The documentary maker on choosing to pursue an eclectic mix of films rather than specialise
One year into the job, the 5 News lead anchor sits down with Broadcast to discuss building trust, impartiality, and having Ben Frow as a boss
Indie group’s MD of television on turning what many perceived as a confusing array of indie labels into a cohesive & profitable business
The News at Ten anchor on helming the corporation’s coronation coverage, standing up to critics, and the problem with impartiality
As Workin’ Moms kicks off its final series, its creator reflects on how a primarily female team helped capture motherhood in all its messy details
The comedian and consumer affairs champion discusses breaking free from formats, the pull of live TV and going viral
The Nolly writer and Quay Street boss on their new ITVX drama and 30 years of working together
With a raft of commissions for both terrestrial channels and streamers already in the works, the drama indie is well prepared for life after The Crown
With a focus on co-productions and younger audiences, the chief content officer is leading a transformation of the Welsh-language channel
The creator of ITVX’s glossy new drama Riches explains why she had to move to America to get the chance to run her own show
Freevee head and content chief reveal their plans to build up the service’s slate of originals and bring in a younger audience
Vice-president of international on why the streamer remains a core part of Amazon’s growth strategy
In an industry awash with content, the FX Networks chair is convinced that curated and well-crafted shows can stand out
Graham Taylor & Chris Rice on their ambition to source projects from around the globe and leave the industry better than they found it
From cinema assistant in Tolkien’s Oxford to director on The Rings Of Power, Wayne Yip’s career has rocketed since his Channel 4 debut
Anne Mensah, Anna Ferguson and Mona Qureshi on how the US SVoD giant allows them to experiment and push the boundaries
First interview with Adam Hawkins and Nelesh Dhand
Kate Townsend and Jonny Taylor want to dial up risk-taking
Director of commissioning discusses Big Zuu’s success, making W free-to-air and broadening the range of originals across UKTV channels
Managing director of media & entertainment on how the launch of the platform and a £160m budget boost will transform ITV’s content strategy
The presenter explains why disabled talent should be at the heart of shows that have nothing to do with disability
Sister co-founder on production, innovation and her career in TV
Writer and director twins on their new comedy series along with their plan to set up a production label
Channel controller is confident that the youth-skewing service can increase its reach among the 16-34 audience when it returns to TV screens
Having weathered the Covid storm, ITVS’ managing director wants to win more business from the streamers and supercharge scripted hours
The Sex Education execs on how a Netflix greenlight transformed the fortunes of their production company
The team behind the police procedural on giving the genre a dark spin
The Warner Media International chief on the importance of local content, why it’s good to fail and the prospect of breaking HBO Max’s ties with Sky
The Hollywood star created Green Door to surface new, diverse talent – but he doesn’t want them to be solely defined by their ethnicity
How the two execs are tackling the challenge of turning Green Door into a production powerhouse
The group’s chief operating officer on why the super-indie is not resting on its laurels
Lucinda Hicks and Peter Salmon on the ESUK merger’s advantages and their plans to supersize development and the indie roster
With a Netflix dating series hit and a Best Independent Production Company win at this year Broadcast Awards, the Fremantle label is flying high
Writer and director on taking inspiration from her own life for her new C4 comedy about a Muslim female punk band
Pan-European group has been steadily acquiring production firms and has now gained a foothold in the UK with the acquisition of Wag TV
Line Of Duty creator on working with new writers and his issues with the UK’s commissioning set-up
UK chief exec has a wealth of indie experience to draw on as he sets about simplifying its structure & balancing shows with new IP
The comedy duo on their 25-year partnership and the obstacles they had to overcome to get the second series of their C4 sitcom on air
Chief executive sets out bold vision to shift C4’s priorities from linear to online
The actor and Pirates of the Caribbean star on leaving Hollywood behind to write and direct for British TV
Writer, director and star of BBC1’s Nancy Mitford adaptation In Pursuit of Love set out to create something more than a ‘chocolate-box’ period piece
Exec producer on stress, self isolation and same-sex couples
The docs legend loves the BBC, but wants Mindhouse to work with fresh talent and new broadcasters
C5’s moody magician reveals how it navigated lockdown and hints at plans to freshen up its slate
The British comedian and broadcaster on Quibi series Hello America and why the BBC deserves credit for taking a chance on The Mash Report
The comedian and presenter discusses why progress on diversity is behind schedule and producing The Ranganation in lockdown
The comedian and presenter tells Desiree Ibekwe it’s time TV gives diversity talent a consistent chance to excel
The historian and broadcaster talks to Max Goldbart about toppled statues, the educational value of TV and industry discrimination
The comedian and writer tells Robin Parker about her inspiration for her BBC1 comedy The Other One and the isolation of working in lockdown
The former presenter-turned-diversity champion outlines her vision for a more inclusive BBC to Max Goldbart
The ITN boss sets out her vision for the news giant in a post-coronavirus world, in her first full interview since becoming chief executive
The Brassic co-creator tells Max Goldbart about his mental health struggles and the unique writing technique he’s developed for the Sky 1 comedy
Rapper and self-taught cook on his switch from grime music to comedy-entertainment TV as his first show for Dave gets underway
The BBC Sounds controller tells Max Goldbart why reaching diverse and underserved audiences is mission-critical to the corporation’s future
The writer behind comedy-drama Pure on why lockdown could impact creativity and how she is preparing Sky Atlantic’s Sweetpea remotely
World On Fire and The A Word writer contemplates the impact of lockdown on his scripts
A workplace retooled for collaboration, key brand investment and a continued push on global formats will position Viacom’s UK channels for the future, its UK MD tells Alex Farber.
Ahead of her appearance at the Media Production Show later this year, the composer reveals how she approached music on the Bafta-winning doc
Fox Entertainment’s British unscripted programming chief on spotting hit entertainment formats and building a career in the US
Fresh from her Broadcast Special Recognition Award win, the prolific TV writer talks about nurturing the next generation of writers
Harry and Jack Williams, the duo behind the Phoebe Waller-Bridge hit and a raft of 9pm dramas, on nurturing the next generation of writers
The fiery chef and his chief creative officer on developing sellable formats, moving beyond food shows and duty of care
How the veteran presenter is making C5’s current affairs show his own
Brickbats continue to fly around C4’s director of programmes, but he says the broadcaster is in rude health and has plenty up its sleeve for 2020
UKTV’s commissioning chiefs talk about losing Taskmaster to C4 and their bold plans for scripted and comedy
Pact’s chief executive on why he’s still fired up about fighting for its members after 18 years at the helm
Sky Studios’ chief commercial officer on building a development slate at double-quick speed and the vast opportunities afforded by new parent Comcast
The Stranger author talks to international editor John Elmes about golden handcuffs deals and writing in his pyjamas
Having carved out a space for itself in sports production, the indie has bold ambitions in entertainment and other genres
With two blocks of Premier League matches to sit alongside its ATP Tour tennis coverage, Amazon is emerging as one of the key players in the future of sports broadcasting
Benidorm writer on the end of his long-running ITV sitcom, the state of British comedy and sitting in the director’s chair for his new BBC1 show
Fiona Campbell on shifting focus to a narrower age range, her fresh slate of fact-ent formats & taking commissioning cues from social media
C4’s deputy director of programmes tells Chris Curtis she wants broad and accessible shows to help reinvigorate the channel
One of TV’s most outspoken and controversial comics on why protecting the right to offend is crucial
Tinopolis’ director of content Chris Brogden talks to Max Goldbart about developing relationships between the group’s US and UK indies
Steve Pemberton and Reece Shearsmith on how delivering distinctive ideas on a low tariff has sharpened their scripts
One of the most sought-after TV directors talks to Jesse Whittock about how she develops a show’s vocabulary
C4’s head of specialist factual tells Joanna Tilley about her desire to bring a greater diversity of perspectives to the channel
BBC documentary commissioning head on supporting female directors, the influence of podcasts and cross-genre opportunities
Lenny Henry quizzes Tom Watson MP over Labour’s plans to improve representation
Fresh from her Bafta recognition, Red’s founder tells John Elmes about working with Russell T Davies and the future of N&R indies
Silverback Films reveal its ambitions for Netflix’s biggest factual bet to date
A Sky Kids series and a focus on digital content is helping to make the 80-year-old kids’ comic brand relevant to a new generation, discovers Tim Dams
Amid rumours of a bid for Endemol Shine, key Banijay execs talk about the company’s rise and future ambitions
Black Earth Rising creator on his latest project and why BBC2 is the perfect partner
C4 director of programmes talks about learning on the job and changing the culture at Horseferry Road
Keshet International’s exec’s ambitions and plans to find a new UK home for the talent show axed by ITV before it aired
Sky is moving out of factual, returning to entertainment and doubling down on drama.
