GREAT TELEVISION


THE INSPIRATION BEHIND GREAT TELEVISION


One thing that audiences certainly have now is choice so to cut through the noise and grab the viewers’ undivided attention is no easy feat. Only a select few manage it


Welcome to The Inspiration Behind Great Television, a special supplement celebrating some of the best British television of recent times. Throughout this supplement, we’ve asked


the winners of our 2021 Televisual Bulldog Awards what makes their shows stand out from the crowd. Producer Simon Meyer explains why I May


Destroy You, the drama that Michaela Coel created, exec produced, co-directed and starred in, connected with its audience in such an extraordinary way. We also talk to the editing team from the


show and find out from them how Coel gave them the creative freedom to produce an experimental, dynamic, and abrasive edit that managed to carefully balance serious drama with dark comedy. Producer Michael Casey explains how the


team behind The Crown navigate the eye- watering logistics of keeping the enormous production on track. The show’s composer, Michael Phipps, talks about how he stripped the music “back to its essence to say more with less,” on the show’s fourth series. The executive producer of Sex Education,


Jamie Campbell, sets out how “the balance between the dramatic and the comedic” is the key to the comedy’s success. BBC Sport’s team describe how the England


Germany knockout match in the Euros grabbed the English nation at a time when celebration felt more necessary than ever. Springwatch’s exec producer Rosemary Edwards explains how


the team kept its ambitions high for the 2020 edition despite battling lockdown restrictions. Producer Andy Wilman describes Clarkson’s


Farm as ““Lightning in a bottle,” the show’s critical and ratings success certainly was. Director Jenny Popplewell explains


how social media, phone cameras, police bodycams, and the victim’s text message created an unfolding narrative of a heinous crime in American Murder that put the victims, not the murderer, centre stage., Director James Bluemel details how a


focus on character driven narrative was the key to Once Upon a Time in Iraq. And director Keith Scholey


explains why David Attenborough’s first feature film hit a nerve with a public now waking up to the threat of climate change.


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