Tag Archives: Damien Timmer

30 YEARS OF MORSE ONSCREEN

An exclusive celebration

by Damian Michael Barcroft

Copyright © Damian Michael Barcroft 2017

~

For Colin…

Our love to you and your family.

~

INSPECTOR MORSE and I were both first introduced to this world in 1975. While the conception of our favourite detective in a little guest house in North Wales, halfway between Caernarfon and Pwllheli, on a rainy Saturday afternoon is well documented, details surrounding the circumstances in which I was conceived remain somewhat more elusive and I’m happy for them to remain so. Sometimes it’s best not to ask. I share a couple of other things in common with Morse – a passion for classical music and booze for starters. Sadly though, this is pretty much where it ends as I’ll never be able to compete with his stunning intellect but here’s what I do know – thanks to Colin Dexter’s masterful grasp of the crime and detective genre, Morse and his faithful companion, Lewis, are the best and only true rivals to Sherlock Holmes and Dr. Watson.

However, there’s room for another odd couple in this prestigious list of honours – Endeavour and Thursday. But how did we get from Inspector Morse to Endeavour via Lewis? Well, it has been a long televisual thirty-year journey which began on the 6th January 1987. During this period, some of the finest actors, screenwriters, directors and producers have all worked tirelessly not only to keep Colin’s creation alive, but also create some of this country’s greatest and most iconic television shows. Perhaps it is as simple as that. Maybe.

Some years ago and feeling very sorry for myself, I was standing outside a bank withdrawing cash from the hole in the wall when a bird defecated on me. Please stay with me. Just when I thought the day would never get better, someone approached me – I’ll never know who it was or even know the person’s name – but the individual didn’t point and laugh or steal my money, no – the elderly lady took a tissue from her handbag and gently wiped the offending substance from my jacket while I stood there like a helpless child. A small act of kindness but one that I’ll never forget. And, like Endeavour observed, inspired by Rosalind Calloway’s performance of Un bel dì vedremo, it restored my faith in humanity in its own little way and I myself also saw that there was beauty in the world. True, the news and the media, particularly of late, often remind us how dark and troubling the world is, and yet there really is beauty in the world isn’t there? If only we know where to find it or at least take the trouble to look. Indeed, one good day, we will see.

One of the places we are almost certain to find beauty is Oxford and I don’t just mean its architecture and dreaming spires. No, whether it’s the Oxford of Inspector Morse during the 80s and 90s, the more contemporary Oxford inhabited by Lewis and Hathaway, or the one we are currently enjoying now in 1967, you’ll find beauty in all of these because they have characters with integrity; men and women who will always do the right thing – even if occasionally they do the wrong thing for the right reasons – you can depend on them and their moral code. As with life, you’ll undoubtedly encounter a villain every week or so, but for every stinker, you’ll also find a handful of decent men and women – people with honesty, complete incorruptibility and maybe even a spare tissue for a stranger.

Perhaps then, in addition to the ingenious creative cast and crew who have worked on Inspector Morse, Lewis and Endeavour over the years, this is why they and Colin Dexter’s work endure. We watch the screen in the corner of our living rooms each week and not only see the decency of Endeavour, Thursday, Bright, Strange, Max, Trewlove and Dorothea et al., but we also see the respectability and potential within us all. A glorious widescreen high definition vision of our better selves.

And speaking of ingenious, I asked members of the Endeavour team to join this celebration of thirty years of Morse on our screens. This is what they told me…

ED BAZALGETTE

Director ~ GIRL

‘Never underestimate the audience’ – one of the first things you learn when you start working in TV, it could have been invented for the Morse/Endeavour audience. Since 1987 that audience were treated to scripts that teased and tantalised, beautifully drawn characters leading them up blind alleys, into dark corners, stories that stretched their minds, challenging them to think logically and laterally. In its time Morse became a national treasure, a much loved institution that had seen so many great stories, wonderful writers and directors.

When the call came to direct the first Endeavour of series one it was an easy decision but a tough task. We were making the prequel, stepping back in time to the crimes, cases, loves and losses that would be the making of Morse: the early years of the man who was one of the most popular characters in British television. The backdrop to this was the world of Oxford in 1965. So many period dramas had seemed to fetishize the time they were set but looking at the 60’s British films I liked, the incidental background detail was just that – the cars, clothes and interiors weren’t always front and centre, and that was exactly the feel I wanted for the world of Endeavour. Not everyone had beautifully tailored three button mohair suits, cars weren’t gleaming and routinely polished – our world had to reflect that kind of detail. Of course it could still be beautifully observed and atmospheric!

Russell Lewis refined his splendidly cryptic layered script and I researched the background. The script featured an Oxford secretarial college, I traced down people with memories and stories of the ‘Ox and Cow’ – the nickname of a well known college at the time. An early 20th century shopping parade in Ruislip became the location for the post office run by Wallace and Derek Clark in the script – after a lot of digging I found a photograph of the parade actually taken in 1965! I rifled through old family photo albums for trace elements of 60s life.

Directing the opening film meant casting many of the characters who have gone on to inhabit the Endeavour films with such well observed performances. Shaun Evans, Roger Allam and James Bradshaw had already been established in the pilot episode. Anton Lesser came aboard and was wonderful from the moment he became Chief Superintendent Bright, a beautifully realised portrait of a man from ‘another world another class. One which by 1965 was already slipping out of memory and into history’. His subtle rhotacism, and the reference in the stage directions to Field Marshal Montgomery hit the tone of a man out of time perfectly. Jack Laskey as Jakes and Sean Rigby as Jim Strange made up the rest of the core cast. On the morning of Sean’s audition I arrived first thing for some early meetings and bumped into him a few streets away. Hours before his allocated time he was pacing the neighbourhood being Jim Strange. I knew we had our man. And the guest cast for GIRL were wonderful too: Jonathan Hyde, Olivia Grant, Luke Allen Gale, Mark Bazeley, Jonathan Guy Lewis and Sophie Stuckey.

Each day’s rushes brought new delights and sitting in the edit afterwards I felt we had something very special. It all worked but one detail bugged me. The opening shot – a high view of Broad Street shot from the Cupola of the Sheldonian theatre – looked flat and empty. All the reference photos from the 60s show it packed with cars. Our shot had about six. With each viewing it looked emptier. I started to obsessively research vintage car clubs and eventually found one who promised they could access up to 30 period cars and motorbikes. Too good to be true? It felt like a long shot but before dawn on a freezing Saturday in January I went back to Broad Street to find well over almost 40 period perfect cars waiting. And they all looked right – not shiny and sparkling but properly used and lived in. In the briefest of windows between sunrise and Oxford waking up we got the shot. That was pretty much it, but not quite. The final memory was going to the recording of Barrington Pheloung’s score. Could there be a more appropriate venue to complete the first Endeavour film and recreate the sound of 1965 than Abbey Road studios?

JAMES BRADSHAW

Dr. Max De Bryn

Growing up in the town of Stamford, Lincolnshire, and having a keen interest in brilliantly told detective dramas, Inspector Morse was essential viewing in our house. Proud that he had attended the same educational establishment as the writer of these wonderful stories, my Dad would turn to me without fail, at the end of every episode and say, ‘Colin Dexter went to Stamford School, did you know that?’

And now thirty years on, I am very proud and honoured to be working with a fantastic team of cast and crew, who have created a whole new set of brilliant stories, inspired by Colin Dexter’s Endeavour Morse.

Russell is such a wonderful writer and every time I receive a new script, I never cease to be impressed with his sheer skill and mastery at story-telling. Every character is so finely drawn, and as an actor, I am personally grateful for the all those wry and pithy witticisms from Max De Bryn (far cleverer than I could come up with) and an education into the fascinating world of 1960s forensics.

I always enjoy working with Shaun very much, he is such a talented and generous actor, and I remember the first scene we filmed where Morse first meets Max. I think it was the first day of filming and I remember going home thinking what a great day, and feeling that I was part of something special.

And whether I’m learning my lines as I stroll by the river and through the local cemetery, trying on bow-tie and cardigan combinations with the Wardrobe Department, researching ‘occipital fractures,’ or having a good natter with Abigail at the read through, it’s always a delight working on Endeavour.

SAM COSTIN

Script Editor ~ Series I – III

It’s difficult to disentangle my experience working on Endeavour with my own entry into working in television generally, an opaque and boggling industry at the best of times, as they both naturally coincide and overlap. I had stumbled into a job working in development with Mammoth Screen not long after graduation, having previously mimbled about (very vaguely, one hastens to add) in arts journalism. I had been writing about cinema as an adolescent, then as a student. Strutting ingrate that I was, when by chance I saw a graduate script editing position advertised online. I assumed that the critical skills required to analyse a completed product were transferable to that which had yet to be made. I had much (read: a bucket load) to learn.

I’ll always be grateful that having blithered on no-doubt incoherently about The Singing Detective and Cathy Come Home in their old Rathbone Place offices, Damien, Rebecca, Preethi, Michele and the rest of the Mammoths first hired me on a provisional basis, and then – gasp, pant – continued to hire me for an extended period of time. I had greatly admired previous productions such as Christopher and His Kind and Margot, and other highlights (The Best Possible Taste, Parade’s End) were cresting on the horizon. I didn’t quite know what I was doing, and I lived in permanent fear of being metaphorically defenestrated for getting things wrong and making ridiculous mistakes. As it was, I made several, but I was allowed to develop, grow and find my creative feet; a luxury rarely afforded and something for which I remain thankful.

Eventually I was asked to script edit the first series of Endeavour – an ask I took extremely seriously. I’d seen the Pilot film at a screening, and then again when it was broadcast in early 2012. I knew nothing of the production process and my memories of the first series are something of a blurred jumble of learning curves and mad panics, with producer Dan McCulloch exhibiting Job-like patience as I learned the ropes.

All this time later, the job remains a relentlessly amorphous one, with Wilder’s famous dictum about directors – “….must be a policeman, a midwife, a psychoanalyst, a sycophant and a bastard.” –  bearing some vague application. In this particular case it became a process of best serving and protecting the special alchemy and deliberate architecture of Russell Lewis’ screenplays, works that are often astonishing in their adroitness and cine-literacy, as well as honouring the lineage and internal continuity of the Dexterverse that had preceded them. Across three series, every film was its own different working experience, with Russell as the constant, the details of which would fill pages too innumerable, exhaustive and personal to fully expound upon here. But the show became my morning, my day, my evening, my night; my weekday, my weekend. My life.

Endeavour Morse sustains as a lasting spoke of British cultural iconography, regardless of specific iteration, because he appeals to the best of us. So it is with some pride that I got to call his cockeyed caravan at Oxford City Police, however briefly, a home. May he, and all those who ride with him, endure.

