Stephen Wright is the head of drama at BBC Northern Ireland. Among his recent commissions have been ‘Line of Duty’ and ‘Five Minutes of Heaven’.
What’s the most recent programme you’ve commissioned and why?
‘Line of Duty’ series two was the most recent. Series one went out over the summer and had an incredible response from the audience.
What do you look for in a script or a pitch from a producer?
A great story.
What would you like to see more of?
Brilliant returnable series ideas for BBC One.
What’s your proudest commission and why?
I am proud of all the shows I have worked on, but I will always remember the response we had from the audience to ‘Five Minutes of Heaven’.
Do you favour TV co-productions involving other broadcasters, such as RTÉ?
If it is right for the show.
The BBC has a policy of largely working with tried-and-tested independent producers, has this been beneficial?
You try and commission the best ideas for the available slots and they can come from established and new independent companies. The independent sector is constantly evolving; we are working with a few local independent companies who want to start developing drama.
Although budgets have fallen, has the influx of high-quality television drama from US producers such has HBO meant a rise in viewer expectations?
I think it has had an impact on how we tell stories. If you discuss the best American shows with writers it is clear those shows have had an impact on the ambition of their work.
Is it important that any drama you commission locally also has the appeal to sell internationally?
We have made one local drama that hopefully will find a wider audience, and that is an added bonus after it was so well received by our local audience. Your first concern is either the local audience or the network audience.
Do you think about platforms (iPad, TV set, laptop) when you commission?
No, I focus on the story, and I still think audiences like the experience of watching a first transmission, maybe social networks make it more of a collective experience. It is a great feeling when a show has a big impact with the audience. The difference now is you cannot legislate for how people watch the show, and thankfully it is easier to catch up on anything you’ve missed and join in the conversation about that show.
What’s the biggest single aspect of the television industry that has changed since you began your career?
The range of material that is available and the range of ways people watch it, from iPads to binge viewing of box sets.
The future of the television drama …are the ambitious screen writers who love TV drama and want to develop the genre.
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