Leslie Woodhead discusses the benefits of working with the same crews

And presumably the kind of experience you are describing about Disappearing World, where there is a small group of people together for 24 hours a day over a period of weeks, really accentuated that. (a sense of share purpose)

 Absolutely. I mean, in the Disappearing World I did, the crews I worked with over the 20 years I did them were mostly the same people. Same cameramen for the most part, many of the same sound people. Tried to work with the same editor in Manchester – usually Kelvin Hendrie or Oral Ottey or Kim Horton so it was a very tightly entwined group of people – utterly unlike my more recent experience as a freelance where you meet an entirely new group of colleagues on every production – you make yourself (?) one at a time, I mean most recently I have been working with a very nice production company in Glasgow who I had never met in my life before, which is interesting and fun and stimulating, but quite unlike the Granada patch which had its own reinforcements. I suppose there are those who would argue that in the end it became incestuous and not sufficiently open to… by the late 80s, a really changing world, and of course that duly came to pass. But for a long time, the fact that across the spectrum, from investigative journalism to anthropological film making, to major drama, to drama docs, these were all people I knew well, sat in the canteen with, went to the pub with, and really… we went to each others’ houses and spent all of our lives really, in cahoots with one another. It’s quite unlike the very atomised world I came to know over the last 10-15 years.

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