IRENE NAPIER

Make-up Designer ~ Pilot & Series I – IV

I’ve always been a huge Morse fan. I’ve seen all of them at least twice. Which is why, when Colm McCarthy, director, called to say he had a new project, I got very excited. I had just finished working in London so I arranged to see Colm and Dan McCulloch, producer, in town before I left to drive back up to Scotland. I’m glad to say the meeting went well and Dan called the next day to tell me I was first on board on Endeavour. And as they say, the rest is history. I love doing Endeavour it always has fantastic scripts, courtesy of Russell Lewis, with great stories and many challenges. I think I’m the only crew member who’s done them all. Which is a huge honour. The core cast are all fantastic! When I travel down from Scotland to start a new series it’s like a lovely feeling of coming home and meeting up with old friends.

I never had the chance to work on Morse so this, for me, is a fantastic opportunity. We’ve had great directors and fantastic guest artists. The casting is always spot on which makes my job so much easier. With Russell’s scripts, each character is finely drawn but there’s always scope for me to add little twists. We’ve had many stunt doubles, always a challenge! In Ride we had one character playing five different characters including a twin. On this series I particularly enjoyed Canticle where we had to create a 1960’s pop band. We added many bits and pieces of hair and wigs to those boys to get an authentic look. Doing 1960’s is great fun, lots of Carmen Rollers used! One of the great things about it is, the production is really well run. We don’t do ridiculous hours and we get to go to Oxford, which is a real  treat. The crew all love to come back which just shows how much everyone loves it. It’s fantastic, for me, to be part of such an iconic production.

SEAN RIGBY

Detective Sergeant Jim Strange

Despite The Dead of Jericho first airing nearly two and a half years before I was born, it would be impossible to grow up during the Nineties and not be aware of Inspector Morse‘s immense popularity.

Towards the end of filming the first series of Endeavour, I got the cast to sign an omnibus of the first three novels to present to a long-time family friend, neighbour and self confessed Morse fanatic back in Lancashire. When I gave it to her, she had tears in her eyes. I think that’s the first time it truly hit home just how much this iconic programme means to people.

We all have to start somewhere, and I had the incredible fortune of taking my first steps as a professional actor in the formidable shoes of James Grout. Even now I still pinch myself. My working days are spent with wonderful scripts and the finest actors and crew you could find. What more could you ask for?

It is a tremendous honour to be a small part of Inspector Morse‘s enduring legacy.

Long may it continue!

MATTHEW SLATER

Composer

1987; BMX bikes, Michael Fish telling us it was only going to be a bit windy, back when there were only five billion of us on the planet, but more importantly the year Morse hit our screens.  Of course, we didn’t know E. Morse was indeed Endeavor those decades ago. I can remember the press and public interest surrounding that enigma for years with vigorous speculation and conjecture.  Being a thirteen-year-old teenager, I can also remember the television set being switched over regardless of what was on the other side.  The cast, the stories the music – it was something new and gripped the nation by the millions.  I don’t know whether it is an urban myth or not but I read at its peak some nineteen million viewers tuned in and during the ad breaks, the National Grid had to go into overload as so many kettles were being switched on simultaneously.

Back when cop shows were all guitars, brass and funk, Morse was something different.  Refined, classical and considered.  Barrington Pheloung’s theme and approach to the series was something clearly integral to the success and longevity of the characters.   Had someone told me as that thirteen-year-old that not only would I get to work on the original Morse series, but then Lewis into Endeavour, and to then finally have the honour of composing for the series in its thirtieth year, I’d have said they were utterly mad.

Being asked to become part of such a well-loved, talented and established team of actors, producers and crew is like being asked to become part of a huge, friendly family.  Shaun Evans and Roger Allam’s onscreen chemistry is equally as strong as John Thaw and Kevin Whately’s.  The entire series from start to where we are now has been brilliantly cast.  So many of the world’s finest actors have passed through the hallowed doors into the world created by Colin Dexter that I don’t think there has ever been such a vast and venerated cast list in the history of entertainment.

I felt a huge responsibility in writing the music for the thirtieth year and can only thank Tom Mullens, Damien Timmer and all at Mammoth for putting their trust in me.  Working with Russell Lewis’ brilliantly engaging new characters and stories has been a privilege.  Being involved for twenty years myself, whilst the prospect was daunting, I felt a natural and familiar comfort immersing myself into the world of one Endeavour Morse, or perhaps more befittingly…

— — .-. … .

ABIGAIL THAW

Dorothea Frazil

2017 comes around and I had no inkling it was 30 years since Morse first crossed our TV screens. Perhaps that’s a credit to the Endeavour series that we’ve become so immersed on our characters and our own program. Suddenly I am in the thick of the “30 years” thing and I can’t believe it was so long ago that it all started.

But I remember thinking, while waiting to shoot my first scene of Series 4 on some beautiful quad, that being in Oxford is a pertinent reminder of my father for me. It brings me back to him with a jolt; the colleges, the streets, the Randolph Hotel, the Ashmolean. Strange because I lived there as a child long after my parents divorced so I’ve rarely been there with him. But the character of Morse is so ingrained in that golden stone and the legacy (although I hate that cliched word) is quite sobering. Staring round at this wonderful, talented crew and actors, there to tell the stories of Inspector Morse’s crime solving… I mean, how extraordinary is that!

Thank you Colin Dexter and thank you Dad for giving Morse a corporal existence and everyone for continuing to make it happen: Damien, Russell, Kevin who drives you to the set happy and rested, Shaun with all that weight on his slender shoulders that he carries effortlessly… The list is very long. And then I stop thinking about it because if I didn’t I’d be overwhelmed and wouldn’t be able to do my job!

Having James Laurenson in the first episode was a treat and it was lovely to hear his stories of that very first Morse; the uncertainty of whether it “had legs”. But for the rest of the time I don’t think about “Morse” or “Dad”. I look across at my fellow actor and I think, Hello Endeavour, or Hello Thursday, and when the camera’s not rolling I’m having a jolly good laugh; or putting the world to right over a custard cream and a tepid cup of tea; or trying to remember my lines and not bump into the furniture. Or trying to look as though I drive a 1960 Triumph with exceptionally stiff gears every day of my life…

And I love Dorothea. I fall for her more with each series. Russell thinks up all sorts for her, some make it to the final cut and many don’t but I know they’re there and they help me fill her out. Russell graciously allows me to feel I have some input into her development as I email him with the odd thought but I have to admit, he’s the puppet master. And I love the glimpses we get of her private life. Her friendship with Endeavour is touching and particularly comes to fruition in this series. Not to give anything away! She’s a lonely soul much like her Morse compatriot. But she’s got such gumption and life force. She can be utterly charmless when she wants to be which is rare in playing or being a woman. Something men take for granted. I wish I was more like her in many ways. But not at the witching hour after a scotch too many. Or those dark hours before dawn. I doubt she’s a stranger to the Dark Night of the Soul.

Whatever other job I do during the year, there is nothing like the thrill of a fresh new Endeavour script arriving, the comfort of all those familiar faces working for the same thing, making it as brilliant and enjoyable as possible. Putting on Dorothea’s rather uncomfortable clothes and pointy bra and drowning in a sea of Irene’s (Napier) hairspray, I’m plunged back into “Ah yes, I know this. Hello, girl. Cheers.”

DAMIEN TIMMER

Executive Producer ~ Pilot & Series I – IV

Back in 1995, as a relatively fresh faced young script editor working at Central Films, the drama dream factory run by the legendary Ted Childs, I had the great fortune to be assigned to the Inspector Morse one off THE WAY THROUGH THE WOODS. This was a huge event at the time; the first Morse film for a couple of years, after THE TWILIGHT OF THE GODS had apparently ended the series (with John Gielgud amongst the cast!!) back in 1993. It was a career highlight for me – working closely with the great director John Madden, being in the orbit of Colin Dexter, and actually getting to see John Thaw on set in our Wytham Wood location.

The most important relationship was with the writer, one Russell Lewis. At the time Russell was the rock star god of writers; a young man who had The Midas Touch. Everything he wrote was a huge, monster smash – KAVANAGH QC, SHARPE, CADFAEL. He was the most modest man I  had ever met, but also  genuinely the cleverest; this extraordinary collision of huge (if not mammoth) erudition with this great story brain; an innate understanding of how to hook in a big audience with a well told tale.

Adapting THE WAY THROUGH THE WOODS was a complex puzzle, as the (wonderful) novel presented many challenges. I got to know Russell’s brain well over that long summer, and it was a massive learning curve for me. He was my hero.

We worked again shortly after this, on a new series for Carlton called HEAT OF THE SUN, a series of adventurous detective yarns set in Happy Valley Kenya in the 1930s. Originally conceived for Kevin Whatley, at the eleventh hour it became a vehicle for Trevor Eve. A documentary series stole the title just before transmission, and the show was (unhappily) renamed UNDER THE SUN. Beautiful scripts, but the production process was a slightly bruising experience, stretching everyone involved to the limit. But my admiration for Russell’s brain grew yet further. The joy of reading his stage directions! Such nuanced scripts, packed full of allusions to all manner of things, both sacred and profane! The show was so expensive to make it didn’t return, but it put me slightly more on Russell’s radar, so I was happy!

In 2006, the idea of a Morse tribute film looking at what happened to Robbie Lewis after THE REMORSEFUL DAY emerged. I was then at London Weekend Television, and was having a development brainstorm with Julie Gardner, now Queen of All Drama, who was also working in the department. ‘Can Kevin Whatley ever play another TV detective?’, she asked plaintively. I had my eureka moment – ‘would he ever return to play Lewis? Just one last time?’. Russell said it was a good idea, and set to work. Ted Childs was approached, and Christ Burt came on board. Kevin was sceptical, as was Colin Dexter, but great work from Russell persuaded them that this would be made with integrity. The single was a huge success, achieving a rating of 11.3 million, a huge number even back then. Many more films followed. The dynamic between Lewis and Hathaway – forged by Russell’s brain – delighted audiences for many years. Thirty three stories were told – the same as Inspector Morse.

The notion of doing an origin film to celebrate the 25th anniversary of Inspector Morse was one Russell Lewis, Michele Buck and I had discussed for some time. As huge fanboys of the original series, we were excited by the notion of glimpsing Morse in his early years. But was this a spin off too far? I was convinced that it deserved to be made when Russell offered up the title. Of course! ENDEAVOUR! From that point on, the show had its own unique identity. It exists in the world of Inspector Morse, it *is* Morse, but it is also, uniquely, Endeavour. We never talk about Morse in script meetings; we only ever refer to him as Endeavour.

