The Stage

Broadcasters have ‘too much creative control’, argues director Kosminsky

Published Wednesday 18 June 2008 at 12:50 by Matthew Hemley

Bafta-winning auteur Peter Kosminsky has accused broadcasters of marginalising directors, claiming that programmes are more “anodyne and formulaic” as a result.

Kosminsky, who has written and directed acclaimed programmes including Channel 4’s Britz and The Government Inspector, told The Stage that too much creative control of drama production was now in the hands of executive producers, giving directors less of a say about the overall shape of a programme.

He claimed directors were being brought on to projects too late - once most of the creative team, including writers, designers, casting directors and location managers, were in place - and said they were no longer retained for the entirety of the production process, so executives could “retake control”.

Kosminsky added that broadcasters were guilty of “appalling perversity” in allowing this to happen and argued that the trend needs to be reversed if there is to be more original, stand-out programming on television.

“We have to get execs to understand that yes, it might make them feel more comfortable and more secure [to have this control], but it is not going to get them the best programmes.

“The best programmes will come from the earliest establishment of the triumvirate - and by that I mean a writer, producer and director. Get those three together as early as possible, working together and trading ideas, and you will get the best programmes,” he said.

Kosminsky was speaking to The Stage at the launch of Directors UK, a new trade body that has replaced the Directors’ and Producers’ Rights Society and taken on roles formerly carried out by the Directors Guild of Great Britain to provide one voice for people working in this field.

He said the body had begun discussions with broadcasters about a set of minimum terms which they would need to agree to when working with directors, covering areas such as pre-production time, development time, access to writers and giving directors a “leading voice” in appointing a creative team.

When broadcasters work with independent companies, the production company would be expected to sign a contract that honoured this agreement before being given funds.

Kosminsky added: “There are one or two people like me who are allowed to do pretty much what they want and that is always held up as an example to cover up that in the vast majority of cases, directors are being more and more marginalised.”