Clocking Off Series 3 Press Pack
Introduction
Seamlessly blending regular characters with newcomers punching their cards for the first time, mixing comedy with pain and regret, BAFTA award-winning ‘Clocking Off’ returns to BBC ONE to demonstrate how extraordinary ordinary life can be. The machines keep on whirring in the background, while people are derailed by events they cannot control, halted in their tracks by tragedy, suddenly alight with love or just temporarily diverted by a roar of laughter. All of life is there.
The aim of ‘Clocking Off’ has always been to create a series of self-contained stories sharing the single focal point of Mackintosh Textiles. Executive Producer, Nicola Shindler explains, “We’ve created a true compilation of stand-alone, single films, like eight individual Plays For Today, drawn together by the common backdrop of the factory. Each episode has its own voice, its own feel, something the whole production team works very hard to ensure.
Paul Abbott, ‘Clocking Off’ creator and writer agrees. In fact, he feels that the adaptability is what attracts writes to the project. “People want to work on 'Clocking Off' because it’s not seen as someone else’s idea. It’s seen as the chance to write a single drama for television. And as the series has gone on, we’ve become much more confident about giving incoming writers the freedom to follow their own story and style.”
He is strongly endorsed by the established writer, Peter Bowker, who joined the team of writers for episode 7. “I didn’t feel an trepidation about coming in to 'Clocking Off' as is it were a ‘Paul Abbott show’. It’s an incredibly well conceived piece of television but it is also extraordinarily flexible. I’ve written for programmes before where you have to follow on going storylines and write for particular characters, and that can become very flat. In Clocking Off, the writer can be led by his own ideas.”
“I came up with the Alan and Sally story when I had a vasectomy last summer,” adds Bowker. “My partner Kate laughingly said, ‘wouldn’t it be funny if you found out, you’d always been infertile?’ We’ve got two small children but rather than worry about what she might be trying to tell me, I thought, ‘that’s a great Clocking Off story’.”
New writer Daniel Brocklehurt, who has now written for ‘Clocking Off’ for two series explains. “The format definitely suits me,” he says, “because I’m good at telling big stories in a fast and economical way. I enjoy the room to manoeuvre, to explore different kinds of themes,” he adds. “For example, in episode 5, the story is quite dark. I’d always wondered what would happen if someone found out that his or her oldest, closest friend had a terrible secret. It’s dramatic and quite anguished. But then episode 4 is more a celebration of the ordinary, of someone who realises that she doesn’t have to do anything grand and adventurous to improve her life, she just need to open her eyes and look at things from a different perspective.”
Nicola is clear that ‘Clocking Off’s unique format suits particular writers and particular stories. “There’s a certain type of voice that suits ‘Clocking Off’. There must be a very good capacity for story telling; a strong grasp of blue-collar dialogue; and a spot on feel for humour. Even though these can be dark stories, they’re always told with comedy and that’s often the key to getting the right writer. As to storylines – it’s hard to pinpoint what makes a ‘Clocking Off’ story, but you know when you’ve got one. It has to be full and extraordinary but absolutely believable.”
Once again, casting is a strong point, says producer Juliet Charlesworth. “it’s been so exciting to get actors of the calibre of David Morrisey, Sophie Okonedo, Marc Warren, Bob Pugh and Craig Kelly. It really says something about ‘Clocking Off’ when we can bring in such high profile performers for the third series. And it’s the strength of the show that attracts them. They all understand what it is about, to such an extent that they are happy to be part of the background, and little more than extras, for some episodes. They realise that the audience have to see the factory working.”
Part of the success and warmth of ‘Clocking Off’ seems to come from the atmosphere created on set. Julier explains, “There’s something unique about the set. All the departments are run by leaders of their fields, everyone knows exactly what they’re doing and there’s a real feeling of family. The actors are true professionals and because many of them are local they spend a lot of time together away from the set and always welcome newcomers.”