Casting the young Morse was key, of course. Shaun Evans had appeared in the first episode of Monroe, a hospital series Pete Bowker had written for ITV with James Nesbitt. He was a last minute substitution after another actor had pulled out. We were discussing the script of Endeavour at the same time as were editing Monroe, and I kept thinking there was a soulful quality about this young actor which made me think of Russell’s Endeavour Morse. He had something of a fallen angel about him; his face conveyed such sadness, such intelligence, such warmth. And those eyes! With hindsight one marvels at the madness of trying to cast the young John Thaw! What were we thinking of? But to Shaun’s great credit, the first Endeavour film won many accolades from critics and fans, many of them focusing on the brilliant performance at the centre of it, but also the chemistry between Shaun and Roger Allam. Thursday, of course, is integral to Endeavour. That first script originally had Joan and Win, and Strange also made an appearance – all later cut for length. Only Bright and Jakes were missing. I think this goes to show what an extraordinary grasp on this world Russell had from the very beginning. Why is Thursday called Thursday? Why does Joan exist? I have never asked Russell, but knowing his mind and how it works, ‘Thursday’s child is full of grace…’ am sure is part of it. He had it all mapped out! I’m certain he had that extraordinary last scene between Endeavour and Joan at the end of series 3 mapped out when he first wrote the original pilot; he’s always had a very clear sense of how the lives of Thursday, Strange, Morse, Joan etc will play out over the ENDEAVOR years. That’s the thing that sets the show apart from Morse and Lewis; Russell Lewis’ role as sole author. Morse had extraordinary writers (Anthony Minghella! Julian Mitchell! Daniel Boyle!), and there was a thrill in seeing different talents take up the challenge of writing for Colin Dexter’s great creation. But in Endeavour *everything* comes from Russell’s brain. This is highly unusual in the world of returning detective drama, and I think it’s the thing that elevates Endeavour. The complex mythology extends each year. It’s a world where everyone shops at Burridges, follows the tennis career of Elva Piper, listens to recordings of Rosalind Calloway. Russell pays constant tribute to the world of Morse which lies ahead, but he also slowly builds up one of the most detailed and credible fictional worlds on modern television. Everything is to be found in this slice of 1960s Midlands life. Endeavour’s adventures take him to the world of Lonsdale and the other Oxford colleges, but also to the wider world – much more than Lewis did, and possibly more than Morse did.

Endeavour, forged by Russell, helped by Dan McCulloch, Colm McCarthy and many other wonderful directors, Sam Costin, Helen Ziegler and many others over the years. And special mention to Helga Dowie, our inestimable Line Producer. We are blessed that Sheila Hancock makes  a special appearance at the end of this 30th anniversary, in one of our very favourite films yet. Big kudos to director Jim Loach for making something so special. The camaraderie on Endeavour really is one of the most striking things about it; Russell, Shaun, Roger and everyone else all going the extra mile, knowing they are making something a little special. Knowing some of Russell’s plans for future stories I genuinely think the best is yet to come!

SARA VICKERS

Joan Thursday

Being an actor can be a lonely road. Jobs come and go, people come and go. So to enter into the world of Endeavour and Morse, is like a little haven. Meeting up with the loveliest cast and crew year after year, it’s a privilege to be part of it.

And to get to play sassy Joan Thursday to boot, I’m pretty chuffed with that.

A massive congratulation to everyone who has made Morse the huge success that it is. Long may it continue!

Happy 30th Birthday Endeavour Morse! x

HELEN ZIEGLER

Producer ~ Series IV

What makes Endeavour so special, is that each film invites you into a different world, from the spooky slipper baths and thinking machines, to the hedonistic life of pop stars, a haunted hospital and a nuclear power station. In each film, Russell creates these sublime and utterly different stories which intertwine actual events, issues and personalities with thrilling plots. He effortlessly clashes together both obvious and hidden layers of references to history and the arts, and of course ways to celebrate the 30th anniversary.  So many that even when working on the show you relish trying to work out all the secrets of the script!

I have too many great memories to pick just one. What could be better than exploring the hidden secrets of Oxford, creating a man versus machine competition, following Roger and Shaun in a boat as they seek Nick Wilding through the fog, or shivering as they run through the dark corridors of a deserted hospital, watching dancers tirelessly perfect their rainbow moves and getting to press the big red button on our set for the nuclear power station!

Ultimately, the best memories come from the people, the Endeavour family, the passion, dedication and the many many laughs. Working with such incredible talent both on and off screen was a constant inspiration for me, and it is an experience I cherish.

~

Remembering those who were there in the beginning with the very first Inspector Morse and are no longer with us:

JAMES GROUT

Chief Superintendent Strange

NORMAN JONES

Chief Inspector Bell

KENNY MCBAIN

Producer

ANTHONY MINGHELLA

Screenwriter

ALASTAIR REID

Director

PETER WOODTHORPE

Dr. Max De Bryn

and

JOHN THAW

Chief Inspector Endeavour Morse

~

I would like to thank everyone who was kind enough to contribute to the article above and all those who have done interviews with me over the past few years – especially Russell Lewis. If you ever find yourself in the back of an ambulance suffering from smoke inhalation – he’s the only man to call out for!

Also, I spoke earlier about people of good character and morals. Well, I save my final thanks to someone with more integrity, principles and goodness (not to mention patience!) than anyone I have ever met – my Kirstie. I love you x

~

Copyright © Damian Michael Barcroft 2017
All the interviews and articles on this website are original and exclusive and I would please ask that the copyright be respected. Therefore, please do not use quotes or any other information contained here without permission. Thank you.

 

Exclusive ENDEAVOUR interview with Russell Lewis on CODA

THE ENDEAVOUR ARCHIVES: CELEBRATING 30 YEARS OF MORSE ON SCREEN

Interview copyright © Damian Michael Barcroft 2017

“Coughing better tonight” – The Wigan Nightingale

Russell Lewis on CODA

An exclusive ENDEAVOUR interview

by Damian Michael Barcroft

The final part of our journey discussing series three of ENDEAVOUR as well as previewing tonight’s film with writer/executive producer – Russell Lewis.

~

Remembering Graham. My Grandfather, mentor and friend.

~

Wednesday morning at five o’clock as the day begins…

DAMIAN: Morning Russ. Just pass me that note on the fireplace, it’s got the questions on. Thanks. So evil twin, no, we’ve done that. Tiger, yeah that one too. You see, I’m asking all the right questions, but not necessarily in the right order. Here we go then, eyes down for a full house – would you agree that CODA was by far the best film of series three?

RUSS:  I honestly couldn’t say.

DAMIAN: Of all the ENDEAVOUR films thus far, which one would you say was the best or at least which are you most proud of?

RUSS:  Again – unhelpfully – I don’t have a favourite child.  I have good (and less good) memories about each of the films.

DAMIAN: Do you ever get a sense, either in the writing, filming or post production process, which of the films are going to be a hit with audiences?

RUSS:  Not particularly.  ENDEAVOUR has always been a Variety pack.  Someone will love the Ricicles, but not the Sugar Puffs.  I view it as a totality.

DAMIAN: When I’ve asked you about specific films in our previous interviews, I often get the impression that you haven’t seen them in a while. Obviously you see the rushes from each day’s shoot, but other than that, do you not watch them again?

RUSS:  It’s very personal.  We watch not just the dailies, but also the weekly assemblies, and every cut that’s done in post – on which we give notes.  And then again in the grade…  and during the final mix.  So.  Once I’ve seen the final cut graded & mixed…  I tend not to watch them again.  All I ever see are the flaws – the things we could have done better.  Battles lost and won.

DAMIAN: Would it not even prove beneficial to watch them again as a refresher before you embark on writing the scripts for new films?

RUSS:  It probably would, but the pain to benefit ratio is too far tilted towards to the former as to make it unbearable.

DAMIAN: Will the Lewis family not be gathered in front of the television with a Good News box of chocolates to watch tonight’s film?

RUSS:  Unlikely.

DAMIAN: There’s this rather strange phenomenon now where fans tweet along as ENDEAVOUR is actually broadcast instead of focussing on the show and giving it the full and undivided attention it deserves. What do you make of this?

RUSS:  If people enjoy it, I don’t see any harm.  People talk while watching things.  It’s just an extension of that.  We are a guest in their homes, and it’s lovely to be invited around to spend time with them.  So long as nobody gets hurt, there’s nothing to frighten the horses, and it’s all consensual, then folk can do just as they please in their own lounge rooms.

Either side of the TX +1, it’s a lovely way to interact and connect with people who enjoy the show.

DAMIAN: As many reading this will know, your scripts are always filled with so many delightful references to INSPECTOR MORSE and various other things –CODA is no exception and newcomers might like to check out GREEKS BEARING GIFTS, PROMISED LAND and THE WAY THROUGH THE WOODS in particular– so you must go back and view the original series every so often?

RUSS:  Mmm.  A bit, yes.  With one exception.  It’s usually characters that have stayed in the memory that put in an appearance.  But there’s a lot still left to plunder.  Yes, PROMISED LAND loomed large over CODA – thanks to the diligence of Helga Dowie, our brilliant Line Producer who has been with us since FIRST BUS TO WOODSTOCK, we managed to shoot the funeral of Harry Rose, which opens proceedings, at the same cemetery.  Helga also came through magnificently with last week’s LAZARETTO – going to great lengths to secure the location used in DEAD ON TIME for William Bryce-Morgan’s house.

It’s worth saying that the raid in CODA is not the bank-raid STRANGE and MORSE discuss in PROMISED LAND, which claimed the life of RON PIGGOT.  ‘I lost one of my best officers that day, and you lost a good friend.’  We’re looking at the raid before that.  Filling in some of the blanks. I did compile a feasible timeline that allowed for both raids and the fallout from each as part of my prep.  Taking birth dates from the actors involved.   So – Con O’Neill’s character from PROMISED LAND appears here as one of the children at the funeral.

‘They’re all villains.  The whole Matthews family.’

DAMIAN: Did the idea for CODA begin with the bank robbery?

RUSS:  It began with the conceit of how we might have Endeavour solve a murder story in the middle of one, yes.  Something different.  I’m drawn to the proper coppering type stories – and I think the show often works best when the cryptic whodunit is working alongside the more Z Cars/Dixon/Carry on Constable type stories.  Each of our heroes playing to their respective strengths.

DAMIAN: There was a few elements, acts and decisions in CODA where I wondered if there might have been some debate or discussion as to whether or not a character would do this or that. Were there many rewrites for this film?

RUSS:  There are always MANY, MANY rewrites for EVERY film, with the concomitant amount of debates and discussions.  Further, I wouldn’t wish to go.  However – because we’re up against it, the last film in every run typically has fewest changes.  So…

DAMIAN: Well, I think given everything going on with Thursday, although Endeavour doesn’t approve of him knocking about the informant Bernie Waters, I can just about understand Thursday’s sentiments that the end justifies the means. However, what did surprise me was Bright, after Division made it quite clear that Thursday was to remain suspended from duty, that he later gives him the gun (and indeed evidence from Blenheim Vale no less), basically giving him his blessing to go all Clint Eastwood. Now, it’s a beautiful scene between two men with such loyalty and respect for each other but the Bright we met in GIRL certainly wouldn’t have done this would he?

RUSS:  You’re absolutely right, of course.  BRIGHT from GIRL would never have done it.  I think the return of the revolver was a key moment in BRIGHT finally making his peace with THURSDAY.  He goes against Division.  It’s Joan’s life on the line.  Unleash THURSDAY.

If I remember right, the revolver moment first appeared in an early draft of RIDE – quite early on in the story.  But it got the boot, and dropped back in proceedings to the last story.

