Dear Boss, I’ll be joining publisher, author and executive editor of ‘Ripperologist’ magazine, Adam Wood, and world-renowned crime historian and historical adviser to ‘From Hell’ and ‘Ripper Street’, Keith Skinner, to discuss the acclaimed TV series. Catch us if you can…
LATE NIGHT DOUBLE FEATURE
CARTOUCHE & PASSENGER
Interview copyright © Damian Michael Barcroft 2019
DAMIAN: You were surprised I liked CARTOUCHE. Why exactly?
RUSS: I thought you might find it too frivolous – too knowing.
DAMIAN: I’ve tried a couple of times in the past to get you to tell me what your favourite episodes are but without much success. Since you’re unlikely to budge on this, perhaps you might instead at least acknowledge that some episodes are more important than others?
RUSS: I don’t know if I’d agree with you over importance. To borrow from Marge Gundersson, ‘People always need the little stamps.’
DAMIAN: Let’s look at it from a different perspective then; would you agree that it is unlikely that ITV, Mammoth Screen or yourself would wish to open or close a series of a highly respected Sunday-night detective drama with an episode featuring a mummy on the rampage in Oxford?
RUSS: I would. But while we probably wouldn’t open or close a run with a CARTOUCHE like number, if the entirety of the series followed suit then things might get a little samey.
INT. ROXY/CINEMA SCREEN – DAY 1
In darkness. A crackly, repeating MORSE CODE signal.
— .–. …
Onscreen: Black and white art-deco 1930s FILM LOGO — ‘MAMMOTH PICTURES STUDIOS’ wrapped around a spinning globe topped with a radio antenna sending ‘lightning bolts’ into the ether. An airship circumnavigates the sphere, against the rotation of the planet.
MUSIC of a distinctly Egyptian theme BEGINS… Black and White — TITLES against shifting desert sands. “MERIAM C. DENHAM presents EMIL VALDEMAR in THE PHARAOH’S CURSE” “Screenplay by W.P. Mayhew” “Directed by Von Mayerling.” &c.
DAMIAN: The original description for the Mammoth Pictures Studio logo was more reminiscent of the old RKO and Universal Pictures from the late twenties and early thirties and significantly different from the screen version. At what point did you have the ingenious idea of actually using a mammoth?
RUSS: When we couldn’t clear the original homage. I think I’ve mentioned before the legal minefield of clearance.
DAMIAN: It’s not actually Cavendish though is it?
RUSS: Doubtless an antecedent.
DAMIAN: This treasure must surely be proudly housed safely behind glass at Mammoth Screen?
RUSS: Like the Anglia knight? Alas. I haven’t seen it around the office.
DAMIAN: I think I get that W.P. Mayhew was the drunken writer in Barton Fink, (Max) Von Mayerling was the silent movie director turned butler from Sunset Boulevard but is Meriam C. Denham a composite of King Kong director and producer Merian C. Cooper and the Carl Denham character from the same film?
RUSS: Full marks.
DAMIAN: And accompanying those opening film credits, we hear Matthew Slater’s music score. Now, Matt has been doing a fantastic job as composer for most of the last couple of years or so -I think PREY was his first full score?- but CARTOUCHE was simply stunning wasn’t it and almost indistinguishable from a big Hollywood film soundtrack?
RUSS: Matt’s an extraordinary talent, and his scores are a joy. His work has spared our blushes on many an occasion.
DAMIAN: There’s been some great scores for horror and fantasy films such as Max Steiner’s work on King Kong, music for the Universal Monster Cycle of the 30s and 40s by composers like Paul Dessau, Hans J. Salter, Frank Skinner and Franz Waxman, in addition to the various artists, perhaps most notably James Bernard, who scored the Hammer films. I’m wondering if you listened to any of these while writing CARTOUCHE or discussed them with Matt as reference points because there’s definitely a Hammer influence in his score isn’t there?
RUSS: Yeh, we talked about Waxman, and James Bernard.
DAMIAN: It’s perhaps no coincidence that amongst Valdemar’s credits, Buddy and Louie Meet the Pharaoh is mentioned because of all the various costumes and makeup designs for the character over the years, the one in CARTOUCHE most resembles the one in (Budd) Abbott and (Lou) Costello Meet the Mummy. Was this slightly low budget design the look you were going for?
RUSS: Kind of. The Hammers also started to look a bit ragged – no pun intended – very quickly. It was meant to invoke something of a B-picture, knocked out very quickly, and on a limited budget. But Andy – our director – had a lot of fun with it.
DAMIAN: Despite having the most iconic makeup design, I’ve always found Karloff’s The Mummy to be a little slow and stagey much like Dracula as opposed to more cinematic masterpieces from Universal such Bride of Frankenstein, and actually much prefer Hammer’s The Mummy. Do you have a favourite?
RUSS: A favourite Universal or a favourite Hammer – or a favourite Mummy? I’m with you on Bride all the way.
DAMIAN: I meant a favourite Mummy. In comparison to other gothic literary characters such as Dracula, Frankenstein’s monster, Jekyll and Hyde etc., the Mummy is possibly the least interesting and I just wondered from a writers perspective, which film you thought provided the most engaging characterisation?
RUSS: Bubba Ho Tep. I suppose the first two Brendan Fraser/Rachel Weisz Mummy pictures. And of those two, the second probably gives you the biggest window on Imhotep’s history, doesn’t it? But – let’s be frank – as a franchise, it’s never been particularly deep, has it? I don’t think I mind the Karloff as much as you do. It is pretty slow, but it does set down all the key lore. Probably the least said about the latest incarnation the better.
DAMIAN: After the success of individual horror character franchises such as Dracula, Frankenstein and the Wolf Man, Universal created a shared universe for these classic monsters. Now, considering that these films are meant to follow on from each other, it’s rather bizarre that Lionel Atwill is cast in so many and yet plays completely different characters including Inspector Krogh (Son of Frankenstein), Doctor Theodore Bohmer (The Ghost of Frankenstein), the Mayor (Frankenstein Meets the Wolf Man), Inspector Arnz (House of Frankenstein) and Inspector Holtz (House of Dracula). Regardless, with the nod to his name in the script and the character with the one arm, why has the memory of Atwill endured perhaps more than other supporting Universal character players such as my personal favourite, Dwight Frye?
RUSS: I think – as you say – it was probably Atwill’s presence in so many different incarnations that guaranteed his immortality. Ah – Dwight Frye. Will Dwight Frye make you Frye of Dwight?!
DAMIAN: I suppose in a similar vein to the Carry On films and other beloved institutes, Universal and Hammer had a repertoire of supporting roles players which we don’t quite see to the same extent in contemporary productions. Do you think that, in always striving to prove their versatility and avoid typecasting, it’s a pity we no longer enjoy character actors in the same way anymore?
RUSS: Well, a Hammer never really felt like a Hammer without the appropriately named Michael Ripper, did it? I just don’t think we make things the same way. The world changes. But I’m very grateful we’ve still got all those wonderful films, and those regular faces to enjoy.
DAMIAN: And the Hammer Horrors featured many glamourous scream queens such as Valerie Leon and Ingrid Pitt but Veronica Carlson must still be a favourite who you mentioned in one of our early interviews and gets a nod in CARTOUCHE as Veronique Carlton. In your opinion, why is she the epitome of the 60s Hammer and British Horror scream queen?
RUSS: I think it’s that she pulled off that extraordinary back to back double in ‘68 and ‘69 with the Count and then the Baron. Dracula Has Risen from the Gravy — and Frankenstein Must be Dismayed.
DAMIAN: Apart from Bela Lugosi who died in 1956, which of the iconic horror actors would you have liked to have cast as Emil Valdemar if CARTOUCHE was actually made in the year in which it was set?
RUSS: Well — we were thinking about Bogdanovich’s Targets a lot – which was a big jumping off point for the story. So – it was Karloff the Uncanny, all the way. It would have had to be someone British and old enough to have served in the Great War.
DAMIAN: As always, there’s so many references in the episode such as Fu Manchu, the Corman/Price cycle and Poe more generally, that we can’t possibly discuss them all, although I thought the nod to Lauren Bacall (Betty Perske/Persky) was particularly lovely because she was actually a theatre usher in real life wasn’t she?
RUSS: Exactly that.
DAMIAN: It was wonderful to see Thursday in such a (rare) good mood reminiscing about the cinema of his childhood although I was less impressed with Endeavour’s response – is he only interested in watching Ingmar Bergman films and -much later in life- Last Tango in Paris?
RUSS: Colin didn’t really give us much of a steer on his cinematic interests. But Endeavour’s recollection of Saturday Morning Pictures are mine. I’m not sure if it made the cut – but his invocation of Dante made Damien Timmer chuckle, which always pleases me.
DAMIAN: Yes it did, something about all that screaming in the dark. However, for someone who consistently shows such a reverence in their writing for classic cinema, I’m somewhat surprised and confused by such negative recollections of Saturday Morning Pictures. I would have thought you would have more in common with Thursday than Endeavour in this regard?
RUSS: Endeavour’s recollections are perhaps not unsurprisingly my recollection of the one and only trip I made to the Granada, St.John’s Hill for Saturday Morning Pictures. I can still hear the screaming.
DAMIAN: Starting with Carol this series, Endeavour begins his Casanova phase which I had a few problems with and hope to debate in a future interview, however, can you not think of a nice young lady to introduce to Strange for a change?
RUSS: Well — we have seen him out on a double-date with Endeavour – to a Horror Double Bill appropriately enough. Well — I look forward to discussing Endeavour’s Casanova phase. A one night stand with the least appropriate young woman imaginable – and a meaningful few months with Claudine, of whom he had hopes. Some Casanova phase. Surely such Homework would warrant, ‘Must try harder!’ in the margin?
DAMIAN: And speaking of other halves, Bright is eating alone in the restaurant because his wife is otherwise engaged yet again! Come on now Russ, this is getting quite ridiculous unless Reginald has perhaps buried her under the patio or keeping her well-preserved mummified corpse in the fruit cellar?
RUSS: It’s been quite fun keeping people guessing about Mrs.Bright. We shall see.
DAMIAN: Towards the end of the episode, Charlie says ‘You’re the best of us, Fred’, to which Thursday replies, ‘The best of us never came home’. Earlier, when reminiscing about Saturday morning matinees as a child, Thursday mentions to Endeavour that he’d go in first and then ‘spring the window in the Gents for Chas and Billy’. Can you tell us more about Billy, presumably the youngest of the three Thursday brothers, or is this perhaps something you might elaborate on in a future story?
RUSS: There is a story that tells us more about Billy – but whether we will get to make it is doubtful. The exchange rate has taken a bit of a hit since I first had it in mind — and probably rules it out.
DAMIAN: You make the parallels between ex-Detective Sergeant Ronald Beavis and Endeavour quite explicit with similar characters traits and shared interests including a passion for opera; the two even have the same Rosalind Calloway performance of La Traviata LP – oh, just out of curiosity, why were you so specific in the script that the record not have her image on the sleeve?
RUSS: Was I? I think I just wanted to avoid the LP Endeavour had signed in the very first film also being owned by Beavis. As if it were the ONLY Rosalind Calloway recording in existence.
DAMIAN: Anyway, after leaving the museum at the end of the episode, there’s a discussion of the parallels between Beavis and Endeavour and Thursday says ‘he’d no family to keep him on the straight. Lot to be said for family’, to which Endeavour replies, ‘What if you don’t have one? Is that how you finish your days? Alone in some two-bob kip with nothing but a bottle for company?’. Thursday ends the discussion with, ‘That was his future. Not yours. You’ll make better choices’. First of all, does Thursday really believe this, and secondly, would he, if not really approve, then reluctantly give his consent -at this particular moment in time at least- if such choices included Joan?
RUSS: I don’t think there’s any reason for Fred to think Endeavour won’t make better choices. His first thought would be of Joan’s happiness. If being with Endeavour made her happy, then I’m sure Thursday would be behind her all the way.
DAMIAN: Of course, we know how it ends for Endeavour, but the way the scene is written suggests that he does too. Let’s say, for the sake of argument, that loneliness is a subjective experience. For someone like Endeavour with all his emotional baggage and psychological damage, his loneliness and estrangement might foster a self-defeating attitude in that the more he marginalises himself, the more his protracted loneliness intensifies, and becomes increasingly difficult to break free from such a mindset that negatively influences his perception of relationships making him more pessimistic as to their outcome (as might be the case with Joan or Susan Fallon for that matter). To what extent would you agree with all this and has Endeavour -again, at this point in the story- accepted his fate or is he simply just a miserable sod?
RUSS: No – I don’t think he’s accepted his fate at all at this point. Did he ever? He always seemed optimistic when pursuing romance. In this instance, I think Endeavour was rattled by finding some similarities with Beavis – primarily, the music – and beyond that, the want of family. And, of course, he was an ex-copper.
DAMIAN: And so without further delay or cancellation, we arrive at possibly one of the most beautifully shot films of this or any other series of Endeavour. You’ve often found inspiration from poetry during the conception and development of characters such as Thursday (Henry Reed’s Lessons of the War – Naming of Parts in particular) and Bright (Betjeman’s Subaltern’s Love Song), so I’m wondering if there’s any deeper significance to your inclusion of WH Auden’s Night Mail in PASSENGER beyond the theme of trains?
RUSS: Well – all credit to Jim Field Smith and DoP Jamie Cairney. For my part, it was just an early memory of a re-run of the 1936 documentary that ends with the verse. The British Documentary Film Movement is an endless source of wonder and inspiration. But ‘Night Mail’… probably melts a bit into the train journey in ‘I Know Where I’m Going’. Trains – particularly the old steamers – have an innate air of romance, mystery and – for our purposes – danger. That ‘The sigh of midnight trains in empty stations’ makes the list of ‘These Foolish Things’ is no accident. The Orient Express. The Blue Train. The 4:50 From Paddington. All aboard!
DAMIAN: Interestingly, Auden was addicted to the crime genre and had some very particular opinions about it which shaped the poem, Detective Story, and an essay on the subject, The Guilty Vicarage, in which he makes a series of observations while deconstructing the Whodunit formula including the discourse between good and evil, the ethical and eristic conflict between Us and Them and the dialectics of innocence and guilt, while also identifying its five essential elements: milieu, victim, murderer, suspects and detectives. Perhaps even more than Sherlock Holmes’ more cosmopolitan and diverse Victorian London for example, I wonder if it’s milieu that’s particularly applicable to the Morse Universe if we view Oxford as a kind of garden of Eden in which the various sins don’t necessarily attract evil to the city, but instead reveal the evil that already inhabits the dreaming spires hiding under the gown of piousness and respectability?
RUSS: ‘As the milieu told its tale…’ I think much of Auden’s take on the Whodunit applies particularly to the Golden Age and the notion of Mayhem Parva. It probably starts to break down when applied to Bay City. Oxford as a Garden of Eden? I guess I’m with you about the frailties of human nature residing there already – rather than something that arrives with an interloper. (Though that may change…) But no more or less than any other town of a like size. Don’t be fooled for a moment by the architecture. Or by the trappings of academe. The pursuit of knowledge for its own sake. A juicy and coveted Chair is just as likely to be pursued, as is the wife or daughter of another don. Clixby Bream come on down! That’s one of the many things Colin did so well in the novels. And he knew that world better than most. Where abideth man, there abideth sin.
DAMIAN: And perhaps Endeavour represents this loss of innocence more acutely than either Inspector Morse or Lewis ever did?
RUSS: Yes, I think that’s fair to say. We have a much younger protagonist. And a romantic to boot. He was always going to have much further to fall. But I think that one of the things about his older incarnation is some part of that hope still remains. That’s what lends it its melancholy. And, of course, it’s what redeems him.
DAMIAN: One aspect of Auden’s musings on the detective story that certainly can’t be applied to Endeavour is that the characters are not changed in or by their actions. Indeed, reflecting on the heartbreak and misery frequently bestowed upon Endeavour and Joan for example, how far are you willing to go in putting your loyal and loving audience on a downer?
RUSS: Does it bring the audience down, do you think? One of the great, unlooked for delights of writing this thing has been charting the push and pull of those binary stars. Who knew?
I don’t know about putting the audience on a downer, but how far am I willing to go with telling that story? All the way. Always.
EXT. JOAN’S FLAT/ROOF – DAY
JOAN clambers up through a skylight onto the roof. ENDEAVOUR follows. By the time he’s out and into the daylight, with the resultant queasiness of realisation that he’s up high. JOAN is at the edge, looking out over OXFORD.
JOAN: It was the view I fell in love with.
ENDEAVOUR’S POV: JOAN against a backdrop of magic hour Oxford – a sky of pink and pearl.
A world contained in a single word. If his heart were to stop now, it would be enough. To die in the moment of perfection. Like…
ENDEAVOUR (cont’d): Cherry blossom.
His whisper lost on the breeze.
JOAN: You can’t see from there. Come closer.
ENDEAVOUR: This is as close as I get.
And it is. And ever will be.
ENDEAVOUR (cont’d): Come back now.
And it is. And ever will be.
JOAN: Scared of heights?
ENDEAVOUR: Not heights. Just falling…
DAMIAN: Fans may occasionally debate the merits of certain plot points and the motivation of various suspects or perpetrators but there can be little doubt that scenes such as this clearly demonstrate your transcendent and unrivalled talent for consistently writing characters in a detective drama that we all care about so very deeply. Knowing that you will almost certainly deflect the compliment in your now familiar self-effacing and reticent maner, I challenge you to give me an example of just one other detective drama written for TV that consistently delivers both the mystery and emotion of Endeavour.
RUSS: I don’t watch enough to have a representative sample upon which to draw. But, I think if all we were doing was constructing a puzzle for the audience to solve, it would be a very dreary exercise. A much bigger conversation probably, but, ‘Why write at all?’ Why tell stories? It’s about making a connection, isn’t it? One heart speaking to another. I think if you’re going to do it at all, then you have to be prepared to go all in. The audience can sniff out fakery at 500 yards. You might be dressing something up in slightly different clothes, or presenting it at one or more remove — but the initial impulse – the thing you’re having these characters saying – has to come from something real.
The plot and the whodunit are hugely important – but it’s the emotional beats that I suspect will outlast the conundrum. “All the feels”, as I believe the young people have it. Like the man said, “Nobody goes home whistling the scenery”.
DAMIAN: And then you almost go and spoil it all by following such a beautiful scene by having Claudine appear and Endeavour lighting a cigarette for her which I have two problems with: firstly, although I understand that one of the functions of the scene was Joan wanting to introduce Endeavour to someone who might look after him, doesn’t the smile he gives Claudine show his instant attraction to her despite having literally just walked away from Joan only seconds earlier and somewhat undermine his passion and love for Joan and all the pink, pearl and cherry blossom?
RUSS: C’est la vie, mon vieux.
DAMIAN: The second aspect was Endeavour lighting her cigarette; why would he even be carrying a lighter when he doesn’t smoke? – yet!
