-life serial He returned to the UK, and produced killer Charles Sobhraj, who Peak Practice for Central Television in preyed on tourists on the South the late 1990s. This was followed by a East Asian hippie trail in the stint as a producer on Night and Day, 1970s. working alongside the future head of “I feel that, in terms of our BBC drama, Piers Wenger. cultural life and the life of the It was with Wenger that he formed nation, when so much feels Mammoth 13 years ago, spending “six unstable and unhappy in the months in an empty office and won- political landscape, the BBC is dering if we could make it work”. just about the best thing this Mammoth’s first big commission country has got going for it,” says was Lost in Austen, Guy Andrews’s witty Timmer. We meet on the day that take on Pride and Prejudice. As well as the BBC is attacked by the papers productions such as Parade’s End (a (and Piers Morgan) for taking away hit for Benedict Cumberbatch) and free licences for the over-75s. Endeavour, his company is respon- In fact, he says his blood is boil- sible for all the recent BBC TV ing: “I genuinely love the BBC, it Agatha Christie adaptations. needs to be cherished. I can’t Now, Mammoth is owned by imagine a world where we didn’t ITV (it completed the takeover have it. Those British broadcasters in 2015), with a turnover in the that we have all grown up with are region of £80m. The company such an important part of the expects to deliver 42 hours fabric of our lives. My hinterland of original drama in 2019 (up is completely shaped by it. One from around 28 hours in of the things that unnerves me 2015). is imagining a world in which I It has a core staff of 28 had grown up without those working across a slate institutions shaping us.” that includes 10 shows Passionate, see. From the in varying stages of very start of his life. No won- Victoria production. One of der he works so hard. n ITV

Television www.rts.org.uk July/August 2019 27 STEVE HEWLETT MEMORIAL LECTURE 2019 24 September

Mark Thompson President and CEO of The New York Times Company and a former Director-General of the BBC

University of Westminster, London W1W 7BY 6:00pm for 6:30pm Drinks reception sponsored by BBC Studios

Booking: www.rts.org.uk RTS Student Television Awards 2019 Sponsored by

Matt Edmondson and Mollie King hosted an inspirational ceremony on 28 June at BFI Southbank Postgraduate Animation and Judges’ Award: Music & Clowns Richard Kendal

Undergraduate Animation Nominees: ◗ Meatball, Jack Barrie, Cal Brown, Earthly Delights ◗ Desire Line, Ruini Shi, Gareth Young, Charlotte Glasgow, Celine Woodburn Efa Blosse-Mason, University of the Michele Bianch and Mike Wyeld, Royal and Ben Evans, University of Derby West of England College of Art “This stylised and sensual… allegory ◗ Good Intentions, Anna Mantzaris, Postgraduate Comedy about mother nature opened up a Royal College of Art & Entertainment wider debate about ecology.” Uncommon Nominees: Undergraduate Comedy Connor Langley, Michael Rowlands, ◗ Anna, Jessica Mountfield, Dominic & Entertainment Daniel Richardson, Mark Hunter and Povall and Team, Arts University Delicious Love Jack Jarvis, University of Sunderland Bournemouth Alana Volavola, Freddie Berman, “Brilliant mortality tale for Christmas. ◗ Towels, Prawta Annez and Camilla Ben Holmes, Jade Elwood, Sophie Warm, well-shot and excellent comic Kjaernet, Falmouth University Masterman and Team, University of timing in the writing and the acting.” Gloucestershire Nominees: Postgraduate Animation “A distinctive, original and memorable ◗ Control, Webster Mugavazi and Robin Music & Clowns visual treat with its use of graphics, Pagnanelli, National Film and Television Alex Widdowson, Royal College of Art colour and set. [We] loved the narra- School (NFTS) “In this fascinating snapshot of a fam- tion, too.” ◗ Pre-Occupation, Elena Marotta, ily, the film-makers laid themselves Nominees: Adam Tindall, Moira James-Moore and bare and created an honest and gen­ ◗ Chopsticks!!, Aeddan Sussex, Middle- Emie Wang, Goldsmiths University uinely affecting film.” sex University �

Television www.rts.org.uk July/August 2017 29 “A highly original film that tells a topical urban horror story with insight, wit and panache.” Nominees: ◗ Some of These Days, Vincent Förster, Olesya Ryasik, Anne Talenta, Scott McCrone, Tino Mensel and Team, Edin- burgh College of Art ◗ We Are All Here, Hannah Currie, Gold- smiths, University of London Undergraduate News Horse Racing’s Gender Divide: The Final Hurdle Elliot Hawkins, University of Lincoln “A fresh look at the role of women in sport. Good voices that were given time to breath. Technically accomplished.” Nominees: ◗ A Testing Choice for Down’s Syndrome, Jennifer Smith, University of Salford ◗ At Arm’s Length, Teri Limongi, Univer- sity of Sheffield Postgraduate news There’s Something in the Water Grace Marner, University of Sheffield “Complex science told in an engaging way.… The real highlight was Kurt the Crab, a simple idea and well executed.” Nominees: ◗ Special Needs: Failure to Educate, Philip Sime and Imogen Har per, City, University of London Hosts Mollie King and Matt Edmondson

