Making an access documentary about the biggest toy company in world was always going to be tricky, particularly when the Danish HQ was rather cooler than their UK counterparts about being involved.
My first task was to get Lego's reputation manager, Roar Rude Trangbaek (it's his real name) on side, however, Roar is not made from the typical PR mould. After several long phone calls, Roar agreed to a few days of filming and sent me a 15 page document of what, where and when we could shoot. Most of what I'd asked to film was not allowed and the first 'set up' in Roar's schedule stated: "Filming: Shots will happen through the windows. There will be no sound recording".
I realised that Roar was used to giving news crews a sneak peak of the company, but an access documentary was not really on his agenda. However, we thought that once we got to Denmark things would change!
The reality was that Roar stuck to his schedule and most of his pre-conditions, however a bigger story was emerging. The way we were being managed, combined with the unwavering loyalty and commitment that Roar and the staff had for the company and its founder felt intriguing. Everyone I met at Lego believed they were making the world a better place through the plastic brick... and there wasn't a hint of cynicism anywhere.
On my second day of filming I met some new employees from London who were being inducted into the Lego philosophy. They were all very excited and it felt natural to ask them if they felt like they were joining a cult. The next day there was a hole in our filming schedule, so without anything else to shoot I asked Roar to show us around on camera. As we approached Lego's most sacred building - the main design centre, Roar reiterated that we would never be allowed to film inside. Then as we stood outside, trying to get some long lens shots of the designers through the windows, the building made a creaking noise and the shutters literally came down to shut out our view.
It was clear that there was a compelling story to be told about this place and the people - who were generally guarded, but openly talked about their employer in spiritual and religious terms. The problem was, that while I thought our first visit was a bit of a recce, Roar thought that was our lot.
What followed was a painful marathon of trying to get more access. Each filming day (or hour) seemed to require hundreds of e-mails, calls and meetings as Producer, Jemma Gander, and I tried to retain our sanity. Thankfully David Brindley and Ade Rawcliffe from Channel 4 and David Cumming, the Exec from Waddell Media, were remarkably supportive and patient. While most would have thrown in the towel, they allowed us to do all that we could to make the best film possible... and this allowed the access issues to become an asset and a unique part of the story!
The Secret World of Lego is nominated for Best Entertaining Documentary at The Grierson Awards 2016.
Christian Trumble for Waddell Media; first shown Channel 4
