Producer Emma Taylor on overcoming Covid protocols to help Patricia Bright converse with inspirational women
The second wave of Covid completely changed the nature of our doc series says producer Farah Qayum
With its key whaling scenes filmed on location in the Arctic, The North Water is probably the most northerly drama shoot ever attempted
The unlikely combination of Covid protocols & problematic pets made our pop-up event clinic a joy & a challenge, says Muireann McGinty
Producer Joanna Bartholomew on revisiting an intriguing case of mistaken identity and bungling ineptitude
BBC3 music format aims to reinvigorate the genre by putting a new generation of black British artists in the spotlight
Annika exec producer Arabella Page Croft spotted a tiny window of opportunity with lead Nicola Walker and grabbed it with both hands
Story Films hands a fresh perspective to C4’s drama exploring the notorious Rachel Nickell investigation
Careful planning and creative storytelling ensured we could build the narrative for our blue-light factual series, says James Knight
The late great singer’s story had never been told by the people closest to her – until now, says Marina Parker
We used every ounce of ingenuity to achieve Dawn and Jennifer’s vision, says Glen Middleham
Putting talent in cohorts and and dropping the ‘baying horde’ were key to getting our wild ITV2 entertainment series to air, says Ben Wilson
We literally found ourselves in the firing line filming our documentary series for Vice, says Adam Laister
Covid-19 forced us to totally rethink how we made our Discovery+ doc about a tiger shark attack in the Pacific, says Martin Cass
Making a Shark Week competition series during Covid meant commandeering a private jet to fly a testing lab to The Bahamas, says Jo Locke
Singer’s exploration of his mother’s homeland was also his first time presenting an ob-doc, says Carrie Smith
Producer Sarah Lambert on taking a different approach to a crime story
Shot in just 10 days, with a cast of three and a single location, BBC2’s lockdown drama aired just four months after being greenlit
We wanted to make our wildlife series a bingeworthy boxset, says executive producer Caroline Hawkins
Constructing the narrative for Building Britain’s Biggest Nuclear Power Station was a test of trust and patience, says Mat Stimpson
Channel 5’s ambitious new original drama aims to reset the narrative around Henry VIII’s second wife
Richard Nash on telling the story of how a former British footballer’s intervention meant a million Chinese orphans were moved into foster families
Recording how Noel Fitzpatrick’s life was turned upside down was an emotional rollercoaster says exec producer Alex Sutherland
Music venues were closing a significant rate before Covid struck, but our doc series chronicles a fightback led by artists, says Justin Rees
The pandemic placed production of our BBC drama in peril but strange new ways of working saw us through, says Pete McTighe
BBC drama Staged was an unexpected inspiration when pandemic problems hit our BBC4 and PBS science series, says Fiona Caldwell
The coronavirus cut our Sky swords ‘n’ sandals drama by two episodes and forced us into re-writes for an unexpected courtroom drama, says Simon Burke
Reformatting a US series on UK soil for an international audience during lockdown proved a winning experience, says Paula Campion
Finestripe set out to smash taboos on C4 single and was helped along by a host willing to open up, says director/producer Linda Sands
My childhood friendship with the Little Mix star helped focus our exploration of race, says Tash Gaunt
Producer Vici King on why bringing the popular children’s tales to screen was like making vodka
Yorkshire Vet indie Daisybeck’s signature heartfelt style was applied to a sometimes-divisive subject, says development producer Claire Scollie
Ensuring a diverse crew was crucial to spotlighting the football star’s childhood experiences, says producer Charlene Chika Osuagwu
Casting a business guru willing to invest big sums during Covid took more than blue sky thinking, says Nick Parnes
Filming whale culture in every ocean on earth, but you still have to fight to keep the emotion going on-screen, Brian Armstrong argues
Rockerdale Studios underwent ‘detailed exploration of a new world’ to forge C4 social media show , says exec Michelle Singer
The team behind BritBox’s original drama on how colour-blind casting & a gender switch bring a different dimension to their novel adaptation
Creating Intergalactic for Sky 1 was a mix of big ambitious and clear boundaries, says Kieron Hawkes
Justine Kershaw reveals how a near-fatal accident inspired Blink’s new BBC2 series about strangers connected through trauma
Our Comedy Slice adaptation of Adjani Salmon’s online hit shows people of colour given senior positions create brilliant programmes, says Gina Lyons
Wonderhood Studios’ doc series Baby Surgeons challenged us to film sensitively and carefully, says James W Newton
Going into production during the global pandemic meant using a technique reserved for big-budget films on our Channel 4 doc, says Alex Parkinson
Telling the story of the great Renaissance painter came together when we discovered his possible ‘muse’, says Frank Spotnitz
Creating Discovery+’s GameStop: The Wall Street Hijack was a complicated and exciting challenge – and so was its presenter, says Mark Radice
Collaborating with the National Theatre was a rewarding experience says producer David Sabel
Presenter reveals how a family accident led to More 4’s Our Farm in the Dales
A herculean effort was undertaken to get George Floyd’s accused murderer’s trial on screen, says exec Scott Tufts. Words: Emma Bullimore
Writer Kay Mellor on her determination to mix young working-class actors with more familiar faces as her Lottery-winner drama returns
The pandemic posed unimagined problems for our behind-the-scenes look at the supercar world for Dave, but a belt and braces approach got us over the finish line, says Jonney Steven
Honouring the brave accounts of the women attacked by John Worboys was essential to making this documentary, says Sheun Adelasoye
Building trust with officers was key to recording some extraordinary moments, says series producer Louise Malkinson
Directing The Secret Science of Sewage under Covid was smelly and hard, but led to real-life breakthroughs, says Craig Collinson
We wanted to celebrate the TV presenter’s life, but she deserved more from our industry says director Charlie Russell
Physical closeness, juggling contributors’ cold feet and patience all played a part in getting Sky’s Dating No Filter off the ground
Exec Andy Dunn on why trust was key for the two-parter revisiting a shocking death
A previous career in the police helped Dan Clark-Neal gain the trust of contributors for a locked down run of the W series
The Yorkshire Ripper’s New Victims producer Heenan Bhatti on recording the emotional stories on those who survived at the hands of Peter Sutcliffe
Humble Bee Films’ Sharmila Choudhury on bringing Attenborough’s Life In Colour to the screen
Samson Kayo, Nathan Bryon and Ash Atalla explain how a sliding-doors moment led to the two young talents being entrusted with a major sitcom
The celebrity chef navigated time differences and quarantines to film our BBC1 game show, says Sue Allison
Our Canadian Netflix original drama relied on great actors, production magic and animated battle maps, says Stephen Scott
Covid-19, budgets and a trio of lockdown beards were among the challenges we faced creating our latest Lucy Worsley programme, says Emma Hindley
The length of the great man’s grand piano helped Alison Howe’s team produce the 56th series of Later with… Jools Holland during the pandemic
We wrecked gardens, circumvented local councils and stunk out a Premier Inn hotel room to create The Great British Dig, says Steve Wynne
We gained access to the people closest to convicted US killer Jodi Arias as the world locked down, says Lucie Ridout
Gaining the trust of a community dubbed ‘Broken Britain’ was tricky but rewarding, says director/producer Neil Rawles
We’d nearly finished filming our panel show when production stopped, but we adapted, says Dom Wells-Martin
Russell T Davies on why it was so important to cast gay actors in his 1980s-set AIDS drama
Our ambitious attempt to reinvent pop-science for Amazon involved 13 shipping containers, a desert island and massive builds, says presenter
Covid forced us to make decisions on the fly to film and produce our Sky Kids series, says Sueann Rochester
Every eventuality has been considered and contingency plan plotted for 13th series of ITV’s ice-skating competition, says Clodagh O’Donoghue
Bad Wolf exec producer Lachlan MacKinnon on creating 16th century London in South Wales
Covid-19 played havoc with the planning of our BBC1 dog grooming competition series but it might have also made it better, says Damon Pattison
Lockdown restrictions have forced factual producers to think differently – but this can present creative opportunities, says Dominic Gallagher
Mucking in and keeping crew and cast safe were key to our Covid-themed comedy for BBC1, says Tom Jordan
ITV2 dating format may lack the ‘rattling pace or ratcheted drama’ of similar behemoths but it gives viewers room to breathe, says exec Ben Stevens
Face-covering jokes aside, it took a Herculean effort to get the The Masked Singer’s second run on screen, says exec Derek McLean
Assessing the environmental cost of our quest to film the famous skaters perform the Bolero in nature underpinned our production, says Helena Braun
Director Lenny Abrahamson and executive producer Ed Guiney reveal their experiences pulling together BBC3’s romantic drama
It was a race against time to realise our ambition for Channel 4’s animated special from day one, says Massimo Fenati
How Sky’s festive drama battled bad weather and the pandemic to make it to air in time for Christmas
Sifting through 960 stores to discover the ‘people behind the uniform’ was a daunting task, says C4 ob-doc director Jonny Ashton
