TV Makers

Ep 46: Williams Racing Creative Content Producer, Rachel Forrester - Leaving TV for Formula One

After a decade producing some of the biggest automotive programmes on television, including Top Gear, The Grand Tour and Clarkson’s Farm, Rachel Forrester made the leap into Formula One, joining Williams Racing as a Creative Content Producer.

In this episode, Rachel reveals what it really takes to produce the enormous international adventures seen on The Grand Tour, from six months of planning and complex car builds to the truth about what is scripted and what happens for real.

She also explains how she translated her television experience into branded content, why Formula One teams are recruiting people from TV, and what she had to learn when story was no longer the only priority.

We discuss:

The planning behind The Grand Tour’s final Zimbabwe special
How its extraordinary car builds are really created
What is scripted, constructed and completely unexpected
Breaking down barriers between television crews and mechanics
The fear and security of leaving freelance television
The TV skills that helped her move into Formula One
Balancing story, brand identity and commercial partnerships
Producing up to 50 pieces of social content during a race day
What television and branded content can learn from one another

Rachel’s story proves that leaving television does not necessarily mean starting again. The ideas, adaptability, planning and storytelling skills developed in TV may be precisely what another industry is looking for.

Watch the full conversation and see the clips discussed throughout the episode on the TV Makers YouTube channel.

This episode is sponsored by:

RIMMS - https://www.rimms.tv

If you enjoyed the episode, follow TV Makers and leave a rating or review wherever you’re listening.

Follow TV Makers on Instagram: @tvmakerspod

Get in touch: [email protected]

Recorded by Ashley Golder - https://ashleygolder.tv/
Instagram @tvmakerspod
Email: [email protected]

Artwork by Benjamin Leon  -
Instagram: @benleondraws
Website:  www.benleondraws.com

You think you know everything a colourist does... but I bet you don’t!

Paul Harrison is one of the UK's leading and most decorated colourists, with nearly 30 years of experience. He is also the founder of Residence Pictures, a specialist picture-finishing facility for high-end film and television.

In this episode, Paul takes TV Makers inside one of television’s most misunderstood roles, with break downs from  Film Club, The Gallows Pole and Nine Bodies in a Mexican Morgue to reveal the invisible work behind the finished image.

Paul explores how colourists can relight scenes, replace skies, create day-for-night shots, reshape costumes and use colour to guide an audience’s emotions. Paul also explains how decisions involving cameras, lenses, lighting and production design can either help or limit what is possible in the grade.

Paul discusses the diplomacy required inside a grading suite, the growing role of AI and depth maps, and why aspiring colourists need to study art, photography and film alongside learning the software.

In this episode:

• Why applying a LUT is not the same as grading
• What a colourist actually does
• Why the grade should begin during pre-production
• How colour influences emotion and storytelling
• Breaking down Film Club, The Gallows Pole and Nine Bodies in a Mexican Morgue
• Relighting, compositing, sky replacement and day-for-night
• How cameras, lenses and lighting affect the finished image
• Managing creative relationships inside the grading suite
• How AI is changing the colourist’s toolkit
• Paul’s advice for aspiring colourists

Follow TV Makers on Instagram: @tvmakerspod

Watch the full conversation and see the clips discussed throughout the episode on the TV Makers YouTube channel.

This Episode is Sponsored by:

RIMMS - https://www.rimms.tv

If you enjoyed the episode, follow TV Makers and leave a rating or review wherever you’re listening.

Recorded by Ashley Golder - https://ashleygolder.tv/
Instagram @tvmakerspod
Email: [email protected]

Artwork by Benjamin Leon  -
Instagram: @benleondraws
Website:  www.benleondraws.com

Love Island, I’m a Celebrity... Get Me Out of Here!, The Voice, Countdown and University Challenge are some of Britain’s biggest entertainment shows. But how do you keep hit formats like these feeling fresh without changing what audiences love about them?

Tom Gould is Chief Content Officer at Lifted Entertainment, the production company behind these major formats.

With more than two decades in television, Tom has helped shape some of the UK’s most successful entertainment shows. So, how do you protect the magic of a hit format while knowing when it needs to change? And what does it really take to lead creativity at one of Britain’s biggest entertainment producers? In this episode, Tom takes us inside the decisions behind the screen.

Tom and Ash discuss how long-running formats continue to evolve, what makes a new entertainment idea stand out and how Lifted is developing its next generation of mainstream hits.

Tom also reflects on moving from programme-making into senior leadership, why learning to let go was one of his hardest lessons and how he supports production teams without taking over.

They also explore the importance of trust, respect and creating a production culture where people feel comfortable speaking freely.