Richard Kendal ◗ Twnel y Rhondda, The Rhondda Tunnel, Jared Lawthom, University of Undergraduate Drama Nominees: Sheffield Backwater ◗ Dead Birds, Johnny Kenton, Sabina Brendan McCallion, Frank O’Malley, Smitham, Amelia Spencer and Team, NFTS Undergraduate Short Form Robin J Kavanagh and Brendan Corcoran, ◗ The Pilot, Nathan Carter, University I Love Tennis Institute of Art, Design, and Technology, of York Sam W Buffery, London South Bank Dun Laoghaire University “Very well directed, with a structure Undergraduate Factual “The writing was poetic, with a rhyth- that allows the conflict between its Nick Reynolds: The Final Portrait mic coherence.” characters to play out sensitively and Jesse Hargrave, Adam Polley, Curtis Nominees: without judgement. Beautifully shot.” Stephan, Stacey Willis and Lewis Wool- ◗ Nose, Izzy Mooney, Kiki Nafig, Emma Nominees: cock, Solent University Lazenby, Jake Lucas and Team, Univer- ◗ Just Josie, Georgina Rowlands, Ben “Gripping from the start. A layered film sity of the West of England Porro, Katia Shipulina, Lily-Evelina that had so much to say about death ◗ Speak to Her, Jack Desmond, Philip England and Nathalie Carraro, University and how we view the subject matter.” Emo, Sean Doupe and Cian Desmond, of Westminster Nominees: Institute of Art, Design, and Technology, ◗ What Separates Us from the Beasts, ◗ Mathew vs Pritchard, Jake Hardy- Dun Laoghaire Edward Kondracki, Sedona May Tubbs, Behrends, Ethan Blake Brooks, Vratislav Kieran Howe, JP Pezet and Team, Royal Karas and Marketa Janouskova, University Postgraduate Short Form Conservatoire of Scotland of South Wales Hold Still ◗ The Bad Guy, Cory Thomas, Laura Alexandra Brodski, Nikita Leibovici, Postgraduate Drama Buchanan, Giulia Veronelli, Marco Di Gioia Matt Gillan and Team, NFTS Smoked Mackerel and Danny Flynn, University of Stirling “Simple, stunning and fantastically Ciarán Charles, Scott Butler, Michael executed in a single shot.” Lambert and Gemma Carline, University Postgraduate Factual Nominees: of Sunderland Fake News Fairytale ◗ A Missing Beat, Maria Abdel Karim, “A terrific piece of grounded, realist Kate Stonehill, Jimmy Campbell Smith, Bournemouth University film-making, [with] an immersive Ronnie McQuillan, Conor Meechan, Alex- ◗ The Pool, Julia Alcamo, Arts University sense of place.” andra McArdle and Team, NFTS Bournemouth �

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1 Undergraduate News: 3 Undergraduate Editing: 6 Postgraduate Short Form: Horse Racing’s Gender Divide: The Final Backwater Hold Still Hurdle 4 Undergraduate Writing: 7 Undergraduate Camerawork: 2 Undergraduate Production Design: Speak To Her Backwater Delicious Love 5 Postgraduate Factual: Fake News Fairytale

See for yourself

You can see a selection of the students’ films at www.rts. org.uk/StudentFilms2019

Television www.rts.org.uk July/August 2019 31 Undergraduate Camerawork Undergraduate Sound: Backwater What Separates Us Robin J Kavanagh, Institute of Art, from the Beasts Design, and Technology, Dun Laoghaire “The camerawork in this film was incredibly accomplished. Natural and well-lit, you could have been watching work done by a professional.” Nominees: ◗ Chopsticks!!, Roan Lenihan, Middlesex University ◗ Speak to Her, Sean Doupe, Institute of Art, Design, and Technology, Dun Laoghaire Postgraduate Camerawork Dead Birds Jonathan Flint, NFTS “An incredibly impressive film, filled with stand-out moments and featuring a wide range of outstanding shots.” Nominees: ◗ Fake News Fairytale, Ronnie McQuil- lan and Kate Stonehill, NFTS ◗ Some of These Days, Vincent Förster, Edinburgh College of Art Undergraduate Editing Backwater Brendan Corcoran, Institute of Art, Design, and Technology, Dun Laoghaire

“Fantastic timing. An impressive edit Richard Kendal helped to tell this story in the best way possible. Nailed it.” Postgraduate Production Design ◗ A Missing Beat, Filipe Botelho, Nominees: Dead Birds Bournemouth­ University ◗ Chopsticks!!, Aeddan Sussex, Middle- Ian Crossland, National Film and Televi- ◗ Some of these days, Scott McCrone sex University sion School and Sebastian Dieterle, Edinburgh Col- ◗ Speak to Her, Cian Desmond, Institute “The design in this film was very well lege of Art of Art, Design, and Technology, Dun thought out and executed.” Laoghaire Nominees: Undergraduate Writing ◗ A Missing Beat, Alena Shen, NFTS Speak to Her Postgraduate Editing ◗ Control, Fiona Guest, NFTS Philip Emo, Institute of Art, Design and Some of These Days Technology, Dun Laoghaire Anne Talenta, Edinburgh College of Art Undergraduate Sound “A beautiful story, very well told.” “The edit for this film really helped What Separates Us from the Beasts Nominees: bring the heart in this story to the fore.” JP Pezet, Royal Conservatoire of ◗ Anna, Jessica Mountfield, Arts Univer- Nominees: Scotland sity Bournemouth ◗ Dead Birds, Conor Meechan, NFTS “Multi-layered and well-mixed, tech- ◗ Backwater, Brendan McCallion and ◗ Smoked Mackerel, Gemma Carline, nically very accomplished, plus very Frank O’Malley, Institute of Art, Design University of Sunderland impressive use of location sound.” and Technology, Dun Laoghaire Nominees: Undergraduate Production ◗ Chopsticks!!, Aeddan Sussex and Zack Postgraduate Writing Design Wills, Middlesex University Smoked Mackerel Delicious Love ◗ Delicious Love, Kate Sininde, Univer- Ciarán Charles, University of Sunderland Jade Elwood, University of Gloucestershire sity of Gloucestershire “An excellent script is just the begin- “So bright and so clever, the look and ning for this outstanding film.” design of this film were simply Postgraduate Sound Nominees: outstanding.” Dead Birds ◗ Dead Birds, Amelia Spencer, NFTS Nominees: Sean McGarrity, NFTS ◗ Fake News Fairytale, Kate Stonehill, ◗ Backwater, Muireann Howley, Institute “Fantastic sound design, which was NFTS of Art, Design, and Technology, Dun well executed, the dub both comple- Laoghaire mented and enhanced the visuals and Judges’ Award ◗ Just Josie, Nathalie Carraro, University dramatic sections.” Music & Clowns of Westminster Nominees: Alex Widdowson, Royal College of Art n