RUSS: You will recall Thursday’s advice to Trewlove concerning cigarettes. We forget now – in these more health conscious times – the social connection and conviviality that was part of the theatre of nicotine. “Cigarette?” was a great ice-breaker. An instant connection. For a detective dealing with those who have witnessed terrible things – to be able to offer a cigarette to someone ‘in shock’ was considered at the very least an act of kindness. Likewise – in interview, with a suspect or indeed the guilty party – the bestowal or withholding of tobacco – is a tool in the box. For Endeavour to be tootling about without a box of smokes would be a bit of a shortcoming.
DAMIAN: In response to my question in our last interview regarding how much longer the show could continue, you said that there’s a little way to go yet, but, you are starting to say goodbye. Therefore, given there’s a few other characters from the original series yet to make an appearance, I wonder if there’s still time to see Endeavour and Susan Fallon reunited and if so, is there even enough room for yet another doomed relationship – I mean how many great, ill-fated loves can one man have?
RUSS: I think it unlikely we’ll see Susan Fallon. The Prime Directive is all. Yet another doomed relationship? Well — given where we found him in ‘87 and left him at the end of century, one might argue that ALL his relationships were doomed. How many great, ill-fated loves can one man have? I’ll have to get back to you on that one.
Enter — DI RONNIE BOX, (30s), a young thief-taker, and DS PATRICK DAWSON, (30s), a mordant, humourless, career copper – a young Kenneth Colley.
BRIGHT: Ah. Perfect timing.
DAMIAN: Why now in this particular episode and what does Dawson’s relationship with Box say about his character here and in his future incarnation?
RUSS: There is perhaps more to tell on that score. We shall see if room is available.
DAMIAN: Unlike the antagonist DS Peter Jakes who audiences eventually began to warm to, there can’t be any such redemption for a character as despicable as DI Ronnie Box can there?
RUSS: Well, that’s the question, isn’t it?
DAMIAN: Was his introduction here planned to set up the character (and storylines) as a regular for the sixth series?
RUSS: Box certainly played into the evolution of the Sixth Series.
DAMIAN: I think we may have spoke about the use of clichéd and stereotypical archetypes before and how they can be both useful -especially in detective stories in terms of misdirecting the audience- but also dangerous for a writer. In retrospect, do you think that a stuttering trainspotter who still lives with his mother was a bit much?
RUSS: Clearly not. One might as well be hung for a sheep. The major story here concerned… well – it’s not possible to set down what it concerned without spoilers. But, one thing that did horrify me was a suggestion that one was presenting a character on the autistic spectrum. I’d grant ‘English eccentric’ and ‘flawed and malignant personality’- but when it comes to autism nothing could have been further from our intentions. A moment’s thought about that – given some of the things we’ve done elsewhere in the show – and I’d hope anyone would realise that, if such was indeed our intent, then we’d never engineer such a crass depiction.
DAMIAN: Did you ever have a train set?
RUSS: I did. Hornby. But like South West Trains, I could never get it to run properly.
DAMIAN: Some lovely cultural references again in this episode such as Norborough Station (60s Avengers) but I would have put money on nods to The Signal-man or Brief Encounter – did I miss them?
RUSS: We are ever constrained by what can be delivered. I had wanted to use the original location for The Signalman – but it lay far beyond our reach. ‘Hallo! Below there!’ Brief Encounter… I don’t know if it made the cut – but I’m pretty sure we’ve nodded to ‘taking books back to Boots’ elsewhere.
DAMIAN: I could have understood Bates Motel (indeed, there’s a slight reference: ‘Twenty-four chalets, twenty-four vacancies’) but bloody Crossroads Motel! You’ve given us countless tales that witness your fanaticism for Tony Hancock, Carry On films and The Beatles but why on earth would you even think of paying homage to such a decrepit piece of soap opera history?
RUSS: Damien Timmer is very fond of Crossroads, and was very keen to honour it. Lest we forget, when Miss Diane left Kings Oak, she tipped up in… of all places… a certain city of dreaming spires. Easy to knock, of course — but it once commanded huge audiences, and the viewing nation hung spellbound on the fate of Meg and Sandy and Jill, and all the rest
But as always with Endeavour, one might imagine it to be A Crossroads, rather than necessarily THE Crossroads. We rationalised it – kind of – thus, that once, perhaps, Hazel Adair and Peter Ling had taken a wrong turn on a lonely highway and ended up at our Crossroads, which had in turn inspired them to create their Crossroads.
You are right about Bates Motel, of course. In fact, I think in the original iteration of the script there was an extended night driving sequence for Endeavour before he arrived. Alas, time and budget, and poor man’s process, wait for no man. But I clearly thought it would have been funnier if we’d laid in a longer build-up to the reveal of his destination.
DAMIAN: And a certain Mrs. Turtle is referenced in the script and briefly seen on screen at the reception desk who looked remarkably similar to Ann George. Like Veronica Carlson, please tell me she wasn’t another one of your boyhood crushes?
RUSS: I worked at ATV in Brum for some time in the early 70s — and we would often see the stars from Crossroad in the canteen, or heading into studio. Ann George was quite glamorous in a furs and bling way – but, no, she never caught my imagination in quite the same way as Miss Carlson.
DAMIAN: What can you tell us about the second film of series 6, APOLLO?
RUSS: Er, well — Shaun’s directed it. And a very fine job he’s done, too. William Goldman’s advice was ‘Give the star everything.’ So – I hope the moon will suffice. Seriously – it’s quite spooky the way it worked out. Of all the films in all the series in all the world that he could have directed…
I’m sure I’ll have much more to say about it at a later date, but we were blessed to be joined on this film by Stephen La Riviere and his wonderfully talented team at Century 21. He brought with him some absolute pioneers of British film and television. So, for a couple of days, our pretend past reached out across half a century and joined hands with those who had lived the real thing. It also marks (and will remain) my only onscreen appearance in Endeavour, and proves that sometimes one’s childhood dreams really can come true.
Interview copyright © Damian Michael Barcroft 2019
DAMIAN: Given all the stars who appeared there during the sixties such as The Beatles, Jimi Hendrix, Dusty Springfield, Jimmy Clitheroe, Sid James and Arthur Askey for example, Blackpool must have been an exciting place to grow up?
CAROLINE: Our house was FULL of Marvin Gaye, Dianna Ross and The Four Tops, soul music. I was lucky enough to see Dianna Ross at the Opera House in 1976 when I was 15, amazing! Blackpool was a fabulous place to be and I was lucky to see many artist as a teenager: The Sex Pistols, The Clash, Siouxsie and the Banshees, Kate Bush as well as Genesis and Led Zeppelin – the 70s were amazing and I was going to concerts all the time.
DAMIAN: Do you think this influenced your decision to work in show business?
CAROLINE: I don’t think so. I sort of ended up doing drama by default. I had been pretty lax at studying for my O Levels and my mum said I had to get some qualifications. So I went along to St Anne’s College and, among other subjects, I did Drama. Life changing. It was an incredible Drama Course and my head was turned. No looking back, that was what I wanted to do. Some fabulous actors have been through that course – David Thewlis and John Simm to name a couple.
DAMIAN: In addition to your work in theatre, you’ve had a prolific career in television appearing in Coronation Street, A Touch of Frost, Waking the Dead, EastEnders, Whitechapel, Happy Valley, Doc Martin and Last Tango in Halifax to name but a few. As you look back on all these productions, I wonder which you feel most proud of or have especially fond memories working on?
CAROLINE: I have to say Coronation Street, not so much for my work on it, but for the fact that growing up we watched it all the time, it was huge. The feeling of walking into the Granada building in Manchester, and being on such an iconic show was amazing. Doc Martin was a dream as everyone, particularly Martin, was a joy. Getting to play an addict, like Lynn Dewhurst in Happy Valley, is a really exciting challenge for any actor, and I loved getting my teeth into such an extreme character. The York Realist at the Royal Court Theatre, London, was maybe my proudest theatre moment. It was a hugely successful production and I made a life long friend in Anne Reid – who’s a huge Endeavour fan!
DAMIAN: I’m curious about your first appearance in the world of Colin Dexter with Lewis. Russell Lewis wrote some of the episodes including that all important first one, how do you think his vision of contemporary Oxford compares to the period Endeavour?
CAROLINE: Russell manages to recreate a whole new world in Endeavour through the tone and language of his scripts. He writes the period like no one else could. And it’s the harmonious relationship between the writing and the fantastic costume and set designs that bring 60s Oxford to life in the show.
DAMIAN: Since the introduction of Win, Joan and Sam during the first series, to what extent do you think that the Thursdays were a surrogate for Endeavour in the absence of a loving family of his own?
CAROLINE: In the early seasons when everyone was at home, and we had all those lovely bustling breakfasts and dinners, Endeavour would arrive to pick up Fred… oh yes I do feel he had a little yearning for that. Win is such a warm and maternal character, I think she felt Endeavour needed looking after at times. She was also always aware that Fred had an almost paternal, protective relationship with Endeavour, and wanted to help nurture that.
I also think that from the first visit, Endeavour enjoyed coming round because there was that immediate chemistry between Joan and himself – I think Win picked up on that straight away.
DAMIAN: For the first few years at least, until Sam joined the army and Joan went AWOL, I suspect that, like Endeavour, Sunday-night viewers savoured the respite from grisly murders for just a few minutes to enjoy the comfort and cosiness of the Thursday family enjoying a meal round the table or sharing a box of chocolates while watching TV together on the sofa. Given the lovely chemistry between Roger, Sara, Jack and yourself, did you as an actor also feel a certain sense of loss?
CAROLINE: I always feel how lucky I am to be in this show and a part of the Thursday family, they’re all such lovely actors, and it did just work so well on set. I certainly miss having them around. Their leaving home also coincided with both my daughters leaving home, one off to University and the other to Boarding School, and you do grieve the change, the quiet… the sense of loss as your role as a parent changes, so playing Win became quite poignant. It would be fabulous to have all the Thursdays back for some celebration together before the final episode… Russell?
DAMIAN: And of course even you left, leaving poor old Fred alone at the end of last series because he loaned (and lost) a large portion of their retirement money to his brother, Charlie. I can understand that Win would have liked to have had a say in the matter but wouldn’t she have said no anyway?
CAROLINE: Truly, I believe Win would go with what Fred had wanted to do in the end. Though she does hold her own – she would have put up a fight and tried to talk him out of it, definitely! I imagine they might have negotiated how much to give him too. I think her disappointment in this awful situation was the secrecy and deceit – family means everything to Win – which is why I do think she would have ultimately wanted to help Charlie. But at the centre of the Thursday family is trust and honesty, both of which were tested in that situation.
DAMIAN: And was it selfish of Win to want Fred to give up coppering so they can compete dance competitions?
CAROLINE: Win has stood by Fred through twenty-seven years of coppering and I think she felt it was time to have something else in their lives. Not just for her, for both of them. It was something he enjoyed too. I think if things had turned out differently with Charlie, who knows…
DAMIAN: Given the fact that many of your scenes are set in the Thursday kitchen or dining room, was it something of a lovely surprise to read the script and see you would be ballroom dancing?
CAROLINE: My goodness yes! I don’t think Win had been out of the house for five films! -I may be slightly exaggerating there- but it was fabulous to have the opportunity to explore another side to their characters. And Roger is a wonderful dance partner. It was a really fun little project.
DAMIAN: What was Roger’s reaction and can you tell me a little bit about the two of you rehearsing the choreography?
CAROLINE: I think Roger was as surprised and delighted as I was! Particularly at the level of competition we had reached. It was great fun to film, but important it looked good – a bit of a challenge as neither of us had ballroom danced before! So we went off to a studio for a few hours and the marvellous, patient, Sally and friend, they were both brilliant in making us look good, took us through the routines and filmed them so we could practice in our kitchens
THURSDAY: (soaking in the view) God, I love this place. You should’ve seen their faces – Win and the kids – [when] I brought ‘em here for the first time. We’d been two-up, back to back in the Smoke. Outside lav. One cold tap. Mind – Win kept it spotless. Spotless. (a moment) ‘Is this Heaven, Dad?’ Joan. You know. Little face looking up. Those blue eyes. Couldn’t believe somewhere like this existed. Not after bomb-sites and soot. Was like we’d stepped out of black and white and into colour.
-SERIES 5, FILM 6: ICARUS
DAMIAN: I remember discussing the relationship between Endeavour and Joan a few years ago with Russ when I asked him at what point he decided that they’d fall for each other and he replied, ‘From the moment I had her open the door to him for the first time’. Not only beautiful, but it also shows what foresight and understanding he has for the characters. Did you ever discuss Fred and Win’s history with Russ prior to their move to Oxford?
CAROLINE: I think Russel has an extraordinary ability to write for individual characters, little idiosyncrasies and mannerism in their speech and behaviour carry so much story. And coming back to Win each series has always felt like putting on comfortable shoes. I think he had a clear idea of where he was taking Fred and Win and it was always exciting to see the journey. Moving to the house in Oxford is quite symbolic of what it means to be a Thursday family member really, they worked hard to achieve what they did and have that to show for it. It’s the simple things in life that matter most to Win – her family, her home.
THURSDAY: A policeman’s lot is not a happy one, I’m told. But the lot of a policeman’s wife hardly gets a mention. But while I’ve been out running around, nabbing villains and generally playing silly buggers… the real brains of the outfit has made a house a home, raised two children, our children. Seen ‘em off to school each morning, clean and smart. And somehow, even with all that to do, there’s always been a hot meal for me when I get home. Twenty-five years ago I got the best bit of luck any man ever had. The toast is… my Win.
-SERIES 2, FILM 4: SWAY
DAMIAN: One of my favourite storylines is from SWAY in which Thursday is reunited with his old war sweetheart, Luisa Armstrong. Do you think he would have continued to see her in secret had she not committed suicide?
CAROLINE: Mine too Damian, I loved working with Andy Wilson on that episode and the anniversary scene was so great. You’re aware that some scenes get cut from the final episode, and this is a case in point. Russell had written a wonderful scene where you saw Win’s strength and tenacity. Win actually spoke to Luisa and made it clear she was not going anywhere and neither was her and Fred’s relationship.
I don’t believe he would have continued to see her, Win is his one true love. We can all see the past through rose tinted glasses, and first loves will always hold a special place in one’s heart, but I don’t think he would risk losing Win.
THURSDAY: We were friends once.
LUISA: That’s the last thing we were. Friendship takes time. What did we have? Two months? Three? If that. There wasn’t room for friendship too.
THURSDAY: Don’t tell me. I was there. I remember everything. Everything. Every moment like nothing before or since. It’s here. Still. Forever. The scent of the pines. The sun on the water. So vivid. And you. All above everything, I remember you.
THURSDAY: Your eyes.
LUISA: You can’t say these things. You can’t, not to me.
THURSDAY: I’ve no-one else to say them to.
DAMIAN: Do you think Fred betrayed Win with words such as these?
CAROLINE: The relationship Fred had with Luisa was something extremely special at a time when the whole world was being torn apart in the war. He obviously felt deeply for Luisa, and he reminisces here about it. But I think he truly loves Win and, free of the pressures of fleeting, war-torn romance, their love is completely different. Those memories are real, but so are the many memories he has with Win: having children buying a home, sharing the last piece of cake on a Sunday afternoon – that’s real Thursday love!
DAMIAN: And in Luisa’s words, ‘Every life holds one great love. One name to hold onto at the end. One face to take into the dark’. No marriage is easy, but despite their ups and downs, it’ll still be Win’s face that Fred takes into the dark with him won’t it?
CAROLINE: Oh yes, they’re soul mates and have gone through thick and thin together.
DAMIAN: One last question because Russ won’t tell me, so I’m hoping you can finally reveal what Fred has on his Wednesday sandwich?
CAROLINE: I will keep you guessing…
DAMIAN: Caroline, thank you very much indeed.
CAROLINE: Thanks so much Damian!
Cavendish, I’ve a feeling we’re not in Cowley anymore…
1969: It is a new year; a new era for Oxford’s finest. A new unit base houses the set of the new police station where both old and new characters have been gathering since just before 8am in readiness to shoot scenes for Film 1 of the sixth series of Endeavour. Oh, and of course, Endeavour is sporting a new moustache.
It’s the 21st day of shooting for this film although it’s the 44th in total thus far as Film 2 was shot beforehand. Unlike my previous visit to unit base which was in Beaconsfield last year and its location safe to disclose as it would be used for the final time to make way for the redevelopment of the property, I’d better not reveal where we are this time. However, I can tell you that filming today at the impressive Thames Valley Police Station set are interior scenes in various individual offices as well as CID and the lobby with an equally impressive roll call including Shaun Evans, Roger Allam, Anton Lesser, Simon Harrison, Richard Riddell and Colin Tierney who plays a character called ACC Bottoms.
Bottoms! Despite various attempts, Anton gets the giggles every time he has to say the name ‘Bottoms’ and after one particular take, Shaun and the rest of the cast and crew are treated to him doing impressions of Frankie Howerd. Now, if you’ve never heard Anton Lesser, the great RADA-trained actor and former associate artist of the RSC, do Frankie Howerd while in costume as Reginald Bright, then you’d better hope and pray that ITV/Mammoth Screen include the outtakes on a DVD release one day as evidence of this most momentous of moments in television history.
Putting such titters aside, in many ways ‘69 is a new beginning for the series and yet, one can’t help but feel -my glass eternally half empty- that this might just be the beginning of the end. Shaun Evans seems to be increasingly interested in directing while Roger Allam is in constant demand across film, television and theatre. Besides which, would Endeavour really be the same show that we have come to know and love if it were set during the seventies?
I can think of no one better to ask than the man who devised the show and has written every one of its 27 episodes, please join me in paying attention to the man behind the curtain – the wonderful wizard of Oxon – Mr. Russell Lewis…
EQUAL OPPORTUNITY SLAUGHTERHOUSE
An exclusive ENDEAVOUR interview with Russell Lewis
Interview copyright © Damian Michael Barcroft 2019
DAMIAN: Russ, I’m sure you don’t need me to tell you that Endeavour has millions of worldwide fans who would be absolutely devastated if the show were to end any time soon. However, realistically, how much longer can it go on for?
RUSS: I don’t think there’s a danger of running out of stories — but for various reasons it’s probably safe to say that we’re closer to the end than the beginning. There’s a little way to go yet, but, for better or worse, we are starting to say goodbye.
DAMIAN: Could the show still work if set during the seventies?
RUSS: I don’t see why not. I’d always thought ‘69 was a natural terminus – but my long term partner in crime Damien Timmer [executive producer and co-managing director of Mammoth Screen] has always felt that we could move into the early 70s quite happily. He’s usually right about such things. So we shall see. There’s something that appeals to me in leaving things a little ragged at the edges.
DAMIAN: Why was Film 2 shot before Film 1, don’t you usually shoot in chronological order?
RUSS: Well — it’s no great secret, now – but Shaun Evans directed FILM 2, and that needed to shoot first so he had time to prep the film. He couldn’t have prepped his film if he was busy shooting FILM 1.
DAMIAN: And why has Endeavour grown a moustache this year?
RUSS: Mmm. I hope this will become clear in the watching. I’d seen Shaun do Miss Julie/Black Comedy at Chichester a few years ago — he sported a tache and, I think, a little soul patch, goatee number — and that look stuck in my head. There may also – subconsciously – have been some wish to reflect the change from the lovable mop-tops of the early part of the decade to the altogether hairier gentlemen striding across the zebra crossing outside Abbey Road.
