Well, it was odd at the beginning because we were contracted as anthropologists, as consultants almost, for the film, not as filmmakers. And it was a research contract. I mean, it was a straightforward research contract that I had, but the role was to find the stories, help set them up, and be the anthropologist.…
Read MoreAndre Singer describes his director’s training
I then got frustrated and said, “I really want to make these myself.” You know, I’ve now learnt enough about what it takes to want to make these kinds of films rather than just keep feeding another director each time. And unlike Chris, who went straight into directing because he had done current affairs and…
Read MoreAndre Singer explains why the Disappearing World programme stopped in 1977
I moved from Disappearing World, having been a researcher on Disappearing World to being a director on local programmes, to being then a director on World in Action, because at that time, then there was a lull in what was happening on Disappearing World. Then I went back to work for Brian on Disappearing World,…
Read MoreAndre Singer on Denis Forman’s support for Disappearing World – and a lost archive
In 1974, we put together a little brochure of about nine films, the first nine films in the series. Denis wrote the introduction to this, and it was very much explaining why he did it and how he supported Brian, what went on. It’s a two-page introduction. It was very nice, and he touched on…
Read MoreAndre Singer on the reaction of other anthropologists to Disappearing World
You’d come from an academic background, and I wondered what your fellow academics made of Disappearing World? Oh, they hated it! Initially. It was seen as populous television then. I mean, it’s changed dramatically ever since, and now it’s almost a staple in every anthropology department around the country. That change has been quite phenomenal,…
Read MoreAndre Singer recalls one of his most memorable Disappearing World experiences
The original Mursi film. And at that time, I was then told, that was my research era, I was then told, “Okay, you’ve got to get us…” David Turton was our anthropologist advisor, “Get us to these Mursi. Find some transport from Addis Ababa.” So as a sort of naive researcher, off I went and…
Read MoreAndre Singer on taking over the role of series editor for Disappearing World – and then leaving Granada
Well, it was different for me. Brian (Moser) had the wonderful sort of patronage and support of Denis and basically, I think things were challenging but much easier at that time. By the time I took over, we had, besides those union problems which I described, Disappearing World was no longer… it had been going…
Read MoreAndre Singer recalls the challenges in making Disappearing World
Were there any countries that you couldn’t get access to? Was there anywhere that you wanted to film but for various reasons you couldn’t? Or was it always usually quite straightforward? Yes, I was a bit stymied with my own area of interest, which was Iran. And I’d done my fieldwork in Iran, and I…
Read MoreAndre Singer on the value of Disappearing World to Granada’s reputation
It was hugely respected because it was nominated for BAFTAs every year, 75 to 78. It got one. One series BAFTA, series award, one year. I can’t remember which year that was. And so, do you think it was a film that… I mean, there was a stage when Granada was being touted as the…
Read MoreJim Grant describes the role of a Transmission Controller
The structure of ITV back then was, any one day of the week, because London had two companies – Thames during the week and London Weekend from Friday night through Sunday night – there were 15 companies in total, therefore, but 14 on the air at any one time, of which five were majors and…
Read MoreJim Grant on some underhand tactics against management – and leaving Granada
By about 1993, early in 1993, which is when the Gerry Robinson and Charles Allen takeover really happened, they were getting super serious and super vindictive about the struggle for control, really. It was the old world versus the new world. The old world, where I started, had this assumption that, “Yes, we’re all in…
Read MoreJim Grant talks about his writing career as Lee Child
I should have said also that it shouldn’t surprise people that I’ve never written anything before, because most writers… I mean, a lot of writers, sure, from seven years old, they’ve got like exercise books and they’ll draw little compositions in or whatever. But fundamentally you don’t do anything. What you do is read. You…
Read MoreJim Grant’s initial impressions of Manchester
I was very aware of joining something that was changing, moving away from the past. That Manchester talking truth to London thing, was starting… it was very 50s and it dissipated in the 60s. And it was on the way out in the 70s. The idea that Britain was so regionally divided, but it was…
Read MoreJim Grant talks about how he came to join Granada TV
I just loved entertainment. I loved the idea of putting on a show, that collaboration, that sort of intense relationship with other creative people. I’d always been exhilarated by that. So, I knew there was no question in my mind, I wanted to work in the field of entertainment. Theatre seemed, to me, to be,…
Read MoreJim Grant describes some difficult moments as a transmission controller
It was a job where you sort of sadly hoped that something bad would happen that day, because that’s… because of the structure, big events were few and far between. I remember I started out as a trainee assistant, as we said. And when I finished my training, I was an assistant, and then I…
