‘The Bay’ Series 5
A dramatic publicity photograph - from left, Leanne Best (Sue Ashworth), David Troughton (Tommy Campbell) and Marsha Thomason (DS Jenn Townsend): Courtesy Tall Story Picture for ITV
An Interview with Martin Campbell
Martin Campbell: Website collection
In the last of our posts on ‘The Bay’, we conclude with an interview with the impressive Martin Campbell.
Martin is the Producer of series four and now five of ‘The Bay’, the hugely successful ITV police drama. Making this multi-million-pound high-end programme is his responsibility, and his expertise is important to the show's success. Martin reports to Catherine Oldfield, Executive Producer and Creative Director of Tall Story Pictures, and the direct link to the Commissioners, ITV.
The village first met Martin in July 2023 when he came to speak to us in the Reading Room. Letters had been received informing us that filming would take place; there was interest and some apprehension. A 50-strong film crew were to invade our 35-home village, disrupting the peace of our special place.
“It’s going to be worse than you think, much worse. There will be more crew members, more kit and vehicles taking up more space getting in the way every day.
“But we will do all in our power to avoid any inconvenience. We will move, delay, or even stop if we get in the way. Traffic to your homes will be held up for shooting but wait times will rarely exceed a few minutes.
“We are a friendly bunch; you are all welcome to come and join in, talk to us, and we will explain what we are doing. You can take photos, but we ask you don’t put stuff on social media as we want to keep the story secret until the program is shown next year. It’s all secret.”
Martin outlined some background to the script.
“Every year we try to be topical, the main story this time is pollution in and around Morecambe, about two students who discover chemicals being pumped into the Bay, they start collecting samples. Then 23-year-old university student Hannah is found dead on the edge of the Dock. The other student - the boyfriend of the victim - is in danger, henchmen are out to kill him.
“A massive multi-billion company is involved in dumping chemicals in the sea, and DS Jenn Townsend comes along and solves the crime.”
He gives away more of the story than perhaps he should. We ask the difficult question – inquisitive visitors?
“I know you are worried about visitors during and after; honestly, I doubt it. The cast aren’t famous Hollywood stars, and we don’t publish the locations we film; it will be known, but you are secluded.”
It was a polished performance from an experienced fixer. Martin is immediately likeable; he is warm, friendly, down-to-earth, and when in full flow speaks confidently - indeed, he cannot be stopped. He was impressive and gained trust.
The Interview
Martin on set – a hands-on approach: Website collection
Martin, now 56, is a northerner and is well-known in the UK film industry after 25 years of experience as a Production Manager. He has been in the film business for over 30 years, starting in ‘Emmerdale’. Martin told us: “A great grounding as everyone had to work so fast”.
His credits in quality TV dramas list favourites such as ‘Inspector George Gently’,’ Heartbeat’, ‘A Touch of Frost’, ‘National Treasure’, ‘Vera’ and ‘The Duchess’.
“I love high-end drama; I don’t have much interest in film – film people are quite a different cup of tea altogether. There’s a comfort in doing what you know really well.”
He has worked for many film companies, including the BBC, Sky and Netflix, but reserves special affection for ITV.
“A really nice bunch, just as much concerned for the people as the product. They care about us as individuals. Decidedly not slave drivers”.
After pleasantries, we asked the obvious first question.
Why Sunderland Point?
“The village was originally written as the place where we find the body, a few minutes in six episodes. Adam (the designer) and Shaun (Evans, the director) came to look; we said to ourselves it was crazy to lose this fantastic location after the first 15 minutes.
“The first idea was to have the family on a council estate, but then we thought, why not turn the idea around and have the family base here?”.
Martin explains from the filmmaker’s perspective:
“Think of the camera. Everywhere you look it’s beautiful, that is very rare for us, it gives strong visuals in every direction. Even in bad weather it can be gloomy but also atmospheric – changes in weather give us more to play with.
“Had it been a council estate the audience could have got bored. Redbrick, Redbrick, Redbrick”, adds Martin, laughing.