People change hair styles – hair colour – try a beard for a while – all the time. You might keep it a month or two – or a year or so, and then change your mind, and move on to something else. It didn’t seem beyond the realms of possibility that it’s something he might have tried. It seems odd to me that – when it comes to their look — all fictional characters should have to be set in aspic. That’s their look in Series 1, and that’s what they look like through to Series whatever. Particularly as Endeavour’s always been about a young man becoming an older man. We change – we evolve. So should characters. It shouldn’t just be confined to the clothes somebody wears. Endeavour’s wardrobe – Thursday’s Wardrobe – Strange, Joan, Dorothea, Win — their clothes are subtly updated as each year rolls by.
But as I say — there’s a deeper reason for it too.
DAMIAN: I thought that last year’s scripts were arguably the best example so far of you structuring the various story and character arcs across the series. Do you think this might be because you knew that all the events had to lead up to the end of Oxford City Police and Cowley station, you had to write out two of the main characters, you had an extra two films to work with than usual, or simply that you’re becoming a more skilled screenwriter?
RUSS: Thanks – that’s very good of you to say – I think. It was nice to have a larger canvas – so one could let things breathe a bit more. We always know where we’re going to end up each Series – but the changes at the end of 1968 were perhaps seismic.
DAMIAN: Let’s focus on MUSE, the first episode from series 5 which in addition to the usual abundance of assorted cultural references, showcases an impressive knowledge of art including works by Caravaggio and Rembrandt. Now, I hope we know each other well enough by now that you won’t be offended when I mention that you didn’t receive the best education. Indeed, your days at school were rather sporadic (transcendental apex predators and suchlike) and I don’t think you ever went to college or university. However, it’s immediately obvious to anyone speaking to you in person or reading your scripts that you are undoubtedly an extremely knowledgeable and cultured man. I’m sure the internet has proved invaluable for research but you have to know what to put in the search engine in the first place (for example you wouldn’t just come across Weibermacht/Power of Women or something relevant to the theme of sexual hierarchy by chance) so where does all this knowledge and culture come from?
RUSS: The only thing of which I’m acutely aware are the vast gaps in that which passes for the things of which I have a rudimentary grasp. I always read a lot. One book begets another. Something catches one’s interest – and one reads around the subject. But like most con-men, frauds, bluffers and lawyers, I have a nose for knowing how to find things that are useful to my purposes. And across 5 & 6 I’ve been aided and abetted by Amy Thurgood – who has a very fine story mind, and is very good at chivvying things out that we can press into service.
DAMIAN: You originally wrote a beautifully detailed and wonderfully epic opening for MUSE set in Russia featuring the Romanovs and Bolshevik soldiers. Did you not anticipate that all this information could be more economically conveyed to the audience in a slideshow lecture as it appears in the broadcast version?
RUSS: Ha! Sometimes things are not realised to quite the degree one would wish. The lecture was a late additional pick-up. But in intention at least there seemed to be a interesting parallel between 1918/1968 and knowing it would transmit in 2018. Revolution, political upheaval, extremism of one sort or another in the air. A sense of some sort of history repeating. Prague, &c.
DAMIAN: As most Endeavour films do, MUSE begins with scenes intercut with the opening title cards which often serve to set up the story, its various subplots and characters but I was particularly intrigued with two juxtaposing scenes of the aforementioned lecture on the Fabergé egg (called ‘Innocence’ also known as ‘Nastya’s Egg’) and the demise of Oxford City Police. In addition to the more obvious parallels with the call girls and exotic dancers, was the egg also a deliberate way of symbolising the end of innocence for Endeavour and his colleagues at Cowley or a foreshadowing of new life and rebirth into Thames Valley?
RUSS: The egg arose from wanting to include the fate of the Romanovs. I had a dig around some of the missing eggs – and those commissioned and undelivered at the time of the Revolution — and it felt like we had the wriggle room to arrive at something meant for Anastasia. The parallel between what had happened to her, the issue at the heart of the matter, and Artemisia Gentileschi. All of these things felt complementary – connected in some way. The Me Too Movement. Where we’d left Joan at the end of 1968. All of that was in my mind. I wanted to do a collect the set serial killer type number — but I didn’t want to add to the long catalogue of dead women as entertainment. I think with the exception of SWAY, where it was germane to what we were about, we’ve always tried to be an equal opportunity slaughterhouse.
DAMIAN: Given that we’ve touched on the subject of James Bond so many times in our previous interviews (indeed, there’s another reference in MUSE with the Maurice Binder style of projected images onto the women at the party), might I be forgiven for thinking of Roger Moore in Octopussy every time the Fabergé egg is mentioned?
RUSS: Yeh — it was absolutely Maurice Binder, and specifically From Russia With Love I’d had in mind.
But the idea of these images projected onto a woman’s body seemed in keeping with the general theme of the piece.
The Male Gaze, etc. We were playing around also with The Thomas Crown Affair.
INT. GYMNASIUM – NIGHT 1
Boxing match. Two AMATEURS knock seven bells out of each other for the entertainment of a roaring crowd. Blood and resin.
RINGSIDE — EDDIE NERO (50s), a small town big cheese who saw too many George Raft movies. Flanked by ICE CREAM BLONDE brasses, and a COHORT of arm-twisters and jaw-breakers, EDDIE seems to live every punch; ducking and weaving in his seat, regretful that he’s not the one in the ring dishing it out.
With his bared teeth, and goading, ‘Have him!’, EDDIE’s relish of the violence borders on the edge of something carnal.
DAMIAN: We’ve often seen rather polite and cultivated villains across Inspector Morse, Lewis and Endeavour, so I’m wondering if the creation of a character like Eddie Nero, combined with the following description early in the script for MUSE: ‘The decade has turned. The promise of the Summer of Love withered upon the vine. Comedown faces. Sour. Sallow. Tired.’, is evidence of you attempting to paint a more bleak and gritty portrait of Oxford than we are usually accustomed to?
RUSS: I think we’ve always tried balance the ivory tower/college side of things – which is Endeavour’s world – with Thursday’s slightly more grounded world of cops and villains. But, yes – looking at period material – newsreels, cultural material – I certainly picked up on a sense of comedown after ‘67. Hope deferred. Paradise indefinitely postponed. The Garden of Eden become rank with sedge and weeds. The aspiration was a beautiful thing, though it took one hell of a beating – Vietnam; Doctor King; Bobby Kennedy. For a long time it’s felt as if – to borrow a phrase – ‘John Doe has the upper hand.’ The Man. The Establishment. Lately, the gangster states. Call it what you will. But the dream endures. The reverses are painful, but temporary. ‘All you fascists bound to lose.’
DAMIAN: Didn’t Emperor Nero also have a gym?
RUSS: Up at the Golden Palace? I don’t think he used it much.
DAMIAN: Personally, one of the highlights of series 5 were the scenes between Endeavour and Strange sharing a flat together. A beautiful example from this film would be Endeavour trying his best to focus on his Times crossword while Strange is reading a tabloid newspaper and slurping tea from the other side of the breakfast table. All a bit Morecambe and Wise wasn’t it?
RUSS: We were going for Neil Simon’s The Odd Couple (1968) throughout.
DAMIAN: How did you come up with the wonderful idea of Strange playing the trombone?
RUSS: It seemed his natural instrument.
DAMIAN: Thursday was shot at the end of the second series and the third picks up months later after all the drama of his recovery and the reaction of his family happens off-screen, similarly and also off-screen, Endeavour discovers Joan is pregnant and asks her to marry him at the end of series 4 but months later, we learn in MUSE that she ‘slipped’. Would it be fair to say that you’re better at creating dramatic and emotional cliffhangers than you are at resolving them in an equally dramatic and emotional way?
RUSS: Mmm. Well — that would be one way of looking at it. My feeling is that a lie agreed upon – that Joan ‘slipped’ – says a deal more than a plonky, ‘well – this happened, then that happened.’ There are months of story between series — things to which we’re not privy. I find it more interesting to offer glimpses and clues, and give the audience room to draw their own conclusions. Back to Thursday’s ‘not every question gets an answer.’ Life more often messy than coming with pat answers and tied up with a bow. Things like that… life experiences are an ongoing thing. Part of us. There isn’t a moment where a line is drawn. Things fade – but it’s a slow, soft fade. But each to their own.
EXT. LONSDALE/QUAD/CLOISTERS – NIGHT 1
Quiet and still. Nothing stirs. Moonlight over the chimney stacks and towers. A shape takes substance. THE SHADOW.
A FIGURE IN BLACK — night’s dark agent, in balaclava and rope soled shoes, moves with feline stealth across the cloister…
Dr.ROBIN GREY, (40s), crosses the quad with the MASTER. He glances upwards, and reacts to something o.s. [off screen]
ROBIN: Good Lord. Master…
MASTER: Ho, there! You! Up on the roof!
THE SHADOW — spotted, turns and melts into the darkness.
DAMIAN: ‘Night’s dark agent’ and ‘melts into the darkness’. I think the more I do these interviews, the more elusive your intentions and motivations become. Are you being genuine or is there a certain sense of irony when you write stuff like this or simply trying to evoke pulp fiction, spy novels and other genres such as your references to the Pink Panther movies elsewhere in the script?
RUSS: It’s important to convey to everyone what I’m trying to invoke – an atmosphere; a vibe – to spark their imagination, and to do it with a certain economy. So – I guess that’s where such things come from. It’s not the job of the writer to fill the screenplay out with Camera Directions or block the scene on the page — and to do so is looked on pretty dimly by those wearing the Von Stroheim pants and hunting boots. But what one can do is suggest mood and describe the action as elegantly as possible. The golden age of Pulp writers were brilliantly economical, so maybe the pulp thing comes from that. You know, real estate on the page is at a premium. We’re not describing every location or character in minute detail — so we have to present thumbnail sketches of whatever it might be. And hopefully that gets across to the director what one’s about – and the Heads of Department – and will set their motors running. Then, as we get closer to the first day of principal photography, we get together for a tone meeting or two, and everyone presents what they’ve drawn from the text – costume, design, hair and makeup.
You have to be prepared to be flexible – I’ve probably said it before — a location falls through, or actors’ availability changes due to unforeseen circumstances, or the schedule means you can’t get a scene – so you might have to conflate a couple of things. What I’m saying is unless it’s specific to the plot, you might not be able to realise everything that’s on the page, but so long as what is substituted is true to the intent and the tone of the original design… Which is why those little florid, mauve passages of stage direction can be useful.
It’s as much To Catch a Thief as anything else – but, yes, the shadow of the Lugash Diamond looms large. I think something we’ve done across the various series – and something that I find an interesting and enjoyable process – is recasting something conceived elsewhere as light or comedic in intention into something darker.
DAMIAN: It’s interesting that Endeavour mentions Simon Templar in reference to the Shadow. Do you happen to know the title of the book in which Templar made his debut?
RUSS: Not offhand. But having googled it, I can see why it would amuse you.
DAMIAN: Small things Russ, small things. In addition to perhaps foreshadowing the relationship between Morse and Lewis, was the creation and one of the primary functions of George Fancy to die and thus set up a chain of events that will be followed up in series 6?
RUSS: George Fancy served a number of purposes – but you’re correct about an early incarnation of the Morse/Lewis dynamic. We thought it would be interesting to see how Endeavour took to the role of mentor that came with his slightly more senior rank. There was also a wish to give Dakota Blue Richards/Trewlove something to play beyond her more familiar role, and a fitting departure. We only got the word that Dakota didn’t want to do any more on the day we wrapped Series 4. It seemed a shame that Trewlove wouldn’t get to say goodbye properly — so Damien Timmer and self had tea with Dakota and outlined what we had in mind. Thankfully, she was agreeable. Series 5 was very much about saying so long to Shirley.
DAMIAN: I loved the editing in the scene between shots of Endeavour reaching to unveil the bedsheet under which is the decapitated body of Simon Lake and Thursday reaching for the silver platter covering the severed head. Was it a dramatic or financial decision not to show any graphic detail or simply a matter of taste?
RUSS: A matter of the Watershed. Though we run from 8pm to 10pm — we are bound by the strictures of Ofcom for the whole running time as we start before 9pm. The mind of the viewer can always be relied upon to come up with something more horrific than we would be able to present to them on screen.
DAMIAN: Can you describe the reaction at the readthrough to The Berserkers and what they did to the pig’s head centrepiece at the Shiplake Chase Hotel?
RUSS: There may have been a certain amount of laughter. Likely of the hollow variety.
DAMIAN: What can you tell us about the first film of series 6, PYLON ?
RUSS: Things have changed. The death of one of their number, the end of Cowley, the decade guttering to a close… it all seems to mark a certain end of innocence. For us, too. ‘68 was the end of the Second Act. Endeavour was notionally mid-twenties when we began – knocked about a bit, but still with something of the puppy about him. Eager. Optimistic. Hopeful. For all his protestations to the contrary, the murder of George Fancy affected him deeply. We have, I think, said goodbye to the boy.
Interview copyright © Damian Michael Barcroft 2019
All original images courtesy of The Red Dress Studio
Looking through the many impressive images on the website of The Red Dress, the London based illustration and commercial artists studio run by Olivia Chancellor and her husband Oliver Bland, I’m immediately drawn to their retro, film noir and pulp aesthetics.
Little wonder that their clients include Radio Times, Time Out, Total Film, Empire Magazine and Arrow Films, one of my favourite distribution labels of classic and cult Blu-Ray releases. And most recently, of course, Mammoth Screen with the stunning new poster for Endeavour. I spoke to Olivia about the classic film posters that influenced this as well as the art that inspires her…
DAMIAN: Thinking back to when you were a child, were there any particular book covers, film posters or art in general that you think may have inspired your early career aspirations and later setting up of The Red Dress?
OLIVIA: I remember having Philip Castle’s poster for Clockwork Orange on my wall as a teenager and loved the Rocky Horror Picture Show. Ollie has always loved the National Lampoon’s Vacation artwork by Boris Vallejo and all the old James Bond posters. I think that sums us up quite well.
DAMIAN: You have a passion for vintage posters, especially B-Movies, Film Noir and Pulp Fiction illustration, but when do you think that you really began to notice and appreciate these?
OLIVIA: Probably not really until we were at Central St Martins doing our degree. We’d scour charity shops and car boot sales for pulp fiction, vintage mags and annuals, choosing the ones with the best looking covers.
DAMIAN: If you had to choose a favourite image or one that best represented the work of The Red Dress studio, what would it be?
OLIVIA: Our favourite of recent years, apart from the Endeavour artwork, is the Empire subscribers cover we did last year – Bad Times at the El Royale. Though really we should choose our first and original poster The Red Dress as it sums up the sort of work we hoped to get when we first set up 13 years ago. It also is a daft double portrait of us both!
DAMIAN: What was the brief when you were commissioned to design the Endeavour poster and was there any explicit information given regarding the look and tone they were after?
OLIVIA: The brief was to stay true to the time period, position Morse and Thursday as a duo, exude the show’s high quality production and embrace the Oxford setting. Images referenced were Dr No artwork by Paul Mann, Get Carter poster illustration by Arnaldo Putzu and Coffy artwork by George Akimoto.
These poster examples share a montage style inclusive of larger sized main characters with smaller stories and action scenes happening around them. They all fade to a plain white or black background.
DAMIAN: After presenting some early concept designs, I believe the only notes given from the writer and Mammoth Screen was the inclusion of Bright and the Jaguar, but stylistically, it was very much the artist’s vision?
OLIVIA: Yes, as jobs go there were very few changes, but time was short as we only had two and a half weeks from briefing to final print deadline and this covered Christmas and New year.
We went to Oxford to take photos of the architecture which we worked from as well as screen grabs from the edit and some behind the scenes photography. We spent quite a while positioning who and what we wanted to go where, how the lighting was going to work etc. A little later comes in the muted colour palate.
DAMIAN: Was there any research into either the art of 1960s period posters or marketing for the crime/detective TV and film genre more generally?
OLIVIA: Apart from the reference given in the brief there were no particular film posters that we took direct inspiration from, but as we specialise in painting vintage style posters the knowledge is there in our heads from years of producing similar artwork.
Someone [actually, lovely chap and Endeavour scholar, Ian Baker] on social media pointed out the similarity between the Endeavour poster and the 1974 Chinatown poster, but that wasn’t on purpose. Thinking about it now though there are perhaps elements from Out of the Past poster by William Rose but again it wasn’t part of the plan.
We definitely wanted to make sure that the beautiful Film Noir style of how Endeavour is filmed was mirrored in the image, so the smoking gun, profile of Thursday with trilby, and the interrogation room scene play up to that.
We meet at the train station where the tannoy system blasts out its arrivals and departures but, as I notice his car parked and waiting for me outside the booking office, all I hear is Rachmaninoff’s Piano Concerto No. 2…
DAMIAN: Morning Lewis, much in? Oh, before I forget, Dolly Messiter sends her regards. Now then, tell me a little bit about Endeavour HQ and how long you’ve been based there.
RUSS: We’ve been at a place called Wilton Park – a former Tri-Services Language School in Beaconsfield – since Series 3 — so… three years, more or less. Our standing sets – Cowley nick; Strange and Endeavour’s flat; the Thursday house; mortuary, &c. — are housed in a couple of buildings. The gymnasium – having the most floor space – taking the lion’s share. However, our current home is now being redeveloped so – should we return – we’ll be looking for a new base to house those sets…
If you the missed the first part of this set report you can catch up with it here: Set Report Part I
195: PART II
An Exclusive ENDEAVOUR Set Report
Article, interviews & photographs copyright © Damian Michael Barcroft 2018
Walking into the main building, we soon find ourselves standing in what was a large gymnasium and there are various clues providing evidence of its previous purpose including a retractable basketball goal suspended from above, a climbing wall to the left, some wooden gym benches scattered about and a sad, solitary pommel horse looking rather lost and out of place among all the camera and lighting equipment that has been set up for today’s shooting of the final episode of series 5 on this penultimate day of filming.
In the centre stands what looks similar to, at least in its approximate dimensions, a mobile home but one made of wood and propped up by various coulisses or flats. The entrance is fitted with two wooden doors with aquatex or minister-type glass windows but as we open them to walk inside, this almost surreal scene soon becomes much more familiar upon seeing the corridor complete with noticeboard warning, quite poignantly and with a sense of foreboding considering a certain future remorseful day, excessive drinking can cause serious illness.
Taking a few steps further along the corridor and then turning right, there’s a locker marked “evidence” and a crime board behind with various mugshots. I am, of course, now standing in CID, Cowley Police Station, the home and heart of Endeavour with its writer and executive producer, Russell Lewis.
DAMIAN: That’s Strange’s desk in front of us, Endeavour’s to the left of his and Thursday’s office behind that. Although I now realise that Bright’s office is in a completely separate building in real life, where do you imagine it to be in your head and in relation to where we are now?
RUSS: Around the corner.
DAMIAN: When you’re writing a scene at home, and let’s use Thursday’s office as an example, do you see a computer screen splashed with courier font or do you actually see Roger Allam, his fedora hanging on the hatstand next to him and all the little details such as the pipe stand, lighter and ashtray?
