Channel 4 Workshop for Sitcom Competition Finalists

Working with comedy producers - Andy de Emmony

A lot of it's instinctive really, someone you like who connects with the project the way you see it; that doesn't want to change it too radically from where you're at with it. From a contractual point of view - I don't know how many of you have agents - you all need, at some point, to get an agent. It's better not to do the contractual stuff yourself.

Most independent companies...you spend a lot of your time reading scripts really, an independent production company will give you more time, put more effort and attention in than a broadcaster. The independent process is that you get a script up and running in a package deal; casting it up, putting you with the right script editor to work on the script, getting the whole thing ready to go to a broadcaster.

<Script or treatment?>

A lot of it... it's subjective but my personal point of view is get a script written. The situation itself to me is never that crucial - be it set in a submarine, on a lighthouse or wherever - it's about the characters and making it funny and the only proof of that is the reading of the script. Once you've written a sitcom then a treatment is very worthwhile because they now know you can do funny and the idea and how it's going to work is a different thing really. From a director's point of view I end up reading a lot of scripts which are not funny.

Really there aren't that many production companies that make a lot of sitcoms and the more personal connections you can use...it's very necessary in this business, anybody you know that can get the script read by the right person, not externally, but by someone who makes the decision. I'd always go the independent route really, it's better than going the corporation route.

<Do you have money to develop?>

Most production companies will have a fund that they will develop a script on, it might be taking an option. My experience is... the normal route would be we might take an option - that might be anything from a pound to thousands. For that you'll have to keep working on the script up to their satisfaction, to get a package together, so they're really... because their reputation is on the line when they go and see [the Head of Entertainment] or someone here, it has to be something they really believe in. For their development deal with an option to buy you'd probably have to re-work the script. The better writers keep writing. I did some work on the recent series of Father Ted and before we'd even started on that [Graham Linehan and Arthur Matthews] had done 8 drafts of all the scripts, really extensive drafts. They carried on working the scripts - even after we shot it in fact. You shouldn't be scared of re-writing. You should be willing to re-write at all stages really and it may mean losing great gags. You generally try and get them in later. If you've got someone you click with, if they say "I'm sorry but this has got to go". You go "OK". It has to be a constant process of developing the script up.

<Sending the script out>

It could be said that if you send 3 or 4 out and you get feedback - "this is working, this isn't" - you've got room there to revise the script and send it out again. My view is you send it to one and you get the letter back that isn't standard but has some comments you can work from that, re-write the script and send it back.

<Turnaround?>

It depends if you have any connections there. ["Three months is the average", "Three months is reasonable"] My production company had a script at ITV for a year and then they said "we love it, we want it".

<Market?>

It's desperate. But nobody's willing to go on scripts if there aren't any there. There aren't enough good scripts. They would make sitcoms for ever because they're great - from a broadcast point of view they're really good. A good sitcom brings in a good audience and good revenue and everything else. ITV aren't making many at the moment. I've just started on a new one. I was looking at the BARB figures and we've got 70 shows at the moment and ITV haven't got any comedy in that at all. They'd clearly love to. They've got several series that are made and on the shelf waiting but they won't necessarily put them out. So if the script is good the market is desperate for it.

<Agents may not be practical at the moment for new writers, what do they do?>

If I'm completely honest, any independent producer knows that if they're desperately keen you can get [new writers] to do another draft for nothing, if they're brilliant you snap their arm off but if it doesn't matter. If you see potential, and you think they'll do it for nothing, you'll get them to do it for nothing and you have to decide whether you're willing to do that or not. And then if they feel you've done the work and it has progressed they'd do a deal with you for...very often for very little, it has to be said but the development stage...it's so easy for commissioners to say no and they have a huge pile.

The shows you like, go to those production companies, the more you can tailor things [to them]the better.

1: Meet the writers: Paul Mayhew Archer
2: Meet the writers: Jenny Lecoat
3: The actors kick back
4: Working with comedy producers
5: Meet the commissioners