Commissioning Editor Lee McMurray, Series Director James Kayler, Story Producer Phil Krstic, Casting Producer Emma Pringle and Researcher Izzy Garvan discuss the making of Married at First Sight UK.
In this RTS Thames Valley session, each stage of getting a script on TV is explained, from how to come up with an idea to the commissioning process.
Lyndsay Duthie, CEO, PGGB and RTS TVC Committee
Chloe Seddon, Head of Development, Parable Films
Bianca Gavin, Head of Production, Pulse Films
Karen Redfern, Post-Production Supervisor, (To Olivia)
Dee Allen, Company 3/Method Studios / No Chiefs
Written by Roger Goldby (The Durrells) and Simon Nye (Men Behaving Badly), Finding Alice focuses on Alice (Keeley Hawes) as she navigates grief, love and life following the death of her husband Harry.
Harry’s sudden accidental death happens not long after him and Alice move into their newly finished dream home and he falls down the stairs.
His death sparks a storm of secrets, mess, debt, suspicion and criminality, which Alice must confront in order to survive.
The series gives unprecedented access, granted by Glasgow High Court, to a high-profile murder trial that has gripped Scotland and solves a 20-year old disappearance.
The exclusive access documented suspects Edward Cairney and Avril Jones as they faced trial for the murder of Margaret Fleming.
When a Personal Independence Payment application – a welfare benefit for someone with a disability – was submitted in 2016, suspicions were raised when authorities couldn’t contact the claimant.
The series sees young singletons search for love by teaming up with Filly and snooping around the homes of three potential suitors, before choosing to go on a blind date with one of them.
Someone’s bedroom can reveal a lot about a person and the singletons will get to see if their potential dates have any skeletons hidden in their closet.
Created by RTS Award-winning writer Nicole Taylor (Three Girls), the emotional thriller focuses on wealthy couple Dan (Compston) and Emily (Rundle) who are head over heels in love and live a beautiful house just outside of Glasgow.
Their lives seem perfect, but there is one thing missing: a baby.
A chance encounter introduces them to Kaya – played by Mirren Mack in her television debut – an 18-year-old from the other side of the city.
The programmes explore both classic and contemporary fiction, from celebrated authors and those less well-known.
BBC’s regular book programmes such as The Radio Two Book Club with Jo Whiley, The Verb on BBC Radio Three, World Book Club on the World Service and Open Book on Radio Four will feature specials throughout the year.
A festival has also been set up in partnership with libraries and reading groups around the UK.
In recent years, Channel 4’s new national HQ in Leeds and the BBC’s relocation of 2,300 posts to Salford have dominated our perception of out-of-London programme production.
This is perhaps not surprising: the corporation has the largest Ofcom quota for UK production outside the M25 – 50% – followed by Channel 4 and ITV, who both have 35%, and Channel 5, with 10%.
So Game of Thrones is coming to an end and the world is quite rightly in mourning. But I’m not. Not just because I’m the only person in Belfast who hasn’t seen a single episode, or the only person in Belfast who hasn’t been an extra in an episode.
But because it means the amazing crew will finally be available for other work. That will be the enduring legacy of Game of Thrones and the hard work of everyone at NIScreen.
The broadcasting company is offering six training placements for talented TV professionals with a disability, and those from black, Asian, and minority backgrounds, to develop their commissioning skills.
Now in it’s third year, the six-month programme will place applicants into one of the BBC’s commissioning teams, including BBC Two, Arts, Drama, Entertainment, Popular Factual and Specialist Factual.