RUSS: That’s the devil of a question. Because it’s really ‘how do you write a scene?’ It’s difficult to describe something instinctive. And also tricky to describe a process one doesn’t analyse in the moment without sounding absolutely crackers. You’re in the Twilight Zone. A sort of disassociated mental state. The physical act of moving fingers over keys is more or less unconscious. I can hear Rog being Thursday, or Shaun being Endeavour in my mind’s ear. There’s probably two or three points of visual focus — the screen; a space about a foot in front of one’s head – midway between the eyes and the screen; and maybe off to the side. One of the things said about lying is that people look to the right when constructing a falsehood, or look to the left when recalling an actual event. Writing a scene – you’re creating something fundamentally untrue, but you have to believe in it to make it credible. So… I said it was hard to describe — you’re working in an arena of feeling, rather than something you see in your mind’s eye. You feel the scene – from each character’s point of view. Slipping between one and the other or however many of them there are in the room. You’re all of them at the same time — and still in control of directing what they say and do. So – as I’m writing a Thursday line, I’m already aware of what Endeavour will say in reply – and back to Thursday, and so forth. But the process is a kind of conscious and focussed dreaming. A performance – of sorts. Private – mercifully – and it would be very boring to watch. But a performance all the same. You just attack it line by line. Get it down. Some scenes write themselves — others… it’s pulling teeth.
I’ll let the characters run on. Find out what they’ve got to say. You might write a speech of half a dozen lines until you find the thing that character’s really trying to say. Often it’s the thing you’ve been fighting against letting them say. Because – in the end, they’re all extensions of one’s personality – aspects of it at least. And that’s what you’re resisting. Exposing yourself – emotionally. All those places one would sooner not go. You have to dredge them up and put them on the page.
As I’ve said before, most of the time it’s the other guy that slips behind the wheel. The dark passenger. He’s the real brains of the outfit. I just do the typing. None of which is helpful, I’m sure. So – apologies if this isn’t a particularly illuminating answer to your question, but it’s not something I think about overmuch.
The closest comparison I can make is to a jazz solo. It’s an extended improvisation that happens in the moment. There’s technique and experience behind it — but one has to transcend all that, forget it almost, not reach for the riffs that live in muscle memory and fall easily under the fingers — you have to reach for something new, and make it truthful. Speak from the heart, not the head.
You probably won’t find this stuff in McKee.
DAMIAN: It sounds like I’m taking the Michael but I’m genuinely not, do you ever explore or experiment with a line, perhaps particularly some of Thursday’s magical idioms, by saying them aloud to yourself before writing them?
RUSS: Rarely. You develop an ear, I suppose. It helps perhaps that I came to it from the other side of the camera. You know by experience and instinct whether a line will play or not. It’s in your bones. But you don’t need to say it aloud — you can hear the intonation and phrasing – the beats and stresses – the music of the line – in your head. It’s something I remember doing as a kid – I think all kids do it. Play acting. Who wants to play Lost In Space? Or Land of the Giants. I’ll say this — and then you say that. I certainly remember that being part of the playground. Those breaktime visits to Bucks Fizz’s ‘Land of Make Believe.’
Elementary writing and direction, perhaps. You see them do it with toys – playing with dolls and GI Joe or Action Man or whatever — they have them ‘talk’ to each other. That’s either something from life, or something they’ve seen on the box. The toys recreate a scene. This one says this — that one says that. And the thing being mimicked is expanded upon with a new line or a bit of business. Doubtless that’s an evolutionary mechanism that serves a developmental process – learning and experimenting with language – playing with thoughts and emotions. Now the dolls are fighting, now they’re being friends.
Spielberg was right. If you ever got down to floor level with your toy soldiers, closed one eyed, and look at a battlefield from the perspective of one of those toy soldiers — that is instinctive directing, and probably cinematography too. That impulse. Or perhaps children are just certifiable. The walls between fantasy and reality – magic thinking – seem very thin at that age. Maybe those that work in a creative line hang on to some part of that. At least they keep a key that opens the door to that world.
DAMIAN: I’m presuming that directors don’t just turn up improvising where to put the camera but rather that there is a certain amount of shots that are planned in advance. Therefore, I wonder if directors get to see the set beforehand because the design and setup would exclude certain shots such as a continuous “walk and talk” from here to Bright’s office for example?
RUSS: Oh – absolutely. Directors typically come on with five weeks Prep, across which time — if they’re not already familiar with the show — they’ll acquaint themselves with the topography of the standing sets. I would think 75% of what we do is not at base, though. Which is where the various Recces and Tech Recces are invaluable. You should talk to our directors – get the skinny first hand.
RUSS: It’s a fun place to visit – but I wouldn’t want to live here. I guess, a bit — maybe. It’s a performance space. Cast and crew have done wonderful work here. So it’s special for those reasons.
RUSS: I love seeing everyone on the day — lots of hellos and how d’you dos — and it’s a privilege to hear them give life to the words. Sometimes if they’re in a puckish mood they’ll have a bit of fun with a line here or there. It’s lovely to hear this or that thing get a laugh in the room – cause you know – you’re playing your stuff to a pro crowd that knows a thing or two. But – there’s always a but – for reasons I’ll spare you, it’s always a very tough day. There’s a lot riding on it. A lot of money has been committed to making it – and a similar investment of time and hard work is resting on whether you’ve done your job properly. You’re usually only a couple of days from shooting – so it’s crunch time.
Either our sainted Casting Director Susie Parriss reads in the action, or the 1st AD for that particular film. You won’t always have a full cast. So some actors will ‘read in’ for other characters — which can be fun.
The seating plan is a bit like that for a Wedding. You’ve got a rectangle of desks around which sit the cast, execs, director, drama heads from the network, &c., and then chairs running around the walls – where the HoDs and their teams are – press department, runners, Production. About fifty to seventy people maybe.
Back in the gym, various members of the crew are now gathered together around a playback monitor to watch the CID scenes about to be shot and also to bask in the glow of a portable heater which has been brought in to combat the November chill. It’s a scene reminiscent of children sitting around a campfire listening to ghost stories and there’s sweets too – courtesy of hair and make-up designer, Irene Napier.
DAMIAN: Irene, is it true that you are one of the very few members of the crew to have worked on every single episode of Endeavour?
IRENE: Yes. Apart from the powers that be.
DAMIAN: That’s quite an achievement and rather something of an honour isn’t it?
IRENE: Yes. Quite often when a new producer takes over they take on a new crew, so I must be doing something right!
DAMIAN: You’ve actually been a fan of Morse since the original show began in 1987?
DAMIAN: Any favourite episodes that spring to mind?
IRENE: Goodness, I’m not sure. They’re all good.
DAMIAN: And what about Endeavour, do you have any particular favourites?
IRENE: ROCKET, SWAY, RIDE, CANTICLE, and CARTOUCHE.
DAMIAN: You’ve worked on many projects throughout the years including Monarch of the Glen, Rebus, The Inspector Lynley Mysteries, Bad Girls, Jekyll, Wire in the Blood, Garrow’s Law, Holby City, Shetland and One of Us to name but a few. A lot of your CV is made up detective and crime dramas so I’m wondering if you have a particular fondness for the genre?
IRENE: Not really it was just the way the work came in.
DAMIAN: Also, more than a few of these just happen to be set in Scotland! Hardly a coincidence I shouldn’t think?
IRENE: I actually live in Edinburgh!
DAMIAN: Yes, I know. And then you went to India!
IRENE: [Indian Summers] Was actually shot on Penang in Malaysia. We were there for six months. It was an amazing experience, but very hard work.
DAMIAN: Is travelling a significant factor in your decision to take on a project because they can involve working quite long hours can’t they?
IRENE: Sometime it’s a factor. It depends where you go. You don’t always get to see much of the country because of the hours.
DAMIAN: I also notice you worked on the ill-fated sequel to The Wicker Man but it did feature Clive Russell who I’ve interviewed for Ripper Street and Christopher Lee in a cameo role. What were these two great gentlemen like on set?
IRENE: Yes, that was quite a shoot! I didn’t, sadly, get to meet Christopher Lee as they shot that in London much later. But I’ve known, and have worked with, Clive many times over the years. Lovely man.
DAMIAN: And one more project you’ve worked on that I must ask you about before we move onto Endeavour is Rillington Place which I thought was very good indeed. What was the atmosphere like on that particular dark and dank project?
IRENE: It was as dark as the shoot.
DAMIAN: So, Endeavour, tell me how you got the job in the first place?
IRENE: I’d worked with director Colm McCarthy before and he suggested me to producer Dan McCulloch and we met and he gave me the job.
DAMIAN: What do you think it is that makes Endeavour so successful and well loved?
IRENE: I think the writing is wonderful and the cast are amazing.
DAMIAN: I’m always struck by the friendless of the cast and crew whenever I visit the set but there’s also an almost family bond between them as well isn’t there?
IRENE: Yes. That comes from the top and Shaun and Roger go out of their way to make sure everyone is welcomed and looked after.
DAMIAN: To what extent do you collaborate with Russ, the directors and producers, as well as people like the costume designers to get the right look for all the characters?
IRENE: We all work very closely together. Sometimes what’s written isn’t always possible, due to casting so we all collaborate to get it as close to what’s wanted.
DAMIAN: I imagine you’ve had quite a few stunt doubles over the years, are these a particular challenge from your point of view?
IRENE: Yes but they’re usually shot sympathetically to help us out.
DAMIAN: Abigail must be fun to work with, how would you describe Dorothea’s look?
IRENE: She’s a joy. I’d say it’s a casual look as befitting a working woman of the time.
DAMIAN: Can you describe the average day on set including what time you have to be here in the morning?
IRENE: We usually arrive at 6.45am in time to set up for the artists calls at 7.00. Then we sometimes all go on set, depending on how many artists there are, or someone will stay back to get the next wave ready. The day continues like that.
DAMIAN: How does it work then, do you do the make up for the main cast one by one in their individual trailers?
IRENE: We have a large make-up truck, set up with all our kit so that everything is on hand.
DAMIAN: Some of the cast must be a little grumpy first thing in the morning. Who’s often the grumpiest?
IRENE: They’re all a joy.
DAMIAN: Presumably you have to stay on set throughout the day?
IRENE: I go back and forwards to the truck, depending on what we’re shooting.
DAMIAN: I notice your bag full of sweets that you keep sharing with everyone. Given the fact that you’ve worked on Endeavour since the very beginning, do you have a certain motherly quality about you especially towards the younger and less experienced members of the crew?
IRENE: It’s always nice to have a little treat. Probably have a bit of motherly care.
DAMIAN: Irene, thank you very much indeed.
IRENE: You’re welcome.
The actors are now emerging from the green room and I hear that cough again followed by a clearing of the throat. Roger Allam doesn’t simply walk onto a set, he charges like a man on a mission. I’ve seen him before but once again, I’m reminded of a director whose work I’ve admired enormously over the years, the great Elia Kazan, a proponent of Method Acting alongside Lee Strasberg and director of such classics as A Streetcar Named Desire, Viva Zapata!, On the Waterfront and East of Eden. In his acclaimed autobiography, Kazan writes “‘Why are you mad?’ My wife asks me that, seems like every morning. Usually at breakfast, when my face is still wrinkled from sleep. ‘I’m not mad,’ I say. ‘It’s just my face’.
And so it is with the imposing Roger Allam whose face cannot help but emote absolute intensity and a certain level of ferocity – and that’s before the cameras start to roll – it’s just his face. This is a man you can really believe would have your cobblers for a key fob if you did anything to upset him. Of course, and in complete contrast, everyone tells me – cast and crew alike, that he’s an utter joy to work with and has a wicked sense of humour. Maybe he’ll crack a joke or two later but I won’t be banking on it any time soon.
Shaun Evans also walks by with the usual spring in his step. It’s almost jaunty. As though each step or two forward is a prelude to a little dance number. He immediately starts laughing and joking with the crew. This is the third time that I’ve witnessed him filming and he’s always like this. I like to imagine him as something of a Flâneur as he saunters and strolls around saying hello to everyone. Shaun shows a genuine interest in everyone he meets and has a keen ear for accents and dialect. On the occasion of our first meeting, for example, he instantly knew I was from Stoke. Indeed, chip-eaters all of us, Liverpudlian and Stokie accents are not all that dissimilar in some respects.
And good God man, it’s Anton Lesser! I don’t know if, in addition to Endeavour, you’ve seen many of his other great screen performances such as the Archbishop of Canterbury in The Palace, the Duke of Exeter in The Hollow Crown, Prime Minister Attlee in A United Kingdom, Sir Thomas More in Wolf Hall and, of course, another Prime Minister, this time Harold Macmillan in The Crown and Qyburn in Game of Thrones – two of the biggest shows on the planet right now – but he really is every bit as mercurial and enigmatic in person as he is on screen.
As the three of them discuss their next scene in CID with the director, Russ and I chat to Dakota Blue Richards who’s also just arrived on set. She’s wearing a beautiful long camel coat which the costume designer, Mary-Jane Reyner picked up at a vintage shop in Brighton. Also, having decided to go back to her own natural hair colour before shooting began, Dakota’s also wearing a wig. Indeed, the wig and the cut of the long coat combined, she gives off a cool blonde femme fatale vibe as though she’d stepped out of a Film Noir movie from the 1940s or 50s. We talk about a project that I’d better not mention here just yet but you can read my (previously posted) interview with her here.
We join some of the cast and crew round the monitor to watch as the CID scenes are recorded. Producer Neil Duncan (see previously posted interview) tells me, presumably in reference to the way I’m dressed, that I’d make a good CID officer. He doesn’t offer me a part though. Shame, because I’m sure I’ve heard the name DI Barcroft somewhere before. Talk then turns to what’s on today’s menu (I think I told you about the Shepherd’s Pie, Vegetable Burrito and chips!) and Lewis Peek (see previously posted interview) asks Russ what the difference is between Cottage and Shepherd’s Pie. I resist the temptation to add that an easy way to remember Shepherd’s Pie is to recall a line from Dr Lecter: ‘You will let me know when those lambs stop screaming, won’t you?’
After lunch we visit the art and props department which strikes me as something of a cross between Q’s workshop and the North Pole. This is the magical place where the elves make pretty much everything we see on screen that can’t be sourced from an antiques fair or car boot sale. So every time you see a tax disc in the car window, various police photofits or framed photos on someone’s desk, a packet of cigarettes or a bottle of booze, various letters and newspapers (the articles still need to be written even if you can’t make out way they’re about on screen) and even carrier bags, all these props need to be made by someone and this is where you’ll probably find them.
When he’s not driving around in a bus with the heads of department and key crew during what they call a “tech recce”, scouting every single location or joining his team for shopping trips to buy furniture and furnishings, you’ll also sometimes find production designer Paul Cripps here too. (see previously posted interview) Various artists have contributed to the design of the show over the years so while sets including CID, Max’s mortuary and the Thursday house will pretty much remain the same each series, every new set that we haven’t seen before including the Crossroads Motel (I used to love Benny Hawkins), interiors of the Roxy Cinema, Endeavour and Strange’s shared maisonette, these and so many more all need to be designed, actually built from scratch and then furnished.
Although I’m not allowed to try any of them on, we pass through the costume department on our way to somewhere very special indeed. If the art and props department is where all those wonderful artefacts are designed and made, this is their graveyard where they are laid to rest and kept just in case they ever need resurrecting again in the future. It’s either an Aladdin’s cave of interesting and curious delights if you’ve poured over every single detail of the show as I’ve done for the past few years, or a sixties jumble sale if you’re not quite so obsessive.
Once again however, time is of the essence as all these treasures are being packed away into boxes and the scene will soon resemble the closing shot from Raiders of the Lost Ark. Indeed, misquoting Indiana Jones ever so slightly, I say to Russ, as I also did to Paul Cripps, that all this stuff belongs in a museum. He then shows me something that truly does belong in a museum or gallery at least…
Some of you may recall a piece I wrote last March as a tribute to Colin Dexter in which I mentioned that I missed out on meeting him by a mere 24 hours. Well, Russ rifles through a stack of large framed pictures and shows me the portrait of Colin that was on the wall of Dorothea Frazil’s office at the Oxford Mail. I suppose this is as close as I’ll get to the great man. In contrast to the rest of the day’s excitement, this is a reflective and beautiful moment albeit one touched with much poignancy.
DAMIAN: That evening with Colin at the Randolph Hotel where the two of you met to discuss doing a one-off special prequel to celebrate the silver anniversary of Inspector Morse must seem like a very long time ago now?
RUSS: Perhaps – I don’t know. The older one gets, things that happened a decade ago feel like they happened yesterday. So…
DAMIAN: Having Colin’s feedback and input for at least the first couple of series, do you ever stop to wonder what he’d have to say regarding the scripts as you write them now?
RUSS: That way madness lies. We don’t have him beside us any more. I just try to stay true to what we originally set out to do — which was to fill in the blanks.
DAMIAN: When was the last time you saw or spoke to Colin?
RUSS: At Blenheim – appropriately enough. It was where my association with his creation began, as the palace features very heavily in The Way Through the Woods. Me, Shaun and Dan McCulloch did a Q&A with Colin as part of a literary festival held there. And afterwards we spent a very happy hour or so in the cafeteria with him – talking poetry mostly. Passers-by stopped at the table to wish him well. He was in his element. Not in the best of health – but twinkling brightly, as always. And then it was time for him to go. So — the last image I have of Colin is of him taking Shaun’s arm for support as he made his way to a waiting car. It sounds like a movie cliche, but that’s how it was. The creator and the youngest incarnation of his creation, arm in arm for one last time. To the end. Dolly back, and… Fade out.
We’re now outside the main building having a smoke again and there’s another fellow also here wearing a fetching maroon tank top. I walk over to him, shake his hand and say, ‘Hello, matey’. Really rather embarrassing, I know, and yet I find I can’t help myself. He looks at me as though I’ve been let out for the day with Russ acting as my primary caregiver but after a gentle reminder that I’m the chap who did an interview with him a few years ago, he seems to breath (an ever so slight) sigh of relief. The character of Strange has evolved quite a bit since my first interview with Sean Rigby back in April 2014 so we discuss some of the most significant changes.
DAMIAN: In terms of how Strange has developed, the first thing that springs to mind are the events towards the end of NEVERLAND (S2: E4). While I appreciate that he was someone, at that stage of his development at least, who was more of a conformist and rule bound, isn’t it still unforgivable that he hesitated for so long and initially chose to follow ACC Clive Deare’s orders rather than help his friends Endeavour and Thursday at Blenheim Vale?
SEAN: I think unforgivable may be a tad extreme. Strange made the right decision in the end and, hopefully, that is what counts most.
DAMIAN: I think that part of the reason that Strange is such a fascinating character is that he’s often got this deadpan and almost innocently oblivious quality on the one hand (indeed, you described him as having something of the Auguste clown about him in our original interview) and yet, we’ve also seen a more cunning, calculating and complicated side to him with regards to climbing up the ladder in recent years haven’t we?
SEAN: Yes and I think that is all part of Strange becoming a more rounded character as the story progresses. It’s something we’ve seen with all the supporting characters, the duality of their personalities. Bright being impulsive and heroic. DeBryn’s heart and sombreness. Those are the two examples that spring to mind most readily.