DAMIAN: And the other element which I wondered might have been a subject for debate was Strange also punching Bernie Waters?

RUSS:  No, that wasn’t ever a sticking point.  In some ways, he’s closer to Thursday in his methods.  Thursday knocking Hodges about in PREY, and giving Bernie a taste in this story – it kind of gave the green light to Strange to get physical.

DAMIAN: And, of course, doesn’t the scene serve as a brilliant foreshadowing of the future strained relationship between Endeavour and Strange who is now his superior?

RUSS:  Which is why we went the way we did with it.  With Thursday and Strange getting heavy handed, it leaves Endeavour, as the one point of reason, isolated.  And it puts another boat’s length between Endeavour and Strange – as the latter pulls out in front on the ladder of progress and ambition.

DAMIAN: You must have many discussions, perhaps even heated sometimes, with the directors and actors and I suppose this question is in two parts really. Firstly, tigers aside, you’ve written every episode so far and you’re obviously doing a grand job so why don’t they just trust you to get on with it by now? And, secondly, to look at it from a different perspective, who do you think challenges you to do your very best work?

RUSS:  It’s just not how it works.  Any piece of work is a constant conversation from first to last. All interested parties provide feedback in the form of Notes – requests for changes.  It’s our job to square the circle, and action the majority, if not all, of those changes.  If people are bumping their toe on this or that bit of the story – initially a Brains Trust of Damien Timmer, Tom Mullens, Helen Ziegler on Series IV, the script editor, formerly Sam Costin, but on IV, Paul Tester – then it’s worth paying attention and addressing their concerns, because if something’s not working for them, then it’s very likely not going to work for an audience.  And then the director will come on board – and they’ll have their take on it.  And then it will go out to the Network for their thoughts.  And, of course, at various stages – particularly after read-through – Shaun and Roger will give their feedback.  Rebecca Keane – Creative Director at Mammoth is a top trouble-shooter and our last line of defence.  She’s invaluable at identifying underlying difficulties and offering eleventh hour solutions, and has saved our collective bacon more times than I can remember.  ENDEAVOUR is the work of many hands at every stage of development and production.

But the notion of in the beginning was the word, and that the word is in some way inviolate is an utter fantasy.  There are always other words.  And you will need them all.

It can be tricky on any story you’re telling, but with whodunits – you build a Swiss watch of a plot, and if you’ve done it right, every requested change will have a massive knock-on.  A stone echoing down a well.  Sometimes it’s more of an avalanche, and you have to go back to the drawing board.  A billion things – conflating characters; losing characters; dropping a loop of story.  The phrase you’ll hear on any ENDEAVOUR script-meeting is ‘plot vertigo’ – which was minted by Damien.  It’s his shorthand for something so fiendishly complex that it just leaves everyone giddy, and going, ‘Huh…  Whu?’

At the front end, changes are editorial, but as production rolls, it becomes more practical. Things happen.  Events, dear boy.  Events.  A location falls through, or a prop doesn’t work, an actor goes down, or you don’t quite get what you were hoping for, scenes dropping off the schedule that contains a piece of information vital to driving the plot – a million and one things. And you have to write your way out whatever the problem might happen to be.

But I’m very lucky with the Mammoths – Damien knows which way is up.  And, the Network on Series IV was very, VERY trusting and unbelievably supportive.  Next to zero in the way of Notes. The thing to remember is not everybody gets their own way.  None of us.  It’s compromise. Often finding common ground and a third way that provides a solution everyone can feel happy with.

I don’t know if I’ve said this before, but I have two notes up on the wall.  The first is ‘Television is a collaborative medium.’  The second is, “Collaborators will be shot.”  Now, that’s clearly facetious, but there probably an element of truth in it.  I’m sure I drive them absolutely round the twist from time to time.  Daily, probably.  We all drive each other crazy.  But it comes from a good place.  Always.  In the end it’s all about the work.  Everyone cares so deeply about making it as good as it can be.

ENDEAVOUR’s an absolute juggernaut of a machine, and once it’s left the station on its six to nine month journey it’s unstoppable.  You have to keep feeding the coal in, and make sure nothing derails it.  Television is an expensive business – and stopping production for whatever reason would be the equivalent of catastrophic engine failure.  Immensely costly in terms of blood and treasure.  And it’s always against the unforgiving minute.

It’s not vital War Work – it’s show-business, but like any job it has its own levels of stress and anxiety.  You live on your nerves from first to last.

We all want to do the absolute very best we can with and for ENDEAVOUR.  And that kind of comes back to the first dictum.   The great William Goldman again – We’re all at each other’s mercy.  So, when the muck and bullets are flying, and the stress levels are in the red zone, it’s important to keep that in mind – and deal with everyone as kindly as you’d wish to be dealt with yourself.

Who challenges me to do my very best work?  That’s hard to say.  Different people challenge you in different ways, but I don’t need much encouragement to be unforgiving of myself.  I can’t stand to repeat something, or even tell the same gag twice.  So, I tend to make the creative life as difficult as I can.  Throw up roadblocks and obstacles.  And now…  blindfold.  You’re just trying to trick the brain, so it doesn’t automatically reach for the tried and trusted solutions.  So the decisions one makes become almost independent.  I’m sure that sounds unhinged.  But ideally – such is the level of concentration one’s applying to the task at hand that the experience becomes out of body.  The choices made are subconscious.

It’s hard to describe, but it’s a kind of right hemisphere/left hemisphere thing – you want any story to surprise and intrigue, but never for its own sake; it also, primarily, has to be as emotionally truthful as you can make it.   So you’re operating in a kind of no-man’s-land between the two opposing demands – attaining an equilibrium — and slipping from one into another.

I don’t recommend it as a technique for a moment, it’s more a case of needs must when the devil drives, but some of the pieces I’ve thought have worked best over the years – not just on ENDEAVOUR, but across the board — have come out of a long writing session.  Forty-eight, seventy-two hours.  Unbroken.  No sleep until you write ROLL END CREDITS.  Somewhere in there you reach an altered state without the aid of chemicals.  The barriers break down, and the other guy comes out to play.  The dark passenger.  I find I can access some places – emotionally, and, er… in terms of memory, that I might not get to otherwise.  Your brain is overclocked.  And it’s just developing the facility to exploit that access to waking dreaming.  A kind of guided hallucination.

I’m also available for Children’s Parties.

I don’t know – any piece of writing always feels like it’s Russian roulette.  Is this going to be the one where a full cylinder comes level with the hammer?

DAMIAN: Aside from the absolutely cracking story and plot for CODA, what impressed me most, as always really, was the beautiful tender moments between characters such as the dialogue when Dorothea tries to comfort Mrs.Thursday during the armed robbery, the exchange between Thursday and Trewlove when he gives her the cigarette and Strange stopping Max from wading into the bank. All fabulous but as is often the case with the relationship between Endeavour and Thursday, it’s what left unsaid that really resonates. Like the scene towards the end (“There was a bullet left in the chamber, whatever you told Cole Matthews, you knew it. You drew his fire”) it’s the silence after this, the two seem to communicate best in theses pauses and they are masters of an almost Pinteresque understatement in conveying their respect and quite possibly love for each other. By the end of the final ENDEAVOUR, will they ever develop the ability to articulate this devotion and bond that they share?

RUSS:  Well – that’s very kind of you.  Sadly, there was more Dorothea/Win material in that sequence that we lost for time.  A bit of a window on Dorothea’s life.  It always kills me to lose such things – and my heart bleeds for the actors.  I fight for such moments all the way down the line, but all too often one has to bite the bullet.

DAMIAN: And you’ve obviously got a plan for the characters and their story arcs, can we expect to enjoy ENDEAVOUR at least up until the seventies arrive?

RUSS:  Well, it’s outside of my gift to say how long ENDEAVOUR will be on screen, but, for the audience’s sake, I hope we can take it to its natural conclusion in terms of story.  I know when I think it should end, and what that end will be, but we shall see…

However, before then there’s a few things still left unexamined.

DAMIAN: For the final time then, please tell us about tonight’s film?

RUSS:  Hmm.  Well…  Hymns Ancient & Modern.  Endeavour & Thursday investigate a mystery that encompasses distant pre-history and the shape of things to come.  Being a story with a pastoral flavour, the audience will need to winnow much chaff to obtain the wheat.  It’s the conclusion of our Thirtieth Anniversary run, and I hope our final salute brings the many worlds of Endeavour Morse together in a way that pleases.

At risk of falling foul of the Data Protection Act, I can reveal the contents of an email I got from Shaun Evans who, in his capacity as Associate Producer, dropped by one of the Mixing Days. Children, and those allergic to ‘bad’ language should look away now…

I’m in the mix. Just seen the opening. This is F*****G BRILLIANT!!!!!!!”

For my own part…  The casting cat’s somewhat out of the bag, but I”ll just say this.  “And” can be a very special word.

DAMIAN: Will there be a cliffhanger?

RUSS:  All I can tell you is that it’s a very different ending for a series of ENDEAVOUR.

DAMIAN: Will there be sandwhiches?

RUSS:  Always.

DAMIAN: What about wildlife?

RUSS:  Sheep may safely graze.

DAMIAN: So far you have chosen: DRIVEN TO DISTRACTION, GREEKS BEARING GIFTS, THE INFERNAL SERPENT, CHERUBIM & SERAPHIN, DEAD ON TIME and MASONIC MYSTERIES. As we conclude your “Desert Island Dexter”, can you please give us your final two favourite INSPECTOR MORSE episodes?

RUSS:   Okay.  It’s worth saying that the eight I’ve chosen are in no particular order of merit.  But to close…  Two very special films, I think.  SECOND TIME AROUND – amongst the most affecting of all the Morse stories.  I think it’s the human tragedy at the heart of it.  The death of a child is always a serious business – but the circumstances of that death in this story just run through every moment so that the thing just aches with a sense of loss and grief.  There’s no triumph in Morse’s cracking the case.  Only regret.  And like ‘It was Mrs.Fallon I knew…’   At this distance, I may be misremembering the exact phraseology, but SECOND TIME AROUND contains the most heart-breaking exchange in the entire canon.

‘She should have been held.’

‘Perhaps she was.’

For some, I’m sure it’s surpassed by ‘Good-bye, sir’.

But – for me – without a shadow of doubt, it’s ‘Perhaps she was.’

Kenneth Colley’s tremendous in it.  Monumental.  And an early outing from Christopher Ecclestone, and the lovely Pat Heywood – such a fine actress.  And dear Oliver Ford-Davies.  Yeh – it’s a keeper for me that one.  And, I guess, in terms of ENDEAVOUR we are edging towards an event which proves key to the story.  Barrington’s score on DEAD ON TIME is terrific too. Amongst his finest.

So – finally, finally…  PROMISED LAND.  The last of my trio by Julian Mitchell.  Again, directed by John Madden.  Morse and Lewis transported.  Strangers in a strange land.  In many ways it’s amongst the least Morse-like films – THE WENCH IS DEAD, notwithstanding – but that’s probably why it works so well.  Because it’s a character piece.  All the trappings stripped away, not just from Morse himself, but from the established identity of the series.  It’s not what most would consider a whodunit – with a range of suspects and clues.  It’s a mystery, yes – but I’d argue it’s not a whodunit.  It transcends the form.  Triumphantly.