We scoured the planet to find the surgeons whose pioneering and lifesaving work is at the centre of our Netflix doc series, says James van der Pool
Tern TV had to grapple with PM’s Whack-a-Mole strategy and spiritual donkey-related conundrums for BBC1 three-parter, says exec Brendan Hughes
Our quest to document ancient rock art brought us face to face with Colombia’s most wanted man, says Paul King
Filmmaker Xavier Alford on the cathartic experience of sharing the story of his illness
Creating a relaxed atmosphere for child actors in a Covid-19 world was no easy task, says exec producer Caroline Cherry-Roberts
How ITV Studios pulled off a series of ambitious 60th anniversary specials under Covid restrictions
Pulling off major constructions for television is tough at the best of times, so imagine that during a pandemic, says Hamish Summers
Our technology has transformed Netflix and A&E’s WWII drama into a unique live-action/comic book hybrid, says Greg Jonkajtys
There was genuine jeopardy as our anthropological experiment pushed our ‘Stone Age’ cast to the limit, says Natalie Wilkinson
John Elmes discovers that Sky Italia’s epic series was as much history lesson as high-concept drama for producer Cattleya
Showing the truth about disability, leaky colostomy bags and all, is at the heart of Curious doc about the BBC security correspondent
Our Channel 4 documentary reveals the quiet anxieties of staff at the famous theme park, says Kate Siney
We braced for a social media reaction to our Channel 4 music-meets-mental health special, but only found positivity, says Matt Campion
Our Lithuania-shot horror entertainment series for ITV2 could have been a nightmare but ended up a scarily strong success, says Ben Wilson
Covid-19 hit when I was filming our Channel 4 child poverty doc in US - but we decided to see it through, says Jezza Neumann
Tracing the stories of black West Indians over 16 years, director Steve McQueen’s new BBC1 series couldn’t be more relevant or timely
Every rule our animators use went out the window to create the second series of CBBC’s Scream Street, says Phil Chalk
How the trio of regional indies and commissioning editor reveal how they collaborated on A Big History of…
Producer and director Janice Sutherland, explains her C5 film about a topic no-one could bring themselves to talk about
Sometimes it felt our BBC Wales drama The Pact would never get made, but we have made it into production, say Elwen Rowlands and Hayley Manning
We had to remotely teach Beefeaters to become professional filmmakers to complete our C5 series during lockdown, says Sarah Sarkhel
Our quest to explore the mental health of the storied monarch for C5 through docu-drama took us to the Vatican and back, says Luke Korzun Martin
Our BBC2 documentary about the late soul singer was tough to finance but spotlights his life and talent perfectly, says Olivia Lichtenstein
Strictly star’s personal account of the terrible disease for BBC1 Wales transformed into a love letter to ballroom, says Laura Martin Robinson
We thought shooting the second series had been a challenge - then Covid turned up during the edit, says Edward Hart
Firecrest had to navigate a sea of challenges to weave together the wanders of a TV great, says series producer and director Andrew Abbott
Our police ob-doc series reveals the true nature of detectives’ work, says Dollan Cannell
Our More 4 series Inside the Spitfore Factory wasn’t just about filming – we were recording history, says Ed Avern
This ITV ob-doc portrays a surprising and heart-warming picture of life in pandemic-struck Britain, says Barnaby Peel
Gaining access to Walt Disney World Resort was an unforgettable experience - just don’t tell my kids, says Ash Potterton
Our ITV feature-doc exposes one of the most shocking and underreported stories in the UK’s history, says Marcus Plowright
A socially-distanced studio couldn’t stop Thames’ entertainment smash from sparkling
The motoring format got a best-of-British makeover after lockdown threatened its BBC1 debut
“It was important for us to produce a programme that didn’t feel like we were hindered by Covid-19 in any way”
Predicting the tides was just one of the challenges faced by producer Adrian Sturges and his team
Louis Bird’s voyage of discovery about his ocean-crossing rower dad for Channel 4 had an emotional toll on us all, says Johnny Burke
Our city-hopping drama production shoot had its own problems – and then Covid hit, says Hannah Pescod
The climate was challenging but ITV’s The Singapore Grip was a joy to film, says Mammoth Screen’s Farah Abushwesha
Keeping the hand of producer and director out of our shoot was key to unlocking the story of this true-crime drama
Our plan to recreate the energy of the UK’s leading comedy festival was a technical challenge like no other, says Chris Jones
We combined flatmate speed-dating with intergenerational mixing to create our funny and emotional series, says Maia Liddell
Navigating a teething two-year-old was never going to be easy for our latest CBeebies dinosaur offering, says producer Paul Deane
A wholehearted effort from the Owen family created the footage for our lockdown episode, says Kate Fraser
Co-producing the story of socialism in Cuba tested our journalistic skills to the limit, says Mick Gold
Covid-19 forced Blink Films to grill every decision when making Tom Kerridge Barbecues, says Simon Arnold
The Isle of Dogs has a magical aura and it was our challenge to represent that on screen, says Ashley Francis Roy
With productions halted and staff fighting effects of the virus, our DIY series for HGTV was a lifesaver, says Richard Osborne
Organising filming of a tomb excavation felt at times like the impossible puzzle, says Lucie Ridout
Safely and successfully following NHS workers during lockdown for Channel 4 impacted us all, says Peter Wallis-Tayler
The coronavirus put paid to several European excursions we’d planned for the Nolan sisters but we adapted, says Dimitri Nicomanis
Creating a Food Network series while self-isolating in a remote Swedish village was a unique experience, says celebrity chef Rachel Khoo
Nutopia used pre-cleansed drop kits, negotiated civil unrest and addressed the problems of front doorsteps to complete History’s lockdown doc
Communicating ‘The Donald’s’ revolutionary method of speaking to the electorate was made all the harder by lockdown, says director Emeka Onono
We needed a full arsenal of kit to capture the best footage of a giant, dusty California landfill site, says Rob Greig
Our ob-doc mini-series about unconscious racial bias in children helped out production team understand more about themselves, says David DeHaney
Constructing a real-life pyramid from scratch in Mexico was a unique TV challenge, says Bella Falk
Our teenage baking star’s parents became vital members of our production, says Sarah Murch
Reggie Yates’s drama exploration of reality TV feels like an urgent story to tell, says Sue Horth
We gathered the material for our colourised history doc just in time, says Paul Bradshaw
We were trying to gain access to film in Iran. Then lockdown piled on the pressure to finish our doc, says director Paul Elston
Dancing Ledge MD Chris Carey tells Desiree Ibekwe about telling human stories behind the headlines - and his mission to nurture new writers
How Double Act pivoted to adapt Animal Planet’s long-running series Dr Jeff: Rocky Mountain Vet as a pandemic special
Series director Anna Thomson reveals the Herculean task of exploring Ancient and modern Greece amid a pandemic
Our doc special for World Ocean Day contains shocking truths and entertaining reveals about the sea and its inhabitants, says Peter Collins
Our doc series spotlights the fantastic work of NHS staff and the threats of violence and abuse they endure during nightshifts, says Jon Connerty
The story of conjoined twins demanded we focus on their cultural and political lives – not just their medical condition, says Jack Macinnes
Lockdown did not temper the extravagant behaviour of the leads of our ITV Be reality soap, says David Granger
Director and costume designer of UKTV drama on creating two worlds in one show
Our challenge was to expand the ‘explainer video’ format into an innovative and accessible major international SVoD series, says Bruce Kennedy
Editing Coronavirus: Our Lockdown in Shanghai was like staring into the future for the team at Wonderhood Studios
Our scientific investigation into Bipolar became a personal journey into the comedian and actor’s mental health history, says Clare Richards
Rooted in child’s play but starring high-octane adults, our US sports-entertainment show combines action with humour, says Glenn Coomber
MultiStory Media ran with SVoD’s ambition to create a horticulture competition series of scale and whimsy
Our daytime conservation series highlights the crisis in Africa’s natural world and nothing would stop us telling the story, says Jannine Waddell
Levison Wood’s latest journey into the African Savannah was dangerous and full of uncertainty, but that was the point, says Alexis Girardet
We tapped into the Instagram generation’s obsession with crafting to create a reality show for everybody, says Andrew Cartmell
Filming police stories across a single hour poses challenges our crew had never faced before, says Tom Clarke
Balancing laughs and emotion in Apple TV+’s comedy series was key to revealing the truth about Britain’s adoption system, says Jim O’Hanlon
Director Lenny Abrahamson and executive producer Ed Guiney reveal their experiences pulling together BBC3’s romantic drama to Desiree Ibekwe
Film director Gareth Evans was adamant that this sprawling crime saga had to be a TV series - with stunts put front and centre, Gabriel Tate discovers
YouTube-style tutorials in self-shooting helped bring out the personal stories of sufferers - including our presenter, say Nick Godwin and James Routh
Shooting Ralf Little’s Sky 1 series on location in Weston-super-Mare was a pleasure compared with working in London, says Susie Liggat.