Channel 5’s new head of children’s Sarah Muller speaks to Ann-Marie Corvin about improving its digital offering, working with Viacom - and finding the next Peppa Pig
The team reflect on its inauspicious start and the reasons for its longevity
Channel 4’s documentaries commissioning editor talks to Miranda Blazeby about experimenting with form and subject matter – and why privatisation would put it all at risk
Viceland’s UK ratings may not be giving its rivals sleepless nights, but general manager Guy Slattery says that bringing a new angle to broadcasting will reap rewards
Black Mirror executive producers Charlie Brooker and Annabel Jones talk to Robin Parker about where they get their ideas, binge-watching – and what Netflix brings to the table.
With a slew of spin-off-spawning franchises, a healthy non-scripted order book and a fledgling drama division, Studio Lambert is on a high. So what’s next for the indie? asks Peter White
The Foundry chief executive Alex Mahon tells George Bevir what she has been doing since she joined the software firm 10 months ago, and why she believes VR will succeed where 3D failed
With a £100m Netflix series set to launch and an Amazon Video pilot in the pipeline, Left Bank is riding the OTT drama wave. What next for the Sony-owned indie? asks Chris Curtis
The small British indie has made a big splash in the US with James Corden’s The Late Late Show
From Ancient Rome to the not-too-distant future of C4’s Humans, via ITV’s crime-solving 1950s vicar, Diederick Santer talks to Robin Parker about meeting diverse demand for drama.
Netflix’s global hit documentary series was 10 years in the making. Alex Farber hears how directors Laura Ricciardi and Moira Demos developed their vision with the on-demand service
Films of Record managing director Neil Grant tells Robin Parker about the streak of anarchy and love of provocation and playfulness that have marked his career in groundbreaking TV
Channel 4 arts commissioner John Hay tells Robin Parker why he wants artists to tackle ‘front-half-of-the-paper’ topics. Plus: Pegah Farahmand on supercharging Random Acts
Bafta Special Award recipient Nina Gold tells Hannah Gannagé-Stewart about the joy of discovering new talent
Sky’s non-scripted boss talks to Peter White about flying dogs, why ‘funny factual’ is harder than it looks - and why she couldn’t turn down Renegade’s Don’t Tell The Bride
C4’s chief creative officer talks to Jake Kanter about the broadcaster’s transformation in the eyes of indies, creative risk-taking and the potentially ‘catastrophic’ effects of privatisation
The duo behind drama indie Sid Gentle Films tell Robin Parker why they’re seeking out leftfield talent - and what this means for diversity in the industry
Acclaimed Danish film director Susanne Bier waited 25 years to make her TV debut - with a thriller that had taken almost as long to get to the screen.
Sky’s managing director of content talks to Chris Curtis about going head to head with US studios, losing Stuart Murphy, and his search for a pan-European scripted blockbuster
The animators behind BBC1 festive treats The Gruffalo and Stick Man tell Robin Parker how CGI helps them to find and fill the 3D space between the linds of children’s stories
Channel 4’s chief executive tells Broadcast why he believes privatisation would have serious repercussions for some parts of the industry and sets out his views on terms of trade
Bad Wolf’s co-founders tell Robin Parker why Philip Pullman’s His Dark Materials trilogy embodies their mission statement - and what their adaptation will mean for Wales
The fixed-rig pioneers talk to Chris Curtis about implementing a growth strategy while holding on to their core creative principles, life under ITV, and taking a ‘box-set approach’ to factual
Film-makers Brian Hill and Katie Bailiff talk about putting are before profits and experimenting with form - even when producing more mainstream output
Alison Kirkham and her team want to work creatively with indies to bring ambitious projects to life.
Drama Republic’s co-founders talk to Robin Parker about their indie’s rapid rise, working with writers, and scoring two hits in the same week with Doctor Foster and An Inspector Calls
The team behind Don’t Tell The Bride and Drugs Live tell Matthew Campelli that creating successful mainstream formats gives them licence to explore meaningful projects
Made In Chelsea indie bosses David Granger and Will Macdonald tell Peter White they have US primetime in their sights and are on the hunt for the next Don’t Forget Your Toothbrush.
Alan Clements talks to Matthew Campelli about delving into different genres to find the next show that, like Antiques Roadtrip, nails the three Rs: rights, returnability and reputation
Fresh from welcoming Mammoth Screen and Twofour Group into the ITV Studios family, Julian Bellamy talks to Matthew Campelli about building a creative powerhouse - and the importance of getting the chemistry right
Retort managing director Jon Rolph talks to Matthew Campelli about the lack of working-class heroes in contemporary comedy - and his ambition to create something for everyone
ITV director of drama Steve November tells Matthew Campelli about his plans to refresh the schedule after Julian Fellowes’ hit period piece comes to an end later this year
Director general Tony Hall on the challenges facing the BBC and why the public must be involved in the licence fee debate
Seasoned documentary-maker Sean McAllister talks to George Bevir about filming during the Arab Spring, and why commissioning editors should reject the urge to play it safe
It’s been a busy time for Ricochet since Jo Ball became chief exec last year, with Katy Thorogood joining Simon Knight to help expand the indie’s slate. Hannah Gannagé-Stewart meets the trio
RDF Television’s managing director Jim Allen talks to Peter White about reviving the indie after Queengate and shouting about its entertainment credentials via a new label
Sony’s Wayne Garvie talks to Peter White about the US company’s desire to find the next Millionaire, boosting scripted in the UK and the dangers of messing with terms of trade
Rhodes tells Peter White about the outrageous characters who attended the market and how much has changed over 30 years
The Killing creator Søren Sveistrup tells Peter White about the indie he has set up with Borgen creator Adam Price and its ambitions to produce scripted series for an international market
Bafta LA’s first chief executive talks to Maggie Brown about her latest challenge
Morgan Matthews talks about his first feature film X+Y and the future for expanding UK production outfit Minnow Films
C5 director of programmes talks about changing perceptions of the channel and what he plans to do with the bigger budget provided by Viacom
The managing director on how a collaborative culture is delivering cross-genre shows and why she is excited by Endemol’s merger with Shine
Creative director of the Benefits Street indie Richard McKerrow tells Chris Curtis why it is not afraid to tackle controversial subjects
The writers and stars of Channel 4’s sitcom Catastrophe talk to Paul Whitelaw about their transatlantic partnership
Controller Kim Shillinglaw inherited a channel in rude health, but she is looking for revealing new filming techniques and shows that are young at heart
Writer Russell T Davies tells Robin Parker about mixing grit and gloss in his return to the Manchester gay scene.
The managing directors talk about the power of social media and winning the Best British Soap Award
Matthews talks about finding the sweet spot between docs and current affairs in Unreported World
Ahead of the launch of his latest Channel 4 series, the Turner Prize-winning artist reveals how he makes TV docs and the Swan Films co-founders discuss their wider ambitions.