Madden said that he wanted the whole thing to build to a kind of High Noon finale – and he realised that brilliantly.  So many treasures to enjoy across the film – the Matthews family funeral – that we plundered in CODA.  But what’s so great is to see Morse so much on the back foot.  That all the unfolding tragedy was down to his error.

In those days, there was no guarantee that series would return year on year, and so – with this final episode of Series 5, there was every possibility it would be the last.  I think all of us who watched it at the time properly feared that Morse would not make it out of the final reel.  And all of that was conveyed by the very simple device of Morse – for the first time – calling Lewis by his first name.

Then you have that heart-stopping finale – and Con O’Neill delivering so much in next to no screen time.  He’s a very fine actor – and I was lucky enough to get to work with him on my last LEWIS.  He really deserved all the prizes as Joe Meek.  A powerhouse of a performance.  And wasn’t Mr.Evans in there somewhere?

But – back to PROMISED LAND, and that finale.  Stupendous work.  A tragedy painted in heat and dust.  And then that final exchange on the steps of the opera house.  That eternal unbridgeable gulf between Morse and Lewis.   The great man alone, trudging wearily up the stairs in hope of solace from his lifelong comfort.   Up with the Morse code, and we’re into the theme…  Curtain.

DAMIAN: And if you had to save just one episode of INSPECTOR MORSE from the waves?

RUSS:  None of the above.  I lay no claim to it being the best, that accolade would very deservedly go elsewhere, but for very personal reasons – THE WAY THROUGH THE WOODS. Writing and making it was a very special experience – working with Gina Cronk, a kind and clever friend, who gave me my first break into drama, and the woman without whom I wouldn’t be doing any of this at all.  And Ted Childs, of course, and dear old Chris Burt.

It also marks my first encounter with Damien Timmer – my partner in crime on many occasions, but for the last six years we have been conspiring to kill people, mostly on screen, on ENDEAVOUR.  It’s been a very special and creatively rewarding relationship.  He’s a dear fellow, madly talented and fearfully bright – and daily faces a workload that would leave lesser mortals six feet under.  Seriously.   He is inexhaustible, and gives so much of his brilliant creative energy to ENDEAVOUR.  I don’t know how he manages it, but all of us are very grateful that he does.  Neither ENDEAVOUR nor LEWIS would have come into being without him.  We all do what we do, and all of us involved bring the best work we can to the party, but we’re just the Owsla — he is our Chief Rabbit – Damien-rah.

So, a happy memory all round.  Weeks of kicking the story around with John Madden over at Shepperton.  I think I’ve mentioned before that we got into VERY hot water for going off piste – we couldn’t see a way of delivering the central plank of Colin’s novel, and put together an entirely original story before being jerked off our feet by a strong tug on the choke-chain.

Then, of course, having John and Kevin and Jimmy and Clare saying one’s words.

A golden afternoon spent watching them shoot the final ‘wash-up’ scene over at Leith Hill.

John and Kevin doing their lines about ‘triumph and disaster’, then heading across to the burgundy Jag.

I may have said this before, but it’s perhaps worth repeating.  When I think about that afternoon, twenty years ago now, the thing that always comes to mind is the final chapter of ‘The House at Pooh Corner’ – in which Christopher Robin and Pooh come to an enchanted place, and we leave them there.

“So they went off together. But wherever they go, and whatever happens to them on the way, in that enchanted place on the top of the Forest a little boy and his Bear will always be playing.”

And that’s how I always think of Morse and Lewis.  That’s where they are for me.  Somewhere out there still.  Playing, and squabbling, and still fighting for a world worth saving.

DAMIAN: Before we banish you away to the island, I’d just like to thank you for these interviews – I know I’ve been very naughty this year with some of the questions but it is very much appreciated as you know and I’m still your number one fan. Here’s to thirty years of Morse on our screens, to you and all of Team ENDEAVOUR – cheers! Now, drink up Lewis…

RUSS:  Well, that’s very kind of you.  Much appreciated by all at #TeamEndeavour.   Another thirty years of Morse?  Who knows?  It’s been a privilege to have been a part of it, in one way and another, across all its various incarnations thus far, but I expect 2047 will see me long in Kensal Green.  Younger, better, infinitely smarter fingers will be upon the typewriter.  And that’s how it should be.  But it all began with Colin Dexter.  Morse was Colin’s gift to the world.  That the legend has been expanded upon and embellished by so many is testament to the strength of Colin’s original creation.  There have been many custodians over the years, I’m just the latest. I doubt I’ll be the last.  Vitai lampada.

~

And for Tootles…

“Bloody nice shoes”

