‘The Bay’ Series 5
An interview with Henry Jepson
The promo photo for Series 5 with Sunderland Point in the background: Courtesy Tall Story Pictures for ITV.
After a year of delay, ITV premiered Series 5 on British television in early March 2025. For just over two weeks in 2023, a production crew filmed scenes at the Point. Following on from Scottie’s article of last week, this account is woven into a conversation with the programme’s Location Manager, Henry Jepson, after filming was completed.
The First Letters
In May 2023, letters fell on to doormats in several houses asking surprised residents if they were prepared to allow scenes to be filmed in their homes for series 5 of ‘The Bay’.
‘The Bay’ is a police drama based around Morecambe Bay centred on a Family Liaison Unit. In series 4, it peaked at an audience figure of over 6.2 million – top soaps EastEnders and Coronation Street average 5 million. The show scores 78 per cent on Rotten Tomatoes. So, a big surprise.
Interested residents were asked to respond to Henry Jepson, who would arrange viewings with Director Shaun Evans, Producer Martin Campbell, film crew members, and creative staff.
The first indication was that filming would be limited to two days in July and possibly two more in September or October.
The Reconnaissance Visit
The large scouting party visited the village, looked around, and talked to residents. They entered people’s homes and talked to the Community Association. The visit went well, and the production company gave the green light. Henry was asked to compose a letter to all residents.
Henry told us later: “From that first big visit, it was obvious this was a tight-knit community; we had to get letters through many boxes – more than perhaps necessary – but we had to involve and interact with all the village”.
Henry’s letter of May 30th
This is what he wrote.
My name's Henry. I'm the location manager on the latest series of the ITV drama The Bay, which will film in and around Morecambe later this year.
We are looking to film at Sunderland Point over several days this summer. The area is extremely beautiful and would make a fantastic setting for a key location in the programme.
High-tech equipment and the historic pillar: Website Collection
We are aware that Sunderland Point is a quiet community, and the village is not often frequented by large groups of people, so I want to begin liaison with residents as early as possible so we can try and account for any concerns you may have.
We're planning on bringing minimal vehicles and kit across the Causeway and will maintain vehicle access for residents although we may ask you to wait for a couple of minutes if we're mid-take.
Some promise…
Henry Jepson
Henry Jepson, the Location Manager for series 5: Website collection.
“My job is to speak to all you lovely people”.
During the filming, we got to know Henry well. He was the go-to person responsible for all the planning and organisation - the logistics of getting the equipment, set designs, refreshment facilities, and people on set on time and ready for filming was his problem. He had to keep it that way for the entire shoot without fail while staying on or below budget.
At just 31, Henry had been in the film industry for 10 years. He sparkled with energy and exuded charm and confidence. Henry was ready to take on any task, eager to overcome challenges, smooth ruffled feathers, pour oil on troubled waters and keep the plates spinning. A man of winning ways.
Henry had gained expertise in various productions, including experience with the Star Wars franchise, Black Mirror, and the first season of Killing Eve.
Out of the blue, Martin Campbell, the producer, approached Henry and asked him to be the location manager for series 5. Henry told us: “It’s a word-of-mouth, personal reputation business.” He added: “The job was pitched as an interesting location rather than another car park in Salford!”
They began searching for locations. The writer, Daragh Carville, who lives in Lancaster, had included some shots of Sunderland Point in a previous series and wanted to feature the location again.
This first reconnoitre started badly. The tide held up Martin (the producer) and Shaun (the director), but they were quickly impressed by what they saw. “It’s an atmospheric place, with the sun hanging low over the bay. We decided we had to make much more use of it as a location”.
Atmospheric Sunderland Point, actor Ceallach Spellman on a break: Website Collection.
Henry told us later that they wanted to capture the whole village. “Usually, it’s just a house and a test of suitability—this time, it would be, are we suitable for the community?”
By early June, the writers had scripted about an hour of finished film for shooting at Sunderland Point. Almost ready to start….
June 21st: The plan for filming
Remember, Henry had said “a few days” of filming. When the detailed day-by-day plan for the first shooting period was announced, the schedule ballooned to nine days. Filming was mostly on First Terrace, internally at number nine, and some outside at number 20.
Wednesday, August 2nd: first day of filming
On set, ready, action…the tide - and rain!
