From editing Viz Comic to writing for children’s TV hits like ‘Dennis and Gnasher: Unleashed’ and ‘Mr Bean: The Animated Series’, Alex Collier has built a career on persistence, creativity and a deep love for comedy. He takes us behind the scenes of his journey to becoming a children’s TV comedy writer, with top tips for how you can do it too.

How did you get to where you are today?

Every single writer has a different story behind how they get into the industry. There’s no single tried and tested path in. I was a cartoonist originally and created my own comics when I was at school. I sold them in a dinner hall for 20p each. When it was time to do work experience at school, I was 15. I sent Viz, an adult comedy magazine, a copy of my school comic and said, “Bit cheeky, but could I have some work experience?” They gave me a week’s work experience and that was my foot in the door. Then, when I left school, Viz said, “Do you want to come and be an editor?” I was incredibly lucky, but I had doggedly pursued them after my work experience by sending more of my comics and I was creating non-stop.

How crucial was building a portfolio for yourself in getting that foot in the door?

It was definitely important. I was 15 when I started, so it wasn’t a conscious decision. It was just my absolute passion. Most of the kids at school thought making comics was weird, but it was all I wanted to do. I think you will naturally gather a portfolio if you love what you do, because you’re creating anyway. The best work comes from people who are doing it for the love of it, not because they’ve got an eye on a career. 

So, how did you transition from Viz and creating comics into the world of TV production? 

I worked at Viz for 8 years, and then I went to university and got an animation degree. During that time, I met a guy at an animation festival called Tim Searle, who was working for Steve Coogan’s production company ‘Baby Cow’. We got on really well and ended up making an animated version of Viz together for Channel 4. After that, Tim moved to a production company called ‘Tiger Aspect’ to direct ‘Mr. Bean: The Animated Series’. He gave me a call and said, “Do you want to write for Mr. Bean?” and I was like, “Yes, of course I’d love to do that”. It all took off from there, and then I became a children’s television writer. 

How important was that opportunity in allowing you to grow your name in the industry? 

When you have something like ‘Mr. Bean’ on your CV, it is invaluable, particularly as it was my first writing gig. It really does take someone taking a chance on you to be able to progress in this industry and Tim Searle was that person for me.

What did you do to prepare for the Mr Bean writing gig and what did you learn from the project? 

I slung everything at it. There was a series of it that aired about 10 years before I got involved, so I watched it and learnt the tone and the kinds of jokes in it. When it came to the writers’ room, most people had written for the first series and then there was me, who was young, new and hungry. I was like a dog with a bone. If anything, I probably had too many ideas, but that’s the head writer’s job is to go, “Right, you’ve pitched me three episodes there in one. Let’s break that down.” It allowed me to learn how to really hone in on one idea and make it clear. 

Having Mr. Bean as your first job is quite something! Have you got any examples of the ideas you came prepared with to the writers’ room?

I came up with a ridiculous idea where Bean wound up dressed as a rabbit and then he fell into a greyhound track and was chased by greyhounds. Looking back now, it was too ridiculous, and it was too set up. Plus, greyhound racing is actually really cruel. At the beginning of your career, I think you go in all guns blazing and then realise that the character wouldn’t do that because it’s just too out there and too outlandish tonally. It’s certainly something that I wouldn’t pitch nowadays.

What is your process for coming up with and writing those ideas?

The best thing to do is immerse yourself in the show and read up on the characters. If it’s a returning show like Mr Bean, you have the luxury of being able to watch the previous episodes. As far as coming up with my initial ideas, I will generally go and sit in a coffee shop and just say, “Right, I’m not leaving this coffee shop until I come up with four ideas.” Normally, I am kicked out of the coffee shop at six o’clock with a cold coffee and no ideas. However, eventually there’ll be a writer’s room called, where we all pitch our ideas. We’ll sort of all knock something together into a rough shape at that point, and then it’s off on its journey to script.

 

You’ve just completed your third series of Mr Bean. What has been the highlight of working on that project to date? 

My wife is from Lithuania and whilst Viz is quite big in the UK, her mum and dad have never heard about it. They’ve heard about Mr. Bean though. It’s just a huge show. Rowan Atkinson is a massive hero of mine, and he’s very involved with the show. He gives us notes himself, voices the character and he’s just really all over it. I have always been a big comedy nerd and so it is just a bit of a ‘pinch me’ moment being on this project. 

Has your animation background helped your writing in any way? 

Definitely. I think that I write quite visually because I was a cartoonist. I also know to ask permission before I write something based in a sports arena or based on the ocean, for example, because animating water is really expensive to do, and animating crowds is really labour intensive. Little things like that. 

And finally, what advice would you give to someone wanting to get into writing for TV?

Read scripts for fun. You learn so much from them. I’m reading ‘The Soprano Scriptbook’ at the minute just for a laugh. They really will help you to develop your writing.  

Also, there are credits at the end of every TV show. If you love a show or someone’s work, send them a message and say, “Can I send you some sample scripts?”. Lots of people will be willing to help or give you advice. 

It is crucial to have other interests as well. I’m a runner and I’m one of those boring people that talk about it, but I mix with people at my running club who I never ever would have met otherwise. It’s really important to have other interests in my opinion and apart from anything else, it means that you’re getting inspiration from outside.  

Finally, keep chipping away, keep sending stuff to production companies, and try to not get disheartened. This industry is so rewarding, so keep working hard and you will get there.