“The producer is supposed to be the person who makes sure that inspiration doesn’t turn into complete filthy anarchy. Unfortunately, we had John…” Robinson says. “We workshopped every word, every exclamation mark! Although we didn’t have the 12 writers you would have for Taxi or Cheers, you had people in the room who were doing exactly the same kind of thing that those writers on an American show would do. We were constantly challenging every single gag, the structure of every scene – we even put additional characters in sometimes. So there was a lot of tension between the writers on the one hand, and the producer on the other, who was, as it were, the representative of what the actors were saying. And it was very good, but it could be quite upsetting sometimes.”