In this episode:

• What a Chief Content Officer actually does
• How established formats remain fresh
• Knowing what to change and what to protect
• What Tom looks for in a new entertainment idea
• Moving from Executive Producer into creative leadership
• Learning to let go and empower production teams
• Creating mainstream formats with humour and a sense of mischief
• Why strong television begins with a respectful production culture

Follow TV Makers on Instagram: @tvmakerspod

Watch the full conversation on the TV Makers YouTube channel.

This Episode is Sponsored by:

RIMMS - https://www.rimms.tv

If you enjoyed the episode, follow the podcast and leave a rating or review wherever you’re listening.

Recorded by Ashley Golder - https://ashleygolder.tv/
Instagram @tvmakerspod
Email: [email protected]

Artwork by Benjamin Leon  -
Instagram: @benleondraws
Website:  www.benleondraws.com

TV Makers is on the road at the Edinburgh TV Festival 2026.

If there was one conversation everywhere this year, it was digital. YouTube, the creator economy, changing audiences, new ways of funding content... and what all of that means for traditional television and the people who make it.

So for this special episode, Ashley Golder grabs a microphone and heads around the festival to take the temperature of TV in 2026.

Featuring:

Bella Roberts (Bella Does Editing) — on the creator economy and building an audience of more than half a million followers on Instagram alone.

Kimberly Godbolt (Talented People) — on the mood across the industry, what’s changing and where television goes next.

David Clews (Twofour) — on how one of the UK’s biggest production companies is responding to a changing industry.

Jon Willers (The Development Network) — on building audiences, finding the money and why data might be more useful than vibes.

JT (Action for Freelancers) — on what all of this change means for the people actually making the programmes.

James & Soleta Rogan (Rogan Productions) — on navigating uncertainty, looking after filmmakers and why, whatever happens next, we need to keep making.

From broadcasters and production companies to creators, new business models and freelancers, this is a snapshot of an industry in the middle of some pretty big changes — recorded from the floor of the Edinburgh TV Festival.

A huge thank you to the Edinburgh TV Festival team for having TV Makers back again this year.

TV Makers gets under the skin of what people across the television industry do and, most importantly, how they do it — so we can learn from their experience before taking those next steps ourselves.

Follow or subscribe wherever you get your podcasts and on YouTube.

Recorded by Ashley Golder - https://ashleygolder.tv/
Instagram @tvmakerspod
Email: [email protected]

Artwork by Benjamin Leon  -
Instagram: @benleondraws
Website:  www.benleondraws.com

From the moment Olaide Sadiq was offered the job to winning two BAFTAs almost two years later, she shares what it really took - professionally and personally - to direct Grenfell: Uncovered.

Just days before recording this episode, documentary director Olaide Sadiq won not one, but two BAFTAs for Grenfell: Uncovered - taking home Emerging Talent at the BAFTA Craft Awards and Best Single Documentary at the BAFTA Television Awards.

The remarkable part? It was her very first documentary as a director.

In this episode, Olaide joins obs doc director Ashley Golder to talk about making the leap from experienced producer to first-time director, overcoming imposter syndrome, and leading one of the UK's most significant documentaries for Netflix.

Along the way, she shares the practical realities of directing at the highest level - from writing her first director's vision statement and creating beat sheets and look books, to building trust with contributors, developing a visual style, and leading a team through emotionally demanding material.

No topic is off the table. Olaide is exceptionally humble and refreshingly honest about what she didn't know, what scared her, and what she learned along the way. In a world where everyone seems to have it all figured out, Olaide does the opposite - even revealing that she emailed the execs to say she didn't think she was ready for the job.

We discuss:

• Winning two BAFTAs with a first directing credit
• Why she almost turned the opportunity down
• Pitching herself to direct for Netflix
• Writing a director's vision statement
• Creating beat sheets and look books
• Finding your directing style
• Building trust with contributors
• Directing one of the UK's most sensitive documentaries
• Working with Netflix and the support that shaped her journey
• Managing imposter syndrome and self-doubt
• What she's learned that she's taking into her next documentary

Whether you're looking to direct your first film, step up into a directing role, or simply want to understand how award-winning documentaries are made, this episode is packed with practical advice, honest reflections and reassurance that even the best directors don't always feel ready.

Follow TV Makers on Instagram @tvmakerspod.

Special thanks to Directors UK for letting us use their space for the recording. 

Watch the full episode on YouTube or listen wherever you get your podcasts.

This Episode is Sponsored by:

RIMMS - https://www.rimms.tv

Recorded by Ashley Golder - https://ashleygolder.tv/
Instagram @tvmakerspod
Email: [email protected]

Artwork by Benjamin Leon  -
Instagram: @benleondraws
Website:  www.benleondraws.com

If Part 1 answered many of the questions we've all quietly wondered about... Part 2 goes even deeper.

What happens when legal, ethics and editorial judgement collide?

Can a contributor really withdraw consent?

What should you do if someone threatens self-harm to stop a programme being broadcast?

Can the police confiscate your camera or rushes when on location?