~

THE ENDEAVOUR ARCHIVES / No.26 / CODA

Interview copyright © Damian Michael Barcroft 2017
All the interviews and articles on this website are original and exclusive and I would please ask that the copyright be respected. Therefore, please do not use quotes or any other information contained here without permission. Thank you.

~~~

DAMIAN: Put fire on luv, it’s getting coda in here. Coda! Be honest, what do you think of it so far?

TIGER: Rubbish! – get off…

 

Exclusive ENDEAVOUR interview with writer Russell Lewis on ARCADIA

THE ENDEAVOUR ARCHIVES: CELEBRATING 30 YEARS OF MORSE ON SCREEN

Arcadia: A mountainous district in the Peloponnese of southern Greece. In poetic fantasy it represents a pastoral paradise and in Greek mythology it is the home of Pan.

– Oxford English Dictionary

 

Russell Lewis on ARCADIA

An exclusive ENDEAVOUR interview

by Damian Michael Barcroft

With thanks to Arthur Octavius Prickard

~

We continue our journey discussing the last series of ENDEAVOUR as well as previewing tonight’s film with writer/executive producer – Russell Lewis.

~

DAMIAN: ARCADIA was notable for many things of course, but perhaps some of the most significant aspects were the departure of Detective Sergeant Peter Jakes (Jack Laskey) and the introduction of Woman Police Constable Shirley Trewlove (Dakota Blue Richards). Were these two events connected?

RUSS:  Yes and no.  I had originally introduced Trewlove in FILM 1: RIDE in a much bigger way – she found the first body, which was not in the Ghost Train…  but that’s another story. However, with all else that was crammed into FILM 1, it was suggested that her introduction was dropped back to FILM 2.  So, it became a bit of an Emma Peel/Tara King handover.  One out, one in.

I was very sorry to lose Jack – but you play the hand you’re dealt.

DAMIAN: I’ve often bemoaned the fact that ENDEAVOUR has so many rich supporting characters but so little screen time to share with all of them. Indeed, characters such as Bright and Dorothea for example, often have their scenes trimmed or cut altogether. With this in mind, why add another regular cast member?

RUSS:  Well, Jack’s departure meant we were a Sergeant down in CID – and it seemed to be a good opportunity for Strange to start his climb up the greasy pole.  You lose Strange from uniform, and someone has to step in.  Thus, Trewlove.

DAMIAN: Has there ever been any pressure from either ITV or Mammoth Screen to make ENDEAVOUR more diverse in terms of creating characters or casting?

RUSS:  The network, like all broadcasters, quite rightly has a responsibility to make sure that life onscreen reflects and represents life off-screen – but they’ve never been prescriptive. 1967 Oxford is a very different place to 2017 Oxford – so we need to be true to that to a certain degree. To have replaced Strange in uniform with another bloke would have been a bit swapping like for like, and I thought it would be more interesting to see a young woman in the boysie atmosphere of Cowley nick.

I believe she’s brought a welcome new dynamic to the set-up.  Dakota’s just terrific, and it’s been wonderful to watch her become an integral part of the team.  But, in answer to your question, neither the network nor Mammoth asked me to add a woman to the line-up of Police characters.  Rather I felt it was an oversight on my part.   Even Carry on Constable depicted women in the Police Force – then it was a Force, now it’s a Service.  And if you go back even further you’ve got Joyce Grenfell’s immortal Ruby Gates in the St.Trinian’s series.

So, in part, Trewlove’s creation owes something to those characters.  I just wondered what might happen if we played it straight, rather than for laughs.  Shirley Eaton was the epitome of that kind of cool, capable and resourceful character across a multitude of British pictures from the period.  Ms.Eaton’s character in Carry on Nurse for example.

I know it’s the second time I’ve mentioned the series, and The Carry Ons may seem a curious well upon which to draw for a drama, but they’re a fascinating archive of little period details and social history.  Not the more rompy, period costume numbers, particularly, although they’re enormous fun — but certainly the first seven or so, up to Cabby.  And then the odd one here or there that looked at some aspect of British life or another.

Seriously.  If anyone wants to understand the British…  start with The Carry Ons.  All the oddities and preoccupations of our long island race are contained therein.  Class.  Sex.  The lavatory.

So, that’s sort of where Trewlove came from.  Not an Ice Queen – just nobody’s fool.  Smart as a whip, and as brave as you like.  I guess the other template, to a degree, is Betjeman’s Myfanwy.  ‘Ringleader, tomboy, and chum to the weak.’  And, of course, a bit of Sue Lloyd’s “Jean” from The Ipcress File.

DAMIAN: Protesters outside Richardson’s supermarket shout to end the illegal regime and freedom for Rhodesia reminding me that we’ve touched ever so slightly on politics before in our discussion of TROVE when I asked if you infuse any of the characters with your own personal politics and you replied “I suppose all the characters, stories, etc., are infused to some degree”. I wonder if political events from last year such as Brexit and the election of President Donald Trump might make for a more intense “infusion” in the future?

RUSS:  Trump might be a stretch.  The audience might not believe such a character could exist in any credible world.  Besides, Tim Burton and Danny DeVito got there first with Batman Returns.  ’68 (if it happens) with Paris and Prague is already of interest, and probably goes some way towards answering your other point.

DAMIAN: If such recent events suggest voters on both sides of the Atlantic are increasingly leaning more to the right of politics, doesn’t it make for an interesting dichotomy that film and television makers who, it could be argued, are supposed to represent and reflect their audiences are in most cases vocally to the left?

RUSS: No dichotomy at all for a politically correct, virtue-signalling, snowflake, Leftard luvvie, and fully paid up member of the metropolitan liberal elite such as myself.

The Right has more than enough media outlets to make the case for its interests.  If it falls to us, in the interest of balance, to do our bit as a loyal opposition, so be it.  But Right/Left is almost too simple a paradigm, and plays into the hands of those who seek to divide and rule.  Typically, across the last few decades, it’s been the Right that’s held sway and provided the pricks to kick against, but you’ll note we didn’t roll up our tents in ’97.  The divide is, as always, between justice and injustice; the powerful and the powerless.

At such a time, with extremism of every stripe on the march, it’s important to hold the line. To bear witness.  To question.  To challenge.  To give a voice to the voiceless, the ignored, the marginalised.  To stand with those who daily, in so many ways, both great and small, live the case for compassion and humanity.  If the best way we can do that is through a Wallace Beery wrestling picture, then, I promise you, it’ll be the best damn Wallace Beery wrestling picture you ever saw.

Just remember.  Kelvin MacKenzie wrote ‘The Truth’.  Jimmy McGovern wrote ‘Hillsborough’.

DAMIAN: Would it be fair to say that Detective Constable Morse is more liberal and Detective Inspector Morse more conservative or is this simply a reflection of the two periods in which they appeared?

RUSS:  I’m not sure about appeared.  That Endeavour’s backdrop is the middle through late 60s is more likely to be germane.  The Detective Chief Inspector never struck me as particularly conservative.

DAMIAN: And that’s all from Question Time this week, we now continue with our usual programming. In my research I found that there was a John Richardson who was an English Quaker minister and autobiographer. Did he have anything to do with the naming of the supermarket?

RUSS:  Would that we’d been so canny.  They ended up as Richardson because it was the nearest we could clear to Robertson (which was their original name – but wouldn’t clear because of danger of confusion with the Jam makers).  ‘So, here’s to you, Mrs.Robertson…’  &c. The story started out – in part – as a salute to Mike Nicholls and The Graduate.  And some of that survived.

DAMIAN: We spoke last week of your mischievous nods to future films and in ARCADIA we see packs of Frosties and adverts for cat food in the supermarket! Did you get permission to use Kellogg’s brands but not the Brekkies cat food or is there some hidden meaning behind the name Brecco?

RUSS:  I assume permission must have been forthcoming on the former, but not the latter.  Art and Design were responsible for stocking the shelves of Richardsons – so some mischief may well have been theirs.

DAMIAN: The first series was set in 1965, the second was 1966 so I’m wondering why both the third and fourth are set in 1967 – was it a very good year?

RUSS:  We quite simply didn’t get through all the ’67 stories.  More practically, I’m anxious not to run out of sky before we reach the end of the decade, which has always felt to me like the natural point to bring our part of the story to a close.  Also – the happy result of a two volume ’67 means that, should we return with ’68, then it will broadcast exactly 50 years after it’s set. And there’s something pleasing about half a century between then and now.

DAMIAN: Early in ARCADIA, the Thursday family share a box of chocolates in front of the television. Win, Joan and Sam can all be seen chewing with a guilty look on their faces as Fred asks who had the Savoy Truffle. Well, who was the culprit?

RUSS:  You know my methods, Barcroft.  Apply them!

DAMIAN: Yes Sir. In fact, it was a “Good News” box of chocolates! We’ve discussed your fondness for Horror, Western and Film Noir many times in our previous interviews but I think we’re yet to address your obsession with The Beatles (we’ll do Tony Hancock another time). Indeed, from the very beginning, hasn’t ENDEAVOUR been awash with references to The Fab Four?

RUSS:  The 60s are unimaginable without them.  I don’t know if it’s an obsession, but their output year by year has been very helpful in getting one’s head into the right place.  ’68’s ‘The Beatles’ a.k.a. the ‘White Album’ has already got me thinking about the way forward.  The clue lies in the liner notes, such as they are.

As for The Lad Himself – last week’s film originally had a slew of nods, but they bit the bullet. I’m sure they’ll come again.

DAMIAN: Naturally, there a lots more references as usual ranging from the aforementioned The Graduate, Raymond Chandler and John Bunyan (House Beautiful also a nod to LEWIS) but I was concerned by Max’s joke “the last of the red hot livers” a play on words of the Neil Simon play which didn’t appear until two years later. Shouldn’t there be a rule that characters don’t make references to cultural events that haven’t occurred yet?

RUSS:  Max was invoking Sophie Tucker – widely known as ‘The last of the red hot mamas’ – swapping out ‘mamas’ for ‘livers’ to reflect the state of deceased’s cirrhotic organ.  The joke, such as it is, works for a modern audience for its being – unintentionally on Max’s part – but a letter away from Mr.Simon’s play.  That said, as a phrase, ‘the last of the red hot… <insert your choice here>’ certainly had some currency prior to the play.

DAMIAN: ARCADIA featured one of the most thrillingly intense sequences of any ENDEAVOUR film thus far. Just before they find Verity and the bomb, Endeavour asks Jakes, “This time next month you’ll be riding the range – any regrets?” to which he replies “Life’s too short”. In comparison to both INSPECTOR MORSE and LEWIS, ENDEAVOUR puts our friends in peril on a much more regular basis and given that you’ve toyed with our nerves regarding Thursday’s possible demise in NEVERLAND and again if we count CODA, isn’t there a danger of you becoming the writer who cried wolf?

RUSS:  My impulse always inclines towards the fatal.  Damien Timmer is far more charitable. But one of these days the undertaker will be sent for…

We were all very fond of Little Pete (and even fonder of Jack) and thought it would be nice for the character if we gave him a happy exit – after all his childhood unhappiness.

DAMIAN: There must have been lots of night shoots on location for this film. I can think of lots of advantages and disadvantages for this but do they generally prove easier or more problematic for cast and crew?

RUSS:  Technically, it’s not problematic, but it does put a lot of pressure on the circadian rhythms of cast & crew.  Health & Safety and good working practices means that a certain amount of hours have to elapse between shifts, and so, if you’ve got a night shoot, or a couple of nights, then you can only slowly get the ship back on an even keel,  You claw back a couple of hours a day – or schedule them close to a natural break – a full day off.

DAMIAN: I presume you did your research and timed yourself running to see how long it would take to get to the phone box on Merton Street and the second rendezvous on New College Lane?

RUSS:  Naturally.  I also had a large sum of money in a briefcase as a handicap.  Nothing if not a Method writer.   And I always commit identical murders before sitting down to write each series. Just to make sure I get the details right.

DAMIAN: Marion Brooke (AMNOX) from MASONIC MYSTERIES makes an appearance in this film but wouldn’t it be even better if Endeavour bumped into Hugo De Vries one day?

RUSS: Each thing in its season.  I shouldn’t be surprised to see him sooner or later.

DAMIAN: You’ve written some cracking lines for Thursday over the years but his comments after visiting the hippy commune are priceless…

THURSDAY: Consider the lilies of the field? Come that old madam with me, and he’ll be considering my boot up his arse.

…ARCADIA sees Thursday becoming increasingly impatient, perhaps even intolerant, culminating in the dramatic showdown of CODA. Does his behaviour in series three mark a permanent shift in the dynamics of the relationship between Thursday and Endeavour?

RUSS:  I think we’ve always seen it as something organic.  We didn’t want it to become set in aspic, or predictably cosy, but rather something that evolves naturally out of events.  I think you’re already getting some insight onto their developing relationship in Series IV.

DAMIAN: It seems such a pity for Jakes to have left Oxford just as Endeavour and the audience were getting to know him. If Jack Laskey hadn’t signed on to star in the Canadian spy thriller X COMPANY, would we have had to wait much longer for the warmer Jakes?

