“When I was young and arrogant, I thought we could make a film and change the world. Well… films don’t do that.”
“My work is… I want to expose the secrets.”
TV & Film Producer @TonyTGarnett
Broadcast 03 July 2016 – WATCH THE PROGRAMME HERE
“Look, I know the BBC’s really short of money but not to have the travel or the weather. I mean that’s….just… your budget must be really tight! Here is the traffic and here is the weather. The traffic is heavy. What a surprise! The weather is cloudy, threatening to drizzle. A typical summer’s day.”
“That explains why you moved to America for so many years, does it?” replies Sarah.
STEWART LANE talks to Tony Garnett, the producer of tonight’s B.B.C.- 1 play. (1966)
TONY GARNETT, producer of “Cathy Come Home”, tonight’s play on BBC 1 began his career as an actor, appearing in several television plays.
In 1964 he joined the B.B.C. as a script editor, assisting in the work on the Wednesday play series.
‘I’ve never got locked up in the idea of “art cinema”. That’s masturbation.’ Never mincing his words, producer Tony Garnett reflects back over his groundbreaking work in television and film, as a two-month celebration of his career – from Cathy Come Home to This Life – plays at BFI Southbank.
In the Swinging Sixties, nobody wanted to finance a gritty northern drama about a boy and his kestrel. But the makers of Kes persisted and the result was a British classic. Akin Ojumu discovers the inside story
First published in The Guardian, Sunday August 29, 1999
Tony Garnett: I had read Barry Hines’s first book, The Blinder, about a young footballer and liked it. I was producing the Wednesday play at the BBC and I asked him if he fancied doing one.
Roger Hudson and interviews with Tony Garnett and John Gould
Television in Britain: Description and Dissent
The trouble with any attempt to criticise British television is that it really does justify the claim to be ‘the best TV service in the world’: but the best is not necessarily the best possible, and it’s time some thinking was done on the changes needed. The following collage intersperses a brief history of television drama – what has been tried,
Published in Wanted Now! – March 2001
IN AN EXCLUSIVE INTERVIEW WITH LEGENDARY PRODUCER OF WORKPLACE DRAMAS, TONY GARNETT, ELIN WILLIAMS ASKS:
WHAT CAN YOU LEARN ABOUT JOBS FROM THE TELLY?
Exclusive? Legendary? Come off it. You shouldn’t take the words that journalists use at face value, any more than you should take careers advice from prime-time drama. Sex on the boss’s desk. Drugs and death in the toilets.
Dr M K MacMumraugh-Kavanagh, University of Reading
Beginning as a television actor in the late 1950s, capitalising upon the contemporary vogue for working-class, regional’ performers, Tony Garnett became a story editor in Sydney Newman’s revolutionary BBC Drama Group in 1964, and was swiftly promoted to the post of producer working on The Wednesday Play. His work during this period included groundbreaking dramas such as Nell Dunn’s Up the Junction (1965),
The following are extracts from an interview with Tony Garnett, co-founder and Chairman of World Productions, in August 2000.
Fiction is the nearest you can get, through the imagination of a writer, to knowing what it is like to be another…
“I’m curious about what it’s like being someone else. That’s one of the things that keeps me going in this business.
THE BIG ISSUE IN THE NORTH (CIRCA AUGUST 2000)
Alison Briggs meets writer Tony Garnett who, from CATHY COME HOME and KES to COPS, has forged a career out of gritty reality.
At the heart of London’s bustling Strand, a stone’s throw from the Savoy Hotel, lie the offices of World Productions. Inside, Tbny Garnett is bogged down with paperwork and telephone calls. …
Media Guardian: 28/10/2002
Cathy Come Home, Between the Lines, This Life… chances are at one time or another you have been captivated by a Tony Garnett drama. Maggie Brown talks exclusively to TVs most prolific producer
Garnett, 66, is Britain’s most influential producer. Responsible for decades of distinctive drama, from the campaigning Cathy Come Home in 1966 to the emotional intimacies of This Life in 1996, Garnett has steadfastly refused to speak to journalists.