The veteran journalist talks about returning to Northern Ireland and the future of current affairs programming
Sky Living director reveals plans to defrock the channel of its fluffy image.
Outgoing chair Elaine Bedell recalls her favourite moments and tells Chris Curtis why ITV’s revival strategy works
Clerkenwell Films’ chief executive talks about the indie’s eclectic project slate and working with fresh talent
The managing editor discusses increasing the number of women experts and leading the way on BAME representation.
The RTS chief executive talks to Robin Parker about overhauling the society’s education brief and nurturing the next generation of TV talent through its new bursary scheme
12 Yard’s managing director talks about keeping the indie spirit alive under ITV Studios
The South Bank Show presenter talks about revisiting his TV past, the freedom offered by Sky Arts - and the importance of broadcasters covering religion.
The in-house chiefs discuss creating an ‘indie-like atmosphere’, and challenging perceptions
The Britdoc boss on changing funding models and the directors with stories worth telling
The Films of Record founder shares the secret to making a good doc, and why TV is as good as ever
Discovery UK’s boss discusses how the broadcaster is moving beyond what people expect
ITV’s director of daytime is confident that Good Morning Britain can succeed where Daybreak failed
UKTV is looking to shift its focus to entertainment and improving its indie relationships
Content chiefs trumpet forthcoming channel as anything but niche
The trio are revelling in their independence as they gear up to take TV into space
Broadcast heads to a former Dutch military base to hear about John de Mol’s plans to make a ‘more upscale Big Brother’
From football in South Sudan to a chimpanzee’s court case, Nick Fraser and Kat Townsend challenge how we view the world
Following last month’s launch of Lifetime, the MD discusses finding the right content for the UK
When it comes to investigative journalism, creating public debate is as important as ratings
Comedian Ruby Wax is back in the limelight - this time as a corporate speaker on mental health issues
Few characters can rival Santa Claus in a child’s eyes - apart from CBeebies’ Mr Tumble that is.
Doctor Who’s lead writer and producer, and BBC Wales head of drama discuss the next chapter
Hollyoaks must stay true to its young audience by taking risks on often uncomfortable storylines
The show’s exec producers and US commissioner on taking a gamble live in primetime
Citizen Khan talks about creating mainstream comedy, breaking Asian talent - and learning his craft on stage
The Radio 5 Live boss has stamped his vision on the service with an alternative view of sport and current affairs.
Ahead of the launch of his Sky 1 series, the star discusses crying, dying and Derek
The pair discuss branching out into comedy and putting innovation at the heart of all they do
On his latest doc, the filmmaker watched another journalist become the story - with troubling results
ITVS execs have mined history to create internationally attractive period dramas
The creator of the US crime drama on how it turned from near-flop to phenomenon
From Latin America to Asia Pacific, via the UK, Julian Bellamy’s global content push is gathering pace.
YouView’s boss on overcoming the hurdles to launch, dealing with tricky shareholders and the next steps
The pair discuss cracking different genres and the benefits of having creatives in charge.
The chief executive on restoring the business to profitability and regaining its swagger.
The king of live TV on ‘punching through the glass ceiling’ and the wrong side of Russell Crowe.
Robin Parker speaks to Eleven Film’s co-founders about wooing the international market with EOne, shifting their focus to scripted - and the difficulty of devising a returnable format
The Deal Or No Deal host’s entire television and radio career has been about inviting the public to take part, often in innovative ways. Now he wants to crack digital, he tells Ben Dowell
Channel 4’s new head of features has been shaking things up with 22 new shows at 8pm. She tells Balihar Khalsa about ‘narrative heroes’ - and why humour matters.
The super-indie’s new chief exec Farah Ramzan Golant has spent her entire career in advertising. She tells Lisa Campbell why making content is the ‘holy grail’
Hat Trick’s co-founder talks to Lisa Campbell about Thatcher’s TV legacy, how he’d revolutionise the BBC - and the benefits of a good cup of coffee.
In the wake of its first Grand National for C4, IMG Media’s global sports production boss talks to Jake Kanter about the high-stakes race to win new sports contracts - and retain key rights
Sky Sports’ managing director Barney Francis talks to Chris Curtis about drawing on experience in the face of competition from BT Sport, identifying talent and the future of distribution
Janice Hadlow controller of Broadcast’s Channel of the Year discusses maintaining BBC2’s distinctive identity in the face of budget cuts - and why sewing is the new baking.
Kudos chief executive Jane Featherstone discusses life after Hustle and Spooks, remaking Scandi hit The Bridge and the game changing arrival of Netflix and Hulu
The rise of Broadcast’s Best Post-Production House for 2013 has been rapid and remarkable. And its expansion isn’t over yet, owners Dave and Natascha Cadle tell George Bevir
Red Production Company, Broadcast’s Indie of the Year has made some of the most popular drama of recent times. Now it’s starting a new chapter with a move into comedy and a potential sale. Chris Curtis reports
As BBC3 reaches its 10th birthday, Zai Bennett tells Jake Kanter how he has sharpened its focus and made the channel his own – and why the milestone won’t be celebrated on air
Writer and director Stephen Poliakoff talks about the important questions raised by his first full-length TV series, Dancing On The Edge, and how the BBC’s faith in him has been repaid
In two years, ITNP has grown into a formidable production division, thanks to a content strategy built around its news heritage. What’s next on the agenda, asks Jake Kanter
The Farm’s founders and joint MDs have capped their ‘best ever year’ with WFTV’s Business Award - some achievement for a duo who started off at loggerheads. George Bevir reports
As she picks up a major WFTV award, the former BBC head of Vision talks to Lisa Campbell about leaving the BBC, revolutionising science on TV and helping women reach the top
Riding high with BBC3’s Cuckoo, the Roughcut TV team talk to Paul Whitelaw about waiting for the right idea and the dedication to honing scripts that sets the indie apart
A documentary-maker by background, Julian Farino is mid-way through a two-year exclusivity deal with HBO in the US. He tells Robin Parker what Brits bring to the US party.
Studio Lambert’s chief executive and US president talk to Balihar Khalsa about the indie’s success across the pond, its strength in creating global formats – and its move into scripted
Creative directors Julian Ware and Ben Bowie are seeking to build on Darlow Smithson’s reputation by broadening its creative bandwidth and diversifying. Balihar Khalsa reports
The Radio Independents Group’s recently appointed chair talks to Alex Farber about the need for the indie sector to act as a collective to boost commercial ties and build trust with the BBC
As BBC News shows gradually relocate to New Broadcasting House, the head of the newsroom tells Jake Kanter how the building will foster greater collaboration
Channel 5’s factual commissioner talks to Alex Farber about Big Brother’s halo effect and his determination to deliver a strong factual slate, with the backing of owner Richard Desmond
With potential subjects for Inside Nature’s Giants running out, Windfall Films is looking for something new. But, its founders tell Balihar Khalsa, TV appears increasingly risk-averse.
The BBC Radio controller talks to Jake Kanter about the galvanising effect of saving 6 Music, minimising the impact of budget cuts - and his admiration for Russell Brand.
Consistently breaking new ground has made Lion TV a success on both sides of the Atlantic. Robin Parker hears how the indie keeps reinventing itself to stay ahead of the game
Syco boss Simon Cowell talks to Chris Curtis about the ‘miraculous’ success of the Got Talent format - and how he stops it getting stale.
2012 has been a prolific year for Gordon Ramsay and his indie One Potato Two Potato following a series of hit US shows for Fox. But he won’t forget his roots, he tells Chris Curtis
Channel 4’s head of factual entertainment has a clear mission in the post-Big Brother era: to create noise. But, he tells Balihar Khalsa, controversy will never be far behind.
The writer of precinct dramas from Cardiac Arrest to Line of Duty talks to Chris Curtis about bureaucracy and box-ticking in the public sector, and why he’s fascinated with work.