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1 Undergraduate Writing: 4 Undergraduate Comedy & Entertainment: 6 Undergraduate Factual: Speak to Her Delicious Love Nick Reynolds: The Final Portrait

2 Undergraduate Animation: 5 Postgraduate news: 7 Undergraduate Short Form: Earthly Delights There’s Something in the Water I Love Tennis

3 Postgraduate Comedy & Entertainment: Uncommon

The RTS Student Television Awards 2019 judged at a regional level by their local entries, were then judged nationally in reward outstanding work produced RTS Centre in the winter of 2018. April 2019. during the 2017/18 academic year. The winning films from each RTS No nominations are accepted for the Undergraduate entries were first Centre, along with all postgraduate Judges’ Award.

Television www.rts.org.uk July/August 2019 33 RTS NEWS RTS West of England and The Farm hosted a sold-out screening of

West of England feature documentary Last Breath at Bristol’s Every- man Cinema in June. Four years in the making, the film has been described as “Gravity meets Touching the Void – 100 metres underwa- ter”. It tells the story of a commercial diver, Chris Lemons, who is stranded on the seabed with five minutes of oxygen left – but no chance of rescue for more than half an hour. Following the screening, Plimsoll Productions head of specialist factual Kate Beetham discussed the pro- Last Breath

duction process with Bristol- BBC based talent Alex Parkinson, who combined the roles of director, producer, writer and director of photography, Bristol takes a deep dive producer/director Richard da Costa and editor Sam Rogers. Da Costa had met Lemons boils down to two things: strange and unknown world it to be very immersive.” when he was working for the trust and intention. What I to a wider audience.” Sam Rogers discussed oil and gas industry. “Chris think made getting the div- Parkinson reflected: “I the challenge of bringing was a compelling character ers on board a natural pro- think the authenticity behind together the different ele- and I was gobsmacked to cess was, first, that we had an it is so important and, hope- ments of the story in the edit hear his story, so we made existing relationship. Second, fully, strong throughout the – reconstruction, archive and an industry film about the they understood that our film. Our overall ambition for interviews – to focus on the incident,” he recalled. A intention was to be authentic the film is that the audience power of the narrative and chance meeting with Parkin- in our portrayal of their world won’t just watch it, but expe- keep the audience on the son led to the pair develop- and their story. rience it, too – feeling at least edge of their seats. ing it into a feature doc. “We were genuinely inter- some of the tension, fear and Last Breath was broadcast On getting consent and ested in telling the story in as emotion the people there on on BBC Four in May and is cooperation from those accurate a way as we could, the night did as this incred- now available on Netflix. involved, da Costa said: “It and we wanted to bring this ible story unfolded. We want Suzy Lambert

improve the user experience for contribution and over- Video compression explored the-top delivery, as well as for linear broadcasting. Acknowledging how To coincide with the Meardi, outlined compression media services company viewer habits are changing last day of the Media options, new developments deliver an innovative 32-feed dramatically, Murra dis- Production Show at and upcoming standards. production set-up at the cussed the explosion of

Thames Valley Olympia in London in Chris Pearman, remote Cannes Film Festival this year. video consumption, with June, RTS Thames Valley production strategist and V-Nova product and mar- more programmes being arranged an event at video architect at Red Bee Media, keting manager Fabio Murra delivered through smaller compression specialist spoke about the growth and discussed how faster com- pipes. The end game, he said, V-Nova’s Paddington office. latest trends in remote pro- puter processing power, was to improve efficiency The V-Nova team, headed duction. He discussed how network speeds and devel- and costs-effectiveness. by CEO and co-founder Guido V-Nova had helped the opments in data storage can Tony Orme

34 Carole Solazzo listens in as RTS events North West North West Centre Jason Manford IN BRIEF discusses a career ranging across Barnes takes comedy and drama over in capital Phil Barnes has been elected he life and legacy of RTS London Chair, replacing television journalist Dan Cherowbrier, who had been turned music impre- in post for three years. Barnes sario Tony Wilson works in media planning for Walt T– “His passion… as a pre- Disney. He joined the Society in senter made us all raise our 1995 while working in Plymouth game,” RTS North West Chair and served as Honorary Secre- Cat Lewis told a packed tary and then Chair of the Devon audience at the Lowry in and Cornwall Centre. June – are commemorated by the annual Anthony H Wilson Memorial Lecture. Republic centre This year, it featured fellow tours Virgin HQ Mancunian Jason Manford – comedian, actor, TV pre- Republic of Ireland members Upcoming BBC sitcom Scarborough

