Angela Griffin on directing Blue Lights season 3, Waterloo Road and the need for better behind-the-scenes representation

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*Warning: This article contains spoilers for Blue Lights season 3.*

I’ve been watching Angela Griffin on screen for years – from Coronation Street to Waterloo Road, Casualty, and Lewis – she’s a truly familiar face. And after speaking with her, it’s clear she’s incredibly comfortable in her profession. As she told me, she’s so at ease with acting that “there’s very little that unnerves me about walking on to set as an actor.” It really comes across that she just *owns* the space.

Now, Griffin is facing one of her biggest challenges yet: directing the last episodes of season 3 for the popular BBC One drama, Blue Lights.

The BAFTA award-winning series has been incredibly popular with the broadcaster since it first aired in 2023, and it’s already been renewed through season 4. Its realistic portrayal, unexpected plot twists, setting in post-conflict Northern Ireland, and lovable characters captivated audiences across the UK. Griffin was also a fan of the show before even thinking about joining the cast.

As we begin our conversation, Griffin has recently returned from Belfast in early September, still feeling the effects of the busy production of season 3. “I’m still caught up in it all,” she says with enthusiasm, describing the process of finalizing visual effects and reviewing the finished versions of her episodes.

Griffin recently spent seven months in Belfast filming the latest episode of Waterloo Road, which has now been released. We were joking about how the two shows she’s directed – filmed in such different locations – ended up being broadcast so close together, within about a week of each other. It’s amazing how TV and iPlayer work!

Despite having directed episodes of Waterloo Road before – and having been a key cast member on the show – Griffin still feels like a newcomer when it comes to directing. “I’ve been an actor for over 30 years, but I’m still very new to the [directing] industry. That means I have to go through the usual application process; no one is offering me opportunities just yet,” she explains. “I think some people probably wonder, ‘Does she actually know what she’s doing?‘,” she adds.

Regarding how comfortable she felt directing on Waterloo Road, Griffin admits she was initially anxious about taking on the role. She explained to the show’s team that she would only consider returning if she was allowed to direct, and when they agreed, the actress experienced a wave of different feelings. She says that when it came to being behind the cameras, it initially filled her with some worry.

I was incredibly anxious about the challenge and whether I could handle it. However, once I started, it felt completely natural – like second nature, really. It’s just my comfort zone, and everything felt familiar, so I adapted quickly, like a duck to water, “ she says.

As a film buff, I always think it’s amazing when a familiar face steps behind the camera, and that’s exactly how Waterloo Road felt for Griffin. Knowing everyone on the crew made taking on the director’s role feel “very safe”, which she attributes to the incredibly inclusive environment that’s been a hallmark of the show for so long. It’s clear they’ve built something special where everyone feels comfortable and supported.

Working at Waterloo Road is a very supportive environment, especially for trainees. They actively encourage people from all backgrounds – regardless of class, gender, or beliefs – to enter the industry, offering opportunities they might not otherwise have. It’s a place where you can learn and grow without fear of failure; making mistakes isn’t penalized, and I personally felt very well supported.

Directing Blue Lights felt like a standard job application for Griffin, even with her established reputation in British television. “I didn’t receive any special treatment,” she explains. “There weren’t any shortcuts based on knowing people – I didn’t know anyone involved and had never worked in Belfast before,” she says.

Griffin recalls feeling overwhelmed on her first day filming Blue Lights. She says she immediately wondered, “Oh my God, what have I gotten myself into?” She worried that, like on Waterloo Road, people might be subtly guiding her, and questioned if she was actually capable of directing. It was a really daunting experience, leaving her feeling unsure of her abilities and thinking, “Maybe I don’t know what I’m doing.“

However, those first-day jitters quickly faded, and she discovered the same sense of ease she’d experienced working on the set of Waterloo Road while filming Blue Lights in Belfast.

Switching from a well-known actress to a new director is a big change for Griffin, but she says she’s “quite enjoyed the challenge.” She lights up when talking about how her experience as an actress has directly helped her as a director.

Everyone’s saying this season of Blue Lights is the “best so far”, with Grace (Siân Brooke), Annie (Katherine Devlin), and Tommy (Nathan Braniff) all returning. Now two years into their careers with the Police Service of Northern Ireland (PSNI), this third season explores fresh dangers as a new gang begins to control Belfast.

Viewers haven’t just connected with the topics and Northern Ireland setting of Blue Lights; they’ve also been drawn in by the show’s emphasis on developing its characters. For director Griffin, focusing on character development was a key part of working on episodes 4 through 6.

What I enjoy most is collaborating with actors I admire – discussing their characters, exploring their stories, pinpointing key moments and emotional beats, and striving for authenticity. I always aim to foster a supportive and comfortable atmosphere on set, prioritizing an actor-friendly environment as much as possible.

My approach is definitely shaped by my years of experience on film sets. I’ve learned valuable skills and techniques from directors I admired, and just as importantly, I’ve learned from the mistakes of those who weren’t so effective. It’s a combination of observing what works and what doesn’t, gained over many years.

Regarding the new season of Blue Lights, Griffin calls it “really interesting.” He says, “I was a fan, and knowing I directed these episodes makes me a little biased, but I genuinely believe the series has consistently improved. We now have the show’s history to build on, with returning characters and some nice surprises along the way.”