RUSS:  No.  I don’t think so.  Like Bright’s relationship with Endeavour – they’ve been through a lot together, and if that didn’t change how they related to one another then I think it would be a bit repetitive to watch, and a bit unrealistic in terms of human behaviour.

DAMIAN: At the end of the scene in which Jakes helps Endeavour move into his new flat, we hear Ebben, Ne andro lontana from the opera La Wally by Alfredo Catalani, is this because, like Jakes, Wally decides to leave her home forever?

RUSS:  Wasn’t one of mine.  A wheeze of Mr.Pheloung’s.

DAMIAN: Other than this film, NEVERLAND was arguably the most revealing in terms of our understanding of Jakes’ character and backstory. This combined with his first name might suggest Peter Pan and Pan was the god of shepherds and flocks in Greek mythology which ties in with Jakes moving to Wyoming with his fiancee to work on her father’s cattle business. Add ARCADIA into the mix and we’re back to Greek mythology and a pastoral paradise – correct?

RUSS:  Again – yes and no.  ET IN ARCADIA EGO.  The notion that even in paradise Death stalks the land.  If memory serves, we originally wanted the Poussin, a.k.a., ‘Les bergers d’Arcadie’ to be the picture Endeavour saw at Bixby’s do in RIDE, but we couldn’t get clearance – copyright on images belonging to The Louvre, and they wouldn’t let us use it.  Perhaps because we were suggesting it was a forgery.  I can see how that might worry them, but to anything more sentient than a bowl of custard it’s sort of obvious that we’re in the business of pretend.  The Rijksmuseum was a lot more amenable.  But it’s mildly frustrating – and sometimes makes layering the puzzle a lot harder than one would like.  Things one would presume to be public domain that turn out not to be.

DAMIAN: Well, it was a lovely send-off at the Lamb and Flag with most of the gang together one last time but Jakes sees Endeavour pass the window outside. We know Endeavour is forever on the outside looking in, but why didn’t he go in for a pint?

RUSS:  A morbid dislike of ‘good-byes’ – formal and informal.  In his way, he’d become surprisingly fond of Jakes.

DAMIAN: And it was beautiful of Endeavour to give Jakes those premium bonds for his kid but I don’t think many in the audience would have fully appreciated how generous this actually was given the debt Endeavour is in (partly due to his late father’s gambling problems) which isn’t explored until CODA and doesn’t really come across at this point. Wouldn’t it have made more sense to convey this context to the audience sooner?

RUSS:  We’d been trying to crowbar in his paying off his father’s gambling debts since TROVE – but hadn’t been able to find space for it.  Revealing it in CODA serves the plot, but also gives insight into the essentially private and stoic nature of Endeavour’s character.  It’s something he hasn’t shared with anyone else.

Perversely, as a member of an audience when watching stuff, I find it quite enjoyable to have to retro-fit facts to what has gone before.  It gives a piece a bit more life in the mind of the viewer. I don’t think much would have been gained by knowing Endeavour’s straitened financial circs ahead of the Premium Bonds.  It would have made him even more of a martyr – something Shaun Evans is always keen to avoid.  You pays your money and you takes your choice.

DAMIAN: Yes, I also teach my Grandmother to suck eggs in my spare time. Anyway, in addition to the scenes with Jakes, there were some lovely moments with Endeavour and Joan and I particularly liked her comments following their discussion of Jakes (who she briefly dated in series one) and his fiancee Hope…

JOAN: Out of all the people, who’d have thought? Love, I suppose. Don’t know until you meet the right one.

…and it’s beautiful to see that she can’t stop smiling around Endeavour throughout the entire scene. There was a lovely chemistry between the two from the very beginning but at what point did you decide that they’d fall for each other?

RUSS:  From the moment I had her open the door to him for the first time.

DAMIAN: Wouldn’t Thursday be pleased if his daughter ended up with a gentleman like Endeavour?

RUSS:  Would you?  He’s quite a difficult, haunted…  damaged character, isn’t he?  Brilliant detective, but emotionally…  something of a train wreck.  That early, formative loss.  See how deep the bullet lies.  They’ve been circling one another for two and half years.  Endeavour’s been denying his feelings – compartmentalising – for all that time.  Both of them, really.  Joan’s been intrigued by him from the off.   He’s not like anyone she’s met before.  Kind, and respectful, and lost, and brilliant, and emotionally guarded.  Dysfunctional in his way.  Jakes grabbed her arse.  Endeavour gave her his coat, and walked her home.

Sara Vickers is a wonderful actor, and a delight to write for.  She just got it right.  Nailed it every time.  Joan’s bravery, and intelligence, and utter decency.  All of it so beautifully understated. Her scenes will always have a very special place in my heart.

DAMIAN: Another delightful scene was Bright’s introduction to Trewlove who seems rather taken by her (“My door is always… well, if not actually open then not infrequently ajar”) – smirks all round from Endeavour, Thursday and Jakes. Does this scene together with his comments to Mrs. Robinson regarding her missing daughter (“Believe me, I do apprehend something of your anxiety”) and later revelations in PREY suggest he sees her as something of a daughter figure?

RUSS:  Anton has an almost preternatural grasp of what underpins much of Bright’s dialogue. There are things that he instinctively chivvies out – reading, quite literally, between the lines.  To watch him do his thing…  Never less than astonishing.  Riggers (Sean Rigby) wrote that being in a three-hander with Anton and Roger was like being at a masterclass.  They do create rather wonderful music together.

There have been some Bright things we were unable to include in SERIES 3 & 4…  As has proved with many of my deeper designs, perhaps the third knock will open the door.

DAMIAN: Green Shield Stamps and toys at the bottom of cereal packets, ARCADIA was affectionately nostalgic wasn’t it?

RUSS:  Mmm.  Being dragged around the local supermarket – with interminable stops for gossiping – is an overriding childhood memory.

DAMIAN: And was that an Eric Morecambe “Wha-Hey!” I heard when Sam finds the coveted Thunderbird 2?

RUSS:  You’d have to ask Jack Bannon.

DAMIAN: Now then, not wishing to make a song and dance about it, but you were rather miserly in your preview of last week’s film if I may be so bold. So, I’d like to offer you the opportunity to compensate for that now and shower us with fascinating titbits about tonight’s film…

RUSS:  Well – since you mentioned The Beatles earlier…  Endeavour goes pop.  It’s a collision between two worlds – that of Endeavour’s generation and that of his parents.  What’s acceptable, and what’s not.  The Permissive Society – so called.  What would the neighbours say?  Vague shades of another INSPECTOR MORSE story – I’ll leave it to you to work out which. But it’s quite an oblique brushing of the shoulders – thematically.  Directed by Michael Lennox – who’s done something very special with it.  Rather not go into too many details.

But I had a lot of fun with Matt Slater putting together the songs for it.  The first is sung by Sharlette – who’s got a gorgeous voice, and is quite a find; and the other features the actors who make up The Wildwood.  We recorded it at RAK Studios (founded by Mickie Most in 1976) one Sunday in early-ish summer – and that was a high point.  Shaun came down.  And the Great Ziegler.  Enormous fun.

In retrospect, I wish we’d done ALL our ‘period’ non-classical music this way.  Watch this space. Or listen to it, more like.  Perhaps one day – when we get to the end — we’ll go back and retrofit the entire back catalogue.  Though that might mean we’d have to retitle ‘SWAY’.

DAMIAN: Last week you chose DRIVEN TO DISTRACTION and GREEKS BEARING GIFTS as your first two “Desert Island Dexters”. Can you tell us about your next two choices please?

RUSS:  This is far harder than it looks.  It was always a terrific show from first to last, but I think it’s generally agreed that it hit a real purple patch between S4 through S6, from which I could pick more or less any film.  However…  THE INFERNAL SERPENT- a great, dark, coil of a story by Alma Cullen.  Fabulous misdirection.  The central guest performances were just terrific – Cheryl Campbell, Barbara Leigh-Hunt, and Geoffrey Palmer.  And John Madden weaving his magic again.  As you know, we borrowed (pinched!) Geoffrey Palmer’s character from this for TROVE.  I hope Alma didn’t mind what we did with him.

And the first of a probably a few by the great Julian Mitchell.  (I can see I’m not going to get to cover all my faves.)  CHERUBIM & SERAPHIM features my dear friend Charlie Caine as the DJ. We’ve known one another since we were six — so I’m having that.  And, of course, it’s the story in which we meet Gwen and Joyce.  Anything that gives us a window on Morse’s past is always a favourite.  And this is one of those stories.  Unconventional in its way.  It could have been quite an easy misfire, Morse amidst the Rave scene, but Julian, as ever, proved a master of his materials and handled it with great insight and sensitivity.  Youth and age.  A story laden with melancholy and regret.

~

THE ENDEAVOUR ARCHIVES / WPC734 / ARCADIA

Interview copyright © Damian Michael Barcroft 2017

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Please remember to check out of the hotel and settle any bills before coming to work.*


* Mrs Cravat, your cheque is in the post.

The Endeavour Archives: NEVERLAND also previewing CODA

Funny. It’ll be twenty-eight years tomorrow since I joined the job. Twenty-eight years to the day – excepting the war, of course. All this with the merger put me out of sorts. Got me thinking less ahead than behind. I forgot for a minute it’s not about me. It’s about them that turn to us for help in time of need. Weak, defenceless. Old, young. Especially the young… I was born a copper. And I’ll die one, I expect. – THURSDAY

THE ENDEAVOUR ARCHIVES: E14KM

Russell Lewis

An exclusive interview

by Damian Michael Barcroft

With thanks to PC Banks

Bloody place. It turns me guts. Bleach, sweat, boiled cabbage… and everything on tick. Never Never Land. – JAKES

Part IV:

NEVERLAND

Second star to the right and straight on ‘till Blenheim Vale

or

Do not forsake me oh my Pagan

Presenting the final look back at series two and a preview of tonight’s last film of what, I’m sure you’ll agree, has been a remarkable series three…

~

DAMIAN: Is it fair to say that there were some who were rather displeased that you ended series two on a cliff-hanger?

RUSS:  Mmm.  Some.  But outside of whether Thursday would live or die – there were far fewer chads left hanging than people seem to think.  Most, if not all, of the answers are there.

DAMIAN: You wouldn’t do that to us again tonight Russ, WOULD YOU?

RUSS:  Never say never.  You wouldn’t expect me to tell you in advance, WOULD YOU?

DAMIAN: I think it was Great Expectations in which it was said, ask no questions, and you’ll be told no lies. So, let us fly to safer ground then, NEVERLAND. In retrospect, do you find it particularly pleasing that Jack Laskey (Peter Jakes) had his moment in the limelight in this film?

RUSS:  Yes, absolutely.

1057DAMIAN: At what point did you come up with Little Pete’s heartbreaking backstory concerning his childhood and the awful, terrible things at Blenheim Vale – was this always part of his backstory or created especially for NEVERLAND?

RUSS:  I always knew some part of Jakes was whistling past the graveyard.  Again – I find it difficult to chicken/egg the process at such a distance.  It’s possible it grew from the central notion of Peter Pan.  That – JM Barrie — was hard-wired into the story to a much greater degree until fairly late in proceedings.

Initially, the entire story was set around Christmas – Thursday emerging from Burridges, his arms laden with presents as the snow came down.  Phil Spector’s Christmas album blasting out of every radio.  Endeavour and Monica went to a pantomime of Peter Pan at The New, with her niece and nephew.  For a moment, you glimpsed one possible future for Endeavour – that of a happy family man.  Endeavour went round and met her Mum and Dad and brothers and sisters, uncles and aunts at a Christmas party.  Benny & Clyde were part of Captain Hook’s crew – there might even have been some version of Smee.  I’ve got a feeling there was a Thursday family Christmas lunch.  And Endeavour alone for the festive.  But it’s so long ago that my memory may be shaky.

Alas – Christmas was torpedoed amidships at the very last minute – and all the antique decorations went back to the suppliers unopened.  Which was a pity – visually.

But Peter…  yes, there was something fun in the notion of two Peters, if not the Two Jakes.   Big Pete and Little Pete.

DAMIAN: Would you have written his character any differently in series two had you known in advance that Jack was leaving us?

RUSS:  I don’t think so.  Not particularly.  It’s always the stories that lead with ENDEAVOUR – and telling those, from TROVE through to NEVERLAND, takes up so much screentime that any space I can find for character material is at a premium.  Certainly in SERIES II – I had a large company of regular characters – approaching a dozen, I think — to serve.  So…

DAMIAN: Benny and Clyde! You’ve added to a wonderful legacy of screen ventriloquist dummies (my personal favourites: Hugo from Dead of Night and Fats from Magic), there really is something so sinister and yet endlessly fascinating about them isn’t there?

RUSS:  It’s also a tremendous way to cut down the cost of the cast.  Two characters for the price of one actor!  I’d seen Oli Lansley in Tim Whitnall’s fantastic Kenny Everett biopic – which was also made by Mammoth – and thought he was simply terrific.  I’d no idea he was going to actually try to perform both parts in the moment, as it were.  I’d thought we’d drop Clyde’s dialogue in later.  But there you are.

1110DAMIAN: Do you think Nurse Monica “with the moped” Hicks (Shvorne Marks) has been rather ill-used in series three?

RUSS:  Neither the character nor her story is played out – in my mind at least.  It ain’t over until… &c.