senter and quiz show panel- BBC visited the Virgin Media Televi- list – in conversation with sion operation in Ballymount, former Coronation Street regu- Dublin, at the end of June. Direc- lar Catherine Tyldesley. tor of content Bill Malone, head Manford’s start in show Manford: from of programming Aoife Stokes business could not have been and studio manager Mark more different to Wilson’s, Bayley guided them around who joined ITN as a trainee the complex. The visit included reporter after graduating stand-up to TV the newsroom, where executive from Cambridge University. producer Gareth O’Connor and Manford was 16 and working it, Manford learnt “that trag- BBC One’s Cutting It and Ordi- presenter Claire Brock were in a Manchester pub with a edy and comedy are closely nary Lies, and Channel 4’s preparing the 8:00pm bulletin, weekly comedy night, where linked” – and how to use his Shameless, while continuing and Studio One, in which he was lucky enough to hear life as material, developing to enjoy great success on the the late-night current affairs the likes of Caroline Aherne observational comedy rou- comedy circuit. show, The Tonight Show, and Peter Kay. tines like his hero, Kay. This autumn, Manford is is produced. One night, he was pressed Manford followed in Kay’s set to appear in Derren Lit- into covering for a stand-up footsteps, developing parallel ten’s new sitcom for BBC who was a no-show. Almost careers in comedy and act- One, Scarborough (Litten London quiz adds immediately, he was heckled ing. “Comics… lend them- wrote ITV’s Benidorm). Braine power about a black eye and admit- selves to acting,” Manford However, Manford’s most ted he’d been mugged. claimed. “There’s another popular recent performance Musical comedian Harriet Braine Musing aloud, he recalled layer they can bring to [the was a video he made while hosted the second RTS London that his mugger “gave me a role].” Although, ironically, on location, posted on social summer quiz in early June. choice: ‘Give us your money the roles he was offered media, in which he spoke Eleven teams faced five tough or I’ll beat you up.’ I gave him initially were playing stand- about his struggles with rounds of questions, including my money and he beat me up comedians, including one mental health. “Men under a music segment in which the up anyway… [More than in Stephen Poliakoff’s 2006 55 – their biggest killer is host covered theme tunes being mugged] I was annoyed BBC One drama Gideon’s suicide,” he said. “[Men] go to from hit shows such as Friends that this guy had broken our Daughter. the doctor and let him… put a and Mock the Week. ‘Shame gentleman’s agreement.” Subsequently, Manford finger up their bum, but of Thrones’ bagged the prize for This got the biggest laugh appeared in hit northern won’t go in for a chat, which best team name but ‘Free Bag’ of the evening and, through comedy dramas such as is less weird!” n secured first place in the quiz.

Television www.rts.org.uk July/August 2019 35 RTS CENTRE AWARDS

others might avoid,” said the judges.” It also won in the Original Digital Content category for its Snapchat Stories, which was produced by The Forge Entertainment and social media agency That Lot. The Outstanding Contri- bution award went to the team behind the winning bid that brought Channel 4 to Leeds. The judges said: “RTS Yorkshire sees this as a game-changing moment and is thrilled to express its grati- tude to the people who together delivered this bril- liant outcome.” “It’s been an exciting year for TV production in York- shire and that is reflected in the quality of this year’s nominations,” said the RTS Yorkshire Awards Chair Lisa Holdsworth. Ackley Bridge

Channel 4 “We thoroughly enjoyed a night of well-deserved celebration of, not just the winners, but of the people School drama doubles up and companies who make this region a centre of excellence.” BBC Yorkshire enjoyed BBC Yorkshire series The Documentary award for BBC Former Gogglebox star and a good night at the RTS Lakes with Paul Rose was series River Walks: A Nidderdale Songs of Praise presenter Kate Yorkshire Awards in awarded the Features prize Adventure and the Low-cost Bottley hosted the ceremony Yorkshire Yorkshire Centre Leeds, winning six and editor Richard Levy won Factual category for Helicopter at the Queens Hotel, Leeds in awards in front of an audi- the Professional Excellence: ER, which aired on UKTV mid-June. ence of 300. Factual Post-production channel Really. Event sponsors included: The BBC’s regional pro- category for his editing of the Channel 4’s school drama Channel 4; Channel 5; Daisy- ducer dominated the news programme, which explored Ackley Bridge, which is made beck Studios; Screenskills; and current affairs catego- the landscape and people of by The Forge Entertainment, York St John University; ries, with Inside Out winning the national park. took home two prizes, Prime Studios; The Garden; the News or Current Affairs York-based indie Air TV including the Drama award. True North Post; ITV Calen- Story category for its investi- scooped three prizes, includ- “The winner was contem- dar; and Universal Produc- gation into faulty Ford cars. ing the Independent Spirit porary, relevant and didn’t tion Music. Look North secured the award. It also won the Single shy away from issues that Matthew Bell News Programme prize and its reporter, Emma Glasbey, RTS Yorkshire Television Features•The Lakes with Independent Spirit (sponsored by took the News or Current Awards winners Paul Rose•BBC Yorkshire for Channel 4)•Air TV BBC One/BBC Two Air TV Affairs Reporter award. Low-cost Factual•Helicopter ER• Outstanding Contribution•Team Leeds News or Current Affairs Reporter• for Reallly “[Her] reports were consis- Emma Glasbey, Look North• for Channel 4 BBC Yorkshire Original Digital Content•Ackley Bridge tently strong, authoritative Drama (sponsored by Screenskills)• Snapchat Stories•The Forge Entertain- Ackley Bridge•The Forge Entertainment News or Current Affairs Story•Ford ment/That Lot for Channel 4 Investigation, Inside Out•BBC Yorkshire and well crafted,” said the (supported by Screen Yorkshire) for Music and Sound•Harrison Spinks judges, who were “particu- Channel 4 News Programme (sponsored by York advert: The True Bedmakers• Single Documentary•River Walks: St John University)•Look North• The Firm larly impressed that the BBC Yorkshire A Nidderdale Adventure•Air TV for Professional Excellence – Factual reporter chased down a BBC One/BBC Two Presenter•Amy Garcia, Look North• Post-production•Richard Levy, film reluctant interviewee Documentary Series•The Yorkshire BBC Yorkshire editor, The Lakes with Paul Rose• Vet Daisybeck Studios/Motion Content One to Watch (sponsored by Chan- BBC Yorkshire for BBC One/BBC Two in heels”. • Group for Channel 5 nel 5)•Harry Lock•True Vision Yorkshire Professional Excellence – Factual Pro- The regional news pro- Factual Entertainment•The Pets Animation•Mr Shapeshifter• duction•The production team, Behind Factor•True North Productions Fettle Animation for The GW Theatre Closed Doors: Through the Eyes of the gramme’s Amy Garcia won for CBBC Company website Child•True Vision Yorkshire for BBC Two the Presenter category.