Read MoreJim Grant remembers the Granada company as a family
I walked in there as a new trainee, and my boss was David Black, head of presentation. And his boss was Joyce Wooller, who had a seat on the board, reporting to the board chairman who I think, at that point, was Cecil Bernstein, maybe Sydney, maybe. Maybe David Plowright was effectively the top guy,…
Read MoreJim Grant remembers the unions at the start of his career at Granada
Many things by coincidence from the beginning of my career to the end and were a progression. And those 18 years were really an arc for the union. It started out when I joined, it was absolutely all powerful. It was an old-fashioned traditional trade union, a fascinating thing actually, because fundamentally the structure and…
Read MoreJim Grant on how Granada began to change
The old days were great at Granada, especially because, as I said earlier, Granada had been this brave documentary producer. But I sensed when I got there that they were getting a little weary of that, a little scared of it. The British Steel episode, which I’m certain the archive covers extensively, have been… you…
Read MoreJim recalls his long working hours at Granada
If we were properly staffed five and five – you know, five pairs of people – if we were properly staffed, it was a relatively okay, sort of around about a 37-hour week, and antisocial hours of course, but not too bad. And we had, what they called notional weekends, so that your weekend might…
Read MoreJim Grant describes how he became more involved in the ACTT union
So yes, the union situation was super formal, and the committee meetings were all run to Robert’s rules of order, super formal, proper minutes, all of that kind of thing. I was used to that culture from having grown up in Birmingham, but I did love the north west flavour on it. Like I say,…
Read MoreJim Grant on the 1979 TV strike
But a really serious formal situation, union versus management, and literally came to a head for me in a super personal way. As a metaphor, in 1979, the annual negotiations were going really badly and the ITN shop in London got into a particularly advanced situation and walked out. And so, the ITN content was…
Read MoreJim Grant on how the ITV network operated
In my current situation, where I’ve been involved with film and television as a content provider for 20 plus years, and actually, 99.99% of it is just endless bullshit talking, and very little ever happens. And it was, of course, exactly the opposite back then. Programmes were made as a right. And there was a…
Read MoreJim Grant recalls the change in the power of the TV unions in the 1990’s
Thatcher came to television later than many other industries, obviously, but she got there in the end. And again, the flash point was a very… as I understand it, the story I heard was a very ironic and unfortunate flash point really, which was that there was an ITN interview with Thatcher at Downing Street.…
Read MoreJim Grant remembers the dreaded log book
Every shift, we completed a log. It was called the log, and any mistakes, errors, or departures from the schedule, we would explain in writing. And so, generally speaking, the explanation was just read and accepted. Only in a tiny minority of cases would there be a post-mortem, which was partly Plowright and that generation…
Read MoreJim Grant on how his career developed
Yes, when I was about 26, which was very young. It was like 10 years younger than anybody who had been before. But it was made for me, that job. The old style of that job, the first half of it, that, I was made for that. I could deal with accuracy, I could deal…
Read MorePaul Greengrass describes how he joined Granada
I can remember when I joined. I joined in October ’77, and I was at university. I don’t think I was alone, I think, going into television was the sort of popular thing to do at that time, I think, particularly if you had a sense of the world. I always loved World in Action.…
Read MorePaul Greengrass remembers his early days as a sports researcher
And so, I literally travelled up in the next day from memory, and I was put up in a pub, I’m sure it doesn’t exist now, it was down at the back of… If Quay Street was one side, then you got at the bottom of the old Granada Studios. As you looked at the…
Read MorePaul Greengrass on the debt he owes Paul Doherty, the head of sport at Granada
But Paul Doherty, I owe a special debt. Because I was a young student, I’d gone to a good university, I had the advantages and the naiveties that that bestows upon you, and probably the arrogances too. And I was, I think, in many ways, unprepared for the world of work, what work was really…
Read MorePaul Greengrass remembers his worst telling-off from Paul Doherty
The worst row we ever had, funnily enough was about the slides, which I often tell it to my kids when they go out to work, because it’s an abject lesson in what not to do. Which is that I’d been there a few weeks, and Doc came in one day. He was a great…
Read MorePaul Greengrass on the training he got on Kick Off – and the team he worked with
it was a great year. I learned so much. One of the beauties about working in sports television, which you saw everything that there was, you did it all. You made films with a crew, you mounted items in a studio. We did Kick Off on a Friday night. You did OB work. You edited…
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