The BBC North director talks to Lisa Campbell about how the move to MediaCityUK is revolutionising the way the corporation works.
Having launched Mammoth when drama was at a low ebb in 2007, the indie’s founders tell Jake Kanter about their global ambitions and why the genre has entered a new golden age.
BBC in-house head of comedy Mark Freeland tells Jake Kanter about his ambitions to inspire bus-stop moments among audiences and offers a robust response to sniffy critics
One year after leaving Tiger Aspect to launch his own indie, Burning Bright founder Clive Tulloh talks to Balihar Khalsa.
On a roll with Veep and eyeing The Thick Of It’s endgame, Armando Iannucci tells Paul Whitelaw about HBO creative freedom, why the BBC needs Sky competition – and that OBE
As the finishing line nears for the BBC’s outgoing DG, he tells Lisa Campbell about leaving “an organisation of mavericks” – and why the Olympics breathed new life into what it stands for.
Last year’s Broadcast Hot Shots talk to Robin Parker about the impact appearing in the supplement has had on their careers.
Pinewood’s chief executive tells George Bevir about working with producers to keep down costs, plans for international expansion, and why a good studio is about more than space.
Big Wave may be small in size but its big ideas have helped it carve out a niche on both sides of the pond.
After buying stakes in four UK indies in 18 months, Red Arrow has set its sights on joining the ranks of the global giants - but first it needs to nurture its new properties.
On reaching a landmark 200th edition of his satirical podcast The Bugle, Andy Zaltzman talks to Michael Rosser about its global appeal - and surviving on voluntary subscriptions.
Having struck gold in the US, Raw TV’s bosses tell Balihar Khalsa about their home ambitions and why they value their independence
The BBC’s director of London 2012 tells Chris Curtis how the corporation intends to take gold with its Olympics coverage, with 24 dedicated channels, online streaming and some new presenting faces
Sky’s director of entertainment channels says he wants to make his portfolio more like Sky Sports – but first there’s something he wants to get off his chest.
Sky director of entertainment talks about raising the bar, giving producers freedom – and being gay.
All3Media’s commercial and digital director is keen to exploit the potential of YouTube. He tells Alex Farber how the indie’s original content can make a splash in the online world.
Channel 4’s new deputy head of factual talks to Balihar Khalsa about reaching out to documentary-makers, taking fixed rig to new places and bringing clarity to commissioning.
Former BBC2 controller and Nutopia founder Jane Root tells Chris Curtis about widening the indie’s scope – and why history documentaries can have broad appeal.
Talkback’s new managing director tells Jake Kanter why the recession has been good for the Celebrity Juice producer.
Tiger Aspect is going back to being ‘funny and talent led’ following the departure of Clive Tulloh and a merger of its comedy and entertainment teams.
ITV’s director of factual and daytime talks to Jake Kanter about reining in celebrity travelogues, the downfall of Daybreak and why these are the ‘most exciting times’ to be at the broadcaster.
The BBC’s commissioning editor for science and natural history is investing in developing programmes that will take viewers on an unexpected journey.
Twenty Twenty’s chief exec and creative officer have successfully applied entertainment values to serious subjects. They tell Alex Farber how they are simply mimicking life’s ‘sense of fun’
Film and theatre have been fertile ground for Neal Street in recent years, but the success of BBC1 drama Call the Midwife has focused attention back on its third arm – TV.
ITV Studios’ boss wants to build bridges with commissioners and is on the hunt for the next big international hit – but he’s not bothered where the idea comes from.
UKTV’s low-profile chief exec has been busy getting its house in order for the past 18 months. But with a spending rise now kicking in, he’s stepping into the spotlight.
The Hollywood couple who have found themselves making a sitcom in the UK about a UK couple making a sitcom in Hollywood tell Robin Parker about blurring fiction and reality.
Tyler Brûlé has a hard-earned reputation as a media innovator. So why is he eschewing iPad apps and social networks for radio? It’s all about ‘good conversation’, he tells Lisa Campbell.
After a string of daytime commissions, Lucky Day is targeting teatime, with Sky ‘at the top of the list’.
Her team has inspired the public to start baking and buy telescopes - and her budget is one of the BBC’s biggest. Catherine Neilan speaks to the controller of Knowledge commissioning.
Sky Arts director James Hunt wants to polish Sky’s ‘gem’ by signing up top talent and ordering ‘surprising’ content. And he wants indies to share his ambition.
As the BBC’s children’s channels reach the ripe old age of 10, their controllers speak to Catherine Neilan about supporting UK producers and the impact of the move to Salford.
The two-man team behind Wildlife SOS talk to Robin Parker about spreading an ethical message – and why Frozen Planet got it wrong.
As ITN gears up to take over 5 News next week, its editor-in-waiting tells Jake Kanter about the ‘white-knuckle ride’ he’s been on since it picked up the contract from rival Sky News.
Since Richard Desmond took over, Channel 5 has been the butt of snobbish jokes. But there’s nothing wrong with fun and positivity, its controller tells Chris Curtis – the viewers love it.
He once climbed a mountain in Tibet to bury rushes and his children call him ‘Spy Dad’. The director of Poor Kids tells Catherine Neilan about his golden rules for going undercover.
Having become known for its fixed-rig shows on C4, Dragonfly’s MD is courting other broadcasters.
Hiring Richard Keys and Andy Gray in the middle of a media storm showed that TalkSport’s programme director is not afraid to take a gamble – and it’s paying off.
A+E Networks UK’s vice-president of programming says the group’s four channels have more in common than many people think – and he’s hoping to do some cross-pollination.
‘The EPG on steroids’ is how Red Bee’s chief executive describes the company’s latest offering. He tells Chris Curtis why viewers’ desire for interaction is driving the content delivery agenda.
Somethin Else’ founder Jez Nelson speaks to Alex Farber about the firm’s unique business model – and why convergence is the future.
The Downton Abbey v EastEnders Christmas Day clash was a turning point in ITV’s navigation of the commercial/editorial divide, its programming chief tells Lisa Campbell.
After the off-screen drama of 2011, Channel 4 has ‘got its balls back’, according to its chief creative officer. Now it wants to get people talking.
Sky Atlantic’s director wants to beef up the channel’s staple diet of acquisitions with original content. She tells Alex Farber about forgoing ratings winners for more ‘grown-up telly’.
You won’t find the Great British Bake Off presenter embarking on a TV ‘journey’, but her light-touch approach to factual can still shed light on big subjects.
C4’s multiplatform commissioning lead has been charged with finding innovative ways to get viewers involved in its campaigns through apps and online projects.
Using its biggest brands like Doctor Who as well as new daytime dramas, BBC Learning’s controller wants to inspire ‘a life full of learning’.
A longer format for Radio 4’s flagship show has given it more scope for in-depth interviews and analysis. It’s also made it feel ‘less rude’ to guests, Martha Kearney tells Ben Dowell.
Fresh One has just passed a tipping point: less than half of its turnover now comes from Jamie Oliver shows. But his values permeate all its output, the senior team tell Robin Parker.
Under C4’s ‘creative renewal’, the head of news and current affairs is overseeing a radical change in approach, with more emphasis on training and public involvement.
The pioneering producer of Shooting Stars now wants to get her ‘whole bloody foot’ in the door at Sky.
Julian Bellamy unveils his vision for global content for Discovery Networks International – and where UK producers fit in.
As US broadcaster PBS prepares to launch its first UK channel, Alex Farber talks to president Paula Kerger, while channel head Richard Kingsbury describes the task of setting up from scratch.
Balihar Khalsa speaks to Open Mike’s head of production about putting stand-up on TV and the benefits of a strong talent roster.
‘Tenacious with a smile’ is how C4 News’ first female presenter in more than a decade sums up her style. She tells Lisa Campbell why holding politicians to account demands ‘a sense of fun’.