36 More than 400 guests attended the RTS Scot- land Awards 2019,

Scotland Centre which saw the broad- caster, television executive and writer Stuart Cosgrove recognised for his work for Scotland’s TV industry. Cosgrove, who led the Scotland­ team that cam- paigned successfully to bring one of the Channel 4 hubs to Glasgow, is the latest recipi- ent of the prestigious RTS Scotland Award. The Cry The inaugural Writer award went to Lorna Martin, who adapted her bestselling book, Woman on the Verge of a makes Nervous Breakdown, for televi- sion. Women on the Verge, a Merman/House Productions some series, aired on UKTV chan- nel W and RTÉ2. Synchronicity Films series BBC One thriller noise scoops the The Cry, which secured six Drama award nominations, won the Drama Films Synchronicity prize. The BBC One thriller starred Jenna Coleman as a RTS Scotland Chair April long-running Imagine… pro- presenter Jennifer Reoch and teacher whose life collapses Chamberlain. gramme, Rupert Everett: Born to stand-up comedian and after her baby son disappears. The Young Journalist Award be Wilde, scooped the Docu- Heart radio presenter Des Scotland’s new Gaelic TV went to Ceri Isfryn, who mentary and Specialist Fac- Clarke. A record number channel BBC Alba/MG Alba produced Firecrest Films’ tual: Arts prize and the Editing of entries was received for took home four awards: documentary for Channel 4’s craft award for Berny McGurk. awards across 24 categories. Buidheagain (Children’s); FUNC Dispatches current affairs What Separates Us from the “What a great year it has (Comedy); Tommy Burns strand, Inside Facebook: Secrets Beasts, a drama from the been for the creative indus- (Sport: Programme); and the of the Social Network. She Royal Conservatoire of Scot- tries in Scotland,” said Lisa Camera craft award for Daib- received a prize of £1,000 in land, won the overall Student Hazlehurst, head of Lion hidh Martin who shot a two- memory of former BBC Award, holding off the win- Television and Chair of the part doc about the traditional Scotland news and current ners of the Animation, Com- RTS Scotland Awards. “Scot- annual hunt for young gan- affairs editor George Sinclair. edy and Entertainment, land’s television industry nets, Sùlaisgeir An t-Sealg. Glasgow indie Firecrest Short Form and Factual cat- continues to expand and the “We’ve had more Gaelic Films also makes Supershop- egories from the RTS Scot- high standard of submissions entries than ever before, plus pers, whose presenter, Sabrina land Student Awards in April. demonstrates what brilliant a number of independent Grant, won the On-screen The ceremony was held at programmes are being pro- companies submitting Personality award. the Old Fruitmarket in duced here.” entries for the first time,” said BBC Studios’ film for the Glasgow and hosted by STV Matthew Bell

RTS Scotland Television Supershoppers•Firecrest Films for Life of Landfill: A Rubbish History•Tern Play­dead for Kirkwall Townscape Awards winners Channel 4 Television Productions for BBC Four Heritage­ Initiative Factual Entertainment and Features• Daytime•Antiques Road Trip•STV Professional Excellence – Sound• Productions for BBC One RTS Scotland Award• Class of Mum and Dad•Firecracker Michael MacKinnon/Savalas, Make Stuart Cosgrove Scotland for Channel 4 News•STV News•STV Me Up•Hopscotch Films for BBC Four Drama•The Cry•Synchronicity Films Documentary and Specialist Factual• Young Journalist•Ceri Isfryn•Firecrest Professional Excellence – Camera• for BBC One Fashion’s Dirty Secrets: Stacey Dooley Films for Channel 4 Daibhidh Martin, Sùlaisgeir Writer•Lorna Martin, Women on the Investigates•Hello Halo Productions and Current Affairs•Disclosure: Suffer the An t-Sealg•MacTV for BBC Alba Verge•Merman/House Productions Oak Island Films for BBC One Children•BBC Scotland Post-production – Editing•Berny McGurk, for RTÉ2 and W Documentary and Specialist Factual – Sport – Live Event•The Betfred League Imagine… Rupert Everett: Born to be Director•Simon Hynd, There She Goes• Arts•Imagine… Rupert Everett: Born to Cup Final 2018•Sunset+Vine for BT Sport Wilde•BBC Studios for BBC One Merman for BBC Four be Wilde•BBC Studios for BBC One Sport – Programme•Tommy Burns• Post-production – Graphics and Titling• Comedy•FUNC•The Woven Thread Documentary and Specialist Factual – purpleTV for BBC Alba Peepshow, Angela Carter: Of Wolves & for BBC Alba History•The Flu That Killed 50 Million• Short Form•Time For Love• Women•BBC Studios for BBC Two Children•Buidheagain•Sorbier Produc- BBC Studios for BBC Two BBC Scotland for BBC The Social Student Television Award•What tions for BBC Alba Documentary and Specialist Factual – Animation and VFX•The Great War: Separates Us from the Beasts•Royal On-screen Personality•Sabrina Grant, Science and Natural History•The Secret An Orkney Memorial Experience• Conservatoire of Scotland

Television www.rts.org.uk July/August 2019 37 BBC OBITUARIES John Myers 1959-2019

riends and colleagues in his home city of Carlisle he became the star of the from the world of and he spent nearly four 1999 BBC Two documentary television and radio years at Border Television, series Trouble at the Top, which packed Carlisle where he was an in-vision observed the launch of a new FCathedral in June for the continuity announcer. One radio station in the north funeral of media executive of his signature achieve- west. His hiring of ex-politi- John Myers, who died sud- ments was introducing the cian Derek Hatton and his denly, aged 60. unpredictable puppet Eric firing of the religious affairs John Myers

