What better time for BBC Four's Britannia strand to tackle the story of British punk?

My sister was born slap bang in the middle of the summer of 1976, my all-time favourite film Taxi Driver came out that year and of course in those 12 months punk rock mutated from a few like-minded London bands to the national cultural phenomenon we know it to be today...

... but I wasn't there.

My sister is a couple of years older and by the time I came along post punk and new wave were well underway and punk had been reduced to an excessive hairstyle on a postcard.

So it was with an open mind that myself and the two other thirty-something directors set out to tell the story of Punk Britannia.

Well it's our version of the story at least.

It's impossible to tell THE story (if that even exists) so we decided firstly to follow the music, wherever possible to hear the story from the horse's mouth and attempt to convey a sense of the conditions in 70s Britain that gave rise to this most confrontational genre of rock.

Each episode had its own distinct challenges.

I directed the first programme in the three-part series.

To be honest it's the bit most documentaries on punk fast forward through to get to the juicy controversy of the Sex Pistols swearing on telly and upsetting the Queen.

But for me the fact that this early period (1971-1976) is less well trodden made it all the more exciting to explore.

It became clear that the origins of punk lie in a generational struggle for identity.

The momentous progress made in music, art and civil rights in the previous decade presided over by 'the hippies' had lost its way by the early 70s.

Kids coming of age in the early 70s did an about turn and began looking back to before the 60s revolution in an attempt to recapture the excitement and simplicity of the original teenagers in 50s America's dances and diners.

Punk's hard, fast tunes and its rebellious, tribal culture owe a great debt to a cast of unsung heroes who decided to launch an attack on the overblown prog rock and stadium super rock which rock 'n' roll had morphed into by the 70s.

John Lydon, lead singer of The Sex Pistols and Public Image Ltd

Alongside the likes of John Lydon, Mick Jones and Paul Weller, many of the characters interviewed in the first programme aren't exactly household names and never will be, but that's what makes them so fascinating.

Knowing that without them there may never have been a Sex Pistols, The Clash or The Jam.

It's this depth that BBC Four can bring to the subject that makes this series different to any previous punk series.

The second episode documents the big moments in punk, but so much more besides and the third episode contains music and stories that have never been seen or heard before.

That said there was no way we could ignore the white heat of the key moments in British punk and for me this boiled down to a diverse cast from Siouxsie Sioux to Humphrey Ocean recounting their collective epiphany on experiencing the Sex Pistols for the very first time.

We also decided where possible to film the interviews with the fine men and women of punk wherever we found them.

Minimal lighting and wide angle shots tell their own unflinching 'where are they now?' story of the cast.

Glamorous punk is not, and to their credit I've never met a group of musicians who remain so dedicated to the values that defined them in their heyday.

The Kursaal Flyers

My personal highlight has to be the driving soundtrack in the first episode - there are so many rare tracks from bands like The 101ers and The Kursaal Flyers that I hope will inspire people to discover these bands for themselves.

There are also quite a few artists that for various reasons didn't make it into the final cut.

Fitting everything in to 60 minutes was the toughest part of making this and I hope to fit the likes of Jesse Hector into another programme in the future.

He's a true original and leader of The Hammersmith Gorillas (look them up!).

In Punk Britannia we tried to tell it like it was, to celebrate the energy and excitement of the music and acknowledge the social and political effect of the movement.

Oh yes, before I forget, there's SEX, VIOLENCE, SWEARING and SPITTING in there too (phew!).

Andy Dunn is the director of episode one of Punk Britannia.

Comments made by writers on the BBC TV blog are their own opinions and not necessarily those of the BBC.

Our job is to venture outside the protective confines of the BBC's compound to film short items documenting the plethora of weird and wonderful non-musical happenings around the site.

Plus I film and direct some behind-the-scenes pieces with the musicians and performers at the festival. This year, the main draw of course is the chance to see acts like U2, Coldplay and Beyonce to name but a few.

But we hope that in between the world-class acts, you'll also catch our little films and get to experience some of the other unique attractions that make Glastonbury the greatest festival in the world.

DJ Tim Westwood and Andy Dunn at Glastonbury

Over the years this has included us working with children, animals, plenty of hippies and the odd rock legend.

Like everything in TV production, much has changed over time in how we work to achieve this. But what hasn't changed is this great festival's ability to surprise us.

My very first assignment in 2003 was to greet glam rockers, The Darkness to film their ostentatious arrival by helicopter for their opening slot on the Pyramid stage. It had been a late night of meticulous logistical planning and an early start to make sure we were in position at the helipad in good time.

The first thing you learn about filming at Glastonbury is that travelling between locations can take a very long time.

All was well, and a ripple of excitement passed through the crew as we caught sight of the helicopter approaching.

The camera rolled and I braced myself for the rush of rotor blades... only to watch the chopper pass over our heads and disappear over a tree line, finally landing three fields away on Glastonbury's OTHER helipad - how many dairy farms have TWO helipads?

Needless to say, a chase ensued and with a minor revision of the shooting plan, the feature survived and the whole episode seemed to fit the Spinal Tap-esque order of the day.

Each year we like to show the nocturnal activity at Glastonbury which often exhibits a more alternative, anti-establishment vibe than in daylight hours. (For anti-establishment read 'It's fun to throw clods of mud at the BBC people!')

Imagine an enormous nightclub in the edgy part of a big city - New York, say, with its own culture of debauched excess and inhabited by hedonists and miscreants of every order.

Well that's exactly what people are in the market for after dark at Glastonbury.

This aspect is an important part of why people love the festival and we do our best to reflect it. I have had my eyes opened and my mind broadened in these areas over the years... all in the course of duty.

My personal highlights range from the sublime; spending time with the Worthy Farm staff while reporting on the wildlife and daily milking which continues throughout the festival, to the ridiculous; directing an episode of Pimp My Tractor with hip hop DJ Tim 'Big Dawg' Westwood.

There is always good television where two worlds collide.

Andy Dunn is a producer/director for BBC TV Music Entertainment.

Comments made by writers on the BBC TV blog are their own opinions and not necessarily those of the BBC.