From their Devon base, Great Western Features has recreated cinema’s golden age on a comedy budget. Robin Parker finds The Comic Strip creative forces enjoying a new lease of life.
AJE’s director of programming challenges the stereotype of the Qatar-based broadcaster as focused on the Middle East. “We’re changing the way the world is reported.”
The writer of BBC1’s Hidden and C4’s Top Boy tells Chris Curtis why he’s uncomfortable taking creative control and likes to keep people guessing both on and off screen.
The inside view from the Disney ABC exec and Mipcom’s personality of the year.
Lookout Point’s chief exec tells Jake Kanter there has never been a better time to be involved in international drama co-productions.
Left Bank’s co-founders are determined not to let Zen’s demise overshadow their global successes, including an ambitious ‘game of Risk’ with HBO.
Peep Show creators Jesse Armstrong and Sam Bain are navigating the tricky waters of comedy-drama on new series Fresh Meat - and this time they’re sharing the load.
This is a golden era for the television, advertising titan Sir John Hegarty tells Lisa Campbell, but to get the best from your creative teams, you need “motivation not subjugation”.
Just 18 months into the job, Jo Twist has become the driving force of C4 Education. But she’s relishing the challenge as she plans a push into primetime.
For his new series Life’s Too Short, Ricky Gervais returns to BBC2 and the mockumentary style that made him a star - but this time, he’s mostly behind the camera, he tells Paul Whitelaw.
ITV News has won a hat-trick of Baftas in the past three years despite limited resources. News At Ten’s anchor and assistant editor tell Jake Kanter how it has triumphed against adversity.
Raising awareness of social issues and giving unseen communities a voice is key for Keo’s managing director. Balihar Khalsa reports.
Having tasted life at a super-indie, John Smithson and his partners are going back to their programme-making roots with start-up Arrow Media. Catherine Neilan hears their plans.
With experience from both sides of the commissioning table, the duo behind new venture Grand Scheme want to help indies develop projects and win work.
On stage at the Children’s Media Conference, the BBC Children’s director told Lisa Campbell about inclusivity, the move to Salford and the false distinction between “fun and worthy stuff”.
With more money to spend this year and potentially a new 9pm primetime slot, C4’s comedy commissioning editor is on the lookout for a broad range of talent.
Whilst TOWIE’s runaway success has proved convincingly that Lime Pictures can create a strong offer alongside Hollyoaks, the indie has a lot more up its sleeves.
Outspoken drama writer Jimmy McGovern still has plenty to get off his chest, as Kate Rowland, organiser of last week’s BBC Writer’s Festival, discovered. Broadcast presents the highlights.
Shine TV’s MDs have not been resting on their laurels since News Corp bought its parent earlier this year, with comedy-ent and daily live shows on their radar.
Following its shift up the Sky EPG, MTV’s senior execs are on the hunt for ob docs, fact ent, scripted and structured reality series that can deliver on a global scale.
A love of high-concept blockbusters unites the creator and executive producer of Doctor Who spin-off Torchwood. They tell Chris Curtis how a tie-up with Starz has taken the show to the next level.
Despite the threat of cuts, it’s business as usual for the BBC’s arts commissioner - with ideas for BBC3 and more partnerships high on his wishlist.
The incoming head of the Radio Academy wants the BBC to improve efficiencies across its popular music stations, and its commercial rivals to have more leeway.
ESPN set up a UK channel in just six weeks after picking up Setanta’s Premiership games. With the rights up for grabs again, it is stepping up its ambitions.
Sky has filmed more than 100 live events in 3D and its dedicated channel has a burgeoning arts and factual slate. But the story has to come first, its 3D head tells Robin Parker.
The BBC’s commissioning editor for music wants to give viewers a more ‘immersive’ experience - and indies without a background in the genre shouldn’t be put off.
Since returning to the indie fold two years ago, Darrall Macqueen has gone through a period of dramatic change. So what next for the kids’ TV producer?
Discovery Networks International’s content supremo has lured Julian Bellamy to execute his programming strategy. Can he get the production community on board?
Having put ITV2 on the map with Celebrity Juice and TOWIE, BBC3’s new controller says he wants to be known as a risk-taker - and comedy is first on the agenda.
From its small base in Belfast, Wild Rover is making huge inroads into US TV. It’s managing director tells Lisa Campbell about working with Jerry Bruckheimer and Nigel Lythgoe.
STV’s chief executive opens up to Jake Kanter about Taggart, local TV, diversification, cracking the US - and that legal battle.
With a series of hits under its belt north of the border, including Burnistoun and Gary: Tank Commander, The Comedy Unit has its sights set on the rest of the UK.
The BBC’s controller of entertainment wants more ideas from indies for primetime slots on Saturdays, particularly live shows with an interactive element.
Betty’s creative director and chief exec are looking to revisit past ideas rather than let their rivals cash in on them.
As North One celebrates its 21st birthday, its chief exec tells Alex Farber about his plans to change perceptions and crack the US
The BBC commissioner reveals her wishlist and talks about trying to replicate the success of Strictly Come Dancing in factual.
With his BBC2 series Stewart Lee’s Comedy Vehicle winning a surprise recommission, the comedian talks to Paul Whitelaw about TV’s stand-up boom and the art of compromising
With Channel 4’s Million Pound Drop and BBC2’s daytime series Pointless under his belt, the Remarkable boss has hit two of his personal targets. So, asks Robin Parker, what next?
The Freesat managing director wants to keep the service’s proposition as simple as possible in her bid to win over the ‘Sky wobblers’ and ‘value seekers’.
Big Talk has been on a roll in comedy, with Rev, Him & Her and Friday Night Dinner each winning a second series. And now it wants to break into scripted drama.
The RTL chief executive talks to Andy Fry about his plans to expand the ‘family of channels’, and how the group bounced back from the economic downturn to produce record revenues in 2010.
Having constructed a house out of Lego for James May’s Toy Stories, the Plum founders are clearly up for a challenge. Balihar Khalsa speaks to the former BBC duo about setting up on their own.
Ahead of next month’s MipTV, the FME boss is sitting on a wealth of hit brands, from X Factor to The Apprentice, and it’s all thanks to the distributor’s global reach, he tells Michael Rosser.
As their award-winning show Down The Line returns to Radio 4, the Fast Show alumni question why the creative freedom of radio can’t translate to TV. Paul Whitelaw reports.
With the BBC facing swingeing cuts, critics of BBC2 have called its role into question. But a new slate of commissions will redefine the channel, its controller tells Catherine Neilan.
Having secured a higher Sky EPG slot, Comedy Central’s commissioning editor wants to bring more UK comedies to the channel and increase its original programming.
BBC drama has been on a roll under Kate Harwood, with a string of hits from Five Days to South Riding. So have we seen the last of the Victorian classics?
In our second extract from Broadcast’s US commissioning report, three agents explain how the system works in the States and offer some tips and advice on approaching the networks.
As Gypsy-mania sweeps the country, Firecracker Films bosses Mark Soldinger and Sue Oriel tell Lisa Campbell about their plans to take the format to the US, spin-off series and more.
Objective Productions’ new chief exec wants the indie to branch out from comedy and fact ent and work with a range of broadcasters, just so long as it’s ‘good telly’.
Having left Shine Group to set up The Garden, Nick Curwin and Magnus Temple are putting quality first, they tell Chris Curtis.
NBCU-owned indie eyes the US after making key hire and winning major E4 commission.
Sky 1 asked for ‘the British Roseanne’, but Tidy Productions’ first major commission snowballed into something bigger. Ruth Jones tells Robin Parker about taking control.
The new controller of BBC1 is looking to shake up its content across all genres. He tells Catherine Neilan about his plans to take the channel in a more experimental direction
Want to work in network TV in the US? Veteran comedy producer Mitchell Hurwitz, creator of cult series Arrested Development, has some words of warning. Robin Parker reports.