DAMIAN: As someone who has been wanting to learn more about the background and personal lives of characters such as Bright, Max and, indeed Strange, I was delighted to see that Russ has finally written some scenes for you that shed some light on this at last. Is this something you’ve also pushed for?
SEAN: I’m not really the pushing sort. “You know what this needs? More of me!” It has been fun exploring how Strange inhabits different spaces, certainly. We all want to know what people get up to behind closed doors and what’s in their shopping trolley.
DAMIAN: Indeed, I was greatly amused and delighted to learn that in the first film of this year’s run that Endeavour has moved in with Strange and although they’re not quite sharing a bed together, isn’t their unlikely partnership beginning to resemble Laurel and Hardy or Morcambe and Wise?
SEAN: We had a great deal of fun filming those scenes. I don’t think their cohabitation will ever reach the harmonious heights of Morcambe and Wise making breakfast together though.
I’m not sure who would be who. I do have short, fat, hairy legs so make of that what you will.
DAMIAN: What’s with the trombone all of a sudden?
SEAN: Ah, the trombone!
DAMIAN: Do you play?
SEAN: Not in the slightest. I used to play the cornet as a kid but I am reliably informed by my parents that I was utterly pants. I had a good whack at the trombone regardless. I produced a sound akin to an asthmatic goose being sat on.
DAMIAN: I absolutely loved the scene in ARCADIA (S3:E2) when Strange, once again, completely genuine but oblivious gives Endeavour the James Last album. Since you’re a young lad, do you even know who James Last is and appreciate how funny it is to give it to someone like Endeavour?
SEAN: I made myself aware after reading the script and I can’t say it lingered on my iPod long afterwards. No offence intended to any James Last fans out there. Shaun is hilarious in that scene, like a young boy unwrapping an itchy jumper from his Gran on Christmas morning.
DAMIAN: And isn’t it fantastic moments like these that economically sum up almost everything we need to know about Strange and his polar opposite relationship with Endeavour?
SEAN: Absolutely. They find each other, for different reasons, quite hard to figure out at times.
DAMIAN: Naturally Endeavour turns his nose up at the gift and in the same episode, when the two are at the pub, he also complains about the pint Strange has got him for being too cloudy and also mocks him for drinking Double Diamond lager. Endeavour is really very unkind towards Strange isn’t he?
SEAN: Yeah, the ungrateful git. It is true to life though, isn’t it? When we feel at odds with the world, or hard done by, we take out our frustrations on those closest to us. Morse’s options are fairly limited in that regard.
DAMIAN: How do you think the relationship between the two has developed since Strange was first introduced in GIRL (S1:E1)?
SEAN: It’s certainly had its ups and downs. There’s more of a shorthand between the two. Not too much, mind.
DAMIAN: And we must mention Strange’s legendary tank tops which he seems to wear regardless to weather conditions as though his mother still dresses him. Is it fair to say he’s a bit drab and frumpish before his time?
SEAN: I think that would be entirely fair to say. The swinging 60’s really passed Strange by where fashion is concerned. Probably where everything else is concerned too!
DAMIAN: Is the maroon tank top his particular favourite?
SEAN: As it’s probably the least flattering of the lot I’m going to say yes.
DAMIAN: In a fantastically tense scene between two men with such loyalty and respect for each other, Endeavour doesn’t approve of Strange punching the informant Bernie Waters in CODA (S3:E4). Do you think that Strange is much closer to, and influenced by the methods of Thursday than Endeavour could ever be?
SEAN: I think by dint of his intellect and abilities, Endeavour stands alone. That’s not to say that there isn’t a great deal Morse can’t learn from Thursday, but he certainly has a few more avenues available to him when it comes to an investigation. Strange is going to take all the help he can get.
DAMIAN: Finally, and I’m not sure who told me this although it was probably Russ, is it true that you regard performing in scenes with Roger Allam and Anton Lesser as masterclasses in acting?
SEAN: I think that was in reference to one particular scene, series 3 if memory serves, where they’re both having a bit of a hoo-ha in Thursday’s office. I had to come in towards the end of the scene and deliver a bit of news of some sort. From rehearsals to the last take I had my nose pressed against the glass in total awe of the pair of them. Not just the acting but the way they communicated with each other, from one actor to another. They both had the goal of making the scene the best it could be, playing together in the purest sense. Ask any actor worth a sniff and they’ll tell you that there is nothing more thrilling than that.
Obviously, apart from that one particular scene, they’re both normally crap.
DAMIAN: Sean, thank you matey!
SEAN: A pleasure!
It’s late now. It’s getting dark and Russ reminds me that I have a train to catch so I’d better shake a leg. There’s been a last-minute alteration to the shooting schedule and so the order in which some of the scenes are shot have changed which means everything will run slightly later than planned and I won’t get to speak to some of the other cast now. However, there might just be time for one more hello and it’s funny because you’d think that with all the questions I’ve asked various members of the Endeavour cast and crew over the years, that I would be more than capable of answering a very simple question myself. Not so.
Russ has arranged for me to have a photo with a hero of mine; a gentleman who asks in that rich and aristocratic voice of his, ‘With or without glasses? – Do you want me as Bright or as Anton?’ I’m flummoxed! Perplexed! Discombobulated! They say never meet your heroes and they’re probably right. Not because there’s anything wrong with them, rather the chances are, if you’re anything like me at least, that you’ll make a complete arse of yourself. After the longest pause in Anton’s lengthy career, I finally make my decision. Without the glasses because, of course, Lesser is always more.
I bid farewell to this wonderful and magical place. Indeed, throughout the day, people have asked if I’m enjoying myself and I’ve given the same response each and every time: it’s like Disneyland to me. Walking back to the car, I consider that must make my host Uncle Russ – grand master and architect of all this beautiful madness.
DAMIAN: Executive producer and managing director of Mammoth Screen, Damien Timmer, isn’t with us this time (perhaps another bout of plot vertigo) but to what extent do the two of you keep in touch throughout the shoot when he has so many other hit shows to oversee including Victoria and Poldark?
RUSS: He is a man of seemingly inexhaustible energy — so, yes — he is across every second of Endeavour. Every story choice. Every creative decision. His level of care for all his creative offspring never ceases to amaze.
DAMIAN: I’m sure it will prove fruitless to ask you about 1969 and the possibility of a sixth series. So instead, can you take me through the process of what usually happens with Mammoth Screen and ITV immediately after a series ends and their decision to commission another?
RUSS: In the beginning, at least after the pilot, which got a green light for going to series the day after transmission, it was a case of see what the figures were. The same as any other show, pretty much. As ever – our future is in the hands of the network, and it’s for them to make any announcement on 1969.
DAMIAN: Have you made plans beyond Endeavour and thought about what you’d like to write when the show does end?
RUSS: KBO as Churchill used to say. Turn the ‘FOR HIRE’ light back on the taxi. There are a number of things in development. Who knows? I’ve been enormously fortunate and had a decent run — far more than a bear of very little brain could have hoped to dream.
But I’m certainly eyeing the light. There’s only so much play left in the day. Whether one’s innings ends in a declaration or the umpire calling stumps remains to be seen. Either way, the pavilion awaits. Quite right too. Get out of the way of the up and comers. Can’t wait to see what they’re going to do.
DAMIAN: What can audiences expect from this final film of series 5?
RUSS: We’re going back to school. Having looked at a Girls’ school in NOCTURNE — this time we’re having a look at a Boys’ public school. Endeavour gets to walk in someone else’s shoes for a while. A window onto another possible life that’s been half in his mind for a while.
There’s a sense of change in the air — and with half a century since the end of the Great War, we’re bringing some of the underlying themes of 1968 to a close. Fifty years further on, I think it struck all of us just how much we’re still asking the same questions about ourselves. Questions of national identity, and our place in the wider world. Post-imperial – post-colonial – post-industrial – post early for Christmas. Much in which to take pride. Much of which to be ashamed. But one post survives. The post war dream.
When the chips are down, and backs are to the wall, I think you’ll always see us at our best, and catch some glimpse of Thursday’s Generation – a generation that gave so much, and asked for so little. I believe that still lives on in the inhabitants of these islands. Though it’s sometimes hard to see, there is – and will ever be – more that unites us than divides us. Like the denizens of Cowley nick, we stand or fall together.
DAMIAN: Since Endeavour HQ has been based here for the last few years, to what extent are you nostalgic or sentimental considering they’ve already started packing things away and Team Endeavour will never be based here again?
RUSS: It’s just a ramshackle, rather eccentric, collection of buildings. The people make it what it is. It’s been a tremendously useful space – in terms of production – and has saved our bacon more times than I can remember. Pick-ups; sleight of hand; poor-man’s process; reshoots. There’s very little of it we haven’t disguised, repurposed, or otherwise pressed into service.
But – working in this industry – as I think anyone would tell you – farewells are hard-wired into the process. There is always something of the rag-tag-and-bobtail army of vagabonds and strolling players to it. You come together for short periods of time and operate at a madly high level of intensity and concentration. And then it’s over. You fold up the tents and move on. But it’s like that every day – wherever we are. We use every second of available time — right down to the wire. As cut off time looms into view – there’s a lot of looking at watches to make sure we don’t go over and incur huge costs. So when we do wrap – it’s straight into striking sets, and organising the breakdown and loadout of kit.
Across the last days of a series — as each of our principal characters finishes their filming, there’ll be an announcement of “that’s a series wrap for Caroline, or Sara, or Abigail or Anton” – and the tradition is that cast and crew will give them a round. Of applause, obviously. Not the full metal jacket variety. Just to show appreciation for their hard work.
I don’t come out a lot — though I think on this run, I’ve probably been out more than on any other; usually as chaperone to interested parties. But I always try to find a moment – usually at lunch or before we’ve turned over – to stand alone on the set and just absorb some of the atmosphere. That ‘early morning madness’ of the ‘magic in the making’. ‘Whispered conversations in overcrowded hallways’ I’m all too familiar with.
At the end of a run, when the 1st AD announces – ‘That’s a Series Wrap’ – you hug your comrades hard – and maybe you’ll see them again, maybe you won’t, but you carry them in your heart and mind always. It’s interesting – circus and fairground folk never say ‘Goodbye’ — it’s always ‘See you down the road.’
A ramshackle, rather eccentric, collection of buildings or not, I still find it sad to think that this place will soon be demolished and turned into an housing estate. Time and tide wait for no man but I’d like to think that a plaque will be installed here one day and perhaps this love letter to the show will suffice until then. Despite the melancholy however, I don’t get over emotional, it’s just that I have something in my eye – bit of coal dust I expect. And, as Russ drops me back at the train station, I hear Rachmaninoff’s Piano Concerto No. 2 once more.
See you down the road…
We meet at the train station where the tannoy system blasts out its arrivals and departures but, as I notice his car parked and waiting for me outside the booking office, all I hear is Rachmaninoff’s Piano Concerto No. 2…
DAMIAN: Morning Lewis, much in? Oh, before I forget, Dolly Messiter sends her regards. Now then, tell me a little bit about Endeavour HQ and how long you’ve been based there.
RUSS: We’ve been at a place called Wilton Park – a former Tri-Services Language School in Beaconsfield – since Series 3 — so… three years, more or less. Series 1… the name of place escapes me, because I’m getting old – but series 2 we were in a derelict paper mill at Taplow in Bucks that had a substantial Victorian house attached, that was lived in by the owners when the place was in operation — and was built for a survivor of the Charge of the Light Brigade.
At Wilton Park our standing sets – Cowley nick; Strange and Endeavour’s flat; the Thursday house; mortuary, &c. — are housed in a couple of buildings. The gymnasium – having the most floor space – taking the lion’s share.
However, our current home is now being redeveloped so – should we return – we’ll be looking for a new base to house those sets.
Up until 1968, oddly enough, an impressively grand house used to stand on the site before it was sadly knocked down and replaced by a rather unattractive fifteen-storey accommodation block which was then the tallest building in Buckinghamshire and not entirely dissimilar to the one we found Joan hiding in last year.
Although it’s quite a short drive from the station, it’s long enough for me to find great amusement in the fact that I’m about to arrive armed with my usual laundry list load of questions when it was here that the War Office also used the place as an interrogation centre for Nazi prisoners of war. Indeed, some of its notable “guests” have included Deputy Führer to Adolf Hitler, Rudolf Hess, no less. Russ may well sympathise after all my frequent interrogations of him over the years – I mean the interview techniques and not the Nazis obviously! No, like a certain famous archaeologist, he hates those guys.
The car stops next to the security guard at the gate who looks exactly how you probably imagine them to appear, or at least that’s how they always seem to look in movies. Surprisingly, and perhaps also a little disappointingly, there’s no secret password like “swordfish”, or “vesper”, and instead, Russ merely says… well, I’d better not say but it really wouldn’t be too difficult to guess. And so, as simple as that, the chap raises the barrier and we drive through.
Ladies and gentlemen, welcome to Wilton Park – or as I like to call it, Endeavourland…
195: PART I
An Exclusive ENDEAVOUR Set Report
Article, interviews & photographs copyright © Damian Michael Barcroft 2018
It all looks ordinary enough to begin with although it does remind me of the sort of place you’d expect to find Jon Pertwee during his largely earthbound adventures back in the early seventies when he’d reverse the polarity of the neutron flow every other week or so. Indeed, Brigadier Lethbridge-Stewart can’t be far away. However, as we walk closer to what I’ll refer to as the main building which houses Cowley CID, those vans and lorries start to appear everywhere rammed full of wires, lighting and a multitude of machines with lots of twiddly bits.
Filming is already well underway by the time we arrive and so writer and executive producer, Russell Lewis, makes me a coffee and we grab a quick smoke while waiting outside. Quick being the operative word because no sooner have we managed a mere few drags, than two bells dramatically sound and the red light above us is switched off heradling ‘CUT’ (all access points onto the studio floor are lit and alarmed. Just one bell rings and a red light goes on for ‘ROLLING’).
Walking over and into another building opposite the main one, we are greeted with a rapturous round of applause which is really rather lovely. Maybe it isn’t just Kirstie who reads these interviews and articles after all. But, alas, it doesn’t take me long to realise the clapping isn’t for me or even Russ for that matter. No, James Bradshaw has filmed his last scene of the series as Dr. Max DeBryn and so we quickly go over to him before he leaves.
Now, back in April of 2014, I did an interview with Jimmy in which he told me that he celebrated getting the part of the much-loved pathologist by going straight to Marks and Spencer to treat himself to a nice pudding. Well, of course, it’s only natural that I’ve been wondering what the pudding actually was during these intervening years, and so, in an utterly delightful moment that I’ll cherish forever, no sooner do we say hello and shake hands than he instantly remembers and tells me what it was. And so, I can finally reveal that the pudding was in fact a rather large Raspberry Royale!
Taking our leave of Jimmy, who I like to imagine is about to retire for the day with a gin and campari at the Gardeners, we explore his mortuary where the attention to detail is utterly astonishing with various medical equipment everywhere including microscopes, test tubes, jars and bottles containing all sort of wonders, various labels on cabinets and draws such as “Laryngoscope anterior commissure” (no, me neither), books like The Concise Home Doctor, Minutes From the General Medical Council and Grant’s Method Of Anatomy – By Regions Descriptive And Deductive (originally published in 1965). Additionally, of course, we have Max’s famous brown medical bag which you’ll always see him carrying when examining bodies at the scene of a crime.
I would have very much liked to introduce you to Shelly Acton who, according to the label, died 30th March 1968 at 09:45 from a catastrophic cervical fracture, but, when I open the door to one of the refrigerated boxes in the mortuary, there’s literally no body there and you just see what’s on the other side of the wall. It’s all smoke and mirrors as Russ often tells me.
Moving onto the next part of the building takes you to the interior of the Thursday household but Win’s not home. Unfortunately, Caroline O’Neil finished filming her scenes yesterday which is a shame because I really wanted to ask her what she makes for Fred’s sandwich on a Wednesday. I desperately try to find some clues in the kitchen but, since the crew are in the process of packing everything away in boxes, the only evidence that remains is a lonely half a loaf of bread left behind on the cutting board.
I have a quick look round the dining and living room which are adorned with the various family photos we’ve seen throughout the years and finally walk up the stairs to have a look at the bedrooms. Except there aren’t any bedrooms and the staircase just leads to nowhere. Smoke and mirrors again but small wonder Fred and Win look so tired sometimes.
Walking around the place it’s obvious that everyone is tremendously busy and visibly tired. After all, at 195 days and counting, this has been the longest shoot of any of the series thus far. And yet, talk to any of the cast and crew of Endeavour and their unreserved passion and enthusiasm for the show soon becomes apparent. One such person is the thoroughly good script editor, Amy Thurgood.
DAMIAN: Amy, can you tell me a little bit about your background, your interests in film and television and how you got into the industry?
AMY: Of course! Well, I’ve always been an avid reader and TV watcher – much to my parents’ concern, I’m sure! – so when the time came to work out what to do with my life, storytelling was always going to be a big part of it. While I was doing my English degree I produced a lot of theatre, so when the opportunity came up to do an MA in film and TV producing, I jumped at the chance. It was only then that I realised that the job I wanted to do – working with writers and creating stories, script editing! – actually existed. From that MA I got my first job as a runner at a TV production company. I worked for an actors’ agent for a while, then moved into drama development, learning the ropes of working with writers and scripts – and rose through the ranks from there!
DAMIAN: Why script editing though?
AMY: I think that’s a question most script editors ask themselves everyday! It’s essentially as close as you can get to writing and creating stories, without being an actual writer. I mean, there’s also a million other things you’re dealing with everyday, but that’s the best part.
DAMIAN: What qualities do you think a good script editor must possess?
AMY: I think the biggest misconception about script editing is that it’s just about making changes to the script. Phil Gladwin captures it best I think – you’re a “conciliatory diplomat, evil politician, surgeon, best-friend, appointed heavy, hit-man, administrative genius”; and that’s on top of having to be acutely aware of how story works, how scripts translate to the screen and how any changes affect everyone else on set. So people skills, problem-solving, attention to detail and stamina – you’ll be working long hours on production – are essential.
DAMIAN: Can you tell me more about what a script editor does by using examples from your work on the fifth series of Endeavour and working with Russ?
AMY: Well, every show you work on will have different demands – depending on your writer, your genre, your format. In terms of Endeavour, after creating script schedules and initial research, my job properly kicks in when Russ is planning the stories for each film. We talk a lot about interesting motives, contexts, cultural and historical references, and then developing into plot.
In QUARTET (Film 5), we talked about the state of Britain in 1968, its politics and it’s relationship with Europe, and it’s culture at that time, which informed the story. In COLOURS (Film 4) we found a news article about a real-life protest at a hairdressing salon, which inspired the themes that permeate the episode. Then once Russ has written a first draft, we (Russ, myself, producers Neil and John and execs Damien and Tom) talk about how to move it forward – Russ and I will jump on the phone and bash through their thoughts to work out how to best translate them into the story.