John was one of the most the Monkey. producer made headlines. Media Myers influential and successful John went on to be a guest In recent years, he focused figures in British media, presenter on neighbouring on his company Myers Media, John was an active com- having launched and devel- Tyne Tees Television while and enjoyed spending time mittee member of the North oped commercial radio running Century Radio, with students at the Univer- East and the Border Centre, brands including Century, where he also hosted the sity of Sunderland and Cum- chairing awards panels and Smooth, Real and Rock. station’s breakfast show. briaJohn University. Myers organising events. He was Chief Executive His presenting style was He would use his extensive He had a passion for golf of both GMG Radio and the warm but anarchic. His 2012 contacts generously to secure and was at the 18th hole at Radio Academy, and pro- autobiography Team, It’s Only work experience and his Gleneagles in Scotland when duced the Myers Report on the Radio, is packed with laugh- masterclasses were direct and he collapsed and died. He future of local radio for the out-loud examples of on-air entertaining; “If you’re coming had recently been given the Department for Culture, incidents with guests and to me for a job, look me in the all-clear following treatment Media and Sport (as it was) in listeners. These included the eye, have a firm handshake for throat cancer. 2009. Two years later, he woman who insisted during and be nice to whoever wel- John is survived by his advised the BBC on stream- a phone-in that Hitler’s first comes you into the building. wife, Linda, children Scott lining its radio services. name was Heil. Because, after your inter- and Kerry and grandchildren, His early career saw him John’s management style view, I’ll be asking them Mia and Marcus. n working for BBC local radio was similarly legendary and what they thought of you.” Graeme Thompson Bernadette Rogers 1929-2019

TS Fellow Berna- Bernard was born and dette Rogers, who brought up in south London, died in May at the and married Joyce in the late age of 89, was a 1960s. In 1991, he underwent Rformer director of research gender reassignment surgery, at Rank and a chief scientific becoming Bernadette. adviser to the government After taking time off to on broadcast technology. recover from the surgery, she Bernard, as he then was, returned to work in Whitehall joined the Society in 1958 as Bernadette. Years later, she and became a Fellow in 1975. told the Northampton Chronicle At the time, he was chief & Echo: “On the first day I sat engineer and manager of the in the big chairman’s chair Advanced Laboratory at Rank and in front of me was a big Radio International. envelope. In it was only one He joined Rank in 1952 thing – the key to the ladies’ Bernadette Rogers (left) and partner Joyce

to work on colour TV. He loo. Even Whitehall could act PA went on to advise Margaret very sensitively.” Thatcher’s Government. One The Gender Recognition issued with a new birth cer- News she had always known of his tasks was to win accep­ Act in 2004 gave Bernadette tificate as a woman. In 2005, that she was really a woman: tance for the British Teletext legal acknowledgement of she and Joyce divorced so “I’ve been waiting 71 years system from standards bodies the change in her gender, they could become civil part- for this.” n in Europe and the US. which allowed her to be ners. Bernadette told BBC Matthew Bell

38 RTS NEWS

he Society held its first people in the industry”. ever bursary students Rogan’s new mentee is and mentors recep- University of Sheffield Jour- tion at the BFI in cen- nalism Studies student Liam Ttral London in June, attended Warden, who said: “I’ve by participants drawn from already learnt about the all five years of the scheme. importance of networking Addressing the students – and how things can happen and mentors, RTS Education through making connections.” Chair Graeme Thompson James Mailey, who recently said: “You are part of a thriv- completed his computer ing project, which is making a science degree at Durham difference to representation University, also highlighted in the TV and screen industry. the benefits of networking. We fervently believe that we “The bursary money has reach the parts that others in been a help, but the chance the industry can’t reach – and to network with so many that’s fantastic for the diver- great people has given me sity of our industry.” opportunities to find work. Liam Warden (left) and James Rogan

RTS CEO Theresa Wise Hampartsoumian Paul Coming from a science added: “The media industry background, I never thought should reflect the country I’d be able to get into TV,” he and, if it is only reflecting said. While studying, Mailey those who can afford free Bursaries mark has worked as a paid loca- internships or who have tion scout and as a runner for families with connections, Freeform Productions. then we’re not doing our job.” RTS Production and Broad- Mentors are a key compo- first five years cast Journalism Bursaries are nent of the RTS bursary offered to students from less scheme, which, by the end support for this scheme,” an internship at the indie he affluent backgrounds with of 2018, was supporting said Thompson. founded, Rogan Productions, the goal of widening partici- 125 students at 44 universi- James Rogan mentored helping him “to work out pation in television. The ties. “We’ve been incredibly Adam Mann, who worked as which direction he wanted Society also offers Technol- fortunate to recruit really a researcher on BBC Two doc to go in”. As a mentor, Rogan ogy Bursaries. The scheme is amazing people from broad- The Mighty Redcar and is now tries to “give students an supported by All3Media, STV, casters and production com- in the same role at factual understanding of how the Disney and the Steve Hewlett panies up and down the land indie The Garden. He gave interview process works Memorial Fund. n who’ve given their time and Mann experience on sets and and how to engage with Matthew Bell

about disability out of London potential solutions to address and change how the industry issues around stereotyping, Cardiff kicks off works for everyone. It will trust, legacy, outreach and fear. focus on local issues and One worker explained how solutions, generated through he had to hide his disability diversity debates intimate, accessible and open to get a job in TV. Another discussions. described a fear of being n The Creative Diversity Net- Such honesty can be reveal- ‘stitched-up’ by producers, work and the RTS have joined ing, showing how nuanced arguing that role models can forces to host discussions on and subtle cultural values in help to change perceptions and diversity across the UK. The broadcasting can inadvertently increase trust. first event – ‘The network exclude viewers, particularly Creative Diversity Network speaks: beyond tokenism’ – from ethnic minority groups. CEO Deborah Williams thanked took place in Cardiff in June As one contributor put it, ‘Gar- RTS Wales for partnering with to a full house of unscripted dening programmes appeal to her organisation: ‘I enjoyed the programme-makers from a white, middle-class audience day immensely and felt it was Wales, who took part in a con- – but some viewers might say, a resounding success. I hope versation about diversity and “Who needs a garden anyway? they all continue in this vein representation on screen. Asians don’t do gardening, we and are as productive as this The series of discussions just concrete over it.”’ one in Cardiff.’ Deborah Williams

aims to take the conversation Wiliam Hywel The session highlighted Lou Phelps and Hywel Wiliam