And what actually happens when a production lands in crisis?

Joining TV Makers once again is Clare Hoban, Co-CEO of Reviewed & Cleared and an editorial content lawyer with years of experience advising television productions through some of their most complex legal and editorial challenges.

In this second part of our conversation, Clare shares real-world examples and tackles some of the more nuanced situations that production teams face, from duty of care and ongoing consent to crisis management, GDPR, contributor rights and the legal realities of filming in public.

As with Part 1, many of the answers challenge long-held industry assumptions and highlight why understanding the law properly gives productions far more confidence than relying on TV folklore.

Please note: This interview was recorded earlier in 2026. Whilst we've done our best to keep everything up to date, this episode should not be taken as legal advice. Laws, regulations and guidance change, and every production is different. If you need advice on a specific situation, please contact Clare and the team at Reviewed & Cleared.

Connect with Clare

🌐 Reviewed & Cleared: https://reviewedandcleared.com

This Episode is Sponsored by:

RIMMS – https://www.rimms.tv

Linkline – https://linklinecrew.com

📸 Follow TV Makers on Instagram: @tvmakerspod

📧 Get in touch: [email protected]

🎧 Enjoying the podcast? Follow or subscribe to TV Makers so new episodes automatically land in your feed. If you've enjoyed this conversation, please consider leaving a rating or review - it really helps more people discover the show.

The full TV Makers back catalogue is available wherever you listen to your podcasts.

Recorded by Ashley Golder - https://ashleygolder.tv/
Instagram @tvmakerspod
Email: [email protected]

Artwork by Benjamin Leon  -
Instagram: @benleondraws
Website:  www.benleondraws.com

Have you ever caught yourself thinking…

“Could I go to jail if we get this wrong?”

“Can we legally film this?”

“Can we broadcast that without permission?”

“What happens if someone withdraws consent?”

If so, this episode is for you.

Joining TV Makers is Clare Hoban, Co-CEO of Reviewed & Cleared and an editorial content lawyer with years of experience in the TV and content world and she was generous (and patient!) enough to sit down with Ashley Golder and get asked all the questions we’ve always wondered the answers to but either never had the opportunity to ask, or dare we say it…never wanted to look foolish in asking ourselves? 

The answers might even surprise you!

One of the biggest takeaways from this conversation is that television can often do far more than people realise - as long as you understand where the legal, editorial and compliance boundaries actually sit.

This is Part 1 of a two-part conversation. Part 2 will be released next week instead of the usual 2 week gap, where we tackle even more real-world scenarios and answer more of the questions you’ve always wanted to ask a TV lawyer. Make sure you’re subscribed so you don’t miss it.

Please note: This interview was recorded earlier in 2026. Whilst we’ve done our best to keep everything up to date, this episode should not be taken as legal advice. Laws, regulations and guidance change, and every production is different. If you need advice on a specific situation, please contact Clare and the team at Reviewed & Cleared.

Connect with Clare

🌐 Reviewed & Cleared: https://reviewedandcleared.com

This Episode is Sponsored by:

RIMMS - https://www.rimms.tv

Linkline - https://linklinecrew.com

📸 Follow TV Makers on Instagram: @tvmakerspod

📧 Get in touch: [email protected]

🎧 Enjoying the podcast? Follow or subscribe to TV Makers so new episodes automatically land in your feed. If you've enjoyed this conversation, please consider leaving a rating or review - it really helps more people discover the show.

The full TV Makers back catalogue is available wherever you listen to your podcasts.

Recorded by Ashley Golder - https://ashleygolder.tv/
Instagram @tvmakerspod
Email: [email protected]

Artwork by Benjamin Leon  -
Instagram: @benleondraws
Website:  www.benleondraws.com

From Love Island, I'm A Celebrity... Get Me Out Of Here! and Celebrity Sabotage to University Challenge and even Countdown, have you ever wondered who decides which presenters, judges and celebrities make it onto our screens?

Ashley Golder sits down with Micky Van Praagh, Director of On-Screen Talent at Lifted Entertainment - a role that even her closest friends struggle to define. Micky demystifies the hidden world of TV talent, revealing how major entertainment shows are cast, how talent deals are negotiated, and why building trust with presenters, celebrities and agents is every bit as important as finding the right person for the job. From nurturing emerging talent to handling difficult conversations and assembling casts that millions of viewers will watch, this is a fascinating look at one of television's least understood roles.