We’ll do that with all the drafts until we get to the readthrough, where I’ll sit nervously hoping I haven’t missed any typos (that’s right, proofreading too!). Repeat until we get to shooting script (the version used while filming) – when any changes we make will usually be informed by more practical things – changes in location, actor availability, weather. In ICARUS (Film 6) we tweaked some action based on the locations we were shooting in. It’s those changes that we issue on different colour paper which you might have seen in people’s scripts. Then as well as working with Russ, I’ll be liaising with the other departments and the actors to make sure they’re kept informed of changes, and answering any script-related queries they might have! Repeat for 6 films, then sleep.
DAMIAN: And what’s Russ like to work with?
AMY: Wow, such a diva! No, actually nothing could be further from the truth. Russ is an absolute gem, a total gentleman and incredibly generous with his time and talent. His brain works in such brilliant ways, and the stories and solutions he comes up with are always a joy to watch unfold.
DAMIAN: When those dreadlines loom, Russ has told me all about his “Dark Passenger” taking over during extended periods of sleep deprivation which can sometimes last for forty-eight or even seventy-two hours until he writes ‘ROLL END CREDITS’! During such dark times, does this also result in your head hardly touching the pillow?
AMY: Well I get significantly more sleep than Russ does! But yes, if I know he’s pulling one of his long stints I’ll be constantly on email and phone – just available in case he needs anything. To be honest though, that’s my choice – he would never expect me to do that, but I think if he’s emailing a question at 3am, better to respond sooner than later and help him move forward with things!
DAMIAN: The shoot for this series lasted over nine months! Is it a really tough job at times?
AMY: In all honesty – yes, but every show I’ve worked on is tough! Endeavour is one of the most fun and rewarding shows I’ve been involved in – everyone is genuinely lovely and we all get on brilliantly – but making TV isn’t glamorous. It’s long hours, usually in cold places, drinking instant coffee out of recyclable cups! It’s those times when you really do become one big family – we all want to make it the absolute best it can be, so we all help each other with lots of laughter and on-set chat. It’s the old childbirth analogy I guess – you forget the hard bits when it’s over, and then you just want to do it all again!
DAMIAN: Do you have to travel a lot or do you stay in Oxford while shooting on location and near Beaconsfield when filming at headquarters?
AMY: To quote Ariel, I like to be where the people are, so I’ll be with the crew on set whenever I can. It means I can anticipate issues before they arise and make sure we’re ahead of the game on any script changes we might need to make. That involves a fair amount of travelling about; I live in London so – aside from when we stay in Oxford for the city-based days we have – I spend a lot of time in my little car! To be honest though, that’s a personal choice – not every script editor does it, and sometimes the lure of a warm office over a cold set can be quite tempting!
DAMIAN: One of your early credits in the industry was working on Primeval. Did you ever cross paths with Jimmy Bradshaw back then?
AMY: Sadly not! We were shooting that series in Dublin, and I was based in the London HQ, so unfortunately we never got to meet in person. Jimmy is absolutely brilliant – a consummate professional and a lovely man – and we never had him eaten by a dinosaur, which is quite an achievement! (in Primeval obviously, not Endeavour!)
DAMIAN: Could have been eaten by a tiger though. Anyway, another more recent TV show you worked on just before Endeavour was in fact Call the Midwife and the two have been known to be in direct competition with each other on Sunday nights. Where would your loyalty lie regarding the remote control?
AMY: Endeavour, of course! I’m still friends with a few people at Midwife though, and we did have a little joke about being in competition last time we met up! Midwife is hugely successful and rightfully so; it’s similar to Endeavour in the scale and ambition it has, but I think – despite the similar period – they are two very different shows. We can both exist in the same world!
DAMIAN: Were you a fan of Endeavour before you started working on the show?
AMY: I actually was – a huge fan! I grew up watching Inspector Morse, so there was always that appeal. I love shows that you can really dig into – and Endeavour is so multi-layered, you could watch it 4 or 5 times over and still be picking up things you’ve never noticed before. And – as you’ve noted from my time on Midwife – I do seem to have quite a thing for the 1960s! I’m waiting for someone to write a show about a fireman in the 1960s, just so I can complete the emergency services trilogy. Russ and I had also worked together many years ago (when I was a development coordinator) so I’d always kept an eye out for his work.
DAMIAN: Was there any particular research you needed to do either about the history of the show and its characters or regarding Oxford in the sixties?
AMY: As I came to Endeavour from Midwife, I already had a good steer on the history and atmosphere of the 60s, which was a massive help. And already being a fan, I felt pretty confident in the backstories of the characters. The big bits of research on Endeavour mainly centre around the worlds we find ourselves in – for example, when we visit the army barracks in COLOURS, that’s a world we haven’t seen before, so we did a huge amount of research into the environment, the uniforms, the protocol. We found a brilliant military advisor who had actually been in an army barracks in 1968, which was incredibly helpful! In terms of Oxford, searching through newspaper archives are an absolute goldmine – as I mentioned, it was there that we found references to the hair salon protest that inspired events in COLOURS.
DAMIAN: Because everyone has been so busy for so very long on the show, do you think that sometimes people forget to enjoy it and are there ever moments when you think, hey, I’m working on Endeavour!?
AMY: It’s easy to get caught up in the day-to-day business of making the show, but it’s always when we’re in Oxford that it really hits you. There’s always such massive support from the public when we’re shooting there, people who are genuinely excited that they’re watching Endeavour being filmed; and it does remind you that there’s a big audience out there who are really looking forward to the finished series! And then of course, when it goes out on ITV, and I get text messages from people watching it. That’s always nice too!
DAMIAN: Why do you think Endeavour continues to be such a success and so well loved around the world?
AMY: I think it goes back to what we were saying about it being multi-layered – there’s so much satisfaction to get out of watching every episode – from the Morse nods, to the cultural references, and then the joy of watching an investigation unfold and trying to spot the culprit. Endeavour Morse has always been a wonderful character, and seeing what Shaun brings to it – it feels fresh and new but still the character we love – is a massive draw for the audience. Russ’s (and Roger’s!) creation of Fred Thursday just makes a perfect pairing – and I now can’t imagine a Morse universe without him in it!
DAMIAN: What’s been your favourite episode or at least the one you’re most proud to have worked on?
AMY: I love every film equally! But if you’re pushing me to choose – I love PASSENGER (Film 3) because I love the world; I loved it from the very first draft. That quintessential English summertime, mashed up with the dark world of greed and murder. And I thought Jim Field Smith and Jamie Cairney did an amazing job of bringing it to life. I also love COLOURS –because Russ and I worked so hard on the story, characters and the research – so it’s hugely satisfying to see it come to life! But then QUARTET was so interesting to film; I’ve legitimately never laughed as hard as the day we filmed the Jeux Sans Frontieres sequence!
DAMIAN: The aforementioned producers on this series of Endeavour, Neil and John, told me in my interview with them that they both previously worked as script editors with the plan to move onto producing one day. Is this something that you’re also interested in?
AMY: It’s definitely an area I’m interested in. Many script editors do move on to become producers, and I think it’s due in part to the skills you need to successfully script edit – there’s a lot of crossover. And working with Neil and John was a brilliant experience which enabled me to learn so much more about producing. So hopefully one day – but I’m not quite ready to let go of the scripts just yet….!
Before we leave this section of the complex, and rather confusingly since the main CID set is housed in the opposite building, we come to the office of a horse of quite a different colour – one Chief Superintendent Bright. Some people find excitement in exotic holidays while others get their kicks from adventure sports but, for me at least, this is about as thrilling as it gets as I have a go at sitting in Bright’s chair behind his great desk and rifle through the various accessories and nic nacs – and look, the famous horse head ornament in the window…
Having a look through Bright’s book collection, I find an edition of Los Premios Nobel de Literatura which dates from 1964 and contains works by Saint John Perse, Andre Gilde, Karl Gjellerup, Gerhart Hauptmann, Ivo Andric and John Steinbeck. This seems more to Endeavour’s taste than Bright’s, but again, it’s the astonishing period detail that impresses most. Oh, and quite appropriately given some of Anton Lesser’s impressive previous credits, there’s one or two books by Dickens.
DAMIAN: Russ, all these sets, props, costumes, the various sound and lighting equipment – not to mention the vast army of cast and crew, are all here because you sit at home writing words like ‘INT. COWLEY GENERAL. MORTUARY’, ‘INT. THURSDAY HOUSE’ or ‘INT. POLICE STATION. BRIGHT’S OFFICE’, and then all these talented artists and craftsmen work tirelessly to create your vision. Five years in and everyone seems to take it all in their stride but do you ever just pause and appreciate what a tremendous gift this is – a gift that you’ve shared with millions of fans around the world?
RUSS: If there’s a gift – it’s the one that we’ve been given as programme makers. The opportunity to continue to explore a world created by Colin Dexter, and brought so memorably to life by the original production team – cast and crew.
DAMIAN: There’s a scene heading from your script to HARVEST that simply reads ‘EXT. OXFORD – DAY 1’ and then, ‘Skyline. A vision that never fails to thrill…’. When you visit the sets like today or take a trip to Oxford to see filming on location as I know you do from time to time, do you feel a special connection to the great city of dreaming spires and do its vistas indeed never fail to thrill?
RUSS: It’s hard not to fall in love with the place. We’re terribly spoiled as we get to shoot in lots of areas that in the normal course of events would be out of bounds to many. So – that’s lovely, and – again – a ridiculous privilege.
And the people of Oxford have been enormously kind to us. Very generous, understanding, and patient to a fault, as we return each year to make life difficult for them by closing roads, and otherwise making a general nuisance of ourselves.
Happily, we’ve made some truly wonderful friends here, who come out and see us when we’re shooting. Amongst whom, I must mention Julia at Happy Cakes – a local baker – to whom cast and crew are deeply indebted. It’s as close as I’ll get to being a member of the TMS team. The days are long – the weather often grim – and the restorative powers of Julia’s extraordinary creations have always been a miraculous boost to morale on many a wet and bitterly cold shoot. I’d go so far as to say that they’ve helped get us over the line on more than occasion.
DAMIAN: Isn’t Oxford and all of this something of a magical playground for you?
RUSS: It’s a tremendous sandbox. Oxford is madly photogenic. I love it in all its moods. But it occupies a relatively contained number of days out of the shooting schedule on each film. One to four days – with two or three being about the average. We probably do a week – sometimes a little over at base — and all points of the compass for the rest of it.
DAMIAN: You have the power to decide who lives or dies, who will experience great joy or deep sorrow. For far less modest and humble screenwriters (and I bet there are a few out there!), wouldn’t they see it as an almost God-like power of creation?
RUSS: It’s my name on the byline, but there’s a lot of moving parts. From each according to their gifts. I don’t refer to it as Team Endeavour for no good reason.
Things will be kicked around until everyone is happy with them. Compromise and reciprocity. Win some, lose many. Stay limber.
DAMIAN: I’ve only really known two screenwriters and both are vastly different in their personalities and styles of writing. It’s undoubtedly hard for you to be objective on the subject but would you say there are certain characteristics or personality traits that many scriptwriters have in common?
RUSS: Raging egomania and a propensity for violence. The latter – usually unexpressed. In all seriousness, anyone who ever went the distance has my affection. What do we have in common? A haunted, thousand yard stare, probably. And ‘War Stories’. Get a bunch of writers together — decades ago, we used to organise our own non-corporate annual get together – “The Usual Suspects’ Christmas Jamboree” – and talk very quickly turns to War Stories. What happened on this or that show. Who got fired from what and how. The laughter born of recognition. Because we all know that sooner or later the joke’s on us. The old gag about the Actress who was so dumb that she slept with the Writer to get on in the business still stands.
We’re hired guns is the bottom line. Sellswords. I always come back to that line at the end of The Magnificent Seven — ‘Only the farmers won. We lost. We always lose.’
DAMIAN: When I think of screenwriters, I’m often reminded of those as portrayed in some of the classic Film Noirs such as Humphrey Bogart as Dix Steele from In a Lonely Place or William Holden as Joe Gillis in Sunset Boulevard. Are you ever amused by how the media depicts its own screenwriters?
RUSS: The truth is much closer to Barton Fink.
DAMIAN: Have you been in the business that long that you’ve lost the ability to appreciate the romantic notion of a screenwriter?
RUSS: I don’t think I had any romantic notion to lose.
DAMIAN: Filming today is for the last film of the series but this piece will be posted on the day that FILM 5 will be broadcast. Tell us what we can expect from the penultimate episode, QUARTET?
RUSS: Thrills and spills. Games without frontiers. Hard to describe without giving the game away, but Endeavour finds himself in very murky waters. Geoff Sax – who directed NEVERLAND – returns to the flight roster. I think he had fun with it.
We head back over to the main building to have a look around CID before the main cast are called to the set. I hear familiar voices from behind the door of what I now realise is used as a green room. One such voice in particular with a cough or two followed by a frequent clearing of the throat is especially unmistakable…
Coming up in part two of this exclusive set report, and in addition to exploring CID, we’ll also visit the costume, production and props department as well as chatting to some more of the crew, and, perhaps we’ll say hello to one or two of the cast.
Above photo courtesy of Paul Cripps (centre)
An exclusive ENDEAVOUR interview
Interview copyright © Damian Michael Barcroft 2018
DAMIAN: Having lived in Oxford, I wonder to what extent you were aware of Inspector Morse growing up?
PAUL: I was aware of Inspector Morse for a few reasons. I think it started filming around 1987 when I was finishing my A Levels and I grew up in Woodstock and obviously the first Colin Dexter Morse novel was Last Bus to Woodstock. I knew the TV series was set and partly filmed in Oxford so there was a local buzz about it. Also my dad was a friend of Peter Woodthorpe the actor who played the original Max De Bryn. They did their national service together at the Joint Services School for Linguists training as Russian translators.
DAMIAN: Before we talk anymore about Morse, I’d like to ask you about the kind of films or television which may have inspired you to consider the art of production design. Do you have any particularly vivid early memories of trips to the cinema and specific films that may have had an influence?
PAUL: That’s easy, I was a Star Wars kid. I queued round the block to see it several times in 1977. And then in 1978 Harrison Ford came to film in Woodstock my home town for a WW2 film called Hanover Street with Christopher Plummer and Lesley Anne Down. So naturally I was desperate to see him, my sister got him to give us his autographs (my middle sister also works in Film and TV and does big movies like Wonder Woman and Darkest Hour). But also our whole town was turned into a WW2 Nazi occupied French town. Blenheim Palace became the local chateau turned into the German army headquarters. My grandmother’s Florist shop was turned into a Boulangerie. There were gun battles and car chases and Musco lights above the town for two weeks. That fascinated me. Then other films came. I watched Mel Brooks recreate the French Revolution at Blenheim Palace for History of the World Part One. I also failed to get an extras part in Another Country and watched them filming it in the Turl. So I wanted to work in film and TV but didn’t know how.
DAMIAN: If you were to compile a top ten of your favourite production designs from the movies what would such a list look like?
PAUL: Hmm, tricky… off the top of my head, lots of Kubrick: 2001, The Shining, lots of Greenaway: The Draughtsman’s Contract, Belly of an Architect, The Cook, The Thief… lots of Sci Fi: Bladerunner, The Star Wars original trilogy, Alien, Dark Star, Tarkovsky’s Mirror, Stalker and The Sacrifice. David Lean’s Oliver Twist and Lawrence of Arabia… Fight Club, Zodiac, All The President’s Men, Brazil, Time Bandits, Kagemusha, Spring Summer Fall Winter Spring, Mon Oncle, In the mood for love. I could go on…
DAMIAN: Can you tell me about your training and at what exact point you decided to pursue a career in production design?
PAUL: I always wanted to work in TV or film but I started doing an art foundation course and was pointed towards fashion. I finally went and did a BA in theatre design at Wimbledon school of art. I worked for a year after that (my first job was costume assistant on a Ridley Scott ad for BP for Charles Knode) and then I went to do an MA in Film and TV Design at the Royal College of Art. I started working in design for entertainment chat shows, music shows, game shows. I worked on TFI Friday for quite a while. Then I moved across and started doing TV drama and films.
DAMIAN: Looking through your credits which include The Missing, You, Me and the Apocalypse, Atlantis, Skins and Merlin, I was fascinated to learn that you worked on both of the Judge Dredd movies; as a trainee in the art department on the 1995 Sylvester Stallone production and then the more recent one in 2012 as art director. Is this pure coincidence or are you a fan of 2000 AD Comics?
PAUL: I had every issue of 2000 AD as a kid but it was pure luck working on both. I got a work placement on the Stallone Dredd for about three weeks making models and tea in the art dept. There were some great people on that film: Nigel Phelps, Leslie Tompkins, Peter Young, David Allday, Chris Cunningham. Then I was doing Never Let Me Go with my friend Mark Digby and DNA were talking about Judge Dredd so I did some Pre budgeting and visuals but then for various reason didn’t work on it in South Africa but then they did a whole load of reshoots and extra bits in London and asked me to do them.
DAMIAN: Before we go any further, could you just clarify for those who are perhaps new to the subject, what the differences are between an art director and a production designer?
PAUL: Basically the Production Designer is the boss, the one with the complete vision and the art director is his or her right hand person who implements the realisation of that vision, dealing with construction of sets, drawing up and handing jobs out to the various members of the art and props department. The other right hand people are the set decorator; who helps with the choices of furniture and decoration for each scene; and the propmaster who organises he dressing of the sets. I had two talented women in those roles for Endeavour. Stacey Dickinson the art director and Faye Brothers the set decorator and trusty sidekick Simon Drew as propmaster.
DAMIAN: Back to Mega-City One, the first Dredd film was a critical and commercial flop, the fans hated it but it must have been huge fun to work on?
PAUL: It WAS great! My friend Andrea the actual art dept assistant has some great photos. Seeing them build the Mega City One streets in the Shepperton car park was amazing. If you look carefully all the shops are named after puns of people in the art dept. My two favourites were Bill Ying Tong’s Chinese restaurant named after John Billington and The All Day and Night Diner after David Allday.
DAMIAN: I thought the Karl Urban 2012 film was pretty good and did much to restore the hopes of fans for a decent and well deserved faithful comics-to-screen franchise – what happened?
PAUL: Sadly the success of a film called The Raid and being too similar did it for Dredd really I think. I think The Raid came out first and stole our thunder. I think the financial backing came from India and not a recognised studio and it just didn’t make enough money to warrant a sequel for DNA unlike 28 Days Later which was an unexpected hit.
DAMIAN: How did you come to work on Endeavour?
PAUL: Well I’ve mostly done contemporary drama and apart from some fantasy I’ve never really done proper period so I’ve been looking to try and find something like Endeavour to do. A few other shows I was mooted for, that shall remain nameless, didn’t happen so I was kicking around not doing anything much. I read MUSE and met John the producer and I think we really got on so that was it.
DAMIAN: Endeavour has had various previous production designers: Pat Campbell did First Bus to Woodstock (or “Pilot”), and then Matt Gant, Anna Higginson, Anna Pritchard and Alison Butler for the subsequent series that followed. Did you look at their work as part of your research or for reference before you started your own designs and is it more challenging to take over from previous artists or more artistically rewarding to start from scratch?
PAUL: When I got the job I went back and watched every single episode of Endeavour. The one thing about Endeavour is that most single episodes look different, each has its own feel and look and that’s what was interesting for me. You don’t really have to reproduce the look just the quality. This is only the second time I’ve not done the first series of a programme, so it’s unusual for me to follow someone but I took Endeavour as it was one of the shows on TV that I actually watched and liked. Plus my personal connection to Oxford and being born in 1968 in Oxford I couldn’t not do it!
