Growing role for Scottish work as Baftas showcase top drama

Guilt, the BBC Scotland comedy drama series now basking in the glow of universally good reviews after completing its initial four-episode run, is already being talked about as a sho-in for 2020 awards.

But a likely rival hard on the heels of the tale of two mismatched brothers trying to cover up a hit-and-run accident, is Elizabeth Is Missing, a one-off feature-length drama adapted from Emma Healey’s debut novel. It was commissioned by BBC One and produced by STV. Shooting is currently under way on location in Scotland.

It marks Glenda Jackson’s return to acting after 25 years out of the loop as a Westminster MP. She takes the leading role of Maud who decides to investigate the mysterious disappearance of her best friend but is hampered by worsening dementia that lends a poignant urgency to an already compelling story.

There was an increase of almost 50% in entries for the 2019 Scottish Baftas and the queue is already forming for next year’s grand red-carpet occasion as dramatic output continues to march to the tune of public demand.

With ITV, Netflix, Apple and Amazon also on the hunt for new material, the commissioning process has adapted to cope with the sometimes vicious competition of the contemporary marketplace where traditional British politeness and deference doesn’t always cut it.

David Mortimer, managing director of STV Productions, said: “You have to be prepared to put in the time, the effort and the commitment for a project you believe in.

"My job is to explain why development funding is needed and why it is going out the door for no immediate return.

“When you start a conversation with a broadcaster, sometimes it is about an original idea and sometimes it is about a project with a funded script.

‘‘The process can be painfully slow at times but you must be jointly invested to make it work. Of course, you have to strike a balance between sensible risk capital and what we might be prepared to spend.

‘‘Some projects can take years from first meeting to ultimate fruition and you have to have the resource, heft and intellectual commitment to follow through on ideas you believe in before you see them finally out there on the screen.”

If the belief and effort are proven to be justified and the product at the end of the process is high quality and popular, the industry north of the Border benefits from a success that builds a reputation which in turn attracts more success while rivals are obliged to up their game to compete.

Mortimer pointed to The Victim, a powerful psychological thriller STV were involved in, as an example of a quality television product.

It earned Kelly Macdonald, famous for Trainspotting and Boardwalk Empire, the best television actress Bafta at this month’s award ceremony.

Perhaps more importantly are the numbers behind it, carried along by word of mouth once it had been broadcast. When it became available on other network channels, it attracted a combined audience of 7.5 million viewers in the two weeks after first showing, the most successful growth achieved by any series.

“It goes to show what can be done with patience, resource and the right people,” he said. “The Victim has contributed greatly to a growing drama presence in Scotland and that will not go unnoticed when new projects are floated.”

Writers don’t have to worry too much about the nuts and bolts of production and have a different perspective on the commissioning process. Neil Forsyth, known locally in Broughty Ferry as the brains behind Bob Servant, invented and scripted the black humour of Guilt which was then taken on by BBC Scotland and is now benefiting from hugely positive word of mouth.

“I think there can be no doubt we are in a golden age of television, particularly drama,” Forsyth said. “It’s a small industry, so often you will have a relationship with a commissioner which can help have your work considered.

‘‘Ultimately, though, so many people need to agree to a television show getting made, with all sorts of considerations going into the decision, you’re always largely in the dark as a writer until you get the call. Even then usually the most you will get is that it’s looking likely.

‘‘I’m never fully confident that a show is going to get made until the first day of production."

Bafta Scotland director Jude MacLaverty has acknowledged the flow of quality content and overall increase in programming and how it contributed to the increase in entries between 2018 and 2019.

“This is not only completely unprecedented but also demonstrates the quality, vibrancy, and wealth of creative talent working in the industry in Scotland right now,” she said.