Known for a popular fixed rig childbirth series, our latest take on the format had to deliver fresh insights, says Dragonfly’s Tom Currie
Talkback’s debut Netflix commission offers a light-hearted take on abstinence at a time when most under-25s are suffering terrible ‘blue balls’
We dodged the coronavirus lockdown, but producing our sci-fi drama still posed several challenges, says Allon Reich
Gaining access to the huge efforts to salvage the Paris landmark threw up challenges we could never have imagined, says Joby Lubman
The news told one version of the ‘coughing major’ TV scandal but James Graham wanted to reveal a different story, he tells Jesse Whittock
OT and Luti Fagbenle refused to cut financial corners and made bold choices to bring their comedy to life, they tell Gabriel Tate
‘We wanted our adaptation to do justice to the original trilogy, so we made a conscious effort to give it a Welsh voice and sense of wonderment’
Back for its second series, C4’s strand provides an opportunity for new writers and directors from all walks of life, says Ben Bickerton
We couldn’t plan for everything but smart thinking kept our train doc on course, says Jon Cowen
Our journey through some of Britain’s most intriguing murder investigations had to be gripping, unique and entertaining, says Sarah-Jane Cohen
By speeding up the dating process and handing women the power, Label1 offers a fresh, romantic take on the genre
Making clever compromises was key to creating our madcap scripted science series for CBBC, says Jasper James
Cooking on a budget with limited time is as relevant as ever, says Cat Lawson
Finding scientists who met our exacting criteria was our biggest challenge
Understanding both the needs of vulnerable contributors and the intricacies of the Snap platform was vital to our short-form doc series, says Alex Morris
We have found a completely new way to approach the survival genre, says Lucie Ridout
We didn’t expect to be sent to the Gulf to witness an international stand-off first hand, says Mark Tattersall
From orcas to ocelots, advances in camera technology allowed us to capture the night-time habits of some elusive animals, says Bill Markham
With Tom Weir and Billy Connolly as inspiration, Frankie Boyle wanted to deliver his own unique take on the TV travelogue, says Mick McAvoy
Colourising Nazi atrocities was a decision not made lightly, but we have a duty to keep the story in the present say the producers of this More 4 film
White-knuckle flights, roaming bears and constant daylight were just some of the challenges faced by the makers of this Twofour series
Creating fear and fun was the name of the game for our BBC3 reality show, says Simon Knight
What we discovered filming our doc about humanity’s population boom changed the way we think and produce TV forever, says Charlie Russell
Experts from the worlds of entertainment, food and competition shows have created a cross-genre series that channels Willy Wonka, says Nicola Pointer
How Bandicoot got on the front foot in snapping up the Korean format for the UK before it blew up in the US
Our clandestine investigation into the murder of two elderly people was an emotional experience, says Jess Stevenson
We instinctively knew a blend of innovative games and silliness would define our gameshow, says Peter Holmes
Our attempt to bring warmth and pathos to a potentially dry subject was a steep learning curve for all of us - man and beast, says Juliet Rice
Patience and diligence were key to capturing agricultural life in our ob-doc, says Mark Beech
Shooting in VR for Your Home Made Perfect; working for Netflix on After Life and Top Boy; and capturing the truth of Aleppo in For Sama
Our medical ob doc crew needed the skills of pro skiers and the shooting abilities of Hollywood directors, say John Quinn and Sean Doherty
Pulling together a celebrity event for climate change in just five weeks was a worthwhile challenge, says Andy Dunn
Having colleagues with a prison background helped built genuine trust with nervous contributors
Why shooting during the wettest June on record brought some unexpected benefits, says executive producer Lucy Lumsden
Migration is a challenging subject to convey accessibly. Our approach cuts to the global chase, says Osbert Parker
To get down and dirty with life on a barge, Robbie Cumming filmed and edited practically all of his series onboard via his iPhone
Open and honest conversations with Sainsbury’s allowed us to film serious and fun stories for our series, says Anoushka Roberts
How a storm threw our plans into chaos and quickly turned into the most challenging shoot of my life, says Huw Erddyn
Going through a tender process forced us to consider what worked and what needed updating on the famous music performance series, says Alison Howe
Hiding our contestants’ partners in a next-door villa was no easy feat, says Colin May
Filming a revealing doc series about the concept of ‘fat’ will change perceptions and inform national debate, says Sara Ramsden
Enfusing comedy into our reality horror whodunnit in a wet forest in Lithuania was an unforgettable experience, says James Donkin
With unprecedented access to China’s museums and artefacts, our co-production taught us that the right local partners are key to pulling off a challenging shoot, says Charlotte Jones
Co-producing our doc on the deadly 1989 Chinese student protests with French partners with challenging but rewarding, says Ed Stobart
Bringing back his gritty drama, writer Ronan Bennett wanted to show the reality of life in a corner of London without glamourising it
Covering the Silverstone MotoGP race meeting for BT Sport is a mammoth operation for North One, with 26 hours of live outside broadcast over three days
As the Hairy Bikers rode the iconic highway, we wanted to film unexpected moments rather than an endless stream of diners, says producer Dick Sharman
Using old-fashioned British charm and guile allowed us to tell the story of A Black and White Killing for BBC2, says the writer and presenter
Turning a famous New York Times column into a doc series for Netflix was an enormous but worthwhile challenge, says Alex Braverman
Executive producer Tom O’Brien reveals the challenge of translating a grassroots ‘music-first’ world into formatted TV
Executive producer Amanda Lyon on the military levels of organisation required to produce the popular Voltage series
Our series focused on inmates who we could all identify with and a jail where the key aim was rehabilitation, says Rebecca Mulraine
Following celebrity chef Jason Atherton into Michelin-starred kitchens for our food-meets-travelogue show was hot work, says Dominique Foster
When Donald Trump shut down the US government, our tightly scheduled production almost got stuck on the launch pad
War in the Blood director Arthur Cary on the challenge of covering the human impact of a scientific breakthrough
Filming in the world’s most exclusive restaurants, we had to be meticulously organised to avoid getting in the way of service, says Katy Fryer
Lifting the lid on Coke’s secret formula
Emma Cox meets writer/director Gurinder Chadha and finds out about the joys and trials of shooting in India
With their adaptation of Joseph Heller’s classic novel about to air on Channel 4 as a six-part series, George Clooney and Grant Heslov tell Gabriel Tate why the story is still relevant
Making archaeology accessible and fun by taking a ‘cinematic and tabloid’ approach to reveal what lies beneath the waves
Staying true to the original vision of the book was key to creating our co-production, says Douglas Mackinnon
A small team and tight turnaround helped give our constructed reality grime series an authentic voice, says series producer Dinkesh Miesuria
Investigating a 15-year investigation into a teen girl’s disappearance forced us to embrace complex working practices, says Yonni Usiskin
The main characters have come to the end of their journey and – I hope – revealed a few truths about life along the way, says Stefan Golaszewski
Watching couples’ sex therapy sessions was a real privilege and a production challenge, says Caroline Short
How Danny Dyer and Beetlejuice inspired the Horrible Histories team’s lurch onto primetime BBC1
Our first series aims to normalise the naked body through prime-time television, says Rosie Bray
Meeting former prison inmates on the day of their release was nothing like I had imagined, says Lee Phillips
Having insider knowledge of the railway industry helped keep our series on track, says Tim Pritchard
Following eight celebrities on an epic journey across Europe to meet Pope Francis was an emotional experience, says Caroline Matthews
Finding a way to show the complete picture of the Irish artist’s extraordinary life was crucial to our doc, says Nick Willing
Taking seven teens to the Netherlands for a week-long sex education fact-finding mission was quite the eye-opening journey, says Danni Davis
Filming Priyanka Chopra Jonas interview famous faces in LA proved to be more challenging than it sounds, says Sally Freeman
Uncovering a century of extraordinary archive granted us a deep well of stories that brought the story of the Irish border to life, says James Rogan
Foreign journalists are not welcome in the cannabis farming communities of Morocco. It took weeks just to find a fixer, writes Emir Nader
Cutting-edge production techniques helped our series show why homeowners are choosing not to move, says Laura Mansfield
Giving school kids affected by the Grenfell Tower fire freedom to express themselves was key to our story, says Ben Rumney
Juxtaposing Westminster rhetoric with the reality of poverty unlocked uncomfortable truths about a pressing social issue, says David Hodgkinson
The genre has moved on since the show last aired – but stunning locations and a terrific cast will help us rise to the challenge, says Kate Bates
Over several months of embedded filming, executive producer Jon Lloyd and producer/director Erica Gornall saw a whole new side to the Gogglebox pair
James Graham on how his political drama tries to make sense of the EU vote from all perspectives
Planning for every eventuality was the key to telling the stories of rivers around the world, says Lannah McAdam
Under the bonnet of shows including The Heist, Judge Romesh and We Are British Jews. Click for the pick of the year’s Behind the Scenes
New format points and a refreshed approach helped retool ITV’s classic format, says Fiona Clark
We beat The Beast from the East to create C4’s ‘democratised DNA’ daytime series, says Jane Kelly
Balancing celebration of achievement and scrutiny of progress was essential when exploring the history of black English football, says Gabriel Clarke
Writer Kayode Ewumi on why he doesn’t want his long-form BBC3 debut to be defined as a ‘black show’
It might surprise you that Vice Studios produced UKTV’s latest gameshow, says Dan Louw
Meredith Chambers describes the challenge of filming children trying to cope without their parents
The intimacy and ubiquity of smartphones make them ideal for telling personal stories, argue Victoria Mapplebeck and Adam Gee
Executive producer Adam Tandy lifts the lid on the delicate staging of BBC Studios’ elaborate hoax
Merging current affairs and comedy requires good old-fashioned journalism, says Charlie Mole
Finding the right testimony was key to retelling of these harrowing WWII stories, says Paul Kittel
The Love Productions megahit is now on its second series for Channel 4, but it remains a tricky recipe to pull off
Nerys Evans found herself working on home soil in Wales for the first time on Expectation’s debut scripted show
We embraced the chaos of our larger-than-life character, but working with a born performer has its challenges, says Barnaby Peel
Katie Carpenter on the many hurdles faced in producing an authentic take on London life
In his first scripted role, Karl Pilkington proved his acting chops by playing the main character and his alter ego, says Richard Yee
The scale and sensitivity of our latest build required a different approach to usual, says executive producer Robi Dutta
To capture the complex journeys of packages around the world, I needed a Tardis to carry all my equipment, says Paul Kittel
Following the foreign medics who are helping to plug the NHS shortage
Finding the right location among the vast Rocky Mountains was the primary challenge, says Plimsoll’s James Smith
‘Where do I begin, to tell the story of a greater love than this?’
