A matter of life and death in the Middle East
Blurred lines between our subject’s dementia and his ‘true’ personality made for a difficult shoot
When the Nazis won the war
The presenter agreed to our doc on one condition: he wouldn’t cry for the camera
As we filmed in crowded Vietnamese markets and Thai temples, we had to be ready to switch locations at short notice if permission to film in China finally came through, says Joel Wilson
Insight of a trial of a mother accused of failing to protect her baby from a violent assault by her boyfriend.
Sleight of hand in the edit helped illustrate this extraordinary story
Weeks to examine the challenges facing our hospitals.
Hell and back in 4K with a Hollywood star
More than 30 ultra-realistic ‘spy creatures’ took viewers into the animals’ world
Sending warring families to extreme locations
Why do criminals think TV is the place to protest their innocence?
Broadcast took a peek under the bonnet of shows including First Dates, Marcella and Dogs Might Fly. Click for the pick of the year’s Behind the Scenes.
Inside No. 9 producer Adam Tandy talks to George Bevir about creating a working 1970s drama set with period cameras and lighting for the return of the darkly comic anthology series
What started out as a bid to photograph a rare leopard in Azerbaijan turned into a mission to preserve a unique species, says Adrian Steirn
Rebooting the format a decade on allowed the use of much more powerful software
With big budgets comes big responsibility
Running 150 miles up three mountains in three days not enough? Try being presenter and assistant producer too
By rejecting the use of mini cams, gimbals and drones, we strove for visual honesty of life in the pits, says Wesley Pollitt
We wanted to get an intimate view of the ambulance crews. The solution: shooting on GoPro cameras and wrangling data in the back of a Volkswagon, says Jacqueline Hewer
Stacey Dooley has revealed her reasons for venturing into a war zone for the first time following the launch of her Isis-themed BBC3 documentary.
Underprivileged students at a public school in America’s Deep South face huge challenges, but their sense of hope and determination was inspirational, writes Marcus Plowright
The ‘power of Leo’ compelled film-maker Fisher Stevens to return to the theme of climate change. The actor opened doors and made the topic sexy too, he tells Manori Ravindran
The first night of broadcasting was a variety extravaganza – The X Factor of its day – and recreating it was a daunting task, says Peter Gauvain
Zero fakery, an inspiring cast and gripping storylines with genuine emotion were key to replicating the appeal of the US format, says Fiona O’Sullivan
Outrageous switches of tone are a key part of this contemporary supernatural story, but were hard to pull off, says Julian Murphy
We were warned that shooting in the jungle would be brutal, but with 40°C heat and 95% humidity, the reality was even worse, says Sophie Leonard
From different episode lengths to unusual aspect ratios, Black Mirror’s move from C4 to Netflix has given the production and post teams freedom to experiment. Robin Parker reports
Online shorts perfectly supported a Reggie Yates doc on gun crime in Chicago, writes Dov Freedman
A decade after its groundbreaking series, BBC Studios’ NHU is again using cutting-edge techniques and technology to take the viewer right into the world of animals.
Having finally won the commission after seven years of trying, dive-bombing seagulls and disruptive jet-skiers were just some of the challenges we faced, say Polly Leys and Kate Norrish
Production on our action romp took us around the world in search of adventure, says Simon Winstone
The opportunity to make a series about a major British institution doesn’t usually just fall into your lap, says Katie Buchanan
Red Planet’s first factual commission demanded an astonishing level of trust in a closed-ranks organisation, says Dan Gold
Our comedy gameshow featuring celebrities taking part in lifesize versions of classic video games had to appeal to two different groups: hardcore gamers and the general audience, says Donald Taffner Jr.
An old car plant near Swansea makes an unlikely home for Amazon Prime’s lavish production about the golden age of French couture, finds Benji Wilson
After winning a Bafta for The Murder Detectives, director Dave Nath had his pick of documentary subjects. So why did he turn to drama?
Fires at sea, tidal changes, hurricanes, and old-fashioned bad planning were all issues, says David Notman-Watt.
From location and choice of director through to the show itself, Borderline was all about getting the best out of improvisation, says Zoe Rocha
Reuniting Mary Decker and Zola Budd for the first time since their 1984 clash, it was clear how much it had affected both their lives, says Karen Emsley
As Sir Killalot, Matilda and the rest of the Robot Wars gang prepare for their TV comeback, Olly Grant visits the giant set where the souped-up veterans will take on the next generation
If our participants were to succeed in building a new society, we had to let them make all the decisions – even if it meant we had no idea where to set up our rig, says series editor Liz Foley
We found many inspiring people in our journey to reveal the society the Kurds are trying to build in Syria, says Marta Shaw
Court restrictions, bomb threats and intense security challenged our attempt to tell the story of the judge who took on the mafia, says Paul Sapin
It’s 9am on day one of our auditions. The casting team are briefing a room of diverse women aged between 19 and 62 in preparation for their interviews, to be filmed in their bra and pants.
We shifted the action to Northern Ireland and introduced musical elements to turn this Disney Israel format into something that will resonate with European audiences, says Steven Andrew
To gain access to a tough US prison, we gambled with telling some stark truths about our intentions, says Lee Phillips.
Russell Levin highlights the challenges of trying to film 300 tonne aircraft taking off from the coldest city on earth.