I was a journalist, and I’d been a provincial journalist on the Sussex Daily News and Evening Argus in Brighton. I’d come out of the war, and I’d come out of the Navy where I was a lieutenant, and I had worked very, very briefly for them for about six or nine months before I…
Read MoreDerek Granger on his first Granada programmes
The very first programme I worked on was a programme called Sir Thomas Beecham at Lincoln’s Inn. And it was a programme I think which had been revised by Denis Forman, and Denis was my mentor then because he was teaching me to write for television, and I went in really as a researcher, that…
Read MoreDerek Granger on his close working relationship with Sidney Bernstein
And then I suddenly – ha! – in Granada’s typical way, I was made head of the play department, and rather eccentrically they didn’t call it head of drama which would have been sensible, I became head of the play department. But the interesting thing there was that I was working directly with the proprietor…
Read MoreDerek Granger talks about filming drama in the late 1950’s
Everything then was shot in the studio and this rather lugubrious way with these great trundling television cameras, and the PA system in the actual control room, having to signal where the next cameras went, it was very curious. The television was set up like theatre in a way with rehearsals, and when it came…
Read MoreDerek Granger on Cecil Bernstein
Cecil was a very, very interesting man. He hadn’t got the huge personality or the grandeur of Sidney, but he had a great integrity, and he had a marvellous nose for comedy and popular entertainment. And that’s what he did. And comedy under Cecil was very, very good. There was a very, very good actual…
Read MoreDerek Granger recalls producing Coronation Street in 1961
Coronation Street began in on December 1960, and it was going on long very, very well, and then Cecil came to me and said, “Derek, do you mind awfully coming on to Coronation Street?” And the idea was that, although it was going all right, it was rather… it was on a very small scale.…
Read MoreDerek Granger on Tony Warren and how the writer was treated by Granada
I was very close to Tony and we were very good friends there. Tell me more about Tony. Tony was wonderful. And I had a huge admiration for him. One of the less good things about Granada was the group thing, it always pretended that no individual did anything – it was company. And when…
Read MoreDerek Granger on the presenters, Mike Scott and Michael Parkinson
One of the great things about Granada was that we were doing all this switching. I mean, it would be unthinkable now that one minute you were doing… and also I did a lot of the news programmes. I did People and Places, which I also liked very much, and then Scene at 6:30,…
Read MoreDerek Granger on working with Sir Laurence Olivier
Well, we had a wonderful time really, most of the time, but this was David’s idea, when Olivier… you know, I’d worked with Olivier at the National Theatre as literary consultant, and then I’d gone back to Granada and then when Olivier became terribly, terribly ill with this horrible form of cancer, this sort of…
Read MoreDenis Granger on the origins of Brideshead Revisited
The idea of Brideshead, did that come from Sir Denis? No, I went to Denis and said, “I want to do this novel.” Why? Actually, it had been suggested to me by one of the directors on Country Matters, Donald McWhinnie, who was a great old BBC hand, and he directed The Four Beauties. And…
Read MoreDerek Granger on the truth behind the Brideshead script
Did you write the script? Yes. We had to ditch the (John) Mortimer script. We ditched that at the very beginning. But it was a very difficult contractual situation because the estate had made the stipulation… there was a condition that if we had the rights, we had to accept their choice of adaptor. And…
Read MoreDerek Granger on Charles Sturridge as the Brideshead Revisited director
Anyway, Brideshead met our first catastrophe. Indeed, it turned out not be a catastrophe at all, it turned out to be our saviour. The thing that really saved the show, and that was the strike that hit us when we were filming in Oxford, and we stopped then, and we lost our first director Michael…
Read More