Member Nichola Wong joined the Towards Zero team through a directing placement with the BBC. From the shoot to the edit, Nichola participated in the creation of this High-end drama based on an adaptation of Agatha Christie’s novel.
We spoke to Nichola about her experience on the placement and how it expanded her skills as a director. Read about Nichola's experience below.
Image credit: Nichola Wong
What interested you in applying for the placement?
I’ve always loved Agatha Christie whodunnits and crime dramas, so being part of adapting one of her books for TV was an absolute dream. I was especially intrigued by the process of reimagining her work — how her vision would be honoured while shaping it for the screen.
I was eager to work on a complex production — especially a period drama, which I’m obsessed with — and to see firsthand how a High-end show comes together. I was particularly interested in observing how director Sam Yates collaborated with an ensemble cast and key creatives. I also wanted to gain insight into how VFX is integrated and get hands-on experience with 2nd unit work.
Beyond that, last year was a challenging one for many in the industry, and I wanted to keep learning, stay in a creative environment and build my confidence. Opportunities like this don’t come around often. Having dedicated, paid time on set rather than just sporadic shadowing was invaluable.
Was there a new aspect of directing that you took away from the experience?
I was fortunate to be given a significant amount of 2nd unit directing on my placement, which provided an incredible hands-on experience.
I had the opportunity to direct a wide range of material, from intimate character moments and montage sequences to stunt work, collaborating with children, working with an armourer, and capturing key atmospheric shots. One of the biggest new challenges I took away from the experience was working with VFX. I was particularly excited to gain exposure to this, as it was something I had been keen to learn more about from the outset.
There were several VFX-heavy shoot days that required capturing additional shots to complement existing footage. It was a fascinating challenge to shoot elements that wouldn’t fully exist until post-production — ensuring everything was staged, lit and framed in a way that would seamlessly integrate with both the final effects and the material already filmed.
For the first time, I also directed scenes on a set build. It was a great creative challenge to make a space with only two walls feel visually dynamic and engaging across multiple scenes. I had to think carefully about blocking, camera movement, and how to use angles to create variety and depth despite the limitations of the set. Adding to the challenge, we were filming inside a cow barn, which not only tested our endurance in the heat, but also presented unique sound issues that had to be carefully managed.
Every day presented something new and the experience truly expanded my directing toolkit in ways I hadn’t expected.
Image credit: Nichola Wong
The placement offered access to the entire production - from prep to post. How important was it to work in this way?
I came onto the placement mid-shoot with a mini prep period of my own at home — reading the book, the scripts, watching rushes and the assembly. This was useful because it meant I could hit the ground running as I already had a sense of the story, the characters, and how everything was coming together.
Getting to see a show through from start to finish and working across all three episodes was an eye-opening experience. In TV, you’re often involved in just one part of the process, but being there from prep to shoot to edit gave me a real sense of how it all fits together. It was amazing to see how early creative decisions shaped the final product and how the story evolved at each stage.
Working across multiple episodes also deepened my understanding of continuity — not just in terms of visuals and performance, but also tone and pacing. Seeing how different departments worked together to keep everything cohesive really reinforced just how collaborative the whole process is.
More than anything, it gave me a real sense of ownership and investment in the project. Watching it all come together in the end was incredibly rewarding, and it really drove home how much thought, effort and problem-solving goes into making a High-end drama.
Did being involved in the edit give you a different perspective on directing and the storytelling process?
I find editing to be such a fascinating process — collaborating with an editor is a unique and special experience. I love how they provoke and push things and spark dialogue that will often lead to something even better, opening a fresh perspective.
Being involved in the edit completely shifts your perspective on directing and storytelling. On set, you’re focused on getting great performances, nailing the shots, and making sure everything runs smoothly. But in the edit, you see what actually works (and what doesn’t). Suddenly, that fancy shot you spent ages setting up might not even make the cut, while a tiny, unexpected reaction shot or something you grabbed on the fly can end up carrying, or transforming, the scene.
Filmmaking isn’t just about capturing moments, it’s about crafting them.
It also makes you think differently about coverage. You realise when you’ve over-shot a scene and develop a sharper sense of visual economy, understanding what is essential versus what’s indulgent. Pacing becomes everything, knowing when to let a moment breathe and when to tighten up. You also see just how much performance can be shaped in the cut, how moving one look or pause can completely change the emotion of a scene. You see how much storytelling can change through structure, rhythm and even tiny shifts in performance.
It makes you a sharper director and heightens your awareness of how every choice you make on set ripples through to the final piece. You start thinking ahead to the edit while you’re shooting, making more intentional choices that serve the final story rather than just the moment on set. In the end, it’s where you really see that filmmaking isn’t just about capturing moments, it’s about crafting them.
Image credit: Nichola Wong
What’s coming up next for you?
In a couple of weeks I will be co-directing a series of interviews featuring high-profile figures in the fields of sport, music, TV/film and business with a lovely director friend that I met on my first block of Hollyoaks. I’m also working on a variety of writing projects, including a feature film, TV series and a short film.
I’m getting myself out there and meeting producers and directors alike. There’s a couple of potential projects on the horizon. Despite the challenges the industry faces at the moment, I’m excited about the year ahead.
Towards Zero is currently available to stream on BritBox and on BBC iPlayer.
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