TDHN Books: Making Masterpiece
I am always fascinated by the process that brings my favorite books, television shows, and movies to life. On Wednesday night, I traveled to the Upper East Side Barnes & Noble to get the inside story on the program that brings Americans the best of British drama.
Making Masterpiece, written by Executive Producer Rebecca Eaton is part tribute and part memoir of one of the longest running shows in US television history. The book combines her reflections with interviews and anecdotes from Masterpiece actors and staff of the past and present. She describes it as “a story of family sagas”.
Her discussion focused on stories about the past and pieces of the present. Everyone who wanted spoilers on upcoming airings were very disappointed. She fondly remembered Alistair Cooke’s marathon introduction writing sessions and Diana Rigg sharing the best of London gossip. Along with these anecdotes she told parts of her own story. Eaton’s mom was an actress, and she inherited her passion for the theater.
Eaton also explained what goes into making a Masterpiece production. In the earlier days, already completed UK miniseries would be reviewed and picked for licensing. Today, pitches, pilots and scripts are judged carefully for their ability to capture the core of Masterpiece’s audience. Throughout the years, focus groups and complicated market research never contribute to programming decisions.
Some productions were instant hits such as the backing of the 1980’s costume epic The Jewel In The Crown. Others started out rough but turned out well in the end. Eaton initially turned down Downton Abbey due to concerns over US success but got a second chance to back the production. Unfortunately, many pitches for American costume drama sink due to the incredibly high cost of production. Some projects have unexpected results. Eaton did not expect Sherlock to become a runaway hit with viewers in their 20’s.
Although I am only halfway through Making Masterpiece, I highly recommend it. I find my appreciation for my older and newer favorite Masterpiece shows growing as I read. Fellow fans will definitely enjoy reading Eaton’s impressions of their favorite miniseries and actors. Her insider’s view of Downton Abbey and Sherlock can help ease the pain of the final stretch until January. People interested in television history and media studies will enjoy the chapters on the production process. Eaton’s narrative often strays from strict chronological order, however this keeps the reader engaged with her story. I expect the rest of the book to follow the same pattern.
I asked Eaton about her plans for the next 40 years, especially in regards to the younger audience for Masterpiece. There was not enough time to flesh these thoughts out, but I’m already looking forward to seeing the next 40 years of Masterpiece unfold.