“I don’t think ‘Clocking Off’ is a total reflection of real life but it is pretty close,” syas Nicola in conclusion. “We’ve kept away from Toy Town images of a community where everyone helps everyone else, because that’s not what life is like. People care about their families but other than that, they’re quite cold and insular. We’ve also avoided neat endings and sweeping moral judgements. Paul Abbott created a classy, original concept and I think we’ve stayed true to it.”
Philip Glenister plays Mack
Mack has been the one constant throughout ‘Clocking Off’,” remarks Phil. “Mack with his messed up personal life and his obsession with the factory – keeping it going, making it successful, living up to his Dad’s legacy. What I think has changed it that he has fallen out of love with it – all these people to look after day in, day out, all that responsibility. It’s the only thing he’s ever now and he’s had enough, he wants to get out and get a life!”
“Mack’s night with Tasha makes him realise that his life isn’t set in stone,” he continues. “He’s a bit of a lonely old bastard and her company, plus of course the drink and drugs allow him to blurt out all his past and feelings of dissatisfaction. By episode 8 Mack has reached the end of his tether, the moment where he has to start making big decisions.”
Since the first series Mack has always been seen as very much alone, outside of everything. Now, not only do we see him make a half=hearted effort to be more ‘matey’ with the lads at work, but we also meet his irresponsible brother Eddie (Craig Kelly).Philip describes their relationship, “It’s pretty strained! They’re typical brothers, like squabbling twelve year olds. What makes them interesting is that Mack wants to be like Eddie and vice cersa, they can’t find happiness in just being themselves. So Mack says, ‘here, you can have it’. And suddenly the roles are reversed. Whether it will work or not, who knows…”
In addition to starring in all three series of ‘Clocking Off’, Philip Glenister’s numerous television credits include ‘Lloyd and Hill’, ‘Hornblower’, ‘The Hunt’, ‘My Wonderful Life’, ‘Roger, Roger’, ‘Vanity Fair’, ‘The Perfect Blue’, and ‘Sharpe’s Justice’.
Seamlessly blending regular characters with newcomers punching their cards for the first time, mixing comedy with pain and regret, BAFTA award-winning ‘Clocking Off’ returns to BBC ONE to demonstrate how extraordinary ordinary life can be. The machines keep on whirring in the background, while people are derailed by events they cannot control, halted in their tracks by tragedy, suddenly alight with love or just temporarily diverted by a roar of laughter. All of life is there.
The aim of ‘Clocking Off’ has always been to create a series of self-contained stories sharing the single focal point of Mackintosh Textiles. Executive Producer, Nicola Shindler explains, “We’ve created a true compilation of stand-alone, single films, like eight individual Plays For Today, drawn together by the common backdrop of the factory. Each episode has its own voice, its own feel, something the whole production team works very hard to ensure.
Paul Abbott, ‘Clocking Off’ creator and writer agrees. In fact, he feels that the adaptability is what attracts writes to the project. “People want to work on 'Clocking Off' because it’s not seen as someone else’s idea. It’s seen as the chance to write a single drama for television. And as the series has gone on, we’ve become much more confident about giving incoming writers the freedom to follow their own story and style.”
He is strongly endorsed by the established writer, Peter Bowker, who joined the team of writers for episode 7. “I didn’t feel an trepidation about coming in to 'Clocking Off' as is it were a ‘Paul Abbott show’. It’s an incredibly well conceived piece of television but it is also extraordinarily flexible. I’ve written for programmes before where you have to follow on going storylines and write for particular characters, and that can become very flat. In Clocking Off, the writer can be led by his own ideas.”
“I came up with the Alan and Sally story when I had a vasectomy last summer,” adds Bowker. “My partner Kate laughingly said, ‘wouldn’t it be funny if you found out, you’d always been infertile?’ We’ve got two small children but rather than worry about what she might be trying to tell me, I thought, ‘that’s a great Clocking Off story’.”
