Tag Archives: commissioning

BBC Exec Fergus O’Brien on the Making of The Met

In September 2013, veteran doc maker Fergus O’Brien took up a new post as Executive Producer at the BBC, working with head of documentaries Ayesha Rafaele. On his first day, he was handed a very big project: “Literally I was walking in the door and I bumped into Ayesha and she said ‘Do you fancy exec-ing the Met?’ I’m not sure I knew exactly what that would mean but I said yes.”

O’Brien soon found himself immersed in steering one of the biggest access-driven documentary series in the BBC’s recent history. Airing on BBC One, The Met: Policing London is the first time a broadcaster has been given comprehensive access to London’s police force.

fergus head shot
Fergus O’Brien

For O’Brien, it has been rather a bumpy ride: “Inevitably with stuff that’s dealing with the law and criminality and so on, the phone never stopped. You’re often managing people’s worries, and people’s concerns, and keeping an eye on the legalities of things and keeping a steady line of contact open with our editorial policy team and our legal team.”

Initially a six part series, the team had to drop one of the episodes, when legal restrictions prevented them from airing a major storyline about domestic abuse: “That was very difficult – it’s hard to say goodbye,” says O’Brien. “It would have been a really strong story and often those stories, where the victim is willing to be on camera, aren’t told. Unfortunately through the peculiarities of the legal system we couldn’t show it.”

As director of such films as Channel 4’s Seven Days and the acclaimed, and very funny, The Armstrongs (BBC One) O’Brien is used to following a variety of strong characters across numerous settings. But helping the four shooting teams negotiate their way through the labyrinthine Met was a job like no other: “Each of the teams was assigned to a response team in a different borough of London, and a cross-section of boroughs which would reflect the diversity of the city,” he says. “And each team also took on one or two specialist units, whether it was homicide or Trident. The idea being that the bigger units would hopefully provide us with a spine for each film and something we could come back to, and then we could pepper it with a mixture of different response stories to flesh things out and give a sense of variety in each programme.”

Whilst access had been given from the top, it continued to have to be negotiated throughout: “We had to get consent from everyone, even if they were in the background,” says O’Brien. “It’s the usual thing, from our point of view: unless people want to do it there isn’t a point. If they feel they are being forced into it, it just isn’t that great.”

The production ended up with 2,000 hours of footage, shot over the year, and edited over many months. Even now, as the series is airing, O’Brien is still putting out fires: “It’s not the same as covering a story and when it is done and dusted in the courts you put it out. It is just ongoing; it’s daily. Every day now we have to check every single case across the series to make sure people haven’t re-offended and we’re not in contempt of court. It’s a huge part of it.”

The Met: Policing London is airing on Mondays on BBC One at 9pm until early July. Read about a very different way to film police docs here.


How did Vanessa Engle Get Inside Harley Street?

If you haven’t yet tuned into it, get thee to the BBC I-Player to watch the first part of veteran director Vanessa Engle’s series Inside Harley Street. I’ve watched every minute, fascinated, and think it’s an exemplary portrait of a unique community – something very tricky to do. What Engle does so successfully is weave a rich tapestry of the human condition, through the many storylines we bear witness to over the three hours. Engle’s approach is very direct: conducting interviews, on site, as people undertake, or administer the myriad of medical, cosmetic and complementary treatments on offer in the Harley Street neighborhood. She also speaks to the community that keeps it humming, from the florists to the cleaners, to the rather fantastically powerful behind the scenes uber-landlord, who treats the neighbourhood like a Monopoly board (and indeed gleefully shows Engle his own custom made board replete with his properties).

Despite the simplicity of its construct, it’s clear that Inside Harley Street must have been a monster to put together. I spoke to Engle on the telephone to ask her just how she got inside the exclusive neighborhood:

Can you explain a little about the research and development process which went into making this series?

It was immense. I had this fantastic assistant producer called Liz Kempton. We started with all the conventional medical doctors, which is what Harley Street is best known for. And she just contacted enormous numbers of them…The levels of complication in putting this particular jigsaw together were beyond anything I’ve ever attempted, and I’ve done some pretty complicated ones. It’s not unusual for me to do a series where I have between 80 and 100 contributors. But for each contributor you had to get the doctor to go with the patient, you also had to get permission from the clinic. If they go for a scan in another hospital, you have to get permission from that hospital…the permissions proliferated. I’d never come across anything as complex as this.  And they’re not only places where medical confidentiality is an issue but they are all private businesses who are extremely protective of their clientele and their reputation. So you can imagine the difficulty. But the starting point was Liz contacting literally hundreds of doctors as an initial approach. She met quite a lot of them. If she thought there was something there then I would meet them as well.

Vanessa Moscow
Vanessa Engle

I know often when you go about getting access, people tend to club together one way or another. Did things get easier or harder for you?

My experience in any community is once you’ve got some really impressive names that have said yes, then it does get easier, it gets significantly easier.

And that happened with you?

Yes. With some of the doctors in the film, they hold a lot of sway – their reputations go before them – so once they say yes then others will follow.

Did you use any of your films as a calling card?

I do do that – I absolutely do that. And quite a lot of people in a lot of the clinics, they have hefty marketing and PR departments, and some of them asked to see my films and others checked me out online.

Maryam's leech therapy
Maryam’s leech therapy

There have been quite a few series which are location based on British television lately, like Inside Claridges and Welcome to Mayfair. How did you plan your approach for this series – did these influence you at all?

That’s a very good question.  There has been a spate of commissioning around luxury brands. I’m sure it is possible that Harley Street was also commissioned in that spirit – that there appears to be an audience for films about luxury. For me, right from the outset and in the original treatment I wrote, I always knew the series wouldn’t be about that. To make 180 minutes of television – as long as two feature films – on a premise that would just be ‘here are some rich people, and here they are paying for stuff the rest of us can’t afford’, for me as a filmmaker that doesn’t take me anywhere. There is nowhere to go with that proposition. And it’s certainly not going to keep me going for three hours. Not if you are a genuinely curious documentary maker and trying to find stuff out about humanity at a slightly deeper level. Rich people buying expensive shit isn’t of enough interest to me personally and I always knew that. It was clear from the outset that there would be huge issues thrown up about aging, about illness, about how we feel about our appearance, about why women are altering their appearance frequently, about why people are choosing treatments and therapies that are anti-scientific when we live in a scientific era. It was obvious to me that there was something meaty there that was never just going to be about rich people.

I’m very proud of the access that we did achieve. Because it’s one thing to make a film where you say to someone ‘oh you can afford a ruby necklace, or you can afford an expensive hotel room’. But to say to a very rich person, who is paying a lot of money for privacy and discretion, ‘can we film you butt naked having your prostate gland removed?’ is access of a different order really.

By the way, I love the soundtrack…

I’m glad you asked me about that. That’s what I mean about this series: I just worked so hard. All films are hard to make, but some films are really a lot harder to make than others. For this I listened to over 1,800 tracks to get the music for these films!

Episode 2 of Inside Harley Street screens Monday, 20 April, 9pm on BBC Two.