Black umbrellas protect equipment - sublime SP: Website collection.
He also says they have great drone shots of the Point.
“I think we will use this material for the opening titles, some abstract shots like boats on the water for inter-scenes, stills which drop in when we see cast names, let’s see.”
We admitted to not having seen a single episode of the programme and thought it was a fringe, local-interest programme…
“What?!” Martin bellowed, pretending to be shocked.
Popularity of the Bay
“The Bay is massively successful! The first three series averaged between 6 and 8 million with more watching the final episodes. Series four kicked off at over five million and quickly rose to 6.2 million. Many more when you add in the later downloads and showings in other countries”.
Martin explains: “When a show starts and generates interest, the ‘overnight’ viewing figures peak, gently go down, gradually level off, and that’s the audience for the series until another peak at the finale. Current thinking for terrestrial channels is anything over 3 million - you are doing well”.
We checked it out: ‘Strictly Come Dancing’ peaks at the series end at almost 10 million, but the weekly average is around 6.6 million. ‘Call the Midwife’ is similar, averaging 6.5 million. The major soaps, Coronation Street and Eastenders, average 5 million.
It’s certainly successful – regional and hugely popular in the North, but less so in the South – and attractive to advertisers who pay a premium for airtime during commercial breaks.
“Eventually, the programme will be seen in 140 territories worldwide. We will air it *first in the UK, then delay it. It’s shot in one format, so it has to be modified for the regions it’s being shown in. In the UK, there are four commercial breaks, but in worldwide sales, there is only one break in the middle.
“There’s massive pre-publicity but without giving the story away or locations. But everyone knows it’s around Morecambe Bay. They say tourism is up by 7% in`Morecambe due to the show – that’s great news for the town”.
*Due to contractual reasons, the showing of series five on UK television was delayed 12 months. The show has already been streamed in a number of countries worldwide.
DS Jenn Townsend (Marsha Thomason) a rehearsal on set: Website collection
Martin leans forward to emphasise this point.
“The Bay is unique. Police Officers are investigating families involved in a serious crime, and it’s not just bodies – not really interested in bodies. Woven into the drama are the family lives of the police. We see both sides of the coin.
“That makes it special, so relatable to people viewing at home.”
The Cast
Main cast members from series 4: Courtesy Tall Story Pictures for ITV.
The main cast members for series 5: Courtesy Tall Story Pictures for ITV.
Has he inherited a fixed cast?
“Some regulars change, Morven (Christie) who was DS Lisa Armstrong in series one and two didn’t want to continue, so we brought in Marsha (Thomason as DS Jenn Townsend) who has done both series three and four and now five. She is great, fantastic, a very talented actor.
Publicity photo of Marsha Thomason: Courtesy Tall Story Pictures for ITV.
“Dan Ryan, who plays Tony Manning, has been with us since day one, he is still there.
“He has become so well-known around Morecambe, he was having breakfast one morning and was approached by so many wanting selfies, his egg and bacon went stone-cold!
“Clarkie (Andrew Dowbiggin) is still there. Eddie (Thomas Law) couldn’t be with us this time as he has gone to EastEnders.
“Every year we cast a new family; whoever the victim is we arrange a family around that. All new faces. All very good and we’re especially impressed with Leanne Best who is brilliant.
Leanne Best, who received positive reviews as ‘Sue Ashworth’: Courtesy Tall Story Pictures for ITV.
“It’s a Northwest show, so we try to have actors with some background in the North. Susanne Packer is new to the role of Jenn’s mum. She is Welsh but has put on a northern accent.
“This year the regular cast have noticed an increase in interest, the fan base is definitely growing. Good for Morecambe.”
Martin chatting with actors and crew members at the end of a filming day: Website collection
Filming ‘The Bay’
Listening to Martin, the uncertainty and pressure stand out. Deadlines and budgets are strict. Everyone, cast and crew, including Martin, is on short-term contracts. For a few months, a large group of professionals is gathered for one task: making a series for TV. Then, it’s over, broken up, and people move on.
