UK TV industry in crisis, says Wolf Hall director

The UK television industry is currently facing significant challenges, as highlighted by Peter Kosminsky, the director of the acclaimed series Wolf Hall. Kosminsky revealed during an interview on BBC Two's Newsnight that the production of the second series was nearly canceled due to financial constraints. He explained that they had to make substantial cuts to the show, particularly eliminating many expensive outdoor scenes. As a result, the majority of the drama, which is based on the historical narrative of Thomas Cromwell, was reduced to 'conversations in rooms. ' Kosminsky argues that public service broadcasters like the BBC and ITV are struggling to produce high-quality British dramas because of budget limitations. He is advocating for a 5% levy on subscription streaming revenues in the UK, suggesting that the funds collected could be used to support a British cultural fund. This fund could help finance the production of more British dramas like Wolf Hall. The series features prominent actors such as Sir Mark Rylance and Damian Lewis, who portray key historical figures in the Tudor period. Kosminsky shared that just six weeks before filming was set to begin, they realized they had to make drastic cuts to the production. They had already removed certain props, locations, and even cast members, but it still wasn't enough to proceed with the original vision for the show. He stated, 'That's not something that has ever happened to me before, in all the years I've been making programmes, that you actually have to stop six weeks from production. ' Kosminsky, along with some of the main actors and producers, took significant pay cuts to ensure the show could move forward. He mentioned that they had to cut an elaborate jousting scene that was originally part of the script. Kosminsky expressed pride in what they ultimately achieved, despite the changes, and noted that the audience's response was overwhelmingly positive. He had envisioned a show that would provide a broader view of Tudor society, showcasing the lives of people outside of the royal courts and grand dining rooms. Kosminsky believes that the situation has worsened since the airing of Wolf Hall in November. He warns that public service broadcasters may no longer be able to produce dramas like Wolf Hall or Mr Bates vs the Post Office, which tells the story of a real-life scandal involving the Post Office. In this drama, Toby Jones plays Alan Bates, a sub-postmaster who was wrongfully accused of theft and fraud. Kosminsky cautions that soon, British viewers may find themselves missing these types of programs. He also believes that the BBC and ITV would struggle to afford the production of a current hit show called Adolescence, which revolves around a teenager accused of murder. Jack Thorne, the writer of Adolescence, thinks that traditional broadcasters could have produced the drama, but they would have had to alter some of the more expensive scenes. He explained that one particular scene required 300 extras, which significantly increased the production costs. Thorne remarked, 'I think we could have done it, it just would have been very different. ' He also noted that they might have needed additional funding from international sources to cover the expenses. Kosminsky and others in the industry believe that the rise of streaming platforms has dramatically inflated production costs, making it difficult for public service broadcasters to keep pace. Patrick Spence, the executive producer of Mr Bates vs the Post Office, emphasized that this is a serious issue. He stated, 'Not only would Mr Bates not get funded today, but I wouldn't even have started developing it. ' Sir Alan Bates, the real-life sub-postmaster whose story inspired the drama, expressed concern that it would be a real shame if such important dramas could no longer be produced. He believes that Mr Bates vs the Post Office shed light on the serious injustices occurring within the Post Office. Spence also pointed out that while the costs of producing dramas have risen, the available funding for these types of shows has diminished. Later this year, Spence's new drama The Hack, which focuses on the phone hacking scandal, is set to air in the UK. He lamented that there is currently no way to secure funding for that program. Kosminsky argues that implementing a levy on streaming services could help support British productions, similar to initiatives in other European countries. However, he questions whether the UK government would be willing to confront US streaming services on this issue. A recent White House memorandum referred to such levies as 'one-sided, anti-competitive policies. ' Jayne Featherstone, an executive producer at Netflix, warned that the UK is at risk of losing the very stories that define its culture. She stated, 'We are in the 45th minute of the pilot episode, and we've got five minutes left to stop the bomb from going off. ' Featherstone also suggested that the UK should consider increasing tax relief for high-quality television, similar to the support already provided to the film industry.