New writer Daniel Brocklehurt, who has now written for ‘Clocking Off’ for two series explains. “The format definitely suits me,” he says, “because I’m good at telling big stories in a fast and economical way. I enjoy the room to manoeuvre, to explore different kinds of themes,” he adds. “For example, in episode 5, the story is quite dark. I’d always wondered what would happen if someone found out that his or her oldest, closest friend had a terrible secret. It’s dramatic and quite anguished. But then episode 4 is more a celebration of the ordinary, of someone who realises that she doesn’t have to do anything grand and adventurous to improve her life, she just need to open her eyes and look at things from a different perspective.”
Nicola is clear that ‘Clocking Off’s unique format suits particular writers and particular stories. “There’s a certain type of voice that suits ‘Clocking Off’. There must be a very good capacity for story telling; a strong grasp of blue-collar dialogue; and a spot on feel for humour. Even though these can be dark stories, they’re always told with comedy and that’s often the key to getting the right writer. As to storylines – it’s hard to pinpoint what makes a ‘Clocking Off’ story, but you know when you’ve got one. It has to be full and extraordinary but absolutely believable.”
Once again, casting is a strong point, says producer Juliet Charlesworth. “it’s been so exciting to get actors of the calibre of David Morrisey, Sophie Okonedo, Marc Warren, Bob Pugh and Craig Kelly. It really says something about ‘Clocking Off’ when we can bring in such high profile performers for the third series. And it’s the strength of the show that attracts them. They all understand what it is about, to such an extent that they are happy to be part of the background, and little more than extras, for some episodes. They realise that the audience have to see the factory working.”
Part of the success and warmth of ‘Clocking Off’ seems to come from the atmosphere created on set. Julier explains, “There’s something unique about the set. All the departments are run by leaders of their fields, everyone knows exactly what they’re doing and there’s a real feeling of family. The actors are true professionals and because many of them are local they spend a lot of time together away from the set and always welcome newcomers.”
“I don’t think ‘Clocking Off’ is a total reflection of real life but it is pretty close,” syas Nicola in conclusion. “We’ve kept away from Toy Town images of a community where everyone helps everyone else, because that’s not what life is like. People care about their families but other than that, they’re quite cold and insular. We’ve also avoided neat endings and sweeping moral judgements. Paul Abbott created a classy, original concept and I think we’ve stayed true to it.”
Philip Glenister plays Mack
Mack has been the one constant throughout ‘Clocking Off’,” remarks Phil. “Mack with his messed up personal life and his obsession with the factory – keeping it going, making it successful, living up to his Dad’s legacy. What I think has changed it that he has fallen out of love with it – all these people to look after day in, day out, all that responsibility. It’s the only thing he’s ever now and he’s had enough, he wants to get out and get a life!”
“Mack’s night with Tasha makes him realise that his life isn’t set in stone,” he continues. “He’s a bit of a lonely old bastard and her company, plus of course the drink and drugs allow him to blurt out all his past and feelings of dissatisfaction. By episode 8 Mack has reached the end of his tether, the moment where he has to start making big decisions.”
Since the first series Mack has always been seen as very much alone, outside of everything. Now, not only do we see him make a half=hearted effort to be more ‘matey’ with the lads at work, but we also meet his irresponsible brother Eddie (Craig Kelly).Philip describes their relationship, “It’s pretty strained! They’re typical brothers, like squabbling twelve year olds. What makes them interesting is that Mack wants to be like Eddie and vice cersa, they can’t find happiness in just being themselves. So Mack says, ‘here, you can have it’. And suddenly the roles are reversed. Whether it will work or not, who knows…”
In addition to starring in all three series of ‘Clocking Off’, Philip Glenister’s numerous television credits include ‘Lloyd and Hill’, ‘Hornblower’, ‘The Hunt’, ‘My Wonderful Life’, ‘Roger, Roger’, ‘Vanity Fair’, ‘The Perfect Blue’, and ‘Sharpe’s Justice’.
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