In This Episode:

• What a Director of On-Screen Talent actually does
• How major entertainment shows are cast
• Negotiating talent deals and contracts
• Building ensemble casts for shows like I'm A Celebrity
• Working with agents, managers and production teams
• Finding and developing the next generation of TV talent
• Handling difficult conversations and managing expectations
• Casting controversial personalities and balancing public reaction
• Why trust and relationships are essential in television
• The reality of working behind the scenes on some of the UK's biggest shows

This Episode is Sponsored by:

RIMMS - https://www.rimms.tv

Linkline - https://linklinecrew.com

📸 Follow TV Makers on Instagram: @tvmakerspod

📧 Get in touch: [email protected]

🎧 Enjoying the podcast? Follow or subscribe to TV Makers so new episodes automatically land in your feed. If you've enjoyed this conversation, please consider leaving a rating or review - it really helps more people discover the show.

The full TV Makers back catalogue is available wherever you listen to your podcasts.

Recorded by Ashley Golder - https://ashleygolder.tv/
Instagram @tvmakerspod
Email: [email protected]

Artwork by Benjamin Leon  -
Instagram: @benleondraws
Website:  www.benleondraws.com

How do you lead a global production group through one of the biggest periods of change the television industry has ever faced?

In the first episode of Series 5, Ashley Golder sits down with James Burstall, CEO and Founder of Argonon, to discuss what it takes to lead a global production group, manage multiple production companies under one umbrella, and identify new opportunities in an ever-changing media landscape. From leadership and company culture to business strategy, content ownership and emerging revenue streams, James shares how he balances commercial success with a people-first approach - proving that being a decent person doesn't have to come at the expense of building a successful business.

As the leader of a group that includes Bandicoot (The Masked Singer), Windfall, BriteSpark, Like A Shot, Rose Rock, Leopard and Leopard USA, James is responsible for guiding a diverse portfolio of companies operating across television, digital content, podcasts and emerging platforms.

We discuss how production groups are adapting to changing audience behaviour, the opportunities presented by YouTube, podcasts and FAST channels, the importance of content ownership, and how producers, directors and production companies can position themselves for the future.

In This Episode:
What a CEO of a global production group actually does
Managing multiple production companies under one group
Leadership, culture and building successful teams
Why being a good leader doesn't mean being soft on business
Adapting to a changing media landscape
YouTube, podcasts and FAST channels
Content ownership and intellectual property
New funding models and revenue streams
The future of television and content creation

This Episode is Sponsored by:

RIMMS - https://www.rimms.tv
Linkline - https://linklinecrew.com

📸 Follow TV Makers on Instagram: @tvmakerspod

📧 Get in touch: [email protected]

🎧 Enjoying the podcast? Follow or subscribe to TV Makers so new episodes automatically land in your feed. If you've enjoyed this conversation, please consider leaving a rating or review - it really helps more people discover the show.

The full TV Makers back catalogue is available wherever you listen to your podcasts.

Edited by Ben Seale

Recorded by Ashley Golder - https://ashleygolder.tv/
Instagram @tvmakerspod
Email: [email protected]

Artwork by Benjamin Leon  -
Instagram: @benleondraws
Website:  www.benleondraws.com

If you’ve ever wondered what it really takes to make large-scale, high-stakes television drama - this is the episode.

To close Series 4 of TV Makers, Ashley is joined by the co-creator, executive producer and lead director of Hijack, Jim Field Smith, and Director of Photography Ed Moore.

It’s a double finale! TV Makers X Hijack! 

Season 1 trapped audiences at 35,000 feet.
Season 2 moves underground - onto a Berlin U-Bahn train, in real time, for eight relentless hours.

Together, Jim and Ed unpack what it took to build one of Apple TV+’s most ambitious thrillers - from scanning real train carriages in Berlin to constructing a fully functioning hydraulic train set in the UK that could move in multiple axis while remaining completely shootable in 360 degrees.

This conversation goes far beyond “how it looked.”

They explore:

• Why real-time storytelling is creatively thrilling - and structurally brutal
• The hidden cost of writing something you know could be a production nightmare
• Why “second screen friendly” might be the most dangerous note in modern television
• How prep at scale actually creates freedom on set
• And what trust between director and DP really looks like when the pressure is on

Jim explains why he avoids traditional storyboarding in favour of building fully immersive environments that allow actors - including Idris Elba - to perform inside something that feels real, rather than technical.

Ed shares how virtual production, LED environments, lens sourcing across Europe, and precise sun-path calculations helped sustain tension minute by minute across an eight-hour real-time narrative.

This is a deep dive into collaboration, ambition, and refusing to lower the creative bar - even when the logistics are daunting.

And if you want to lift the curtain further, head over to YouTube to see behind the scenes pictures and footage supplied by Jim, Ed and Apple. 

It’s a fitting finale to Series 4 for TV makers. Enjoy!

This Episode is Sponsored by:
RIMMS

The Kit House

Directed by Good

Produced, recorded and Edited by Ashley Golder

Additional camera by Will James

Recorded by Ashley Golder - https://ashleygolder.tv/
Instagram @tvmakerspod
Email: [email protected]

Artwork by Benjamin Leon  -
Instagram: @benleondraws
Website:  www.benleondraws.com