DAMIAN: And is it generally more fun to work on something period, contemporary, futuristic or does really just depend on the project?
PAUL: I think for me it depends on the project, particularly the script and the other people working on the project. Script sells it a lot of the time. And much to my agent’s dismay I’m quite fussy about scripts.
DAMIAN: Which books or websites proved to be the most useful in researching Endeavour’s Oxford of 1968?
PAUL: Probably one of the best sources was the Oxford History Centre which I spent a few days at in Pre Production. It’s in Cowley and holds all the council archives and a fabulous photo library. The council had done a survey of pubs in 1968 which proved useful ref. They also hold microfiche of Oxford Mail’s and Times from the period. I found a few of my Mum’s advertising drawings popping up as I was searching the papers. We also visited a guy who runs the Oxford/Thames Valley Constabulary archive which again was a really useful source.
DAMIAN: Presumably you see the script and then start making notes but can you take me through your pre-production process as a production designer using Endeavour as an example?
PAUL: I read the scripts as they come through. Then talk to the director and then he and I and the location people spend weeks driving round finding locations. Also I’m designing any sets that need building such as Strange and Endeavour’s shared maisonette from this series.
I tend to start with plans moving into 3D renderings using a programme called SketchUp. Then we do drawings for the construction people. When the locations and sets are all decided we do what’s called a tech recce and the heads of departments and key crew all get in a bus and drive round every location and decide how every scene will be shot. I then talk with my crew deciding how we will dress and strike the locations and then Faye and or myself will go off and chose furniture and furnishings. Stacey and I will decide on what needs constructing and painting, vehicles and graphics and Simon will do a dressing and strike schedule all in relation to the main schedule. Finally I like to go to the readthrough as that really begins to bring the whole thing together and helps me character wise for various settings. Then the shoot starts.
DAMIAN: And then when it’s actually production time and the cameras are ready to roll, can you describe a typical day on set – series five of Endeavour had a particularly brutal schedule but perhaps the very first day of shooting would be the most illuminating example?
PAUL: Well I’m actually not on set much. We normally as an art dept work ahead and behind the shooting crew. So we will go in the day or a couple of days before the shoot and dress the set or location. I will come on the morning of the shoot and check everything is to the liking of the director and DOP and then troubleshoot if required. But I will try to leave as quickly as possible as I will be onto dressing the set for the next day or next section. Also Simon and his crew will return the day after the shoot (or sometimes the night of!) to return the location back to how it was when we arrived. The schedule is often relentless. Often on Endeavour I usually arrived on set once the set was already dressed as the day we started shooting each film was usually the day the next director started and so the whole process of location hunting on the next film would start all over again!
DAMIAN: How many different sets or locations might you need to prepare for an average day’s shoot?
PAUL: Well it varies, sometimes there are two or more sets or locations in a day so we will dress one the day before and one on the morning whilst the crew is shooting the first one. Then once they have moved to the second location we will return and ‘strike’ the first location. Generally it’s one or more locations a day for twenty odd days. Sometimes we are in a location for several days so we can get some respite and recover and re-plan or re-group.
DAMIAN: Is it easier to design sets for location or studio filming?
PAUL: It’s sometimes easier with a set in a studio as locations can have specific problems or issues but then you have to get a studio set to look and feel real. There lots to love and lots to frustrate in both.
DAMIAN: To what extent does production design necessitate a creative collaboration with other departments such as the art director, set decoration or location manager?
PAUL: The art director and set decorator are all in my team so collaboration is essential. And of course there is collaboration with lots of people; locations, costume, DOP etc. Probably the most important are the DOP and location manager. If you don’t find good or the right locations the job is much harder and if the DOP does not light your sets or locations well it won’t matter how well you’ve designed them!
DAMIAN: Where were the Roxy cinema interior and exterior scenes filmed in CARTOUCHE?
PAUL: The exterior, foyer, bar, owner’s flat and roof were all the former Carlton cinema in Essex Road Islington currently a church. The auditorium was the Broadway Theatre Catford with additions by me including an orchestra pit and the rising organ (a hydraulic lift!) Interestingly the auditorium was an almost exact match of a cinema I location scouted in Germany for The Missing 2 for BBC. That cinema was built around the same time in a Nazi training camp called Vogelsang and when I went to Catford for the first time I was astounded by the similarity. We saw a lot of abandoned cinemas for CARTOUCHE it was heartrending seeing the dilapidation of the State cinema in Grays.
Also I remembered the two remaining organs in Leicester Square one of which I saw playing at the London Film Festival screening of Never Let Me Go.
DAMIAN: As regular readers will know, CARTOUCHE was a particular delight for me as a huge fan of the Universal and Hammer Horrors. To what extent were these a direct influence on your designs and did you research specific films or the work of production designers for Universal such as Charles D. Hall or Bernard Robinson at Hammer?
PAUL: Yes I was very influenced by the 60’s Hammer output. I watched quite a few and the location at an old abandoned school near Wallingford worked really well for the film within a film. I remember watching a lot of those films when I first went to film school at the Prince Charles Cinema late night screenings.
I also sought out some behind the scenes photos at the BFI library. The book, Hammer Films – The Unsung Heroes The Team Behind the Films was a really useful reference for the filmmaking scenes. My favourite note was that Peter Cushing wore a single white glove when smoking off camera so as not to stain his fingers!
PAUL: Well I have to say that Russ is the ultimate professional in that he never really calls me to demand we do this or that and I’m sure some of the things we do really frustrate and annoy him but he never seems to let that show. I did make an error with a specific book cover he wanted as I didn’t realise it was one of his brilliant nods to other shows, this one being something from Tony Hancock. But I think Russ was so busy writing during the shoot I think getting involved more about how we were shooting them would probably have cost him the only three hours he must get to sleep. I don’t know quite how he does it, keeping up with all the nods and winks to other shows and creating those amazing Thursday quips! But he lets us get on with it and I hope we do it some justice.
DAMIAN: The “Mammoth Pictures” logo with the Morse Code was a stroke of genius which obviously brought back happy memories of the old RKO films such as King Kong. Who’s idea was this and who actually made it?
PAUL: I’m going to claim this as my own. Myself and Andy Wilson knew we wanted a 3D RKO like logo as per Russ’ description rather than just a graphic but the Mammoth, the Iceberg and the backdrop were all the work of my own hand! Luckily it was meant to look a bit shonky!
DAMIAN: Is there a sense of sadness once the shoot has wrapped and the sets start to be dismantled?
PAUL: I did feel a pang of sadness on one of the last days as I walked through Strange’s flat devoid of furniture and dressing. I’ve made Jim Strange an Oxford United fan (Yes!) and would be trombone player so I hope that might remain.
DAMIAN: To slightly misquote Indiana Jones, doesn’t this stuff belong in a museum?
PAUL: Some of it yes. One of my favourite props was the Lapis Lazuli Scarab with the Aktnaten cartouche given to Emil Valdemar which we moulded from one owned by my wife bizarrely. I thought that prop was beautiful. And Russ must have visited the Pitt Rivers museum before us as when we opened a drawer of scarabs and there was one missing just as in the script!
DAMIAN: I have a beautifully illustrated and insightful book, Film Architecture: From Metropolis to Blade Runner, but what books or websites would you recommend for anyone wanting to learn more about the art of production design?
PAUL: A few books: Setting the Scene: The Great Hollywood Art Directors, Ken Adam by Christopher Frayling, Peter Ettedgui’s book Production Design & Art Direction, The Stanley Kubrick Archives, The Invisible Art (all about glass paintings).
For interesting contemporary stuff I would recommend a website a Canadian art director runs called Artdepartmental. I also like Film Grab a site that shows stills from lots of great films.
DAMIAN: Where is that clock from CARTOUCHE now?
PAUL: You mean the one in the Cinema managers flat? Oh that’s a sad story. I loved that clock in the prop house when Faye and I were choosing props for the Roxy. I said we must use that. It worked so well in that room and went so well with the decor of the Carlton Cinema. But really sadly the prop house it came from, was closed with little notice, shortly after Christmas due to financial problems caused by a compulsory purchase of land for the HS2 rail scheme. All the furniture from that prop house, which a lot of the Endeavour settings came from, have now been split up or sold outside the industry. It’s been really devastating for us all in the business. So who knows if that clock even exists anymore. So sad.
DAMIAN: Paul, thank you very much indeed.
PAUL: My pleasure.
EXT. WOODS/GINGERBREAD HOUSE – DAY 1
Late afternoon. ENDEAVOUR makes his way through the woods. At last, he reaches, an ancient dwelling that seems to have grown out of the earth itself. Mossy. ENDEAVOUR comes to the door. A raggedy broomstick leant against the wall. ENDEAVOUR knocks.
ENDEAVOUR: Hello? Miss Chattox?
ENDEAVOUR pushes open the door. Darkness…
ENDEAVOUR (cont’d): Good afternoon. My name is…
ENDEAVOUR reacts to something out of view — backs away.
The business end of a single barrel SHOTGUN emerges from the gloom…
… the weapon held steadily in the hands of the formidable DOWSABLE CHATTOX, (80s).
DOWSABLE (cont’d): Morse. I’ve been expecting you.
– HARVEST (P.35 Readthrough Draft)
THE OTHER PLACE
Exclusive ENDEAVOUR interview
With Russell Lewis
Interview copyright © Damian Michael Barcroft 2018
With thanks to Rosemary Woodhouse
DAMIAN: And I’ve been expecting you Mr… Lewis. Way through the woods indeed! Anyway, who had the wonderful idea to cast Sheila Hancock?
RUSS: It’s been a twinkle in our eye for some time. But the 30th Anniversary seemed to be the right time. It probably took us that long to pluck up our nerve.
RUSS: I’ve met her before – but not during the shoot.
DAMIAN: Chattox? A nod to the Pendle Witch trials?
EXT. BRAMFORD MERE
DOROTHEA: Good morning, Miss Chattox. Dorothea Frazil. Oxford Mail. I interviewed you a few years ago, about your battle with the Power Station.
DOWSABLE: I remember you.
DOROTHEA: Still fighting the good fight, I see.
DOWSABLE: If you mean they haven’t seen me off yet, then, no – they haven’t. Nor will they.
DAMIAN: Please tell me this scene was actually filmed and still exists somewhere?
RUSS: I’m not sure it was shot. There was a lot of what the eye doesn’t see, the heart doesn’t grieve over on this one. I think I only became aware of what hadn’t been shot after the event. Our time with Sheila was quite contained – and this may have been a casualty of the schedule.
DAMIAN: I found HARVEST to be a game of two halves; the latter had something of The China Syndrome about it but it was the former element that I was particularly taken with involving Morris Men and their Horse and Fool which evoked films such as The Wicker Man. We’ve spoken more generally about the horror genre before but what specific influences from what we now term “Rural” or “Folk” Horror might we see in HARVEST that contributed to that strange and yet curiously British and creepy atmosphere?
RUSS: Well – obviously – as you’ve identified – The Wicker Man.
But also Robin Redbreast and a bit of Nigel Kneale’s Beasts. There were a couple of Brian Clemens’ Thriller that played with that ‘something nasty in the woodshed’, thing. One that featured an old family friend John (Juan) Moreno – who you’ll probably know best as Bond’s contact, Luigi Ferrara, in For Your Eyes Only. Cloven hoofs a go-go.
RUSS: Did he pave the way for a certain Gallifreyan? Quite possibly. The TV Quatermass casts a massive shadow – but most of it even before my time. Quatermass and the Pit is a classic — but until the Euston Films/John MIlls version – what was that? ‘79-ish? – he was more a character one got second-hand from memories of the previous generation.
DAMIAN: Many great actors have played Quatermass over the years but who would you say gave the definitive screen performance?
RUSS: I liked Andre Morrell, but probably Andrew Keir — the TV and film incarnations in Pit — which is probably my favourite story.
INT. THURSDAY HOUSE. HALL/LIVING ROOM – NIGHT 1
Onscreen – black and white: a rangey Dennis Hopper-alike, at the wheel of an open top car on a lost highway. Poor Man’s Process with much over-steering of the wheel.
NARRATOR (V.O.): Meet Edwin Brewster, age thirty-five. Occupation, drifter. A nobody from nowhere, about to make an unscheduled stop in a town not found on any map.
WIN watches TV — not taking it in.
NARRATOR (V.O.): For he has entered a dimension that lies somewhere between sleep and waking. Dream and nightmare. Life and death. It’s a region we call, ‘The Other Place.’
Opening sig for ‘The Other Place’ – theramin and surf guitar.
RUSS: It seemed fun to do. And played into the overall theme. Originally – the American couple were a nod to a particular Ira Levin novel that came out in ‘67.
I think there was more material to do with them trying for a baby… So between them, and the paganism — we were setting up a blind to what was really going on. The Other Place thing was just underlining that deceit. But – yes, it was our salute to Rod Serling – who casts a giant shadow.
RUSS: Too many to choose from. I like deserted town stories – so Where Is Everybody? – the Pilot, I believe – would have to be up there. And Stopover in a Quiet Town also falls into that category.
Much of The Avengers has a similar vibe. A lack of Supporting Artists in the background lends everything a slightly surreal and dreamlike quality. How much of that was a budget call which dictated a creative decision, I don’t know — but in my memory at least – it seems very much a part of the the show’s DNA.
ENDEAVOUR is fingerprinted. SCENE of CRIME dusting for prints. TREWLOVE, back in uniform, fingers along ENDEAVOUR’s mantel — finds the photograph of ENDEAVOUR as a boy with his mother.
STRANGE: Little toerags. Sorry, matey.
ENDEAVOUR: One of those things. We see enough of it.
STRANGE: Yeh, but you’re one of our own. What d’they nick?
ENDEAVOUR: Radio. Record player. My signed Rosalind Calloway LP. Beside that there was nothing worth taking.
STRANGE: Why they smashed the place up.
Amongst the wreckage — STRANGE spies, the JAMES LAST LP he bought for ENDEAVOUR as a house warming present. He picks it up, slips the LP out of its slipcase. Vinyl intact. STRANGE exhales — relieved.
STRANGE: Least this one made it.
ENDEAVOUR: Small mercies.
DAMIAN: While Lewis was obviously mischievously joking when he asked Morse in the original series if the piece of classical music he was playing in the car was Andrew Lloyd Webber (a beautifully played moment), Strange is completely genuine and oblivious with regards to James Last and isn’t it fantastic moments like these that economically sum up almost all we need to know about him and his polar opposite relationship with Endeavour?
RUSS: I suspect their differences are why they get on – in their fashion. Strange makes much more of an effort with their friendship than Endeavour. He’s clearly fond of him – and there’s admiration too, for his abilities. A thoroughly decent cove is old Strange. And the one man you’d want to see coming round the corner if you were ever in a tight pinch.
DAMIAN: If someone asked me if Endeavour would have a picture of his mother I would have, obviously incorrectly, said absolutely not. And yet, there it is in his flat following the burglary, a photograph of Endeavour as a boy with Constance. I thought Endeavour was almost in denial about his past so why would he want to have this sitting in a frame on his mantlepiece?
RUSS: I think it was put there as it was something he recovered from the wreckage and didn’t want to lose. The plan would have been to put it away again once he’d got the place straight. As you say – it’s something that would have been laid up. Out of sight, out of mind. Sometimes we reach to the back of a darkened drawer only to catch our fingers on a forgotten knife.
DAMIAN: Of the many scenes that never made it to the final cut, was it particularly painful to lose Sam’s return home which obviously resulted in him not appearing in the entire fourth series?
RUSS: Yes. We all love Jack B., and miss him around the homestead. But story is always king — and the plan had always been to reflect the changing times by way of the Thursdays changing family circumstances.
DAMIAN: Not that she isn’t genuinely sorry and traumatised, but was there ever a sense for you as a writer, or perhaps between Shaun and Sara in playing the scene, that Joan was using the Wessex Bank robbery and the death of Ronnie Gidderton as an excuse to leave Oxford and escape the conventions and expectations of an almost predetermined life that she’s only half in love with?
RUSS: Mmm. I’m probably a bit more inclined to take her at face value. I don’t think anyone realised quite how deeply Ronnie’s death affected her. She held herself utterly to blame. It was too much for her. She had to get away – but I think the self-imposed exile was also her punishing herself.
WIN and SAM on their day out.
WIN: Well, that was nice.
SAM: So, what do you fancy for this after?
WIN: Oh, I don’t mind. You pick. I am glad you’re home, Sam.
SAM: I know.
WIN: I wouldn’t want you to think I wasn’t. Just… with everything.
SAM: She’ll come home. You’ll see. You know Joannie.
WIN: Stubborn. Like her father. You take more after me.
SAM: Well. Some of us have got to be sensible. Right?
SAM slips his arm through WIN’s and they tootle off…
DAMIAN: If Joan does indeed take after her father as is stated in this cut scene, does this perhaps foreshadow even more dark times and trouble ahead?
RUSS: I wouldn’t want to give anything away.
DAMIAN: I thought when I first watched it that there was something about the production design that reminded me of early the Bond films and then there it was in the script when I read it; your description of the Bamford Goldenrod Reactor Building as ‘A Ken Adam fantasy of gantries and walkways towering high above the floor.’
In addition to Fleming obviously, the cinematic Bond owes so much to people like John Barry (for the sound if not composition of the Bond theme – not to mention eleven glorious music scores), Peter Hunt (the innovative editing style and later direction of On Her Majesty’s Secret Service) and the fines tastes and style of director Terence Young. Visually speaking however, isn’t Ken Adam arguably one of the most significant contributors to the 007 series?
RUSS: Yes. Absolutely. He’s a bit of a touchstone for us — and gets another run out in this series.
RUSS: Easier to pick a favourite Bond movie. Daniel Craig’s Casino Royale is the best of the modern era. Certainly my favourite of his to date. There’s been some great set pieces in the others – but, come on, Mads Mikkelsen for a villain, and Eva Green delivering arguably the most fully realised female character in the franchise. (Dame JD’s ‘M’ notwithstanding.) But – you know – it had pretty incomparable source material to drawn on. Consequently, it felt more faithful to Fleming’s original vision than anything for a long time.
And yet… It’s a dead heat for me with On Her Majesty’s Secret Service. With Lazenby’s sole outing maybe just edging it by a period nose. John Barry’s sublime score. Dame Diana Rigg. Telly Savalas turning in the best Blofeld of the classic period. (Apologies to Donald Pleasance). Ilse Steppat’s Irma Bunt. Gabriele Ferzetti. Piz Gloria. The set pieces – the various ski chases and bobsleigh sequence – are sensational. It’s just a first rate adventure/thriller that can be enjoyed on its own terms. I’m a sucker for snow.
The first three Connerys are pretty sacred. But it’s hard to escape the conclusion that Goldfinger’s blockbuster success set the template in concrete – which is a bit of a pity. Dr. No very much a period piece now. From Russia With Love is a great spy movie, and felt very much its own thing. After Goldfinger, you can pretty much follow the bouncing white dot at the bottom of the screen, knowing exactly how it’s going to unfurl. I’m sure there are exceptions to the rule, but a good number of them thereafter seem locked into the tramlines. The only place left to go is bigger. It starts to creep in with Thunderball, and by the time of You Only Live Twice it’s just massively overblown. Which is probably why OHMSS felt so refreshing – like the reset button had been hit.
