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Interview with Hat Trick's Claire Broughton

Tuesday 29th March 2011

Hat Trick Productions

We're delighted that this week's blog is an interview with Hat Trick Productions' Development Co-ordinator Claire Broughton, who gives us an insight into what she looks for in a new script, and gives some valuable advice for aspiring writers.

What's your background?

I did a languages degree at Bristol Uni, and was very involved in acting and producing in live theatre and comedy while there. My first job on leaving University was as Nira Park's assistant at Big Talk Productions which was a really lucky break. My first week in the office I was told, 'we've just made this comedy series called Spaced, why don't you watch it so you can see what we do.' I went home each night raving to my friends about this hilarious comedy series no-one had heard of yet. Went on to work on the second series and then the first series of Black Books.

I then did a brief stint in advertising before working for Mike Leigh and then his producer Simon Channing Williams, who were a dream to work with, on films such as Vera Drake, and then The Constant Gardener out in Kenya which was an amazing few months. Did a couple of years in film development before I decided I needed to move back to TV comedy, my first love... I started working for Jimmy Mulville about 3 years ago and now run his development slate. Have worked on a range of productions, including The Armstrong and Miller Show - organising sketch try out nights and co-ordinating sketch writers - and also more recently Episodes.

Why did you want to work in comedy?

I think my childhood was really informed by watching great British comedy like Hitchhiker's Guide and the classics from the 70s like Rising Damp and The Two Ronnies. I was always aware from a young age that British comedians were a real institution - something the nation could be proud of, one of our greatest exports around the world. So the idea of that being my day to day - working on a show with people who wrote funny stuff for a living - sounded like the greatest way to spend time. My husband often queries elements of my day as, 'that's really a job?'

Which show was the best that you worked on and why?

I think Spaced Series 2 was a really great learning curve for me as it was my first production. There was a real sense that this was really quality writing and the team were all just so talented. Recently working on Episodes has also been incredible, working with legendary writers and a really great cast, also the fact it was a UK/US co-production which was something we'll probably see more of in the UK as a way to make television budgets stretch further was really interesting, having come from the film world where that kind of fragmented financing is the norm, is definitely something which TV is now following the example of more and more.

Which show do you wish you could have worked on and why?

Blackadder, without a doubt. I would have loved to have worked on each of the series moving forward. That huge change from one to two, and then the different worlds in each. Such a talented cast and crew would have been fascinating and hilarious.

What do you look for when you pick up a script?

Simple I know, but something that makes me laugh, the sooner into it the better, ideally something that doesn't talk to me like I'm an idiot, has good meaty characters that leap off the page and makes me wish I'd had the brains and the talent to come up with it! Jealousy plays a huge part...

What was the greatest mistake or failure that you made, and how has it benefited you in the long run?

I think leaving comedy initially to go into advertising was a bit of a strange one but I'd just come off two really long, intense back-to-back productions and I thought I needed a change of scene. Ultimately though it set me off on a path - the industry is all about random connections - and also it made me realise what world I didn't want to be in. It made me realise though that comedy is useful in all genres, you don't have to be working for a comedy company to make funny stuff.

What three pieces of advice would you give to aspiring writers?

A) Write as much as you can as often as you can (just be selective in what you submit!)

B) Be open and receptive and get feedback from people on what you write wherever possible. Comedy will never please all the people all the time but generally if no one is liking what you do you might need to have a rethink. Think what successful comedies you like and why you like them and try and incorporate some element of the way they are written into your writing. Whether it be tone, pacing or simply gag rate. All writers have influences, this isn't copying, it's learning from the masters!

C) Thirdly, get your stuff out there, perform it yourself if you can, film it and stick it on the web maybe, you'll get instant feedback and your work will at least be able to be seen and have more of a chance of being appreciated than if it's just sitting on a desk somewhere. You don't have to mount a huge production, just do something simply that shows off your work. Also working with performers might bring something to your writing you had not thought of before. Comedy is often about great collaborations leading to greater things.


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