Downpour on day one: Website collection
Henry laughed, remembering the first day did not go too well. There was even a pink hint of embarrassment.
“We had not appreciated the problems of a high tide! The parking plan was shot to pieces - we had to move vehicles to Overton. It was pouring down with rain. Plans for food delivery had to be changed at the last minute – happily, at least the plan to bring the food across the fields went smoothly.”
Surprisingly, the director was happy.
“Absolutely miserable weather on day one – but the director, Shaun (Evans), said it was exactly right for the scene. A family was being approached with the news of a young person's death; it added to the atmosphere. "
DS Jenn Townsend visits in the rain: Website collection
The challenges of access, tides, and supplies sharpened minds. The professional crew got into their stride, and the weather improved.
The logistics
The Unit Base was located in the Heysham Village car park, where the crew’s cars, catering truck, and production office trailer were parked. Everyone, including the actors, set designers, dressers, and makeup artists, gathered there for breakfast first thing in the morning, after which they were bussed to the locations.
The Unit Base at Heysham: Photo Website Collection
Additionally, there was a sub-unit at the Globe with 14 technical vehicles and 3 large 18-ton trucks.
Packed Globe car park: Photo website collection
Agreements were reached to use the Reading Room and Mission Church as support locations for equipment and a refreshment centre for the film crew.
A refreshments centre at Scottie’s, Number 4: Website Collection
The Mission Church laid out for lunch: Photo Simon Macauley.
With the warm weather, sitting on the edge of the quay was preferred to eating inside.
Lunch on the quay: Website collection
Henry groaned as he recalled the numerous last-minute adjustments, including changing the giant sun shades and altering the lighting. “Can we move this? Please put that over there.”
One of the giant screens: Website collection.
“A big track had been laid for the camera on the Terrace – forgetting the needs of the locals – so the crew took it up and used stick cameras – they were not that grumpy…”
Filming in full Swing
Filming the police car arriving at number 9: Website collection.
Make-up adjustments for Marsha Thomason: Website collection
The actors
Like the film crew, the actors involved in the SP scenes were friendly and very happy to chat
Clockwise from the top left: Ceallach Spellman (Cel – plays Bradley Dawson), Marsha Thomason (with the publicity photographer), Leanne Best (plays Julie Ashworth) and Stephen Wight (who plays Craig Ashworth)
An unfortunate delay
After eight days of shooting, filming stopped on August 11, and the crew left to return in early September. A family illness of one of the actors caused a planning change.
Henry’s letter of September 7th
Henry sent around the village a short note advising that filming would restart on September 11 and continue until its final end on September 15th. Filming would be mostly on First Terrace and again on the Causeway. A map was provided to show the plans.
Causeway planning map, traffic on the road would be controlled by teams at each end of the road: Courtesy Tall Story Pictures for ITV.
Henry recalls the second shoot with real pleasure. “On the second visit, there were smiles on everyone’s faces. They were genuinely pleased to be back at the Point. With wonderful clear sunny days, low sun in the evenings, and abundant bird life, we felt the full force of the SP magic.”
All smiles: Website collection
“Honestly, it’s rare to be in one location so long; it was a long-settled spell, and it was so friendly; it was great to see the interaction with residents”.
One of the final scenes at SP – on the shore between the Terraces. Director of episodes 1-3 Shaun Evans making suggestions: Website collection
The (injured) actor was happy to give a close-up: Website collection
The last letter, September 25
After the end of filming, Henry was moved to send this message.
‘The many scenes we filmed at Sunderland Point all look fantastic, and it's easy to see how the show has been visually elevated by such an atmospheric location. The crew had a thoroughly good time working in your village, and many hope to return as tourists in the future.
I'm aware that our activities have impacted on everyone living in the area in some way and we'd have had very little chance of completing our filming without such a welcoming and helpful response from yourselves. We had a lot to achieve and we couldn't have done it without your help so thank you.’
And of Henry?
After the Bay concluded, he had a week’s holiday and then moved on to a new job as location manager for a mystery thriller drama called ‘Missing You’, It was produced by Quay Street Productions.
The best news is that Henry and his wife have their first child, a girl they have called Heidi, born in early May last year.
A relaxed Marsha Thomason on set: Website collection
We are grateful to Henry for agreeing to be interviewed and for the interview to be published in this article.