Behind the Scenes on 'The Bill'
Talkback Thames is Britain's second largest independent production company. It makes 800 hours of programming a year - 'Bo' Selecta!'; 'Pop Idol'; 'Grand Designs'; 'Family Affairs' - has a turnover of £131m and employs 800 full time staff at four sites across the country. Talkback makes 'The Bill' at its site in Merton, South London. Now in its twentieth year, 'The Bill' is enjoying continued success recently breaking all previous records by being re-commissioned for 480 episodes.
By the end of 2003 more that 1,800 episodes of the long running drama about life and work at Sun Hill police station had aired. It is one of the most successful shows on UK Television attracting average audience viewing figures of 8 million consistently rating it in the top ten most watched programmes across all channels.
Over 200 people are working in front and behind the camera on 'The Bill' at any one time.
"If you want to get into writing for TV then get in. Don't let anything stop you."
Vicki Madden is a Story Producer on 'The Bill'. She oversees the various ongoing storylines for all 27 characters that run throughout the series at any one time. "My job is about new plot ideas, character development, continuity, co-ordinating script editors and freelance writers, and fighting the pressure of deadlines."
Vicki has been at 'The Bill' for seven months after working in her native Australia on programmes such as 'Heartbreak High'. She originally came to London to work on Lynda La Plantes 'Trial and Retribution'. "I've got a passion for crime drama so working on 'The Bill' is great for me. Coming into such a popular, long running show is about adapting to what already works but also about bringing something new to the table."
She started her career as a journalist but knew very earlier on that her ambitions lay in writing drama. "I didn't have the skills so I went in as a script typist just to get to know how everything worked. Then I went on to a trainee script editor and worked my way up. The most satisfying part of my job is seeing an episode on air. It's an overwhelmingly challenging show to work on. It's a character driven show that's about drama but also about realism. We work very closely with the MET on storylines to get things right. I want an entertaining episode that engages audiences but I also have a responsibility to reflect the reality of police procedures and situations."
Vicki told us that effort, enthusiasm and imagination were the qualities she looks for in new talent. "I don't necessarily want people who have an English degree - we're not writing novels here. I'm looking for people who can tell a good story. Writers come from all walks of life and good drama reflects life in an exaggerated form. It's life experience that sustains a writer's imagination and therefore, their work, so that's more important to me than a degree.
It would be very difficult to get on a big show like this as a script editor without any experience. You need to understand how the business works - who does what. So you have to work your way up. Show enthusiasm and that you're willing to put in the effort and I'd give you a chance.
For writers, I'd advise them to just sit down and write something. Send in submissions, keep writing, keep practicing, and hone your skills on scriptwriting courses. And if you want to write for 'The Bill' then don't forget to watch the show! You'd be surprised how many people try to write for it without being familiar with the characters and the history.
And at the end of the day, I want people to come in and blow me away. I want fresh talent with fresh ideas - that's what keeps the show going - little gems who come through and open things up."
Tracy Ewun is Head of Costume at 'The Bill'. She's been in the business for 18 years - 12 of them at Sunhill - starting out as a trainee assistant dresser at the BBC.
"I had a City & Guilds in hairdressing and wig making and loads of enthusiasm. My only experience had been in a high st hairdressers which you may not think was all that relevant to TV but not only did it give me the obvious hairdressing skills but it also
taught me how to deal with people which is so valuable in this industry. If you can't deal with people then don't even think about a career in television, especially in costume where you are working closely with actors. You have to be patient and reassuring. The way you are dressing them is very important to their characters and you have to appreciate that and their feelings about it."
Tracey left the BBC to become freelance working on shows like 'Soldier Soldier' before joining 'The Bill' in 1992.
"The best thing about my job is the people and the variety - there's always something different to look forward to. It's also every little girls dream to go shopping all the time! Although a side effect of my job is that I've lost the ability to buy for myself. I find myself going home with clothes that would be right for characters but don't suit me at all.
The worst thing is the hours. A typical day for me starts at 5.45am and doesn't finish until 8pm. And I'm pretty much on call 24 hours a day so you have to be prepared to live and breathe the job. That's why you really have to love it because it can take over your life."
"To make it you need enthusiasm. You have to be outgoing. No one wants to work 12 hours days with someone who isn't upbeat and easy to get along with - and that's true for all departments in TV. I also expect them to have sewing skills and a creative eye. It's very important to make people look real.
The best compliment I get is when people don't notice, when it doesn't look like a costume and that's where the creativity and attention to detail come in. Going to fashion college can help get your foot in the door and so can experience in theatre where there's a steep learning curve. My main piece of advice is too never give up. It's a hard business to break into but keep going."
