As its Chief Creative Officer and Global Director of Acquisitions, BBC Studios and UKTV, he is also responsible, alongside his commissioning remit, for acquiring shows for the broadcaster and BBC Studios’ global channels. Current hits commissioned by Watsham’s team include The Marlow Murder Club for U&Drama and Will & Ralf Should Know Better for U&Dave.
What do you do?
Tell us about producing Portrait (and Landscape) Artist of the Year over the past decade…
They are the most joyous shows I’ve been involved in. Artists tend to be really nice people, and we don’t show, as others do, the humiliation of a competitor packing their bags and leaving the programme, accompanied by sad music. There are scores of artists who [if not for the show]would still be amateur and are now professional – television often gets a bad rap, but we feel that to have achieved something like that is fantastic.
You launched Loop during Covid…
It may seem odd to start a talent management agency during a pandemic, but it turned out to be an ideal time. While not working, many heads of department were reassessing their careers and looking for a fresh approach to management. This created an opportunity for us to quickly connect with, and secure, a diverse range of talent.
Why did you start the agency?
What does the job involve?
Supporting everyone on a production – cast, crew and creative team members – who is deaf, disabled and/or neurodivergent. I assess access requirements and put measures in place so that disabled people can turn up to work and, from day one, be creatively brilliant without worrying, for example, how they’re going to get to the toilet on location if they’re a wheelchair user. I also support productions in putting adjustments in place and diversifying their team.
She hopes the indie’s debut – hit BBC One drama Boiling Point – is the first of many TV and film successes.
Why did you set up an indie together?
Phil and I were introduced in 2019. It was a coincidence that we are both from Liverpool and have similar backgrounds. Neither of us knew anyone in the industry – we fought our way in and built these careers for ourselves, and we both have very similar goals. So we decided to work together.
You were the lead medical advisor on Breathtaking. How did that come about?
I know Prasanna Puwanarajah, a former doctor, and had a little bit of input, along with a few other doctors, into the script he wrote with Dr Rachel Clarke and Jed Mercurio. The production felt they needed somebody on the ground as a medical advisor and I was available.
What did the job involve in pre-production?
The fun part is playing music detective and creating playlists – but there’s also the labyrinthine business of negotiating and securing the rights to use the tracks.
What does the job involve?
What does the job involve?
I guess the simple answer is that the clue is in the title: it’s about having a clear direction in which you want to take a project.
You’re the hand on the tiller, making sure all the departments and actors are going in the same direction.
I started in documentaries, so I’m trying to make things feel real and truthful. I’m not just trying to deliver the script, which is what a lot of people think a director’s job is. You have to breathe life into it so it doesn’t feel written, or even directed.
What does the job involve?
A mix of covering breaking large events – a lot of which in recent years have been wars – and self-starter pieces. As a team, we do long-form stories, too. The withdrawal of British forces from Afghanistan was not just a news story for us, it also became an hour-long programme.
Why is it important?
What does the job involve?
I oversee the production budget and scheduling, as well as the day-to-day aspects of a production. This involves ensuring that filming is done safely, on time and on budget. I’m also the go-between, between the crew and the producers.
How do you differ from a producer?
A producer works on the editorial side; a line producer is on the production side of a TV show.
How did you get your break in telly?