She went on to say, “I’ve become really close to those people. And now, things are much more concise. There’s no need to over-explain things. I simply believe it’s improved, and I’m very grateful to have been involved.”

She says her first directed episode, number 4, features significant turning points for all the characters. “They experience massive transformations, and the acting is simply outstanding.”

Griffin is thrilled with episodes 5 and 6, describing the series overall as really strong. She explains that directing often feels like assembling a complex puzzle. While Blue Lights has a defined style, Griffin still aimed to add her personal touch to the episodes she directed. Notably, she deliberately avoided shooting any nighttime scenes and specifically had Brooke’s Grace open the blinds at the beginning of the fourth episode.

The initial episodes have a clear sense of emotional, tonal, and visual gloom, but according to Griffin, that opening scene of darkness was meant to emphasize that “the light comes in and signify we’re bringing the light into it,”.

As a director, she particularly enjoys shots that feel natural and intimate, often using handheld cameras and emphasizing the connections between characters. Griffin hopes this focus on relationships continues in future seasons of Blue Lights. Although she isn’t revealing anything definite about directing season 4, she expresses a strong desire to work with the current cast – especially Stevie (Martin McCann), Annie, Shane (Frank Blake), and Tommy – even more than focusing on the crime plots themselves.

The series concludes with a dual ending: it sets up an exciting fourth season with a cliffhanger, and also provides a feel-good moment that will leave you happy and humming along to Westlife’s “World of Our Own”.

Griffin explains that the series’ ending wasn’t originally planned that way. “The episode wasn’t initially written to end like it did. As an actor, I wasn’t aware of this,” she says. “It changed during the editing process. As we started to see the whole series and understand its direction, and after discussions with the executives, a decision was made quite late in the day.” She adds that Blue Lights, like most TV shows, is a very collaborative environment.

It really comes down to, ‘Would I have concluded it that way?’. And it does create that sense of completion at the end, but it can also be effective to end on a cliffhanger. Especially since we know there will be a fourth series.

Interestingly, the scene that was originally intended as the finale was the one *before* the flashbacks. This scene unveils the people responsible for the changes happening in Belfast. Tina McIntyre (played by Abigail McGibbon) and Dana Morgan (Cathy Tyson) are shown meeting in front of the town hall, which signifies a shift in power and clearly establishes them as the new leaders.

The location of that important final conversation – in front of the statue of abolitionist, social reformer, and activist Mary Ann McCracken – wasn’t accidental. “It really highlights that the women are now leading the way, they’re the ones who have made it through, and now they’re going to – we’ll see what happens in season four, hopefully – take control,” Griffin explains.

When discussing the complex shots, careful details, and meaningful symbolism she incorporates into her Blue Lights episodes, it’s obvious that Griffin is truly passionate about directing. She’s equally committed to broadening opportunities within the industry, emphasizing that social mobility and inclusivity are vital for the continued success of television.

Having worked in the industry for many years, has Griffin noticed any positive changes in the diversity of those on screen and behind the scenes? “Things are certainly different now than when I began. When I was 16 and joined Coronation Street, I was the only Black actor in a continuing role. There *had* been a Black character on the show previously, but they weren’t a series regular. I was the first. I didn’t fully grasp the significance of that at the time, but I absolutely do now.”

Looking at how the industry has changed since then? It’s been a huge shift. But that’s still not quite enough. What’s also happened is it feels a bit isolated. When streaming services first arrived, there was more work available than qualified people. It was difficult to even find a production manager; people needed training just to enter the field. There were so many opportunities.

Griffin explains, “There used to be many programs and training sessions aimed at helping people start careers in the industry. They were fantastic and really effective. However, that funding and those opportunities have largely disappeared. Currently, around 52 per cent of people working in crews are unemployed, and unfortunately, we’re seeing a decline in diversity – in terms of social class, ethnicity, and gender. It feels like those who joined the industry most recently are the first to lose their jobs. It’s incredibly disheartening, especially because it seemed like we were finally making real progress.”

Griffin emphasizes that we need to address this issue, explaining that it’s crucial for TV to reflect the diversity of our society. “It’s important not to only see familiar and safe faces and voices in positions of power within the industry,” she states. “We need a wider range of representation.”

Although we’re seeing some progress with on-screen representation, Griffin notes that things behind the camera – in terms of who makes up the crews – aren’t where she’d like them to be.

The core idea is to provide chances for people who might not normally get them, and to foster a space where learning and making errors are encouraged. However, this would involve costs, which many productions are already finding difficult to manage.

Currently, it really boils down to finances, and viewers are looking for reliable options. They want actors who are sure to draw an audience and a crew behind the scenes who are dependable and don’t require extensive support or training,” Griffin explains, adding that, based on her experience, Waterloo Road is an ideal environment for discovering and nurturing up-and-coming talent.

When I think about where the industry needs to go, what really resonates with me from what Griffin said is this: we desperately need more diversity. It’s not just about different colours or backgrounds – it’s about opening things up so that anyone, regardless of their class or education, has a chance. I mean, we’re creating art, making TV – historically, that was *for* working-class people, and it feels like they’re the ones being left behind now. She’s absolutely right – we need to get back to that, and make the industry accessible to everyone, not just a select few. It’s about broadening the scope and letting more voices be heard. It’s a crucial point, honestly.

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2025-09-30 13:10