Interviewing the creator of Green Wing, as well as one of the producers, a casting director, a script editor, a film editor and one of the writers of the show sounds like a busy day: less so when you realise they are all the same person, wrapped up neatly in the personable and multi-talented package that is Victoria Pile.
Pile is the driving force behind Green Wing, Channel 4’s uniquely brilliant BAFTA-winning comedy, and she’s
involved in every stage of the process. She’d probably prepare sandwiches for cast and crew and darn all their socks if she had the time; but as anyone with more than five jobs will tell you, time is at something of a premium.
She took billions of precious nanoseconds out of her lunatic schedule to explain the inspiration behind the programme and discuss her favourite moments from the first series.
Green Wing isn’t exactly a conventional sitcom. How would you describe it?
It’s a bit of a hybrid, isn’t it? It’s a sketch-meets-comedy-drama-meets-soap. It’s kind of unique, it hasn’t got a forerunner, really. Where did the idea for the series come from?
Initially it was as a progression from Smack the Pony, so it was meant to be a continuation of the sketch show format, but with stronger narrative structure. We wanted to do something with characters who had a bit more depth and longevity, and a bit more narrative, but we weren’t going to throw out the ability to be randomly funny, which was the sketch appeal. Why did you decide to set it in a hospital? It’s not as if we ever see any patients, and it’s not remotely medical.
That’s where all life is, is it not? It was originally the plan to cover porters and car park attendants and kitchen staff as well as medics. In fact we found our hands were full with the eight or nine main characters we have got without going below stairs too much. It was a very convenient home where all sorts of life and work situations met. Not only did you create the show, but you’re involved in writing, casting, filming, editing, post-production, everything. Are you a megalomaniac or a workaholic?
[laughs] I don’t know, I just can’t help it. I’m not single-handed, we do have a hugely talented team, but I guess I need to see the whole thing through every stage. more
It’s a bit of a hybrid, isn’t it? It’s a sketch-meets-comedy-drama-meets-soap. It’s kind of unique, it hasn’t got a forerunner, really. Where did the idea for the series come from?
Initially it was as a progression from Smack the Pony, so it was meant to be a continuation of the sketch show format, but with stronger narrative structure. We wanted to do something with characters who had a bit more depth and longevity, and a bit more narrative, but we weren’t going to throw out the ability to be randomly funny, which was the sketch appeal. Why did you decide to set it in a hospital? It’s not as if we ever see any patients, and it’s not remotely medical.
That’s where all life is, is it not? It was originally the plan to cover porters and car park attendants and kitchen staff as well as medics. In fact we found our hands were full with the eight or nine main characters we have got without going below stairs too much. It was a very convenient home where all sorts of life and work situations met. Not only did you create the show, but you’re involved in writing, casting, filming, editing, post-production, everything. Are you a megalomaniac or a workaholic?
[laughs] I don’t know, I just can’t help it. I’m not single-handed, we do have a hugely talented team, but I guess I need to see the whole thing through every stage. more
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