I've come from theatre and you have different productions of a text in theatre. It's not unusual.
— Chris Chibnall
As if we didn't have enough fabulous actresses, it's a thrill to be joined by Wales's finest, Eve Myles. Having worked together on 'Torchwood,' it's a joy to be able to welcome her to 'Broadchurch.'
The north-west coast of America is that mixture of beauty and savagery, which I felt was very similar to the Dorset coast.
I mean, I'm always happy to be compared with Scorsese!
Normally the lightbulb moments only happen after 16-hour days, lots of cups of tea and a bit of weeping.
There's something very interesting about world leaders promising hope and then carrying through on that.
Drama is not a literal portrayal of events. It's a depiction, it's impressionistic.
Broadchurch' has been a life-changing experience for me, but all good stories come to an end.
My goal is always to leave you slightly wanting more.
I love 'Doctor Who' as a big, popular, mainstream, accessible show.
There have been so many different versions of the legend and of 'Camelot,' so what I wanted to do was strip it all back, and go back to the beginning and tell the story of Arthur, from the beginning of the relationship between Merlin and Arthur.
Broadchurch' was all about shades of grey, both in characters and storytelling, and I wanted to see that through to the end.
You should always think about the mainstream audience first and foremost, because frankly they are the people who are going to get the show recommissioned. There are not enough genre fans to support shows.
I think my job is to deliver the best, most cinematic, rich, exciting, surprising and emotional version of 'Camelot.'
There is very much a sense of different versions of storytelling within our 'Camelot' - who tells those stories, who creates them, who shifts them.
In a wider sense, I'm terrified about my kids coming down to breakfast and saying, ‘Trump said this and they've voted him president?' How do you explain to your children how to behave as a man in this world?
Some scenes take days and weeks, and some scenes take an hour.
There's nobody you can't love once you know their story. I believe that to be, in the majority, true.
I think women were gradually becoming more independent - the feminist movement of the Sixties didn't just spring out of nowhere.
Often what happens with the writing is that you know where you want to start and you know where you want to end, but the journey is never quite what you predict because the characters take on a life on their own.
I'm incredibly grateful and humbled by the response 'Broadchurch' got.
What I didn't want to come in with is 'Camelot' in all its pomp and glory. Instead we're looking at how you build a society, how you build a world that people believe in, and how hard it is.
My embarrassing confession is that my father is a 'Camelot: The Musical' obsessive. So as a child, when we were going to visit relatives on the weekend, whenever we were driving back on these three-hour drives, he would be playing the musical soundtrack on repeat, on the cassette in our car, to the extent that we begged him never to play it again.
Every writer has compressed time and procedure, and used clarifying dialogue. That's not a scandal: it's a legitimate dramatic technique.
It's a 'Doctor Who' budget. A BBC budget, although a very good one. But you know you can't do dinosaurs endlessly for 45 minutes, so there has to be a big ‘other' story going on.
Everybody loves great actors.
You do your best to tell your own story, in the most specific way, and then you hope that that travels well, when it's done with heart and honesty.
Growing up as a Brit, Arthur and Merlin and Camelot, and just the idea of it, is embedded in the culture and in your soul, growing up. King Arthur is alongside Robin Hood, as those great British folk tales, myths and icons.
Torchwood''s never going to be as heavy an effects show as 'Doctor Who.'
I think when you're writing anything you should never be thinking about hardcore genre fans.
The extraordinary thing in all the versions of 'Camelot' and the Arthurian legend is that it's all about the romance and the passion. It's all about great ideals compromised by falling in love with the wrong person.
I think you want to be writing about the world that we live in.
Broadchurch' is shot through with the fear of being a parent: what's the most horrific loss you can imagine and how could you go on living afterwards?
That kind of 'Lord of the Flies' brutality of being 11, it's a tough time. You're trying to figure out who you are, and who your friends are, and what your alliances are, and kids fall out all the time.
The papers feed the public interest but then the public interest demands more in the press and speculation can look like fact.
Born And Bred' is pure escapism, and where we film is one of the most beautiful places in the country.
I think sometimes actors who have predominately done comedy get a little typecast by some people.
If you can do something exciting and unusual, you might as well give it a go.
We didn't want 'Camelot' to become a period drama.
I think you always need to take new, big risks from a storytelling point of view.
Broadchurch' has always been about the impact of crime, on all those affected.
Honestly, I could talk to you for seven hours and not run out of great things to say about David Tennant.
If ever there was a character that was never defined by gender, it's the Doctor. The Doctor is gender fluid in that sense.
I don't ever want to be gratuitous, for the sake of being gratuitous, but when it serves the stories and the characters, it's nice to be able to do that, realistically and with credibility. You don't want to do it for the sake of it, or shoe-horn it in. But, it's a good tool to have in the toolbox.
I'm not on social media.
It is a fact of broadcasting that you've got to get the big audiences for the channel that you're on.
Doctor Who' is the best show to write for, because of the actors and the scale of imagination that it demands.
The great thing about 'Camelot' is that it is an adult drama.
As a programme-maker you've got a responsibility to examine your choices and how they play in the wider world.
The mood of the country is set by its leaders and they are failing us by not setting a compassionate moral tone in a complex time.