When four doyennes of British stage and screen gather to talk about their life experiences, it’s best just to let the cameras roll, says Anthony Wall
Before we captured the great man as a hologram, we first needed to test the technology on his trademark shirt, says John Cassy
How do you create a sustainable production when you have 30 kitchen appliances running at once? Rosa Brough explains
Avoiding glamourisation, protecting anonymity and ensuring the team’s safety: William Fairman on the challenges of making drugs docs
Casting someone with a condition that affects just 1% of the population was no small order, says Kerry Brierley
Cutting through the misinformation around an unsolved crime was a sharp lesson in how modern media works, says Charlie Mole
Where other takes on the seige of Troy focus on the Greeks, this BBC1 version puts the Trojans centre stage. Gabriel Tate meets the producers
Working with big brands provided new challenges and rewards, according to series producer Genna Gibson
Our drone proved invaluable in capturing the aftermath of stabbings, a murder, fires and accidents, says Matt Richards
Heat-resistant helmet cams helped our firefighters to take us into places far too dangerous for any TV crew, says Jon Peck
Bringing military discipline to a major engineering challenge
Under the bonnet of shows including Gunpowder, Little Boy Blue and Just Tattoo of Us
Behind the scenes on the documentary looking at the life and death of a superstar
No amount of training can prepare you for the strangeness of prison life, says director Matt Pinder
Our tribute to the poet took us to sex shops, pubs, schools and the streets of Hull, says writer/director Cris Warren
Assistant producer Paddy Duff on shining a light on modern-day America
Crackit convinces five social media-obsessed girls to put down their smartphones and move into a convent for a month
Milk VFX unveils the huge range of VFX shots it created for Dinosaurs In The Wild
Unlike other hospital docs, we wanted our film to focus entirely on the patient rather than the doctors and nurses. But we had no idea how personal it would become, says Graeme McAulay
Exec Sue Summers on turning a lack of royal access to her advantage
How Sony’s ‘all-star producing team’ created Philip K Dick’s imaginary worlds
Nerd TV has unearthed a selection of classic images from the Apple offices and created a series of animations to tell the inside story of the Beatles record label.
Blurred lines between our subject’s dementia and his ‘true’ personality made for a difficult shoot
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.
More than 30 ultra-realistic ‘spy creatures’ took viewers into the animals’ world
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
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.
What started as a personal story for executive producer Liz McLeod became a technical jigsaw puzzle for director Alicia Aarce
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
We warmed up many of our contributors over a pint - but we had to out ourselves as lightweights, says Kelly Close
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
Convincing children that ‘old stuff ’ is worth watching is one thing; curbing contemporary slang on set is quite another, discovered David Collier
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
How did a Texan come to make a feature-length doc about an aristocrat he had never heard of? Luke Korem explains
Capturing a year in the life of four wildebeest over just 40 days’ filming was no small undertaking, discovered Natalie Wilkinson
We found the perfect dilapidated old building to match the ‘otherness’ of our characters’ world - but filming upstairs carried a risk that the floors might collapse, says Will Sharpe
Approaching a drama script in the same vein as author Harlan Coben’s thrillers, with hooks and cliffhangers at every turn, had to be a collaborative process, says Danny Brocklehurst
Listening in to secret recordings of care home visits, just metres away in a car outside, was a distressing experience for Alison Ramsay
Key scenes finally clicked once we changed continent last-minute, says producer Richard Stokes - while director James Hawes battled to make a riot look real.
Capturing animals in flight in some of the world’s toughest locations required some unorthodox kit, says Simon Bell
The Bridge creator Hans Rosenfeldt has brought Scandinavian rhythms to our ‘London noir’, says Nicola Larder
Eddie Izzard’s Sport Relief challenge was an endurance test for the production team too, says executive producer Nick Catliff
For ITV’s new Maigret adaptation, Ealing Studios recreated 1950s Paris in Budapest. Olly Grant met the cast and crew on set.
We had to wait 18 months for a whale to wash up on our shores, says Sarah Cunliffe. Then the sharks turned up…
Guy’s death-defying attempt at breaking a world record live on air had to be put on hold when our fearless star almost killed himself in a motorbike accident, says Ewan Keil
Getting a commission turned out to be the easy bit - the real test was losing our location and having to build three new sets in a building with a leaky roof, says Stellify’s joint managing director Matthew Worthy
Our film is a testament to the brave domestic violence victims who chose to speak openly about their ordeal, says Erica Gornall
When you have naturally funny performers like Doon Mackichan, Elaine C Smith and Sharon Rooney in your cast, you’d be crazy not to take their opinions on board, says Simon Carlyle
A piece of kit inspired by Errol Morris’ famous ‘Interrotron’ was key to helping contributors feel comfortable about opening up on camera, says Stephen Bennett
The ability to stream live music events from far-flung and tricky locations has brought niche and underground music to the masses, writes George Bevir
Finding six courageous couples willing to risk missing their own wedding was hard enough, but the friends they took with them had to be dynamite on camera too, says Sarah Veevers
We went full ‘method’ in recreating the stag do from hell in the Scottish Highlands, says Jim Field Smith
Joining the production 15 years in, it was touching to see the rapport the crew had built with families, says Laurence Turnbull
We had experts from Spectre and Top Gear on hand to train up our dogs - and 40,000 sausages, says Caroline Hawkins
ITV’s one-off drama reveals a hidden, vulnerable side to Britain’s WWII leader as he copes with family tragedy and encroaching old age.
You learn to be patient when there’s no guarantee you’ll be able to use the cases you’re following, say Sara Hardy and Blue Ryan
Our trek along the ancient trade route from China to Istanbul took months of planning - but our best stories came from the things we didn’t expect, says series producer Glenn Swift
Commissioned before BBC3’s online move was set in stone, Thirteen had to shift from a traditional production road map to one that embraced all things digital.
Feeling the series was lacking something, we brought in our own staff to give the restaurant an identity - and provide some familiar faces to keep viewers coming back, says Nicola Lloyd
It may be known as the most dangerous show on the television, but there are some risks even The Jump won’t take.
A treasure trove of archive interviews was the key to unlocking our Hitler doc. The next step was to rebuild his bunker, says Sue Summers
Our BBC iPlayer film presented two huge challenges: combining comedy and tragedy, and making non-professionals look like geniuses with a snooker cue, says Barney Reisz
Could we launch a talent-led show to rival the cult US version? asks Lisa Chapman. With top presenters, brilliant contestants and a bit of pig-spanking, we think we’ve pulled it off
For our cinematic take on orchestra performance, we shot ten music videos in two days, reveals Serena Cross
As if filming at -20°C wasn’t challenging enough, we had to grapple with reindeer and hand-held filming on a bumpy sleigh, says Luke Korzun Martin
The producers of ITV’s take on the Anglo-Saxon epic tell Olly Grant how they created a fantasy universe from scratch and made an ancient saga work for a modern audience
On a vast Victorian street set in a warehouse in west London, James Rampton hears how Red Planet took a light-footed approach to its rummage through Charles Dickens’ brain
At more than 1,400 pages, adapting War And Peace as a six-part drama was not for the fainthearted. Olly Grant meets the director, producer and crew charged with bringing the epic story to life
ITV’s live broadcast of the classic musical won’t shy away from drawing political parallels with today’s global crises, discovers Emily Norval
A drama about the birth of Dad’s Army reveals the behind-the-scenes conflict over the classic sitcom - and how it almost didn’t happen. Olly Grant meets the team telling the tale
The challenge on our 30-minute Shaun The Sheep special was to broaden his world without alienating his fans - and meticulous planning of every last detail, says Jay Grace
To create an authentic soundscape for BBC drama Capital, dubbing mixer Howard Bargroff took a trip to the part of south London in which it is set, writes George Bevir
We aimed to make our documentary more like a box-set to hook in younger viewers who rarely watch programmes on TV, says Dave Nath
Finding 14 contributors prepared to bare their souls on camera wasn’t easy but we wanted to show how loneliness can affect people of all ages and from all walks of life
With rare footage, secret recordings and a Morgan Freeman voiceover, we had everything - except our most important location, writes Alastair Layzell
The Teletubbies are back, but with their original outdoor set long gone, new producer Darrall Macqueen used models and CGI to recreate the magic, they tell Robin Parker
Weeks immersed in prison life then long filming days paid off for our hard-working crew, says producer Louise Say
Nights in a jail cell and takeaway cast-offs in a windowless bunker are a price worth paying for access to Dubai’s amazing airport, says Nick Metcalfe
Olly Grant hears how the team behind ITV Encore’s detective spin on Mary Shelley’s Gothic masterpiece recreated 1920s London across 40 Northern Ireland locations
A live crowd-funding format turned out to be a legal minefield, but we found a way to make it work - and stay out of jail, says series producer Pat Doyle
With no gallery and no audience to play to, UKTV’s new sitcom tried to take a more naturalistic approach to studio filming. Robin Parker reports
With the help of Michelin-starred chef Michel Roux Jr, we wanted to show that people with disabilities have the talent, ambition and will to succeed in the workplace, says series producer Sam Grace
With spoof programmes like Sun, Sea And Sex With My Parents, we wanted to gently send up the contemporary TV landscape, says executive producer James Longman
The unpredictability of Romesh Ranganathan’s extended family was the making of our series, says series producer Ben Green
Spending a year watching a tree slowly grow had its challenges, but this was the kind of privilege only BBC4 can provide, says Nic Stacey
Sky 1’s new comedy-drama about the final days of life on Earth is filmed close to its Slough setting, but this location also doubles as Tennessee and Washington, discovers Olly Hunt
Never let your best idea die. One day its time will come, as Paul Stead discovered.