With shows such as Rev and Miranda, BBC Comedy is thriving under controller Cheryl Taylor. She tells Catherine Neilan about her latest commissions and the challenges the genre faces.
The showrunner on Sky Atlantic’s flagship US drama acquisition Boardwalk Empire talks to Michael Rosser about recreating Atlantic City and his weekly chats with Martin Scorsese.
Ahead of the launch of Sky Atlantic, the managing director of news and entertainment tells Alex Farber about her plans to woo customers with quality US drama and original commissions.
Eight months into his tenure, C4’s chief exec has built his team and laid the foundations for post-Big Brother creative renewal. He tells Chris Curtis what to expect from the revamped PSB.
A top factual distributor and a leading buyer offer their perspectives on taking a strong factual programming concept through to commissioning and international success.
In the third extract from Broadcast’s Factual Commissioning Report, creatives at five leading factual indies offer their tips and inside knowledge on the best ways to grab the attention of commissioners.
With the US remake of their BBC3 hit Being Human about to start on the SyFy channel, Zodiak USA’s chief executive and chief creative officer tell Catherine Neilan about working in LA.
ITV’s factual commissioning editor is keen to explore ideas beyond the countryside-based series she introduced in early evening slots, such as Countrywise and The Lakes.
The longserving Radio 1 DJ and host of digital-only 1Xtra’s drivetime show is not convinced by DAB, he tells Alex Farber. But he still feels radio has a role to play in breaking new artists.
The chief executive of Clerkenwell Films isn’t letting US interest affect its approach to making Misfits, he tells Ben Dowell.
Having played a huge role in launching the career of ‘Mr Tumble’, the CBeebies controller has big plans for the star.
With a £20m cash injection to help plug the gap left by the end of Big Brother, C4’s head of drama is looking for works of “scale, social conscience and joy”.
John Pilger’s latest project - looking at media coverage of the ‘War on Terror’ - marks a return to serious investigative journalism for ITV1. Broadcast hears from the veteran film-maker.
To mark the publication of Broadcast’s Factual Commissioning Report, subscribers can sample extracts here that detail what US cable bosses are looking for, an overview of the market and an interview with a HBO documentary executive.
With a factual slate of mostly feature-length documentaries, HBO aims to deliver something viewers won’t see anywhere else, its senior vice-president of documentary programming tells Maria Esposito.
Overview of the factual commissioning market in the US and the opportunities it holds for UK producers.
TLC is one of Discovery Communications’ big three brands. A female-skewing network, it is in 99 million homes and is being rolled out aggressively around the world.
Jointly owned by the 164-year-old Smithsonian Institution and CBS’s Showtime Network, Smithsonian Channel delivers programmes that are entertaining and informative.
Harold Gronenthal, who heads the international side of the operation, provides an assessment of international opportunities, echoing the US channel’s positioning.
The Coronation Street producer’s job is akin to that of the curator of a national museum or director of the Royal Ballet in terms of its influence on British culture, he tells Jake Kanter.
In its half a century on British TV, Coronation Street has employed a host of talented writers, directors and producers. From fights and pints to photo calls, Robin Parker hears their stories.
Corrie creator Tony Warren says the soap is as good today as ever and sees no reason why it shouldn’t be around for another 50 years. Jake Kanter meets the legendary TV writer.
The head of documentaries for Channel 4 outlines his commissioning wishlist.
ITV’s director of factual and daytime outlines what is on her commissioning wishlist.
The BBC’s commissioning editor for documentaries outlines her commissioning wishlist.
Broadcast publishes its first Factual Commissioning Report next month, offering insights into the wish-lists of the genre’s top UK and US commissioners. Here we reveal what the PSBs are planning.
The head of factual for Channel 5 outlines his commissioning wishlist.
The DCD chief executive wants half the super-indie’s business to come from the US by the end of next year, and is focusing on factual and drama to achieve it.
Turner’s chief content officer for EMEA says children’s broadcasters have been neglecting the live-action comedy genre, and this is something he is keen to change.
Virgin Media’s new executive director of digital entertainment is out to change viewing habits, following a tie-up with US set-top box manufacturer TiVo.
Just six months into the job and the BBC’s head of entertainment and events has already made her mark by revamping the mighty Strictly. But she’s not done yet.
The producer of contemporary histories from Loyalists to Secret Iraq tells Robin Parker about the art of seizing the moment, the chaos of filming in a war zone - and curious attitudes to what’s off the record.
Following a string of hits including In The Loop, Tamara Drewe and Made In Dagenham, BBC Films creative director Christine Langan is out to target younger audiences. Catherine Neilan reports
Having pulled off C4’s Alternative Election Night, Zeppotron’s head of comedy is taking the plunge into live TV.
Through a series of major acquisitions, All3Media has become the UK’s largest independent production group in just seven years. Jake Kanter speaks to its chief exec about where it goes from here.
The director of the BBC’s Editorial Policy Unit is not taking recent criticism lying down.
NBC Universal’s president of global channels and digital initiatives tells Michael Rosser how the UK will play a key role in the company’s continued growth.
The director of BBC Vision wants to demonstrate the BBC’s value by making it surprising and different.
Popular factual is a sweet spot for ITV, with celebrity authored docs in particular winning high ratings. But its controller is also looking for bolder commissions, she tells Jake Kanter.
David Nutter is the most sought after director of drama pilots in US television - not bad for a man who started in TV after a chance meeting on a golf course.
The chief executive of the rebranded Zodiak Media Group tells Chris Curtis about managing creativity and plans for a £1bn IPO.
The creator of two of the most successful ever pre-school shows, Teletubbies and In The Night Garden, talks to Stuart Derrick about licensing and maintaining the integrity of the brand.
From Project Canvas and the iPad to the new regimes at ITV and Channel 5, the WPP chief executive tells Chris Curtis why TV needs to open up, broaden its horizons and embrace change.
C4’s head of entertainment plans a series of bold, risky and live shows for next year as the end of Big Brother presents an opportunity to refresh the schedules.
In this exclusive interview, the outgoing Radio 4 controller discusses leaving the ‘best job in broadcasting’ and the controversies that marked his six years in the role.
Darlow Smithson’s co-founder talks to Robin Parker about joining Endemol and how technology is changing documentary-making.
The ITV director of factual and daytime talks to Jake Kanter about her decision to replace GMTV with Daybreak and why Adrian Chiles and Christine Bleakley are worth every penny.
The documentary commissioning editor for BBC1, BBC2, BBC3 and BBC4 is looking for series and one-offs with “purpose” and “proposition” that can really make an impact.
The hugely successful author and writer of ITV hits such as Foyle’s War and Collision discusses the impact of reality TV and why he’s unlikely to work for the BBC again.
Spun Gold’s MD tells Jake Kanter how networking and relationship building has helped the indie become a major force in daytime TV.
Her legendary people skills have helped the company she co-founded win a series of high-profile commissions. Chris Curtis speaks to the hard-working boss of Princess Productions.
The BBC’s head of drama for England is on the lookout for series and a relationship drama. And, she tells Ben Dowell, it’s ideas that matter most, whether from new writers or old hands.
The satellite broadcaster’s head of comedy tells Alex Farber she is looking to commission the UK’s best writers and wants clever, edgy shows that appeal to a mainstream, family audience.
The Atlantic founder tells Paul Hoggart about the indie’s recent move into feature films, and pioneering work in TV production.
The broadcaster’s chief technology officer tells Will Strauss about progress on the Digital Media Initiative and moving to HD and 3D.
He’s 45, rumoured to be worth €400m and counts Sarkozy and Arsene Wenger among his friends. In a rare interview, David Wood meets the Banijay boss intent on growing his empire.
