Producer Nicola Shindler on What Made ‘Happy Valley’ a Hit, Why ‘It’s a Sin’ Took “a Long Time”

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As a seasoned gamer of the small screen, I’ve seen my fair share of hits and misses, triumphs and flops. The tale of Nicola Shindler and her journey with Channel 4’s “It’s a Sin” is one that resonates deeply with me, not just as a viewer, but as someone who appreciates the artistry behind the creation of compelling television.

Nicola Shindler, the head of British television, revealed that it took a while for Channel 4’s “It’s a Sin” to be produced, and this delay was largely due to Russell T. Davies’ exceptional creativity.

Shindler, the head honcho at Quay Street Productions as both executive producer and CEO, had a chat with Andy Wilman, who produces shows like “Top Gear” and “Clarkson’s Farm,” at The Royal Television Society’s event in London on Tuesday.

Sally Wainwright is responsible for productions like the BAFTA-winning series “Happy Valley” and “Last Tango in Halifax”. She mentioned that the show “It’s a Sin”, which portrays the impact of the HIV/AIDS crisis on a friendship circle and wider LGBTQ+ community in 1980s London, was delayed in production as writer Russell T Davies (also known for “Doctor Who”) initially wanted to emphasize character development before moving forward with the script.

As soon as we embarked on this project, my role was ensuring that Russell’s perspective was evident since the start,” Schindler explained. “It wasn’t about starting in an AIDS hospital, but rather making you care for these characters from the get-go. Russell emphasized, ‘You must love the characters first.’ And it took some time to get this movie made due to that requirement, but he was spot on.

Schindler added, contrary to popular belief, creating a successful TV series does involve a touch of self-confidence. “If I didn’t believe my judgment was sound, then I wouldn’t be capable of making those tough decisions.” She admired British soap operas like ‘Eastenders’ and ‘Coronation Street’, arguing against the notion that they could frequently be seen as inferior quality programming. “I was raised on soaps day in and day out, and I think that constant exposure gave me a strong sense for storytelling,” she explained.

On “Happy Valley,” masterfully led by Sarah Lancashire, she emphasized that it’s a collective journey, focusing on the creative harmony between writer and producer. However, creating a hit in a market flooded with content poses a significant challenge for her. Her mission is to ensure each episode offers something fresh and unexpected, constantly surprising the audience.

Following the lukewarm reception from film critics, Schindler expressed his preference for ‘Fool Me Once’ being one of Netflix’s most-watched shows of the year over a positive review in ‘The Guardian’. In simpler terms, he’d rather have 92 million viewers enjoying the show than receive praise from one critic. The goal isn’t to garner approval, but to attract audiences who can appreciate what is being created.

Wilman reminisced about the “harmony” he and Jeremy Clarkson, an ex-member of Top Gear, have built up over time. He mentioned, “Our collaboration has a certain harmony. Some of it can be traced back to our school days, there’s no denying that. We didn’t deliberately plot success because I don’t believe we were smart enough to do so.

He commented that the atmosphere in the Top Gear writing room used to be quite chaotic. “We deliberately created an unpleasant environment,” he explained, “to keep executives at bay and avoid their notes or suggestions. If we turned the place into a Chernobyl-like scene, no one would dare disturb us, allowing us to focus on our work. Fortunately, our work was of high quality.

However, he acknowledged that the secret to creating unscripted TV lies in its essence: “It’s all about storytelling. When people ask me, ‘Do you enjoy driving?’ I’ve failed my driving test four times, but Top Gear was a platform for automobiles.

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2024-09-17 17:25