Television www.rts.org.uk July/August 2019 39 Your guide to upcoming events. Book online at RTS NEWS www.rts.org.uk

RTS AWARDS ■ Phil Barnes NORTHERN IRELAND National events Monday 25 November ■ [email protected] Thursday 25 July RTS Craft & Design Awards RTS NI Programme Awards RTS EARLY EVENING EVENT 2019 MIDLANDS launch event Thursday 29 August Sponsored by Gravity Media Thursday 3 October Enjoy a glass of prosecco In conversation with Jeff Pope Group Zomboat masterclass and or beer on arrival. Held in With journalist and broadcaster London Hilton on Park Lane screening association with Media Therapy. Caroline Frost. Jeff Pope is head 22 Park Lane, London W1K 1BE When the zombie apocalypse 4:00pm-7:00pm of factual drama at ITV Studios is unleashed in Birmingham, the Venue: The Orpheus, Hill Street, Venue: TBC RTS FUTURES only way to escape is by… canal Belfast BT1 2LB Wednesday 12 February 2020 boat. Zomboat premieres on RTS CAMBRIDGE CONVENTION RTS Futures Television Careers ITV2 in the autumn and on Hulu Thursday 7 November 2019 Fair 2020 later this year. RTS NI Programme Awards 18-20 September 10:00am-4:00pm Venue: TBC Venue: The MAC, 10 Exchange Content, consumers and Venue: Business Design Centre, Street West, Belfast BT1 2NJ everything in between 52 Upper Street, London N1 0QH Monday 7 October ■ John Mitchell Principal sponsor: ITV. Chaired by RTS Midlands TV Careers ■ mitch.mvbroadcast@ Carolyn McCall, CEO, ITV. Con- Fair 2019 btinternet.com firmed speakers include: Karen Local events Book via Eventbrite.co.uk. Blackett OBE, country manager, Tickets are £10, and cannot be REPUBLIC OF IRELAND WPP; Philippa Brown, CEO, PHD DEVON AND CORNWALL purchased on the door. Minors ■ Charles Byrne (353) 87251 3092 Worldwide; Jeremy Darroch, CEO, ■ Jane Hudson must be accompanied by a ■ [email protected] Sky; Howard Davine, executive ■ RTSDevonandCornwall@rts. fee-paying adult. Panel sessions vice-­president, business oper- org.uk with production teams and SCOTLAND ations, ABC Studios; Tony Hall, talent, bootcamps, CV advice, September – date TBC Director-­General, BBC; Reed EAST networking and information The technology behind Hastings, CEO, Netflix; Tim Hincks, Thursday 21 November about the jobs and training weather reporting Co-CEO of Expectation; Sir The Galaxy Britain Built: The schemes that are available. With STV’s Sean Batty. Lenny Henry; Alex Mahon, CEO, British talent behind Star 10:00am-4:00pm Venue: STV Pacific Quay, Channel 4; Jane Turton, CEO, Wars – screening and Q&A Venue: Edgbaston stadium, Glasgow G51 1PQ All3Media; Sharon White, CEO, Join David Whiteley and special Birmingham B5 7QU ■ Cheryl Strong Ofcom; Rt Hon Jeremy Wright guests for a screening of his ■ [email protected] MP, Secretary of State, DCMS; award-winning film. To book a Friday 29 November Linda Yaccarino, Chair of adver- place, email [email protected] RTS Midlands Awards SOUTHERN tising and client partnerships, Venue: TBC Venue: International Convention ■ Stephanie Farmer NBCUniversal;­ and David Zaslav, ■ Jayne Greene 07792 776585 Centre, Broad Street, ■ [email protected] President and CEO, Discovery. ■ [email protected] Birmingham B1 2EA Venue: King’s College CB2 1ST ■ Jayne Greene 07792 776585 THAMES VALLEY ISLE OF MAN ■ [email protected] ■ Tony Orme STEVE HEWLETT MEMORIAL ■ Michael Wilson ■ [email protected] LECTURE 2019 ■ [email protected] NORTH EAST AND THE BORDER Tuesday 24 September ■ Jill Graham WALES Speaker Mark Thompson LONDON ■ [email protected] 3-10 August Mark Thompson is President Wednesday 9 October National Eisteddfod 2019 and CEO of the New York Times IBC 2019 review NORTH WEST Eisteddfod events details TBC Company, and a former Direc- Joint event with the Institution Thursday 26 September Venue: Llanrwst, Wales tor-General of the BBC. Drinks of Engineering and Technology. Awards launch party ■ Hywel Wiliam 07980 007841 reception sponsored by BBC 6:30pm for 7:00pm Details TBA ■ [email protected] Studios. 6:00pm for 6:30pm Venue: IET, Savoy Place, London Venue: Compass Room, Lowry Venue: University of Westminster, WC2R 0BL Theatre, Salford Quays M50 3AZ WEST OF ENGLAND London W1W 7BY ■ Suzy Lambert Wednesday 4 December Saturday 23 November ■ [email protected] RTS MASTERCLASSES Christmas Lecture: RTS North West Awards Tuesday 5 November and David Abraham Venue: Hilton Deansgate, 303 YORKSHIRE Wednesday 6 November 6:30pm for 7:00pm Deansgate, Manchester M3 4LQ ■ Lisa Holdsworth 07790 145280 RTS Student Masterclasses Venue: Cavendish Conference ■ Rachel Pinkney 07966 230639 ■ lisa@allonewordproductions. Venue: IET, 2 Savoy Place, Centre, 22 Duchess Mews, ■ [email protected] co.uk London WC2R 0BL London W1G 9DT

