Jane Eyre

Whether you're working very quickly in volume or whether you're working much more slowly on a high end piece, it's the same set of skills.

I went from producing kind of what was you know 2006 version of high end which was an adaptation of jane eyre for the bbc with ruth wilson and toby stevens in the lead i i went literally which

i loved i loved that show thank you it was ruth wilson's big break wasn't it it was her first it was her first job

and she was phenomenal so we spent a year making four hours of that and then i stepped from that into eastenders where we would spend a week making four episodes and But it was the same skills.

What's, you know, let's not... sit with good enough what's the best it can be within the within the constraints and obviously that's pegged differently for a premium prime time period drama shot on film that one was just about um uh or something that's um uh pretty much daily but you still have to find your kind of points of quality and in your non-negotiables i suppose

Let's talk about your standards.

What did you think when you got the call, or I don't know how it happened, the tap on the shoulder? Did you think, oh, I'd rather keep making Jane Eyre? Or what was your feeling?

Well, forgive me, but I kind of shat myself.