Insight from producer and director Michael Hines

If your script is commissioned it will the job of the production company's nominated producer and their chosen director to bring your script to screen. To try and understand a little more about these roles and what makes a great comedy we spoke to Michael Hines who is both the producer and the director of "Still Game", the hit BBC sitcom about two Scottish pensioners.

Hi, Michael - thanks for talking to us. Firstly, could you tell us how you got into the business of producing and directing and how you became involved in 'Still Game'?

I used to be a theatre director until BBC Education asked me to write and direct some dramas about bullying for School's TV. Since that moment I've carried on working as a director and producer.

When [BBC Scotland's sketch show] Chewin' the Fat was coming to an end, potential sitcoms were looked for amongst the characters, and Jack and Victor were the most obvious choice. A pilot was made, and when the series was commissioned, I was brought in to re-shoot small elements of it (mainly the pub) and then continued the make the rest of series one.

We at the BSG have labeled 'Still Game' as one of the best sitcoms of the decade. What do you think lies behind it's success?

You're too kind... I think there is a certain amount of truth in Still Game, we all know old people who swear, who live that way and who are still people at the end of the day. It's not that surreal, and doesn't mock old people, rather show they are just the same as they were when they were younger. There is also pathos in the sitcom, which gives rhythm to the comedy and makes it touching. Also old people being rude is funny.

How long does it take to film a series of 'Still Game'? It looks like a lot of work!

Still Game has 4 weeks pre-production, 6 weeks filming and 4 weeks editing and sound dubbing. For filming, we allow a week an episode but as Still Game is not a studio based show, we use the 6 weeks to do all 6 episodes so we could be filming any one of 6 scripts in a day or a mixture of all of them!

Could you describe what your role as a producer entails?

A producer on a sitcom will try and realise the overall vision of the writers coupled with managing the budget and ensuring the creative team have as much as they can to help them make the show. I work closely with my production manager at the Comedy Unit, keeping the financial side sorted so that the maximum money can be put on screen.

A lot of readers of this site are currently writing their first sitcom script. When directing, what do you need in a script to help you shoot the scenes?

It's less in a script and more in the conversations one would have with the writers once you've got the script. How do they want a particular scene done, that sort of thing. Also getting exactly what they have in mind as far as a character goes, helps in the casting. Otherwise you want clearly defined scenes, some story structure and a good scene order so that you can 'see' the script in your head.

Do you think it is important to consider budgets and camera angles when writing a comedy?

You'll have to ask Ford [Kiernan] and Greg [Hemphill] that (the writers of Still Game). Some directors hate writers telling you what shot to use, some writers only want a scene done a particular way so there's a discussion always to be had!

Are re-writes on set ever necessary? If so how did they come about?

Ford and Greg are very careful to plan out back story and set ups in the scripts so luckily there's not a lot of re-writing. Also something like "Friends" that's shot in front of a studio audience will be constantly tweaked if a gag doesn't get a laugh but as we film on location, we don't rewrite a gag. The only things that will get re-written is if a better pay off comes to mind, whilst rehearsing but that's only when they are on set. A director has to trust the writer and not start fannying around with a script once he's got it. In that way I'm lucky to have them on set if any problems do arise.

What's the hardest part of the job?

Juggling the wishes of the writers with the time and resources allowed with the other wishes of those concerned in the show, from the top to the bottom.

How closely do you have to work with writers in your two different roles?

Very. There are some things we may not be able to do and at an early stage there may be a re-think on a scene. Also I want to make sure they are happy with the realisation of the script on set. They have one thing in their mind and I need to make sure the one in mine is as close to theirs whilst still trying to improve on it.

What is the hardest scene you've had to direct?

Probably the scene in Cairds when Joe wins his buggy back. It was 15 pages of one big scene with shots through the window from other flats (that don't actually exist); most of the cast, and one small living room to film in. Also card playing is notoriously hard to film. You have to watch the continuity of the cards, the drinks, the cigars, the actors, the money, the background artists, need I go on.

Obviously, when drafting a sitcom, a writer needs to have the locations in his or her comedy visualised in their head. Could you give us some tips on sets?

You rarely see the ceiling as the lights are all up there. There is usually only 3 sides to a set so all the gear can get in. In Still Game, my designer has created 4 walled proper rooms, which look fabulous, and we have no problem shooting any direction, but we need to make sure we can get everything in. So you have 'camera traps' built into walls, or walls that come away, or false windows and so on.

Any other advice you can give to sitcom writers out there?

Characters: They have to be believable and consistent.

Jokes: They have to be funny, and often, and unexpected. And there needs to be some!

Situations: They have to be real so that the characters exist in that world, rather than just there to provide jokes. When Del Boy went to Monaco, it didn't work, you'd taken him out of his reality.

Characters: make them real and consistent. Did I already say that?

Thanks for the great insight Michael! Michael has kindly agreed to answer a few more questions so if you've got anything else you'd like to ask him please send in your questions.