Features – Page 48
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Behind The ScenesA Very Sicilian Justice, Al Jazeera
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
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FeaturesFinancing drama - funding TV's golden age
As UK drama competes on an increasingly global stage, budgets are going up and having a single broadcaster attached is no longer enough. Neil Midgley reports
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Behind The ScenesLife Inside Jail: Hell on Earth, ITV
To gain access to a tough US prison, we gambled with telling some stark truths about our intentions, says Lee Phillips.
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FeaturesDebate: Impact of the scripted boom
Broadcasters and indie chiefs gathered at the Media Summit to discuss issues such as the rise of SVoD services Netflix and Amazon - and what the future holds for the genre
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FeaturesBorn On The Same Day, C4
Tracing the lives of celebrities and ordinary people born on the same day brings a fresh approach to the biography format, says Laura Mansfield
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FeaturesAttenborough: BBC has an incomparable responsibility
Sir David Attenborough has spoken out about the value of the BBC as part of a wide-ranging conversation at Sheffield Doc/Fest, during which he reflected on his six decades in broadcasting.
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FeaturesThe Broadcast Interview: HBO docs boss Sheila Nevins
HBO documentary chief Sheila Nevins has revealed that she is looking for films that cover the impact of social media on society, male brutality towards women and the status of black art – while warning producers there are no trends in factual filmmaking.
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FeaturesGoggledocs
Five of the UK’s top TV documentary-makers watched C4’s factual output in the first week of February. Here they deliver their verdicts in the style of the channel’s hit series Gogglebox
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The Broadcast InterviewLaura Ricciardi and Moira Demos, Making A Murderer
Netflix’s global hit documentary series was 10 years in the making. Alex Farber hears how directors Laura Ricciardi and Moira Demos developed their vision with the on-demand service
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The Broadcast InterviewNeil Grant, Films of Record
Films of Record managing director Neil Grant tells Robin Parker about the streak of anarchy and love of provocation and playfulness that have marked his career in groundbreaking TV
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Behind The ScenesCity in the Sky, BBC2
Russell Levin highlights the challenges of trying to film 300 tonne aircraft taking off from the coldest city on earth.
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Behind The ScenesBattle of Jutland: the Navy's Bloodiest Day, BBC2
What started as a personal story for executive producer Liz McLeod became a technical jigsaw puzzle for director Alicia Aarce
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FeaturesFocal International Awards: winners
Broadcast takes an in-depth look at some of the winners and shortlisted entries in this year’s Focal International Awards - including Firelight Films’ The Black Panthers and On The Corner’s Amy.
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Behind The ScenesNeil Gaiman’s Likely Stories, Sky Arts
The trick to adapting four unconnected short stories from the pen of cult author Neil Gaiman was to give them a ‘shared grammar’, directors Jane Pollard and Iain Forsyth tell Olly Grant
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Behind The ScenesLast Whites of the East End, BBC1
We warmed up many of our contributors over a pint - but we had to out ourselves as lightweights, says Kelly Close
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Behind The ScenesLove, Nina, BBC1
Our fictionalised take on Nina Stibbe’s book tries to shine a light on the every day with wit, heart and visual flourish, says Jamie Laurenson
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Behind The ScenesHetty Feather, CBBC
Convincing children that ‘old stuff ’ is worth watching is one thing; curbing contemporary slang on set is quite another, discovered David Collier
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Behind The ScenesChildren On The Frontline: The Escape, C4
Revisiting a family trying to escape the conflict in Syria presented many challenges, says Marcel Mettelsiefen. But the hardest was balancing the roles of friend and film-maker
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Behind The ScenesLord Montagu
How did a Texan come to make a feature-length doc about an aristocrat he had never heard of? Luke Korem explains
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Behind The ScenesBen Fogle: The Great African Migration, C5
Capturing a year in the life of four wildebeest over just 40 days’ filming was no small undertaking, discovered Natalie Wilkinson