What kicked off as a sporting achievement documentary soon turned into an unexpectedly unguarded glimpse into the life of the man behind the tabloid headlines, says Tony Pastor
We had to bring a cartoon classic right up to date while keeping the charm of the original. Making sure the gags didn’t get lost in translation was a challenge too, says Ben Ward
Taking western pop stars to remote places to make music with the locals seemed like a brilliant idea - the problem was finding anyone prepared to go, says Helen Nightingale
There is no agenda to our transgender comedy, but the issue still required sensitive treatment, says Margot Gavan Duffy
Filming and living aboard a fishing boat for this fixed-rig doc threw up many challenges, but it also made for a very personal experience, says Jim Incledon
We used innovative filming technology to shake up the food genre - but drew the line at flying drones in a kitchen, says Carlo Massarella
After our first big hit with the outspoken columnist, it was time to step out of our comfort zones, says Sarah Thornton
Lenny Henry wanted to know why there are so few black British blues singers. The story we uncovered was far more colourful and complex than we ever imagined, says Chris Wilson
BBC3 took a risk with our doc, but it was a human story worth telling, says Jazz Gowans
We wanted a brave, athletic and charismatic stuntman to recreate the crazy clips we’d seen on the internet, says Jago Lee. But instead we chose west London’s answer to Woody Allen
Firecrest’s Nicole Kleeman on combining satire with stunts to create a new kind of consumer programme
First-time director and former rally driver Nick Rowland is in the hot seat for the climax of BBC1’s pacy crime series. Adrian Lobb visits him on set
We were prepared for harrowing tales of life under Isis, but never expected positive stories to emerge from the horror, says Edward Watts
Novel, film or TV series? BBC1’s new drama has been all of these at some point in its development. Olly Grant hears about its unusual journey to TV
Our young production team had no previous experience of working in television, but stacks of ability and the confi dence to take on anything we threw at them, says Steve Wynne
We ditched the fixed rig for our bank doc when we realised where the real action was, says Zac Beattie
Getting the look and movement right for our ‘synths’ was no small task, says producer Chris Fry
Opera doesn’t always work on screen, but by setting the performances within a documentary about La Traviata’s first London staging, we may just have pulled it off, says Ben Weston
We had to rip up our schedules when filming with the scientist, but we gained huge insight into the challenges of his daily life, says Mark Wells
Car chases through London and a takeover of Waterloo station required precision planning and tight budget control, says Patrick Schweitzer
Ensuring our ob-doc series would avoid becoming a puff piece for the UK’s biggest airport demanded buy-in from every corner of this ‘mini city’, writes executive producer Tim Wardle
With long days, floods and intense heat, C4’s first foreign fixed-rig series took me out of my comfort zone, says Paddy Wivell. But focusing on the basics of storytelling carried us through
Building a full-size, anatomically correct model of a T. rex that could be dissected on TV was a labour of love that took months of painstaking work. Olly Grant finds out how it was done
We took inspiration from classic gangland movies and TV shows for this original sitcom set in Newcastle, says Margery Bone. That meant action and stunts - and a lot of guns
A six-part sitcom set on a sun-drenched island was the perfect start for our newly launched indie– until we had to go to sea, says Neil Webster
Paul Abbott’s new Channel 4 series is a comedy/police procedural with three female leads. Benji Wilson visits the set, while the writer explains how it draws on his previous work
C4’s Ballot Monkeys had to be filmed close to the wire to keep it topical. The solution? An unusual OB with four crews crammed into four coaches, writes Jimmy Mulville
The first rule of Fright Club was to create a drama-filled series that used extreme methods to help people with their phobias, says Kaye Godleman
CNN has ambitions for McLaren’s ‘Thought Leadership’ hub beyond its election debates. Alex Farber paid a visit
Drones and GoPros helped us capture the busy English channel on a daytime budget, says series producer Rebecca Nunn
When we gave our researcher his dream assignment, a new star presenter was born, says series producer/director Jamie Balment
When a hurricane blown in from the Caribbean put filming in jeopardy, we turned the conditions to our advantage, says Andrew Benson
When Wimbledon Studios went into receivership just before shooting began on Episodes’ fourth series, producer Debs Pisani had her work cut out keeping the production on track
The tropical setting of the Cook Islands and legends surrounding Maori culture inspired BBC3’s new drama about two backpackers caught up in a mystery.
ITV has turned to a high-octane Japanese format for its latest Saturday night entertainment offering.
The super-rich aren’t very forthcoming about their lives, but their staff provided a fascinating insight into their world, says Remy Blumenfeld
Behind the scenes on Londongrad, the first Russian television series to be filmed in the capital
Kate Bulkley speaks to Viacom execs about plans to appeal to a younger audience and increase audience share
A genre-bending exploration of the animal instincts inside us all proved an eye-opening experience for Benedetta Pinelli
To capture the intimacy of a man living with motor neurone disease, Liz Tucker trained up his son as a camera operator
First-time producer/director Nicola Comber reflects on tacking the sensitive subject of childhood narcolepsy
The past’s comic potential remains undimmed - it just needed a new twist, as Paul Whitelaw discovers
Previously best known for his role in cult E4 sitcom PhoneShop, Javone Prince may well be the BBC’s latest breakout comedy star.
A four-part comedy drama for BBC2 based on a low-key Radio 4 series, Nurse is a character sketch show by proxy.
Revisiting a tragedy that befell a community increasingly sceptical of media intrusion made gaining access tough, reveals Jezza Neumann
From landscape to wildlife, shooting exteriors for Jimmy McGovern’s period piece in Australia gave it a hard-to-replicate authenticity.
It took two years to gain the trust of the leopards we were filming. It was worth it, says Brad Bestelink
Boundless’ small production team had to work as hard as our subjects in our global adventure
Twelve days moving through the Costa Rican jungle with eight celebrities, a crew of 60 and Bear Grylls.
Jed Mercurio’s drama would take the audience to places, and show them sights, they’d never seen before
We used a mix of animation and live-action to teach kids about the world around them, says Chris Wood
Anthony Geffen reveals how winning trust was key to capturing parliament as it’s never been seen before
When we started filming a group of four year-olds, we had no idea what it would teach us, says Teresa Watkins.
Finding room to fit cameras among helicopter crews’ kit was a big logistical challenge, says producer Louise V Say.
The trial of the Nazi war criminal was also the birth of mass media, discovered producer Laurence Bowen
Six years on from our original idea, the timing is finally right for our kids’ robot drama, says Jez Swimer
Plying comic actors with booze? What can possibly go wrong, wonders Robin Parker
Our helicopter filming hinged on two things: the weather - and England going out of the World Cup, says Brendan Hughes
With stunts involving helicopters and a moving train, the first series of the The Wrong Mans was hard to top, says Jim Field Smith.
When the complex weather phenomena we wanted to study couldn’t be found, we had to make our own, says Graham Booth
A first-time presenter, untested camera rig and the entire history of the Plantagenets. A tall order on a C5 budget, says Dan Gold
Making a doc about people falling in love via gaming avatars meant keeping a very open mind
Getting the ‘Bastard of Billingsgate’ to live up to his name in front of camera
An improvised comedy with a first-time TV dog wrangler and up to 40 dogs? Director Susan Tully likes a challenge
A supernatural meditation on ageing and a return to his Yorkshire roots lures Michael Palin back to TV drama
A star prepared to leave his vanity at the door and try anything on camera was a real boon
We always knew Rome wasn’t built in a day. But this show came chock-full of challenges.
The creators and stars of BBC1’s new thriller speak to Olly Grant about keeping on top of its time-shifting plot
Producers of the ITV crime drama are hoping it will do for Cambridgeshire what Morse did for Oxford
Making a film with secret filming, thorny legal issues and explicit material is not for the faint-hearted
As ITV2’s Roman era sitcom returns, Jake Kanter discovers how producer Rise Films raised the bar for series two
Casting a comedian as the bad bridesmaid has forged a new hybrid format, writes Amy Dallmeyer.
Two teams were run in parallel to investigate myths from the Soviet era
With months spent hanging around mortuaries this was not a job for the squeamish
Hat Trick takes a bold approach on the first episode of the new series, using almost entirely natural light
Richard Curtis has lured Dustin Hoffman and Judi Dench to BBC1 for his Christmas adaptation of Roald Dahl’s Esio Trot.
Broken down tanks, torrential rain and real soldiers playing extras added to the authenticity, says Sue Horth
A killer title landed us the commission, but the hard part was still to come says Ian Lamarra
Travelling to remote places without a fixer made our job harder - but enriched our film says George Pagliero
Technical pre-production was key to ensuring our crashes went smoothly
Africa is a film-maker’s dream - unless you want access to disabled facilities, says Nicole Kleeman
A series that tells us something about a generation of young men, not just their military training
Utopia flashes back to the 1970s for series two’s opener. Olly Grant reports from behind the scenes
Peter Bowker’s BBC2 drama Marvellous gave young trainees from a range of backgrounds a chance to gain experience alongside the crew on a real TV production
Filming OAPs in Tenerife sounded fun, but keeping up with the hard-partying Brits wasn’t easy.
