{"id":558,"date":"2025-05-21T15:57:09","date_gmt":"2025-05-21T14:57:09","guid":{"rendered":"https:\/\/jusmedia.co.uk\/studioinsider\/?p=558"},"modified":"2025-06-06T14:31:42","modified_gmt":"2025-06-06T13:31:42","slug":"directing-on-the-corrie-cobbles-in-the-90s","status":"publish","type":"post","link":"https:\/\/jusmedia.co.uk\/studioinsider\/2025\/05\/21\/directing-on-the-corrie-cobbles-in-the-90s\/","title":{"rendered":"Directing on the Corrie Cobbles in the 90\u2019s"},"content":{"rendered":"\n
\"\"
Richard Signey on set in the Rovers Return in 1992. (Credit- Richard Signy) <\/figcaption><\/figure>\n\n\n\n

Picture this. 1990\u2019s Granada TV Studios, Manchester. You\u2019ve got a cup of coffee in your hand, countless scripts and camera angles in your head and you\u2019re about to shoot a dramatic scene with Ken and Deirdre. Welcome to a day in the life of Richard Signy, one of the directors behind the magic, and chaos, of Britain\u2019s most beloved soap, Coronation Street, from 1990 to 1996.<\/em><\/p>\n\n\n\n

<\/p>\n\n\n\n

What was a typical day like on the set of Coronation Street in the 90\u2019s?<\/h1>\n\n\n\n

\u201cWe had one day on location per episode. So, when I got in, I\u2019d sit in a gallery, with all the sets downstairs, and we\u2019d work out the schedule of how we’re going to film them all in order.<\/p>\n\n\n\n

\u201cYou\u2019d have five scenes in The Rovers Return, and then move to Ken and Deirdre\u2019s, and then move on to The Kabin or wherever it was. Everything we shot was linear.<\/p>\n\n\n\n

\u201cThe main thing we\u2019d do, and I don\u2019t believe they have this anymore, was a dry run. Everyone, the camera operators, sound, costume, makeup, all the technical people, would turn up, with your script marked up, and you\u2019d rehearse the scene with all the actors in. So it\u2019s like a dress rehearsal. Everyone could see how it was going to be shot, and what it was going to look like.\u201d<\/p>\n\n\n\n

<\/p>\n\n\n\n

\u201cWhat were the relationships like with the crew when working on such a beloved soap?\u201d<\/strong><\/h1>\n\n\n\n

\u201cThose relationships are very close and very intense. You\u2019ve got to remember on soaps that on any given day there\u2019s more than one unit working. So if I\u2019m prepping, there\u2019ll be another unit shooting. If they\u2019re in the studio, there\u2019ll be another unit shooting in exteriors. There\u2019s always something on. We had three teams liaising with each other and it becomes quite complex. <\/p>\n\n\n\n

\u201cIt\u2019s a scheduling nightmare. That\u2019s why Coronation Street has so many actors, so you can always be shooting something.<\/p>\n\n\n\n

\u201cBasically we\u2019d try and get the same team together every time. The crucial thing for me when shooting anything is to try to get together with a bunch of mates, then we all understand each other. The more we had the same team, the more we could use shorthand, the more we could maintain the same style and tone.<\/p>\n\n\n\n

\u201cHaving the same designer, director of photography, first assistant, editor and script supervisor is the core team for me. We all know each other, and we all enjoy each other’s company, and we enjoy working together. That\u2019s half the battle.\u201d<\/p>\n\n\n\n

<\/p>\n\n\n\n

Do you think the process of directing Corrie has changed over the years?<\/h1>\n\n\n\n

\u201cI think it was a lot easier back then than it is now. Back when I started, there were only two shorter episodes going out a week. Now there\u2019s four or five. I was the first director to do three episodes per week, I set up that system.

\u201cIf they\u2019re filming five episodes a week, they can\u2019t fit in five dry runs. It\u2019s just a waste if they\u2019re not filming anything these days. It’s cheaper to spend time in the edit than it is on the dry run.\u201d<\/p>\n\n\n\n

\n

\u201cI don\u2019t think the role has changed. I think producers have got stronger and they\u2019ve got more power than directors, but TV has always been a producer\u2019s medium.<\/strong><\/p>\n<\/blockquote>\n\n\n\n

\"\"
Richard on set in his directors chair whilst filming abroad. (Credit – Richard Signy) <\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

What was the hardest part of directing Corrie?<\/strong><\/h1>\n\n\n\n

\u201cThe hardest thing I had to do as a director was learning how to camera script a studio shoot. You have to have a camera plot for every scene, so you\u2019ll have three cameras per set. Essentially, you need to work out what cameras A, B and C are shooting, and how those cameras are able to move whilst shooting. Back then all the cameras were all cabled up and you couldn\u2019t cross a cable otherwise you\u2019d crash!\u201d<\/p>\n\n\n\n

<\/p>\n\n\n\n

What were the biggest challenges you faced on set?<\/strong><\/h1>\n\n\n\n

\u201cThe thing is, anything can go wrong, so I kind of prepare for things to go wrong, because they will go wrong. That is the challenge itself. A director is leading 60 or 70 people who want to go home on time, having had a good day’s work. What they don\u2019t want to see is the guy in charge going, \u2018I don\u2019t know what to do\u2019. You owe it to the crew to be prepared.\u201d<\/p>\n\n\n\n

<\/p>\n\n\n\n

What\u2019s your advice to our readers to get their foot in the door of the industry in 2025?<\/strong><\/h1>\n\n\n\n

\u201cI think there\u2019s two ways. One is, you go and do film studies at college or university and get those qualifications to apply for internships.<\/p>\n\n\n\n

\u201cThe second is being on set. You can\u2019t beat being on set. It\u2019s the best learning ground, and it helps you figure out what you want to do.\u201d<\/p>\n\n\n\n

<\/p>\n\n\n\n

<\/p>\n\n\n\n

For more Day in the life stories, click here<\/a>.<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Picture this. 1990\u2019s Granada TV Studios, Manchester. You\u2019ve got a cup of coffee in your hand, countless scripts and camera angles in your head and you\u2019re about to shoot a dramatic scene with Ken and Deirdre. Welcome to a day in the life of Richard Signy, one of the directors behind the magic, and chaos, of Britain\u2019s most beloved soap, Coronation Street, from 1990 to 1996.<\/p>\n","protected":false},"author":132,"featured_media":639,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[19],"tags":[172,40,51,174,173,39,36],"class_list":["post-558","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-day-in-the-life","tag-coronation-street","tag-daytime","tag-director","tag-drama","tag-soap-opera","tag-television-2","tag-tv"],"yoast_head":"\nDirecting on the Coronation Street Cobbles in the 90's<\/title>\n<meta name=\"description\" content=\"Ever wondered what it was like working on Coronation Street in the past? 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