Pulse creative director Jonathan Stadlen tells Jake Kanter about the pressure to deliver after the success of Pineapple Dance Studios
She loves X Factor, thinks her new film knocks C4’s India season for six and is personally handling its distribution. Kim Longinotto tells Chris Curtis why docs have a duty to tackle issues head on.
The director of the BBC’s Training and Development Academy is keen to boost training beyond the corporation.
He’s produced some of the seminal kids’ TV shows of the past three decades, and the long-serving director of children’s at Five is not afraid to speak his mind.
Jane Root’s indie Nutopia has had a channel-defining hit with The Story Of Us. She talks to Robin Parker about cracking America.
Having won an extension in its Freeview hours, UKTV’s Yesterday is looking to build on its original commissions. One of the channel’s commissioning editors speaks to Alex Farber.
After 37 years in the industry, Jon Snow remains as passionate as ever about news. He tells Jake Kanter why he believes UK foreign reporting is in rude health despite some damaging trends.
The commissioning editor of history and business wants series that ask provocative questions, and more ‘cross-pollination’ between genres.
The director of programmes is out to change perceptions of the channel, with populist shows that appeal to women as well as its traditional audience of young men.
After a brief period at Five, Ben Gale returned to the BBC to head up Bristol factual. He tells Katherine Rushton about his plans.
The head of BBC Vision Productions aims to boost morale and make in-house production truly multimedia, he tells Katherine Rushton.
C4’s head of specialist factual doesn’t want to fall into the trap of making great programmes that get lost in the schedules. Commissions must make an impact, he tells Robin Parker.
Filling the gap left by the departure of Jonathan Ross is a key priority for the BBC’s head of entertainment commissioning. And he’s looking to indies for fresh ideas.
Joe Godwin may be looking for an issues-led drama for CBBC - but the new BBC Children’s director believes it can be gritty without being miserable.
The commissioning editor for features at BBC1 and 2 is on the lookout for programmes that manage to be both entertaining and tackle serious issues.
Channel 4’s Oona King tells Lisa Campbell why broadcasting must be opened up to people of different backgrounds, and how the CDN is proposing to change the industry’s mindset.
ITV Studios’ UK and US bosses are looking for new indie partners and fresh formats that work in multiple territories.
The commissioning editor of entertainment and features is changing perceptions of Five and positioning it as a ‘nimble’ operator primed to quickly turn around ideas.
The broadcaster’s commissioning editor of entertainment wants more channel-defining celebrity reality series, plus fresh ideas for family-style gameshows.
With the might of Banijay behind him, Zig Zag’s MD says the Clerkenwell indie is primed to go global.
After a year dominated by foreign issues, C4’s Dispatches commissioning editor says it’s time to return to the domestic agenda, but the strand will be no less hard-hitting.
It’s taken Shine just nine years to grow into a global powerhouse, and its founder and CEO is no less passionate about the indie and its impressive pool of talent, writes Katherine Rushton.
Natural History Unit chief Andrew Jackson isn’t afraid to say what he thinks, and his self confessed lack of ‘pedigree’ is just what the corporation ordered, writes Katherine Rushton
Having nearly left the industry three years ago, Stephen Lambert is enjoying success with his new indie.
Talkback Thames head of entertainment Richard Holloway has been at the top of his game for 40 years, but that hasn’t quelled his appetite to be the best, writes Lisa Campbell
After a tough 2009, ITV director of drama Laura Mackie says the broadcaster is back in the hunt for quality series – and she’s not playing it safe.
BBC3 has had its fair share of flak, but controller Danny Cohen continues to carve out a distinct niche for the channel and maintains there’s more to come, finds Katherine Rushton
More 4 head Hamish Mykura wants producers to think big, as he looks for event programming and documentaries that attract a wide audience.
As executive and commissioning editor, Clive Edwards is doing his bit to make BBC current affairs more accessible, but not at the expense of its journalism.
Melanie Leach, managing director of Broadcast indie of the year Twofour, tells Katherine Rushton what it’s planning next.
Radio 5 Live’s Jonathan Wall is making a plea to indies to help establish the station as a genuine alternative to Radio 4 - and it’s not all about sport, as he tells Chris Curtis.
Talkback Thames’ head of factual features tells Lisa Campbell how round-the-clock brainstorming is vital to success.
The media and government furore surrounding Boys And Girls Alone has not curbed the Channel 4 head of factual entertainment’s appetite for provocation.
The BBC’s outspoken science and natural history commissioning editor wants to combine more accessible programming with more challenging pieces.
The creators of The Simpsons are celebrating 20 years of the iconic series but, as Michael Rosser discovers, there is still plenty more to come, and some fresh ideas in development.
BBC Drama has come under fire over the past year, but its commissioning controller is not looking back as he strives to improve the broadcaster’s output.
John Lennon, Lauren Bacall, Muhammad Ali - Sir Michael Parkinson has interviewed them all. Lisa Campbell talks with the broadcasting legend about his 40 years in the business.
After the Carol Vorderman and Paul O’Grady scuffles, C4’s head of daytime could be forgiven a little reticence, but on the contrary, Robin Parker finds daytime is making waves.
Our partnership remains strong, Five’s Dawn Airey and Richard Woolfe tell Lisa Campbell.
Director of content Alan Clements tells Kate McMahon about his first year at STV, defends his decision to use opt-outs to fund home-grown content and reveals his plans for a US office.
Disney Channels’ vice-president of original series is aiming to treble European animation output over the next few years, and is looking for ideas for 14 pilots.
The BBC head of religion tells Katherine Rushton why the row over his appointment is trivial, how class is more crucial than race and what he plans to do with Songs Of Praise.
Channel 4’s new head of comedy is always seeking fresh ideas to pilot, but is concerned the current climate of caution will lead to lacklustre output across the board.
BT Vision chief executive Marc Watson is confident that he can revive the fortunes of the broadband service, but accepts that sport plays a crucial part.
The BBC’s multiplatform team wants ambitious ideas. Simon Nelson tells Lucy Rouse about his vision and the commissioners give their tips.
Head of fiction and entertainment multiplatform commissioning. Responsible for commissioning strategy and financial management for drama, entertainment and comedy cross-platform.
Multiplatform commissioning executive, BBC Drama, Films and Acquisitions
Sky Arts has gone from having no hours of commissioned programmes to more than 200 hours a year. Head of programming James Hunt tells Lucy Rouse the secret of its success.
BBC4’s Storyville editor Nick Fraser has a reputation for being unrelentingly highbrow - so why does he want the series to be funnier? He reveals all to Katherine Rushton.
Rebranding UKTV Style was an opportunity for Home’s channel head and her director of factual to make their mark with a slew of stylish commissions.
Channel 4’s deputy head of documentaries wants a leftfield angle and isn’t afraid to take a gamble. The risks have paid off with groundbreaking programming.
Director of BBC Vision Jana Bennett talks about BBC bashing, shifting production to the nations and regions and the reasoning behind the Strictly/X Factor scheduling clash.
Andy Parfitt has a lot on his plate as controller of Radio 1, popular music and head of 1Xtra and Asian Network, but he still finds time to keep tabs on Chris Moyles.
National Geographic’s UK general manager is keen to find more fresh and appealing shows to keep the channel relevant in a fiercely competitive British market.
Celebs? No thanks. And forget WWII overkill. This channel head wants history that hits home with a capital ‘H’. Robert Shepherd finds out about the future for programming the past.
Executive producer Hilary Salmon may be rather reserved, but she’s the woman behind the corporation’s noisiest dramas. Katherine Rushton finds out why she has a lot to shout about.
Attention all web-savvy indies and bedroom developers: 4iP’s interactivity guru wants you. Robin Parker talks to the man with his finger on the button of Channel 4’s online PSB fund.
Fremantle’s president of global entertainment wants shows with mass appeal. It’s a belief that has brought us Got Talent and made the company into a major global player.