Alongside the bizarre footage of flying cats, sharks and ostriches, it was important that we didn’t lose sight of the human story
Making a ten-part ob doc series on a microbudget is not impossible, but you do have to take risks with where you cut corners, says Jason Mitchell.
As C4’s survivalist adventure draws to a close, two of the castaway crew talk about life in front of the camera
Pett Productions discuss ‘micro-producing’ an eclectic mix of experimental shorts
Secrecy was vital to convince a group of girls that they were impressing Prince Harry, says David Tibballs
Recreating a brown and beige British 1960s pub culture a world away from Mad Men
Broadcast reveals how eight of the broadcaster’s most important shows were made
A British crew helped to create a new twist on 24 that aims to be both fresh and reassuringly familiar, Robin Parker discovers.
Claire Lewis discovered local government red tape was just one of the hurdles in following adoption cases
The Cornish moors of Daphne du Maurier’s story were even more breathtaking than director Philippa Lowthorpe could have believed
We didn’t need a miracle but what we achieved on a modest TV budget wasn’t far off, says Justin Hardy
Not even a stroke could derail our doc’s Hollywood ending, write David Sumnall and Paul Goodliffe
Filming showed the complexities of a system involving multiple agencies and budgets, says Alice Perman
Our show took three years to make - and we didn’t know the outcome until the last minute, says Rob Davis
We let the participants follow their own path on the journey to find their sperm-donor dad, says Ellen Windemuth
Mixing down-to-earth employees with a mind-blowing array of sex toys set our pulses racing.
We didn’t have the luxury of a drama budget but Northern Ireland was great value as a location
Sam Benstead records the birth of football inside the world’s newest country
The quirky, heavily armed Alaskan homesteaders were TV gold says Gwyn Williams
Douglas Rae and director Mat Whitecross share the story of giving life to the James Bond creator
We wouldn’t have dreamed of doing a cop show before Danny Boyle approached us, says Jesse Armstrong
Semi-improvised dialogue and a documentary shooting style give C5’s police drama an edgy, contemporary feel
A strong team and building trust quickly were key to opening up this West End institution, says Katherine Anstey
The key was the positioning of the fixed rig - and avoiding hippos, says Sarah Peat
We had to be quick and persuasive to get the best footage and contributors, says Sue Summers
The scope and ambition of what we were attempting was frightening, says Sioned Wiliam
Our exploration of rare medical conditions took us on an emotional journey, says Brent Baker
Recreating the famous rescue mission seemed an impossible task, says Ed Wardle
Sally George strikes a balance between showing the procedure and avoiding too much gore
We subjected a lifesize model of Meredith Kercher’s flat to CSI techniques, writes Ian Russell
Yorkshire provided the perfect backdrop for a modern fantasy story grounded in reality, says Sally Wainwright
Caroline Hawkins says dressing in panda suits was one of the more bizarre moments on the tricky 3D shoot
Grace Reynolds on being warm and witty while making important points about education
Emma Read’s plan to immerse ITN for a year with one of the 12 houses at Harrow
Our exploration of gay rights around the world uncovered heartbreaking stories, says Fergus O’Brien
Reece Shearsmith and Steve Pemberton have pared things down for a twist on Tales Of The Unexpected.
A jaded armadillo and a talking hotdog will be among the colourful characters helping BBC1 in the Saturday night ratings war over coming weeks. Olly Grant meets the show’s creators
Unlike other crime dramas, we were more interested in the impact on those left behind than the investigation, says Tony Grisoni
Trying to ‘cut a British hillside in half ’ was the maddest thing I’ve ever done says Fiona Pitcher
C4’s history and drama teams came together to deliver a ‘worm’s-eye view’ of the Industrial Revolution.
A crash course in TV drama was required for the writers when Channel 4 picked up on this online idea
Writers Jane Campion and Gerard Lee discuss the growing constraints of film and unleashing their creativity on TV
In true B-movie style, we delivered a tongue-in-cheek travelogue and recreated a treasured martial arts fight scene, says Neil Edwards
We’ll have earned our supper if we can turn around a show about the trials and tribulations of a first date in just four days, says Meredith Chambers
With Channel 4 about to air its first fully subtitled drama in 20 years, Olly Grant speaks to the show’s producers about forging links with British indies - and the state of French TV
Combining three of Philippa Gregory’s Wars of the Roses novels into one 10-part television series was like a Mensa test, says Emma Frost
We combined rod puppetry with groundbreaking digital techniques to bring our characters and their mysterious world to life, says Phil Chalk.
Writer Allan Cubitt was involved in everything from casting to editing on his BBC2 series The Fall. Tim Adler speaks to the producers and star Gillian Anderson about the unusual set-up
Documenting the grooming and exploitation of girls in Bradford for 17 years has had many obstacles, not least officials in denial and fears of race-related violence, says Anna Hall
Piloting cement lorries across a lake and felling trees with converted fire engines were just some of the challenges on this show, says Emma Read
Gaucho Productions’ executive producer, Alistair Weaver, reflects on the challenge of shooting the Dakar Rally.
Paula Milne’s forthcoming follow-up to her classic 1995 drama turns the tables to explore the shifting balance of power between husbands and wives. Paul Whitelaw reports
The harsh reality of filming in Arctic conditions took me by surprise, says Jeff Orlowski. But if we can raise awareness of climate change, it will have been worth it
I hadn’t planned to be a TV presenter, let alone a current affairs film-maker, says Ade Adepitan. Now I find myself interviewing people in Spanish.
It wasn’t too difficult to find people who enjoyed going dogging, says Leo Maguire. But persuading them to appear on camera was another matter
A new BBC4 documentary from Mentorn revisits the work of amateur naturalist Percy Smith, recreating his century-old film of a performing housefly.
Whether burying our star alive or throwing him off a cliff, we only ever had one chance to get our Looney Tunes stunts right, says Matt Crook
I’d wanted to write a big ensemble piece for 10 years, but inspiration finally came on a walk along the cliffs near my home, says Chris Chibnall
Entering a ‘vortex of horror’ where scores of journalists as well as Syrians had been killed, seriously injured or taken hostage was a nerve-shattering experience for Olly Lambert
With CGI effects like an action movie, it was the release of a Hollywood blockbuster that really helped the Windfall Films project take off, says Carlo Massarella
A show based on Niamh Sharkey’s book offered just what we were looking for: something unique that the family could watch together. But above all it was funny, says Beth Gardiner
We won’t know whether we have found the bones of Richard III until the day of TX, but getting to this point has been quite a journey, says Simon Young
Making six series at once was already a massive challenge - but then our lasers broke down and things got even tougher, says Dylan Wyn Davies
1930s Poland offered a rich setting for Fresh Pictures’ first drama series - and the timing was perfect for veteran screenwriters Dick Clement and Ian La Frenais. Olly Grant reports
To capture the feel of Raymond Briggs’ Christmas classic for this 30th anniversary sequel, our animators had to put down their tablets and pick up their pencils, says Ruth Fielding
Benji Wilson catches up with Sir David Attenborough on a 3D shoot in the Galapagos Islands, where a 22-person crew and 10 tonnes of kit are out to capture some extraordinary scenes
Erin Kelly’s novel hooked me instantly, but we had to make dramatic changes to characters and plot to turn it into thrilling TV, says Emilia di Girolamo
Rosalind Bain on the dangers of underestimating the complexity of train timetables in the Congo.
A BBC/HBO co-pro delving into Alfred Hitchcock’s infatuation with star Tippi Hedren involved painstaking recreation of some iconic movie moments. Benji Wilson hears how it was done
Making the audience feel they are actually seeing the world though the eyes of a gangland boss slowly succumbing to dementia became an obsession for director Michael Samuels
With novice presenters, monsoon weather and attacks from ferocious ants, this was a labour of love for all concerned, says Caroline Ross Pirie
Superstorm Sandy showed the worst of nature and best of human nature, says Matt Currington.
Finding the country’s best amateur dramatic group and putting them on stage in the West End was high drama all the way, says Nicholas Kent
Joining Michael Portillo as he embarks on a new set of train journeys, using the European Bradshaw Guide as his inspiration, Cassie Farrell finds that timing is everything.
After six years meeting soldiers on the frontline, Ross Kemp wanted to make a personal film about an issue that is often ignored, says Tom Sheahan
Channel 4’s answer to Family Guy comes from an unusual pairing: a start-up UK indie and a Hollywood studio. Paul Whitelaw talks to the duo who have seen their idea come to life.
Tracing origins of iconic inventions was vast challenge, says series producer James Buchanan.
Avoiding death by supersized ice cream, creating a huge dunking biscuit and putting a pie in a pub was all in a day’s work for Heston Blumenthal’s new series, says Jenny Byrom
Rain-sodden Devon was far from the rural idyll of The Comic Strip’s first Famous Five spoof 30 years ago, says Nick Smith
Thrillseekers, tourists, a couple tying the knot - the people I encountered at the North Pole were not what I was expecting, says Alex Kiehl
Shot in his home town and with a cameo role for his uncle Shaun, this was a very personal project for comedian Jason Cook, says Matt Tiller
The director of Sky Atlantic’s new Spanish detective drama Falcón wanted to make a ‘noir thriller shot like a documentary’. Benji Wilson gets a ringside seat during filming.