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RTS_A4.indd 1 25/07/2017 11:16 OFF M E SSAGE

hinking of booking winners. The good news is that 25 of holder Carlton during a difficult a motivational the films are available on a YouTube period and was one of the pioneers speaker? Look no channel, with a link to the playlist of breakfast TV in the UK. He was further than the at www.rts.org.uk/StudentFilms2019. also an early champion of diversity. diminutive power- If you want to get a taste of the He left TV in 2011 to chair the house that is Siobhan imagination, craft skills and range of Disasters Emergency Committee. It Greene, one of the the work undertaken by year’s awards is this work that he was knighted for, doyennes of TV entertainment. contenders, take a look. which he said had renewed his belief T“I don’t take drugs but, if I did, TV You’ll regret if it you don’t. in mankind. “You see the British would be my drug of choice,” Shu told public making donations and then the youthful audience at the recent ■ Jed Mercurio revealed his disdain you can see in, for example, the RTS Student Television Awards. for internet abuse at the Society’s Philippines a community being Her rousing opening remarks hugely enjoyable live staging of The rebuilt,” he noted. wowed the wannabes who heard South Bank Show last month, which Aged 70, Clive is preparing to take how she’d defied difficult circum- featured some of the country’s lead- over the chairmanship of another stances to rise to the top. Shu was a ing TV dramatists. charity – Sightsavers, which works teenage single mother who went on Would the panellists rewrite and to prevent avoidable blindness to become a high-flying key exec at reshoot scenes in response to a worldwide. Simon Cowell’s Syco. social-media backlash, asked one “Well, my wife says I’m dangerous Her big break came when she member of the audience? when I’m bored,” he says. landed a job at Yorkshire Television in “I think the clue as to whether that the typing pool. “The people at YTV [type of criticism] is valid is contained ■ And, finally, Off Message was made me believe I could be someone,” in the two words, ‘social media’,” flattered to be invited to the Con- she recalled, outlining her incredible replied the Line of Duty creator. “On servative Party’s Arts and Creative journey from Halifax to Hollywood. Twitter, people are telling me the Industries Network’s summer bash. A more impressive role model for Earth is flat.” CACIN’s soirée was held in the his- the next generation of TV talent would After a moment’s thought, he tory-soaked atmosphere of Soho’s The be hard to find. added: “If these muppets on Twitter Court, once known as the Bag O’Nails, Off Message wishes Shu huge suc- were able to crowdfund the budget, I a 1960s watering hole frequented by cess when she leaves ITV to launch would love to reshoot everything I’ve the Beatles and Jimi Hendrix. her own production company in ever done.” “If we had a Boris cocktail tonight, September. it would be robust and full-bodied,” ■ Congratulations to Clive Jones, the quipped Damian Collins MP, chair of ■ Staying with the student awards, erstwhile ITV executive knighted in CACIN, as he greeted guests. Off Message wasn’t the only one the recent Queen’s Birthday Honours. As for the characteristics of a “Jer- to be blown away by the amazing Clive’s career in television was emy” cocktail, Off Message couldn’t quality of this year’s nominees and legendary. He ran ITV franchise possibly comment.

42 July/August 2019 www.rts.org.uk Television RTS PATRONS RTS Principal BBC Channel 4 ITV Sky Patrons

RTS A+E Networks International Netflix International CGTN The Walt Disney Company Patrons Discovery Networks Turner Broadcasting System Inc Facebook Viacom International Media Networks Liberty Global YouTube NBCUniversal International

RTS Accenture Enders Analysis KPMG Spencer Stuart Major Amazon Video Entertainment One McKinsey and Co STV Group Patrons Atos Finecast Motion Content The Trade Desk Audio Network Freeview Group UKTV Boston Consulting Fremantle netgem.tv Vice Group Gravity Media OC&C Virgin Media BT Group Pinewood TV YouView Channel 5 IBM Studios YM&U Group Deloitte IMG Studios S4C EndemolShine ITN Sargent-Disc

RTS Autocue Isle of Media Red Bee Media Patrons Digital Television Group Lumina Search Grass Valley Raidió Teilifís Éireann

Who’s who Patron Chair of RTS Trustees CENTRES COUNCIL Education at the RTS HRH The Prince of Wales Tom Mockridge Dan Adamson Graeme Thompson Lynn Barlow Vice-Presidents Honorary Secretary Tony Campbell RTS Futures David Abraham David Lowen April Chamberlain Alex Wootten Dawn Airey Dan Cherowbrier Sir David Attenborough OM Honorary Treasurer Agnes Cogan RTS Technology Bursaries CH CVO CBE FRS Mike Green Caren Davies Simon Pitts Baroness Floella Kieran Doherty Benjamin OBE BOARD OF TRUSTEES Stephanie Farmer AWARDS COMMITTEE Mike Darcey Lynn Barlow Cat Lewis CHAIRS Greg Dyke Julian Bellamy Will Nicholson Awards & Fellowship Lord Hall of Birkenhead Tim Davie Tony Orme Policy Lorraine Heggessey Mike Green Fiona Thompson David Lowen Armando Iannucci OBE David Lowen Michael Wilson Ian Jones Anne Mensah Judith Winnan Craft & Design Awards Baroness Lawrence of Tom Mockridge Lee Connolly Clarendon OBE Simon Pitts SPECIALIST GROUP David Lynn Sarah Rose CHAIRS Programme Awards Sir Trevor McDonald OBE Jane Turton Archives Wayne Garvie Ken MacQuarrie Rob Woodward Dale Grayson Gavin Patterson Student Television Trevor Phillips OBE EXECUTIVE Diversity Awards Stewart Purvis CBE Chief Executive Angela Ferreira Siobhan Greene Sir Howard Stringer Theresa Wise Early Evening Events Television Journalism Bursaries Manager Keith Underwood Awards Anne Dawson Simon Bucks

Television www.rts.org.uk July/August 2019 43 CONFIRMED SPEAKERS INCLUDE: Karen Blackett OBE Philippa Brown Jeremy Darroch Howard Davine Tony Hall Reed Hastings Sir Lenny Henry Tim Hincks Stephen Lambert Alex Mahon Piers Morgan Jane Turton Sharon White The RT Hon Jeremy Wright MP Linda Yaccarino David Zaslav