Tom Toumazis and Cathy Payne reveal Endemol’s plans for its new distribution business - and tell Michael Rosser what they’ll be up to at Mipcom.
BBC Worldwide channels managing director Darren Childs has turned the corporation’s commercial arm into a major international player. He tells Michael Rosser about his ambitions for growth.
The man with the BBC’s arts tick is looking to throw off cultural programming’s elitist image and prove that there is more to arts coverage than just music.
Her “small digital channel” has made a big splash with some distinctive original material, so how does the E4 head plan to fill a Big Brother-shaped hole in its schedule.
From showbiz reporter to global celeb in his own right, ex-tabloid editor Piers Morgan thinks he has a thing or two to teach the TV industry. Kate McMahon talks fame, fortune and formats.
She’s won the best female newcomer award and helped to put ITV2 on the map for comedy. Kate McMahon talks to Katy Brand about her rise from BBC runner to successful funny girl.
Risky, edgy, experimental: BBC Radio 4’s commissioning editor talks to Katherine Rushton about comedy, compliance, self-censorship and using the radio waves to strike TV gold.
The ‘platform-agnostic’ C4 education head tells Robin Parker how his 360-degree vision is teaching and talking to teens in their own language and staying ahead of the learning curve.
ITV’s digital man has used the pulling power of celeb-led shows to bolster the UK’s top two multichannels. He tells Kate McMahon about his strategy to draw in even bigger crowds.
The director of programmes is setting high standards for entertainment on Sky 1, upping the budget and revisiting the schedules to ensure quality shines through.
The partnership between Adrian Chiles and Christine Bleakley is the glue that holds The One Show together.
He’s been a postman, a bank clerk, a print journalist and spent a week partying with the Happy Mondays. Katherine Rushton talks to maverick BBC4 controller Richard Klein.
The science commissioning editor is out to prove C4’s scientific credentials by backing shows that educate, entertain and get - sometimes quite literally - under your skin.
His channel may be down with the kids, but BBC3’s factual commissioner wants pitches on topics that span the generation gap beyond pregnant teens and flatmates.
There has been a smoke monster, time travel and teleportation. Audiences have lapped it up - to a point. But to leave a legacy, Lost had to end, its executive producers tell Michael Rosser.
The Virgin 1 commissioner admits his channel suffered an identity crisis at first, but now it’s found its place alongside the Virgin brand, he tells Robert Shepherd where it’s going.
UKTV chief executive David Abraham tells Chris Curtis why distinctive brands, not generic labels will achieve cut-through, and why the gap between pay-TV and terrestrial is closing.
From suggesting storylines to scouting locations, fan power is on the increase. But is their input valued and useful or are they geeks best ignored? Michael Rosser asks five key writers including Russell T Davies, Tim Kring, Graham Linehan, Brian Elsley and Luke Hyams.
For the ‘golden boy’ of C4’s docs department, filling the Cutting Edge strand with the right mix of news, human interest and controversy is a delicate balancing act.
BBC Children’s and BBC North’s Richard Deverell speaks to Katherine Rushton about catering for teenage audiences, disability ‘box ticking’ and stepping into the DG’s shoes
As Films of Record celebrates its 30th anniversary, founder Roger Graef argues that taking lessons from the past on budgets and accountability is the route to regaining creativity.
Jamie Oliver wanted more to production company Fresh One than just pukka presenting, so he turned to television veteran Roy Ackerman. Robin Parker looks at their recipe for success
Times are hard at ITV but factual and daytime boss Alison Sharman is rising to the challenge with a ‘menu’ of shows that includes access scoops and authored journeys.
The veteran radio DJ talks to Michael Rosser about courting controversy, superstar salaries and how a four-letter outburst in 1967 nearly killed his broadcast career before it even began.
The Shed Media boss talks to Robert Shepherd about ‘flying’ on both sides of the Atlantic, working with a US television legend and whether a management buyout is still on the cards.
She took girl power to the world as the youngest Spice Girl. Now 33, how is the mother of one going to spice things up with new radio presenting gig on Heart, asks Michael Rosser
As the storm over MPs’ expenses rages, Question Time has been the lightening rod for angry voters to voice their views. Katherine Rushton talks to Mentorn Media’s creative director
Global format factory Endemol has forged its own transatlantic alliance as UK and US teams come together to brainstorm the next big thing. Robin Parker speaks to the men in charge.
UK crime fiction’s leading lady talks to Robert Shepherd about exec’ing on Sky 1’s adaptation of her novel, The Take, taking on TV production and why a lot of crime drama on TV is ‘shit’.
Whether it’s the licence fee, Lonely Planet or Wossy’s big mouth, the BBC Trust is criticised outside as well as within the BBC. How does its chairman manage?
Michael Hirst, the man behind swashbuckling soap opera The Tudors, talks to Chris Curtis about scripting sexed-up history and facing criticism of taking right royal artistic licence.
Global Radio’s director of broadcasting Richard Park tells Robert Shepherd why he remains upbeat about the future of commercial radio despite competition from the BBC and online.
The chief executive of Talkback Thames talks to Steve Clarke about what a new ITV boss could mean for indies, the Susan Boyle phenomenon and how to survive the recession.
The BBC’s top drama commissioner is happy to engage with his critics but won’t be deflected from offering shows that appeal to all audiences.
The not-so-quiet American tells Kate McMahon about ITV’s cautious culture, why uncertainty is bad for creativity and his strategy for cashing in on the big brands.
The man who takes care of business at the BBC tells Chris Curtis how a mixture of new technology and a change of mindset could help the whole industry save and survive.
Channel 4’s boss tells Robin Parker that the BBC must give commercial PSBs a break if a “mixed ecology” is to continue funding creative programming.
RDF Media Group’s chief executive tells Katherine Rushton how engineering a private equity-backed MBO just 18 months after Queengate has made him philosophical.
The director of ITV Drama talks to Kate McMahon about budgets, bonnets and why she’s still on the lookout for ideas that are ambitious and different.
As BSkyB celebrates 20 years, its chief executive talks to Robert Shepherd about how teamwork and a willingness to take risks help it keep pace with a fast-changing market.
The Ofcom chief executive tells Robin Parker why he thinks a second PSB institution is vital to guarantee a ‘plurality of voices’ across TV, from children’s programming to news.
The BBC’s director general talks to Emily Booth about shaping the digital future, wrestling with editorial standards - and why slicing up BBC Worldwide is a very bad idea.
Widely credited with changing the face of British TV, Liverpool culture champion Phil Redmond has never fought shy of controversy. Steve Clarke finds his vision as outspoken as ever.
ITV’s director of television, channels and online is one of mainstream TV’s biggest cheerleaders. But can he stay optimistic as the recession bites? Chris Curtis finds out.
She has turned around a BBC1 struggling against an ascendant ITV and the rise of multichannel to make it the UK’s favourite channel - Lorraine Heggessey tells Leigh Holmwood how she intends to build on this success and why experimentation is worth the ris
BBC Worldwide chief executive Rupert Gavin presides over a global empire of television, publishing and music interests. He talks to Conor Dignam about the Communications Bill and why he has no truck with those who cry foul over the success of his business
Celador’s chief executive is in no mood to celebrate in the wake of the Who Wants to Be a Millionaire? fraud documentary. But bagging the West Midlands radio licence would definitely make him break into a smile.
Endemol UK chairman Peter Bazalgette, the man behind the UK’s biggest production company, is becoming an increasingly powerful voice within the broadcasting industry.
Channel 4 deputy chairman Barry Cox made waves when he called for the licence fee to be scrapped and Sky to be broken up. Here he outlines his vision for the future and tells us why he objects to being known as ‘the government’s digital tsar’.
A year into the job and Ginger TV boss Eileen Gallagher says the company is doing ‘very well’. With a brief to develop its TV interests beyond Chris Evans, the indie has three series in production without the big man in sight.