The production team looked shocked when we told them to make the show in Manchester, but it saved us money and was a perfect fit, says C4’s Tom Beck.
Kindle Entertainment’s Lucy Martin and Valerie Ames take Broadcast behind the scenes of action-packed drama series Leonardo.
Executive producer Caroline Skinner tells Robin Parker about keeping the early introduction of Doctor Who’s new sidekick hushed up, the show’s growing ambitions and its rise in the US.
Recreating the look and feel of the war era presented its challenges, but was resolved with access to Bletchley Park, says Jake Lushington.
Director and executive producer Michael M Robin and head writer Cynthia Cidre tell Robin Parker of the challenges faced in bringing much-loved drama Dallas back to TV.
We had to overcome access and rights issues and an arduous shoot if our series was to match the success of Team Sky, says Hamish Fergusson.
I missed the preparation time on this WWI-era drama, but having Tom Stoppard writing on set for an A-list cast helped us negotiate the challenging conditions, says Susanna White.
Having scored Dave’s highest ever ratings for its 2009 three-part special, cult comedy Red Dwarf is back for a full series. Michael Rosser meets writer Doug Naylor and the cast on set.
The story of the first Paralympics was ripe for the telling this year, but it wasn’t plain sailing when our script was rejected, says Harriet Davison.
Having Rihanna at the helm took Sky Living’s latest elimination show to a whole new level, says executive producer Daniel Marlowe.
The Killing director Birger Larsen and the team behind his new single for BBC2 talk to Ben Dowell about bringing a Danish perspective to UK drama – and courting Helen Mirren.
When the movers and shakers we wanted just wouldn’t play ball, we had to diversify and rethink our definitions of power, says Michael Simkin.
Finding someone who could hold their own on Countdown was a big challenge - but we’re proud of what we have achieved, says Camilla Lewis.
Following three young boxers competing for places in the GB squad was a steep learning curve for a photographer making a first film, says Steve Read
With ancient cities, monsters and mythical creatures in almost every episode, Sky 1’s epic new adventure series is a masterclass in the art of VFX. George Bevir finds out how it was done.
Working as a self-shooting PD on the second series of ‘Emergency With Angela Griffin’ threw up its own unique challenges, whilst following the Devon and the Wales air ambulances, writes producer/director Steve Allen.
It took the support of a lot of different organisations – from Sport England to the DWP and Age UK – to get this film off the ground, says Hugh Hartford.
Jed Mercurio’s new five-part drama for BBC2 tackles the thorny issue of police corruption. Ben Dowell pulls back the blue-and-white tape to meet the producers on set in Birmingham.
Sophie Todd takes Broadcast behind the scenes of World’s Toughest Drive, a Raw TV-produced documentary for Discovery.
America’s sheer size made adapting our BBC1 series a logistical nightmare, says Nick Catliff – but the breathtaking locations made up for it.
Filming in Kashmir meant keeping rushes safe, dodging stones – and persuading the locals that daily life was worth showing, says Catie White.
Spun Gold’s Nick Bullen takes Broadcast behind the scenes of ITV1’s entertainment special celebrating the Queen’s Diamond Jubilee.
Our look at local history uncovered a shocking tale of communities forced out and beautiful houses replaced with tower blocks, says Joseph Bullman.
Drama sequences were the only way to bring our documentary’s story to life. But limited time and budget called for some creative thinking, writes Paul Elston
With a bit of flirting, Thailand’s ladyboys let us into their world, says Jamie Crawford. But nothing could prepare me for seeing the surgery
Hi-tech espionage and claims of sex on the moon: this heist story had it all. But we needed both Nasa and the FBI to separate fact from fiction, says Cris Warren.
It’s been a huge task getting this global wildlife event off the ground – but as TX day looms, the real work is just starting, says Colin Jackson.
The budget for Israeli drama Hatufim wouldn’t even stretch to the pilot of the US remake. But both were important series and risky investments, the creator tells Ben Dowell
When our tame fox’s tail fell off in front of a group of drunken clubbers, we knew nothing about this would be straightforward, says Jamie Lochhead.
We built a lot of trust with Domenyk Noonan and his family – but we were careful not to get drawn too far into their world, says Donal MacIntyre.
Comparisons with terrorists, chavs and tabloid culture gave our history series the contemporary, sexy edge we were after, says Glyn Middleton.
David Suchet’s personal journey took us up the Eye and into Number 10, but a mining disaster put everything into perspective, says Harry Hook.
Recreating the Titanic’s fateful voyage for TV had its challenges. Jake Kanter went on set to find out how the project was steered.
In bringing to life Paula Milne’s vision of a female-centred trawl through half a century of social change, the crew had to juggle six timeframes at once. Paul Whitelaw reports.
Combining natural history archives with the latest technology to immerse children in wildlife was challenging yet rewarding, says John Miller.
We had no prior experience in wildlife filmmaking, just a cracking idea. And it soon became a very human story, says Gillian Wilson.
The second episode of our series showed why treating the dead as people, not just coroner’s cases, was so important, says Alice Perman.
Spending 50 days filming with the crew of HMS Turbulent was cramped and difficult – but we had the adventure of a lifetime, says Geoff Small.
C4 and Zeppotron faced a steep learning curve last year with their risky live topical comedy. Execs open up to Paul Whitelaw about its flaws - and their hopes for a more ‘fluid’ series two.
Being in the right place at the right time was key to getting what we needed, says Sacha Mirzoeff, but it took six frustrating months to get there.
Photographer Leo Maguire discovered that film was the only way to unlock the emotional truth of male gypsies’ life - and in their own words.
Raw Cut’s Steve Warr takes Broadcast behind the police tape of BBC1’s Crime Scene Forensics and reveals that this was not a production for the faint-hearted.
CITV and Disney’s new take on the Fort Boyard format lets kids join in the fun for the first time. Alex Farber visits the 150-year-old fort to see how the first young contestants get on.
Endless testing of our ambitious new format ensured everything would run smoothly when the cameras finally came in, says Tamara Gilder.
Dale Templar, series producer of the new Bear Grylls series, talks about life on location with Miranda Hart and Jonathan Ross who embarked on ‘Bear’s Wild Weekend…’ for Channel 4 this festive season.
Having secured a commission from Al Jazeera to film rebel fighters in war-torn Libya, Anne Reevell did what any mother would do: took her son along.
We were prepared for the overpowering stench of rotting meat and fish, but not for the amount of fly ‘speck’ we’d have to deal with, says Fred Hepburn.
Producing three Twilight Zone-esque dramas in Charlie Brooker’s mini-series at the same time was daunting but exhilarating, writes Barney Reisz.
Having won a legion of new fans on I’m A Celebrity, the Happy Mondays frontman is off to explore his passion for all things UFO. Is he twisting our melons? Paul Whitelaw finds out.
While BBC1’s Danny Cohen calls for more ‘blue-collar’ sitcoms, E4’s PhoneShop is an authentic look at high-street life, says Phil Bowker.
Our drama about South London teens took on a new significance when the riots kicked off a week after we’d finished filming, says Elaine Sperber.
Treating our contributors’ illnesses through their diet rather than drugs will break new ground in medical research - and TV, writes Neil Smith.
We wanted to create the ultimate portrait of the polar regions before the warming global climate changes them forever, says Vanessa Berlowitz.
Seeing my first TV script come to life sent shivers down my spine after four years of knock-backs and chasing money, says Robert Thorogood.
The X Factor proved an unlikely catalyst in unlocking the emotional core of the plight of a woman on Death Row, writes Steve Humphries.
Spooks writer and producer Chris Fry borrowed techniques from feature films to stage a thrilling action sequence for the final series of the BBC spy show. His secret? The ‘Russian Arm’.
For this follow-up to Blitz Street, we added to the high-explosives with live bullets, mortars, mines and flamethrowers, says Paul Wooding.
Alex Farber takes on the ‘Bear Pit’ challenge from Dave’s new driving gameshow and finds that navigating an obstacle course in a full-size remote-controlled car is tougher than it sounds.
Parachuting celebrities into the wild to survive on their own for a week was considered by many to be too great a risk, says Dick Colthurst.
A drama exploring the furore surrounding Monty Python’s Life of Brian seemed apt in the current comedy climate, say Kate Norrish and Polly Leys.
What do Formula 1 and the World Sheep Dog Trials have in common? Much more than you might think, says Neil Duncanson.
We had 192 characters and a whole world to create on a sitcom budget, but with Sky’s backing and a dream cast, we made it, says Matt Lipsey.
For C4’s latest fixed-rig series, indie Twofour follows the pupils at a Harlow comprehensive school through the triumphs and traumas of their final year. Ben Dowell meets the crew.
Some 15 years after training as a director, BBC drama production controller John Yorke finally got his first on-screen credit, on Holby City. Going back to the floor, he was in for a shock
Making drama based on real-life events takes sensitivity and painstaking research, especially when murder is involved, says Lisa Gilchrist.
A 160-mile trek, -36°C and just dried rations to survive on? What these four amputee ex-soldiers achieved was inspirational, says Alexis Girardet.
We set out to challenge preconceptions, but we weren’t prepared for how much our cast liked to burn the candle at both ends, says Nick Curwin.