Martin tells us it’s all about good relationships.
“The Bay has a great reputation as an enjoyable show to work on. I have worked on some that were horrible.
“I want to be that Producer when I pick up the phone and start assembling for a new production, people are keen to say yes. Then we fit them together – all part of one machine with many cogs working together to tell a story.”
Filming underway, early scenes on First Terrace: Website collection
The Terrace is blocked. “One day, we moved kit 9 times in one hour to allow residents either in or out.”: Website collection
“The whole crew, filmmakers and actors, including folks in London number around 130. Even with the good crew we have it’s a tricky ship to steer, expectations are very high, and the buck stops with me.”
Martin is in full flow; his knowledge and love of the business is self-evident.
“All TV series are made in the same way,” Martin tells us. “This is how it works for The Bay.
“After commissioning, it’s 20 weeks before shooting. At this point, there is no story; the writer, Daragh (Carville), only has an idea. We sit around a table and build a family. Daragh describes the different people he wants. We agree on what each does for a living, give them jobs, decide what they look like, and where they live. We build the characters around the story, then move on to the scripts and recruit the actors.
“Daragh always writes the first and last episodes. Caroline Carver wrote episodes 2 and 4, while a new writer, Evan Placey, contributed to episode 4. Daragh reviews their scripts to ensure the tone aligns with his vision, as each writer has a different style.
“The scripts are checked, fixed, and then locked.
“There are two directors, and the six episodes are split into two blocks of three, each with its own director. “
One director gets three scripts and has 10 weeks to plan shooting, find locations, and complete the casting.
Shaun Evans, director of episodes 1-3: Publicity photo
“A week before shooting we do the technical recce. The scripts are 99% done - it’s a check on the feasibility of shooting, is it technically workable.
“As we are shooting, the raw scenes are sent to a fantastic team in London who check for continuity – is all correct in time and place, to see if any of the lines are not quite working and is the story unfolding smoothly. We are in daily contact so if is not right we can make changes that day or the next.
“While block one director has started shooting, block two director will start prepping their episodes.
“The first episodes go into post-production. I sign off on the first cut, which is then sent to the Executive Producer and Commissioners for approval. This is the last chance for serious changes.
“The completed episodes are sent to composer Sam Sims, who adds the score. Following this, a colour check is conducted to eliminate irregularities and ensure consistency in colours across all episodes.
“Next is the sound mix, editing out creaking stairs, walking on gravel, and all the distractions. For fluffed lines or lines spoken indistinctly, the actor re-records in a sound booth, and the original is cut out and replaced. If everything looks good, it’s given a final lock and sent to the network – about six months after the end of shooting.”
And when will we see our village on the telly?
*Martin smiles and shrugs, “probably in the Spring of next year”.
When the filming is finished
We have sailed over the allotted time, but Martin is in no hurry. He enjoys talking about his profession but doesn't fall into gossip. (Which we might have liked).
He is unconcerned that this job is coming to an end. Martin shrugs again.
“As the shooting ends, I know that’s it and think of the next job. I start to get phone calls checking availability, but I don’t say no immediately. I wait until close to the end, and then I do - or I don’t.
“A lot of the time, it’s where it is. I have been abroad; many years ago, I was in Germany for seven months. Being away from family is very hard.”
So, is this just another job?
“Yes,” Martin says, deadpan. Then waves with his hands indicating the village.
“But this is not just another location. It is a fantastic, lovely community”.
Another big beaming smile.
“The first time here I thought it was amazing. Wow, I would love to live here. But then another thought. How do I get Deliveroo to visit here? How do I get my favourite Chinese takeaway. Well, perhaps not…!”
Lunch on the quay – perhaps Chinese cuisine…: Website collection
* Screening series five was delayed for 12 months and first shown in the UK, March 2025.
We are grateful Martin agreed to be interviewed and sincerely thank him.