The least said about Diamonds Are Forever the better. Great theme song – but otherwise very hard to love. There’s a sourness about it that leaves a nasty taste. Maybe it’s that much of the main section of the film has a Las Vegas setting. It’s suddenly vulgar – reeking of stale cigar smoke and a gambler’s desperation – in a way it never had been before. Bambi and Thumper. Plenty O’Toole. Eek… A sign of the changing times. Tricky Dickie in the Willard Whitehouse, and Watergate just around the corner…
I suppose Ernst Stavro Blofeldd had to be grafted on as the stories were shot out of sequence, and there had to be a pay-off for the ending of OHMSS, but I always preferred the fate of Dr. Shatterhand in the novel of You Only Live Twice.
I guess that’s one of the things I like so much about 007’s latest incarnation. He bleeds.
DAMIAN: I agree with regards to OHMSS which I personally believe to be the best and certainly the most stylish of the series. I’m a huge fan of Lazenby’s 007 and think he did an amazing job especially considering it was possibly one of the most difficult roles in cinema history to take on after Connery. However, for me, he’s in joint first place with another underrated Bond – the magnificent Timothy Dalton. Yeah, his two entries weren’t the best (although I greatly admired the grittiness of License to Kill) but he’s possibly the greatest actor to play Bond. And there’s just something about his look – those eyes – which is how I imagine Bond when I read the novels. Personally, I think they should leave the current franchise alone and simply adapt all of Fleming’s original stories almost word for word, set them in their proper period of the fifties and sixties and adopt the style of From Russia With Love. That said, Barbara Broccoli and Michael G. Wilson seem to be doing OK without my input.
Anyway, back to Endeavour and the power station, in the script Blake turns to find Endeavour ‘frozen to the stop — staring down between the latticed steps to the ground, floors below’:
ENDEAVOUR: Heights. I can’t bloody move.
BLAKE: Vertigo, is it? Poor chap.
DOROTHEA comes across.
DOROTHEA: Just shut your eyes and take my hand. Come on. One foot in front of the other.
Freudian nightmares aside given the circumstances in which she was cast, am I completely wrong is suspecting that Dorothea is attracted to Endeavour – just a little bit?
RUSS: Hate to disappoint you, but I don’t think any of us look on their relationship that way.
DAMIAN: You occasionally recycle scenes that don’t make the cut for future films so, and as much as I would love to because it’s quite a revelation of sorts, I won’t describe it in detail – let’s just call it the lime-juice and gin scene – please tell me you have plans to revisit it?
RUSS: Mmm. Yes. Most of these scenes we’re talking about are character moments — and they’re always the ones to suffer in the cut. I repurpose and redeploy some of them – not out of general indolence – but because they’re important, and shed a light on our heroes and heroines. Plots can change – but the characters still have the same baggage. And it’s nice to see some of that from time to time.
DAMIAN: What can you tell me about FILM 4: COLOURS?
RUSS: Not much. Part of its genesis was a news report that turned up in research – concerning a hairdressers in Oxford. It seemed to fit with our theme for ‘68. Turbulent times. Elsewise – there’s a collision of worlds.
DAMIAN: Russ, thank you very much indeed.
RUSS: You’re welcome.
BRIGHT: Oh – there was one more thing. I have this day received a letter…
[The following scenes appear as originally written in the readthrough draft intercut with those between Endeavour and Joan in hospital which are pretty much how we saw them in the broadcast version and so not included here]
EXT. THURSDAY HOUSE
THURSDAY at the kerb. TAXI there. WIN in the back seat.
WIN: Come on, Fred. We’ll be late.
THURSDAY: Just give him another five minutes.
SAM comes out of the house.
SAM: He [ENDEAVOUR] can’t make it.
THURSDAY: What d’you mean he can’t make it?
SAM: That was him on the phone. Something’s come up.
THURSDAY: I’ll give him ‘Something’s come up’ when I see him.
SAM: Go on. Good luck.
THURSDAY get in the TAXI, which pulls away. SAM watches after them…
A BLACK CAB drives up the MALL towards BUCKINGHAM PALACE.
BRIGHT (V.O.): I am instructed to inform you that Her Majesty The Queen has graciously approved the award of…
A gloved hand pins the GEORGE MEDAL to THURSDAY’S breast.
BRIGHT (V.O.): …the George Medal to Her entirely well-beloved subject Detective Chief Inspector Frederick Albert Thursday for Special Services in Defence of the Realm…
THURSDAY and WIN outside the palace.
BRIGHT (V.O.): Given the circumstances details pertaining to the award will be neither cited in the Gazette, nor entered into the public record.
WIN inspects the medal.
WIN: ‘For Gallantry’. Get you.
THURSDAY: Fancy the pictures? As we’re here. There’s a Lee Marvin at the Gaumont.
WIN: War, is it?
THURSDAY: Pie n mash after, if you play your cards right. I might even let you take me home.
THURSDAY slips his arm through WIN’s and they head off.
RUSS: What can I tell you? We’re always up against it for time. I think in this instance we did shoot this sequence — but it didn’t make the cut. I write them pretty much to length — and then there’ll be requests for additional material — something that’s not landing just so that needs help, or something that hasn’t been realised quite as well as we envisioned — and the original stuff gets squeezed out. Perhaps one day — when we get to the end — we’ll look at them again, and do definitive, unexpurgated cuts. Or at least package together all the out-takes – and moments that didn’t make it. You have to be careful though — the tone of something can change hugely in the edit. Structure too. And some of them wouldn’t bear the reintroduction of those excised scenes.
DAMIAN: Russ, before we start the interview, I’ve been thinking that we’ve mentioned The Beatles, Tony Hancock and Carry On films quite a bit over the years and perhaps, well, maybe we should mention them a little less from now on. Would that be alright Russ?
RUSS: As you please.
INT. COWLEY GENERAL – NIGHT 1 (22.56)
Night lit. An empty corridor. One bulb flickers.
Mantovani’s Strings playing ‘Charmaine’ fills the air. The sickly sweet scent of putrefaction in three-quarter time.
We float through the deserted galleries.
Operating theatre. Instruments laid out ready for use.
Another empty corridor. A staircase. SIGNS point the way to…
HOUSE OF PAIN
An exclusive ENDEAVOUR interview
With Russell Lewis
Interview copyright © Damian Michael Barcroft 2018
With very special thanks to Gilbert Taylor
& Denys Coop
DAMIAN: The exterior shots of Cowley General Hospital looked remarkably familiar, where might we have seen the location before?
RUSS: Ho ho. Well, it’s Maidenhead Town Hall – which, as some eagle eyed viewers correctly deduced, was the hospital exterior in Carry On Doctor, Carry On Again Doctor – and I believe appeared briefly in Carry On Camping. Sadly, the frontage has had a bit of a make-over in the intervening years – so we couldn’t have ambulances pulling up outside, but enough of it survives that it’s still recognisable.
DAMIAN: I had terrible trouble with my ears as a child and was in and out of hospital on regular occasions throughout the late seventies and early eighties so on the one hand, I recognise the kindness, good humour and cheerfulness of kind doctors and nurses, the saucy winks and ding dong mentality of some of the male patients evoked so wonderfully in your script, but what particularly resonates is that dreaded moment when visiting time is over, Mum has to leave you with just a kiss, a copy of the Beano and the ‘obligatory grapes in a brown paper bag’ to see you through the long night ahead. Then, lights are replaced with shadows and strange, unfamiliar noises – much humming and distant footsteps constantly marching back and forth. We recently spoke about department stores as palaces of wonder and delight, but also of those inherent dark corners and backstairs worlds. It’s the same with hospitals isn’t it?
RUSS: Absolutely. Yes – Battersea General – long gone – was my childhood house of pain. Known by locals as the ‘Anti-viv’ or ‘Old Anti’ — because it was against animal experiments/vivisection. Pretty building. 1890s. Sort of Italianate style. Right by the Park. Closed in the early 70s. But yes — hospitals after dark… can be quite spooky. I’d like to have included a few more of those empty corridors for atmos — but the schedule was very tight.
DAMIAN: We see Nurse Monica Hicks return briefly in this film but, as we’ve mentioned in the past, the potential of her character was never really fully explored. So it was with some interest regarding female characters on the show, that in my interview with Dakota, she said that ‘When I first auditioned for Endeavour I was sent an episode to read in which Trewlove had only four lines. I was promised that the character would grow and develop into one of the gang as the series went on’. To what extent do you think you’ve succeeded in keeping this promise?
RUSS: Jim Strange’s move across to CID left us without a uniform presence – Bright notwithstanding. But obviously Strange was much more a rank and file foot-soldier – whereas Bright is brass. So – in all honesty – there was no need to have a regular uniform constable at all. We could have had a roster of rolling PCs – but it’s nice to have some continuity, a recurring character the audience can readily identify.
In terms of plot – as often as not it’s uniform who are first on scene. One can either have their findings as reportage via one of the CID regulars, or first hand from a uniform. I was interested in looking at a woman’s place in a pretty boysie environment, hence Trewlove.
If you consider INSPECTOR MORSE and then LEWIS there were very few recurring characters beyond the central duo. With ENDEAVOUR we have around ten. Screentime across 89 minutes is at a premium, so all our characters have to punch above their weight, always. I try with all of them to provide a moment or two in the sun – as the story allows. I think the affection in which Trewlove is held by the audience suggests that she has punched through.
DAMIAN: Dakota also said that she ‘didn’t know anything about the character – what sort of a person she was, where she came from or where she might end up’ and that ‘Trewlove was something I had to figure out on my own’. Given the delightful detail in which you’ve previously talked to me about some of the influences and inspirations for Trewlove, why didn’t you share these with Dakota?
RUSS: Mmm. Those details are useful from a casting point of view — and inform what I put on the page. Beyond that, it’s for the director to convey to the actor what they want from a performance — hopefully in service of the writer’s intent, which is something we’ll have discussed before they get on the floor. Beyond that — I’m always available to discuss further if there are things an actor is bumping on in the script.
The whole notion of ‘character’ – not to be confused with ‘back-story’ – is a much bigger conversation – and one we don’t really have room to go into it here.
DAMIAN: I loved the warmth and beauty which you gave to the scenes with Trewlove watching over Bright at the hospital but what was Anton Lesser’s reaction to being confined to bed and unconscious for most the episode?
RUSS: He took it lying down.
Anton is a joy to write for. His instincts are flawless. He just gets it. Every time. I don’t think he’s ever baulked at a line, or a situation we’ve put him in. The greater the artist, the smaller the ego. Any and all vanities set aside in service of the drama. He just brings his A Game – as they say. Every day. I don’t think he has a B-Game. You just sit back, and watch, and delight and revel in his greatness. And he’s a great sense of fun – and not a little mischief. There’s a lot of laughter – particularly at read-throughs. So – yeh… Hearing he’d agreed to play Bright was one of the better days at the office.
DAMIAN: I’ve been banging on about wanting to see Mrs. Bright for some time so it was somewhat frustrating to learn that she was away on a trip during his stay at hospital. Wouldn’t this have been the perfect opportunity to introduce her character?
RUSS: I’d refer you to my earlier answer. At 89 minutes — there is only room for so much anything. We already had to reduce some of Caroline’s material, and a whole strand for another guest character. Bolting on Mrs.B would have meant even more would have been lost. Each thing in its season.
DAMIAN: Bright seems unimpressed when Library Trolley Lester says he might be able to get him a copy of Lady Chatterly. Since you’ve denied audiences a peek into the Bright residence, I wonder what sort of titles might occupy his bookshelves?
RUSS: Until returning to Britain from the colonies, the Brights have always been on the move – so I don’t imagine the library to be extensive. Mostly non-fiction up Bright’s end of the bookshelf. Guides to some of the places he’s lived in. A long cherished Scouting For Boys; Coral Island; Treasure Island; some Sir Walter Scott, and a bit of Henty. His reading material a counter-weight to Mrs.B’s Bloomsbury end. No euphemism intended.
DAMIAN: There’s more than a whiff of Black Narcissus about this film. In addition to some of the names (Dr Powell and Sister Clodagh) the script calls for a chapel/high place: ‘Locationally dependent… either a stairwell void, exterior or rooftop’. Putting either budget or available locations aside, what exactly did you originally envisage and were the colours somewhat reminiscent of the great Jack Cardiff in your mind’s eye?
RUSS: Well — you’ve put your finger on it. Black Narcissus definitely underpinned our intentions with Lazaretto. I think early drafts had it finishing on the roof. In terms of colour, it would have been lovely to invoke the climax of that picture, but you have to be guided by what’s available – and, of course, the choices of the director and the DoP. It goes back to the earlier point about character. I could slather on detail in stage directions and make things madly specific, but to be so prescriptive would be profoundly unhelpful to Production. Better to give them the ‘idea’ of what I’d like and leave it to the Location Manager’s talent, skill and expertise to offer a range of options. It always comes down to this – What is necessary to deliver the beat? They found the tower stairwell — and that served very well.
DAMIAN: Long before the likes of Merchant Ivory Productions in the 80s and Richard Curtis in the 90s, to what extent do you think those Powell and Pressburger films first truly defined (at least for audiences abroad) British identity during and immediately after World War II?
RUSS: That’s a good question. To a degree, I suppose. I’m probably less interested in what it says about how we were seen abroad, than in what they were saying about how we saw ourselves at the time. One of the many admirable things about the Archers productions is that they were made for a mass audience. There’s never any talking down – or a hint of pulling in of their ambition because they think a section of the audience won’t ‘get it’.
Art for all – and no one left behind. I suppose it’s a bit Fred Kite to put it in those terms – all those fields of wheat and ballet in the evening – but look at The Red Shoes. I think there’s an element – as with some of the MGM musicals, but it seems all the more pointed with the Archers – of emerging from a black and white world of wartime newsreel horror to something giddy and vivid with colour. You know, it’s there in A Matter of Life and Death — but it just seems to explode once the war is over. ‘Life finds a way.’
DAMIAN: Funny, but if someone asked me about British identity or film images and cinematography that closely matched my own first vivid impressions of the country and memories of childhood, I’d say, for some very strange reason or another, Hitchcock’s Frenzy every time.
Yes, it’s an odd choice because it obviously evokes Hitch’s childhood in the East End and not my own in Stoke, and yet, there’s just something about the cars, clothes and the general colour and “smell” of it all that resonates deeply; something strange and unsettling bubbling under the surface. Eyes watching.
Now, I know I seem to be continuously obsessed with questions regarding your childhood but, as I hope readers will agree, they do help to inform our understanding of your writing. So, given that you clearly draw upon them time and again in Endeavour, can you please try to give me an example of a film that visually echoes your first memories?
RUSS: 10 Rillington Place.
That’s not quite as facetious as it sounds. There were still bits of London that bore signs of The Blitz. Little areas that were still very ‘Hue and Cry’. Around ‘70, we shot bits of Sunday Bloody Sunday in Spencer Park – about five minutes away from where I grew up. So I can always stick that on. There was a sequence in that (spoiler alert) where something happens to the family dog. Shooting on location, we used a squat as a base for wardrobe and make-up. I have a strong recollection of Afghan coats, pachouli oil and dope. It was all very ‘Withnail’ – so that’s another touchstone. The Art Direction – like everything else about Bruce Robinson’s masterpiece – is just superb. Bits of Blow Up. Weirdly — but not more weird than any of these, I suppose — the first series of Catweazle catches lightning in a bottle. Essence of ‘69.
Some aspects of Pete Walker’s ouvre make for a terrific time capsule. The opening of Frightmare – that features Andrews Sachs very briefly – is Battersea Park, where I spent a lot of time as a boy. And the Susan George picture Die Screaming, Marianne – which I think also features Barry Evans — has some good London stuff. But going back to Withnail — one of the many things it absolutely pins down is just how bloody cold and damp it was. Britain before Central Heating was the norm. Now, it’s underfloor heating. Then, you’d wake to ice on the inside of the window panes.
DAMIAN: We finally see Joan Thursday in Leamington Spa which seemed a curious choice of location. Would this have anything to do with a certain by-election which took place there in The Thick of It?
RUSS: No. It just struck me as somewhere interesting for her to wash up. Rog had reservations that we wouldn’t have found flats such as she was living in — but a bit of digging turned up some not dissimilar. There are, of necessity, some blank pages which cover how she got there, but it was as much to do with her ‘fancy man’ as anything else.
DAMIAN: I’d like to highlight some of the following scene between Endeavour and Caroline Bryce-Morgana as it appears in the script:
ENDEAVOUR: You know, it’s hard to believe you’re anything to do with Susan at all.
CAROLINE: She’s a romantic. Like her father. That same streak of pity for life’s not-quite-up-to-its flows through her veins. Still. You cured her of that. I suppose I should be grateful. She never loved you, Morse.
ENDEAVOUR: ‘If equal affection cannot be…’
CAROLINE: Oh. Poetry. I’d forgotten that particular affection. The last refuge of the emotionally incontinent. You think you have a monopoly on feeling. Well, you don’t. I feel things too. Just as much as you. More so, perhaps.
ENDEAVOUR: What do you feel, Caroline?
CAROLINE: Real things. The things that dragged us out of the primordial slime. That make us strong. Pride. Anger. Resentment. Jealousy. Hatred.
ENDEAVOUR: That’s called grief. When you speak to Susan, give her…
CAROLINE: Oh yes? Giver her? Give her what? Your love?
ENDEAVOUR: Condolences. I was going to say. Give her my condolences. Whatever you think of me, I’m sorry he’s [Mr Bryce-Morgan] dead. Truly.
CAROLINE: I wish you were dead. You’ll die, Morse. You’ll die old and alone. And no one will give a damn.
RUSS: I think she resented his coming between her and Susan. Some mother/daughter relationships can be unhealthy. Controlling, Caroline felt she had married… unwisely, and was to a degree attempting to rectify her own mistakes by managing her daughter’s life better than she felt she had managed her own. Endeavour was potentially a spanner in the works. She had to see him off.
DAMIAN: Described as a young Joanna David in her mid-late 20s, we see Susan for the first time (her “appearance” in First Bus to Woodstock obviously doesn’t count) at her father’s grave, I wonder if you originally had any plans to introduce her properly in the following film or films?
RUSS: We’re mindful always of the Prime Directive.
DAMIAN: There are also various other mourners mentioned in the script including William (a young Richard Pascoe) and Henry Fallon, and curiously given we’ve already had a parrot in the film, a manservant with an eyepatch! Who’s that then?
RUSS: A young McGregor! Who else?!
DAMIAN: Just time for one more question before I leave to catch my train, can you say something about Film III: Passenger?
RUSS: Our Ladybird Book of the Railway. The jumping off point was the Varsity Line which ran between Cambridge and Oxford, and its closure at the end of 1967. Interestingly, it was one of the few closures that didn’t arise from the Beeching review. It appears it had simply become more practical for passengers travelling in either direction to use London as a nexus. So – that was the grit in the oyster.