Following the TA in Helmand was always a risk, but the realities of war really hit home when one of our team got shot, says Charlotte Man.
We had stunning locations and a great cast of characters, but our docusoap needed something else to work on Sky Atlantic, says Neil Grant.
Writer Abi Morgan talks to Lisa Campbell about The Hour, a newsroom drama and political thriller that charts the demise of the British Empire and the evolution of television news
Despite a great response to Single-Handed, plans for a second series were going nowhere until ITV came on board, says Rob Pursey and Clare Alan.
Our budget didn’t reflect the demands of the script, but we hit on a brilliant idea: we could recycle the Candleford sets, says Richard Laxton.
The Restoration strand has itself been renovated, says Annette Clarke, with no public money or viewer vote, and more focus on the human stories.
When filming a TV magic show, prepare for the unexpected - and shoot again and again until you get the right reaction, says Debbie Young.
This comedy drama for Channel 4 took its inspiration from real-life tales from the frontline of the NHS, says director Victor Buhler.
If you want to end your life, should you be allowed to? It was a difficult subject, but a very personal one for Sir Terry Pratchett, says Charlie Russell.
Returning to the subject of child poverty 12 years on, film-maker Brian Woods witnesses how risk-averse society - and TV - have become.
The soldiers who had fought in Afghanistan gave us thousands of hours of footage. Watching it all left everyone involved shaken, says Colin Barr.
Helping our Fixers tackle the issues that matter to them meant giving them the microphone, but not editorial control, writes Nigel Swettenham.
We wanted more live coverage than ever before, says Neil Wyatt. But what do you do when your headline act won’t stop playing?
No old brown furniture and teapots for this C4 antiques series, says Claudia Lewis. We wanted mummified mermaids and stuffed polar bears.
With 20 households and 52 residents taking part, our most crucial task on this series was making sure we didn’t miss anything, says Ricky Kelehar.
Shot entirely against green screen, our story of the ‘real’ Atlantis looked doomed when the VFX supplier went into liquidation, says Detlef Siebert
Part psychological drama, part crime thriller and part family character piece, Paul Abbot’s Exile is a difficult one to pigeon-hole. Will Strauss goes on set to meet the cast and crew
Our series following the lives of disabled children has had a huge impact on everyone involved, and hopefully the viewers too, says Anna Strickland
Producer Marcus Wilson had to contend with cultural differences, jet lag and a language barrier on Doctor Who’s first Stateside shoot.
Tracking down and persuading families to reunite for TV was harder than expected for Duncan Coates - and doubled the production schedule.
Working with animators for the first time on a documentary dealing with the difficult subject of marital breakdown gave Zac Beattie ‘the fear’
HD and tapeless kit is transforming how film-makers self-shoot in the world’s least hospitable environments. Ed Braman and Fiona Lloyd-Davies report from the Congo.
Making a BBC comedy was a new experience for an indie with no history of scripted programming. Creator Jane Lush recalls the drama on and off set.
How do you follow a success like Lambing Live? We’ve moved the story on with a switch from Wales to Cumbria, says producer Sarah Gibbs.
Using the ‘performance doc’ style pioneered for Pineapple Dance Studios helped us blur the lines between ob doc and comedy, says Jonathan Stadlen.
Ahead of the UK debut of controversial mini-series The Kennedys, Broadcast presents an exclusive behind-the scenes portfolio, while Michael Rosser speaks to the series’ creators.
Our focus on authenticity meant always having medical experts on set - which proved lucky when half the crew got sick, writes Jennie Scanlon.
Michael Faber’s sensuous novel spared nothing in bringing 19th-century London to life. Robin Parker meets the creative team who translated his vision into a vivid TV drama.
Building trust with the residents of Grassington in Yorkshire meant getting involved in am-dram and downing pints with the locals, says Jamie Isaacs.
When director Stuart Clarke set out to reveal the face of a Welsh hero who vanished 600 years ago, he needed a unique way to bring his search to life.
The series may be set in a place where there are no grown-ups, says Stephen Smallwood, but it was important that parents could enjoy it too.
The world of modelling was fertile ground for an ob doc. But filming was threatened when the boss had to testify in a war crimes trial, says Jilly Pearce.
In researching this story about Britain’s role in the creation of modern Israel, Peter Kosminsky found striking parallels with contemporary events.
E4’s acclaimed drama is entering its fifth series with its third-generation cast, while a US remake is kicking up a fuss on MTV. Robin Parker hears how the team keep it fresh.
Getting the more extremist settlers to talk on camera was surprisingly easy, says Nick Mirsky. Getting them to stop was the problem.
A series of ghost stories set in a former asylum will be Living’s first step into original scripted content. Robin Parker hears how the show came about.
The brief was to take Freddie out of his comfort zone - and the extreme sports he was asked to try out certainly did that, says Dominic Sharman.
When C4 ordered a series building on hit Cutting Edge doc My Big Fat Gypsy Wedding, Jes Wilkins knew the shoot would be anything but predictable.
Unlocking the truth behind a complex love affair was key to doing justice to Hattie Jacques’ life story, says co-producer Richard Osborne.
Finding an interesting new way to tell the Nativity story was a daunting task, says Tony Jordan, but there was much that hadn’t been explored on film.
Producing a CGI doc about extinct creatures that would be fi t for both the TV screen and Imax took a lot of work and planning, says Anthony Geffen.
Corrie fans will be treated to a spectacular tram crash to mark the show’s 50th anniversary this month. Dave Houghton reveals how it was done.
Tackling the subject of army life in a child-friendly way, Paul Wilmshurst built a spaceship on a shoestring budget and battled the British weather.
Working with four police forces, Ben Rumney got unprecedented access to officers on the beat - and was right there when a demo turned violent.
Horse face or bun face? Casting was the main concern on this adaption of William Boyd’s 20th-century epic, writes Sally Woodward Gentle.
Despite the tight budgets, Sky and indie Baby Cow secured some top talent for this series of comedy shorts. Ben Dowell goes on set.
Nat Geo’s animal epic is a masterclass in using technology, but storytelling is at its heart. Chris Curtis uncovers a shoot ranging from tracking butterflies’ wings to stalking elephants on foot.
Recreating a war zone in a gravel pit in Bolton was the least of the challenges on this Jimmy McGovern-penned six-parter, says Sita Williams.
Ten episodes, 10 locations, shot in five days on a clapped-out, 1960s double-decker. Ben Rigden explains why he loves making low-budget telly
Shot on 16mm with little CGI and an eerily silent soundtrack, this adaptation of a cult graphic novel series is groundbreaking TV, says Robin Parker.
Cute cats and dogs weren’t what this series was about, says Andrew Anderson. His team of vets were on a mission to treat more exotic species.
A web show ordered by one indie and produced by a bigger one has now made the leap to television. Kat Hebden reflects on an unusual challenge
After discovering that author Mark Billingham wanted him to play his character DI Thorne, David Morrissey set the wheels in motion.
After the original US broadcaster dropped out, bringing in the right partners was vital for this medieval epic. Executive producers Ridley Scott and Rola Bauer reveal how it made it to the screen.
With just five weeks until filming was due to start, writer Mick Ford had a problem: there was no cast, no director, and he still had to finish the scripts.
Producer Richard Yee puzzled why Sky 1 HD would send a travel-hater to tour the globe. Then he realised that the ranting was the story.
Ten celebrities completing a series of challenges in the Arctic, in winter - great idea. So why had no one tried it before? David Mortimer tells all.
Creating convincing air battle scenes on a TV budget in just nine days took a lot of ingenuity - and luck, says director Matthew Whiteman.
Clambering all over some of the nation’s most iconic buildings was an often frightening but exhilarating experience, says Emma Read.
ITV1’s lavish new period drama will be a major weapon in the Sunday night ratings war. Robin Parker meets its creators.
This eye-opening film inspired by a true story could not have been made without the help of the UK Film Council, says Andrea Calderwood.
Director Mike Christie shot in some of London’s most iconic locations for this film celebrating the Paralympic athletes competing for Britain in 2012.
For Sky1’s Must Be The Music, executive producer Nicholas Steinberg set out to reinvent the genre - by focusing on musical ability above all else.
Filmmaker Angus Macqueen’s investigation into the impact of the drugs trade left him clear about one thing: our current policy just isn’t working.
Making a film about the excavation of a WWI mass grave - without showing any human remains - was a tough commission, writes Janice Sutherland.
Uncovering poor standards and scams in tourist resorts proved doubly difficult when exposure meant going undercover, says Bridget Boseley.
Producer Lachlan MacKinnon threw away the rulebook to avoid making a formulaic cop show and overcome the challenges of a London shoot.
Writer Catherine Johnson returned to the street where she once lived to film her new comedy for BBC3 - and found the experience fun but spooky.
With Georgian Dublin doubling for the famously Victorian northern city, the team had their work cut out on this urban thriller, says director Brian Kirk.
An unauthorised journey into one of the secretive state’s most dangerous and militarised areas took Simon Phillips close to his physical limits.
Getting the commission was easy, says Ben Bowie - but pitching it to the world’s most famous living physicist was a nerve-wracking experience.
Playing a game of cat and mouse with a team of top private investigators provided a unique film-making challenge, says producer Ashley Jones.
Piecing together the stories of the five women murdered in Ipswich in the winter of 2006 was a long and painful process, says Simon Lewis.