DAMIAN: Endeavour talks to Monica about leaving the police, packing it all in, going abroad and teaching. Would he have made a good teacher do you think?

RUSS:  I think he’d have been a fantastic teacher.

1144DAMIAN: In our very first interview, you mentioned “a decent, encouraging English teacher”. Who was he or she and did they ever learn of your accomplishments as a writer?

RUSS:  There were two – a Mister Harris, (David – it might have been.  School teachers actually having forenames wasn’t something you even considered a possibility as a kid.) who – legend had it — had some part in the jet engine design for Concorde; he took my youthful scribblings seriously; gave me voluminous notes, and introduced me to writers like Stendahl, and, also, the Hard Boiled school; and, then — Richard Burrows who was my English teacher across during the ‘O’ Level years for Lang & Lit.  He was (and is) just a wonderful man – and we became friends after school was done.  He’d been in OUDS, and, extraordinarily, I did a show with him at the Edinburgh Fringe in the early 80s – and then, some years later, acted as his Stage Manager // Tour Roadie // Sound and Light Guy on a tour he did of a one man show about John Bunyan. He wrote a very good screenplay version of that as well.  He relocated to Sussex, and became a classics master.  I haven’t seen him in too long.  A lovely, kind, wise, encouraging soul – without whom…

DAMIAN: What advice and, indeed encouragement, would you yourself give to those dreaming of becoming a writer?

RUSS: ‘I can’t lie to you about your chances, but you have my sympathy.’

There’s not really the space available to discuss this properly.  And anything I’d have to say would be telecentric.  But – briefly, and for what it’s worth…

All I’d ask is — do you want to write, or do you want to be a writer?  If it’s the former – then nobody’s stopping you.  If it’s the latter, then these aren’t the droids you’re looking for.  Don’t dream – DO!  Write.  Even if whatever other demands you have on your time mean it’s just a line a day.  Watch as many films and as much television as you can find time for.  See plays.  Listen to drama on the wireless.  Soak it all up.  The good, the bad, and the ugly.  If you have an instinct for it, you will take something from everything you see — just by osmosis.  Read as many screenplays, plays and teleplays as you can.  See how other people have done it.  Build your knowledge shot by shot, line by line, scene by scene, beat by beat.  Watch the classics. Talk to people who do it for a living, if you know any.  Write to those whose work you like or admire, and ask for advice.  If they’re decent – and most are – you’ll get a reply.

Do not waste your time and money on any ‘YOU TOO CAN HAVE A SCRIPT LIKE MINE’ courses.  Avoid books of screenwriting theory – particularly those with diagrams – they will fill your head with meaningless garbage.   Likewise – don’t buy script coverage services.  Might as well shout down a well for all the good it’s going to do you.  Nobody can tell you how to do it. You have to work it out for yourself.

Send your original material and spec scripts of existing shows to agents, and the companies that are buying.  Assess the marketplace.  Find the shows with high turnover and output.  Study them.  Learn the house style.  If you don’t have representation, pick up the phone and call the script department/editors of the show you want to write for.  Talk to a real live human being.  If you can beg for five minutes face to face over a cup of tea all the better.  Either way, find out who is looking to expand their roster of contributing writers.  Send your material.  You won’t be the right fit for everything.  Rejection and knockbacks build character – and characters.  Don’t expect it to happen overnight.  It isn’t the X Factor.  Kiss the frogs, build a fortress around your heart, and if you’re fortunate enough to land a paying gig — stay limber.

DAMIAN: What exactly does an executive, as opposed to a “regular” producer do, or at least, what do you do as an executive producer on Endeavour?

RUSS:  We mimsy around, getting on everyone’s nerves, and generally being unhelpful to the people who actually get it made.  On Series three that would be Producer Tom Mullens and Line Producer – the unsinkable Helga Dowie, who has a long and distinguished track record, and has been with us since the pilot.   Essentially, Executive Producers are like General Melchett – safe behind the lines, giving stupid orders to the heroes in the trenches.

A lot of it’s about imparting tone – conveying the overall vision for the series – picking up on the things that are out of whack, or don’t chime happily.  Protecting the soul of the show, if you will. Keeping an eye on the details.  Saying whether we like the colour the Police Station has been painted, or want it changed.  Advising on casting.  Watching rushes.  Monitoring performances. Giving notes on successive edits.  Being there for sundry mixes.  Tweaking.  Buffing.  Polishing. Irritating…

You act as a final arbiter on certain creative choices.  But usually – the producer has put all the right HoDs in place, and is managing them brilliantly.  You know – we have fantastically talented people working on the thing who know far more about their particular area of expertise than we do.  Unless it’s something one feels strongly about – the best thing you can do is get out of the way, and let people get on and do their work.

DAMIAN: We must mention the eminent Anton Lesser. Is Bright softening in his old age?

RUSS:  There was a two-handed scene between Thursday and Bright out in the woods that we shot for RIDE – in which they discussed matters arising from Blenheim Vale, and Bright’s part in that.  Sadly, we lost it – partly for length, and partly because due to failing light we’d only managed to get it as a wide two-shot – but that dealt with where Bright is.

Disappointing – as it contained one of my favourite Bright speeches ever.  A proper window onto his soul.  We simply couldn’t use it.  Which is always frustrating.  There’s another Bright scene in tonight’s FILM that we couldn’t do – material that we had to cut as we couldn’t get the right location…  But Anton’s as cool as a cucumber approaching absolute zero and a total pragmatist.  And if we get another go around the lighthouse…  all these things will get their moment.

I think in terms of softening – the events of Blenheim Vale shook his world-view.  He’s always been on the side of the angels, though, I think.  For all his bluster.  Courageous, in his way.  And when the chips are down – devoted to his men.  And now – in the shape of WPC Trewlove – his women too.

DAMIAN: Bright occasionally mentions his wife – what are the chances we might meet her one day?

RUSS: No comment.

DAMIAN: Is even Mrs. Bright allowed to call him Reggie or it is Reginald or perhaps even Sir at home too?

RUSS:  It’s a pet name — picked up from their colonial travels.

1148DAMIAN: There are some lovely moments that undoubtedly resonate with viewers who grew up in the sixties (or seventies in my case) such as Thursday’s frequent sage advice: (on warming the polish with a heated spoon before shining) “Look after your shoes and your shoes look after you”, “See you finish your crusts”, “When I started, the good blokes all wore blue” and Bright: “The policeman is your friend”. Is this sort of nostalgia derived from your own childhood memories?

RUSS:  Yes – very much.

DAMIAN: Gideon’s Way, the British crime series broadcast between 1965 and 66 is mentioned in the first series of Endeavour by Jakes. What are your most potent memories of the period regarding how the police were portrayed onscreen that may have influenced or flavoured how you depict your men in blue?

RUSS:  I think it would have to be Bright’s ‘The Policeman is your friend’.  That was drilled into me as a kid.  I’d have been too young, I expect, for some of the kitchen sink police procedurals – Z Cars, etc.  So, my relationship with the police was more likely to be defined by Carry on Constable, and the Rank Look at Life cinema fillers where every copper wore a uniform, and greeted you with a friendly wave and a smile.

It was a Tufty Club world.

And then it wasn’t.

s0902DAMIAN: When we discussed the last film of series one (HOME) prior to the broadcast of NEVERLAND during our first round of interviews I asked the following:

“Some might argue that FUGUE was the most suspenseful of the first series although I would have to say that HOME takes that honour. You deliberately, and quite masterfully, trick the audience into thinking that the threat is with Thursday and his family throughout the episode right up until the very end. Indeed, I was constantly thinking I can’t believe they are going to kill off Fred and coming to the conclusion that maybe Roger Allam didn’t want to do the show anymore! So, to not only have the unexpected twist of Morse actually getting shot in the nail-biting finale, but also connect this to John Thaw’s slight limp was truly a stroke of genius. Can you please detail how these events came to be tied together and was the leg thing an idea you always wanted to incorporate?”

Considering, obviously unbeknownst to me at the time, you did actually have Thursday shot at the climax this time, you must have been a little amused by the question?

RUSS:  Well, I always do my best not to give too much away.

s0903DAMIAN: And what a finale it was! I think the trick to its success, and again, testament to your genius writing in this genre, is that like Jakes in ARCADIA, if this was to be Thursday’s last appearance, it would be a fitting end – beautiful, brilliant and most importantly, utterly believable in its writing and realization. In many other crime/detective shows, there’s never really much sense of life or death danger when the heroes are put in peril – with you and Endeavour, one never really knows do they?

RUSS:  That really is very kind of you.  Well – we know certain characters survive.  But that still gives me a number whose futures are unwritten.  No guarantees.  I do like to blindside the audience when I can.

11541155DAMIAN: The choreography and camera angles felt very Western and the shootout slightly reminiscent of High Noon perhaps?

RUSS:  Well – as I’ve said before — we do like a Western.

DAMIAN: As thrilling as all this was, I suspect it was Thursday’s fantastic “I was born a copper” speech that really sold it for audiences. You even squeezed in a little A. E. Housman for good measure – had you been dying to quote from that particular poem?

RUSS:  It’s funny – the Housman…  it was the preceding stanza that I liked and it seemed to chime with the unfolding drama, but if you didn’t know it, you wouldn’t, in the moment, make the connection to the more familiar lines.  So – in the end, we played to the gallery, and went for the recognition factor of the Remorseful Day stanza.

2108DAMIAN: In many ways while there are still clearly more stories to be told and new adventures to be had, NEVERLAND marked the beginning of the end for Endeavour as we have known it thus far didn’t it?

RUSS:  I suppose it did in a way.  Unlooked for – for the most part.  As I may have mentioned before – artist availability was a bit of a factor this time out.  Drove a coach and four through my design somewhat.  But I hope to try to cleave to the Quality Street approach still.  Every one is someone’s favourite.

It’s fascinating – watching people’s reactions to the films as they go out – person A will love something in one film, while person B is a bit non-plussed; the following week, you can reverse those reactions.  Things which delight some dismay others.  And vice versa.  You can’t please all the people all the time – and you really oughtn’t try to.  However, I do think that there’s a strong, core audience that seems to instinctively ‘get’ whatever it is we’re about, film by film.

I think it’s important that we never feel as if it’s just ticking boxes.  Becoming samey.  Keep pushing.  Trying new things with it.  You don’t want it to become a boring, predictable watch. It’s a fairly robust format.  And, so long as the regular characters are all firing as they should…  it ought to be possible to take the stories in unusual directions while still making sure it remains Endeavour.

DAMIAN: For the final time, please tell us something about the last film of series three, CODA…

RUSS:  I guess time will prove whether it’s really CODA or codetta.  Both titles were considered.  It’s an end, certainly, if not THE end.  But, yeh – it’s our last nod to the Fab Four too.  For now, at least.  I did promise that ’67 would be a roller-coaster.  After the thrills, spills and loop the loops of the preceding three stories, this marks the end of the RIDE.  Please keep arms and legs inside the carriage until it has come to a complete stop.

coda

EPILOGUE

DAMIAN: Series three took just under a hundred days to shoot. How much of your time did it take to write and redraft the films?

RUSS:  Pretty much all of it.  And those hundred days are actually only the days when the cameras are rolling.  It doesn’t include down time – prep, weeks between shoots.  It’s somewhere between six to nine months all told – because you’re still doing fixes and tweaks right to the end.

DAMIAN: To what extent has the success of Endeavour prevented you from pursuing other projects?

RUSS: I try to work development of other projects around ENDEAVOUR, but any new stuff takes a few years from initial notion to production and broadcast, so… there’s a fair bit of stuff in various stages between blueprint and prototype.  But, lately, it’s all had to fit in with the ENDEAVOUR schedule.

DAMIAN: You’ll see Endeavour to the end?

RUSS:  If the Network, the Mammoths, the boys, and the audience want me to.  I wouldn’t want to overstay my welcome, or drag the show down in any way.  If I didn’t think I had anything new to bring to it, then it would be time to go, and pass the baton on.  We haven’t got there yet, I don’t think – but it’s an industrial-size can of whup-ass each year, and your capacity to soak it up probably diminishes with each go round.

When the time comes, I’m sure Damien Timmer will take me on a little run out to the Pine Barrens.

Leave the gun – take the cannoli.

DAMIAN: I think you know how much Endeavour means to audiences and how much I appreciate your time in doing these interviews. Thank you very much indeed Russ, and, if 1968 does happen, can we do all this again? – I’ll bring the sandwiches…

RUSS:  Thank you.  A pleasure.  Sandwiches are always welcome.

S0952~

BRIGHT: The job takes its toll, Thursday. Only so many years of active service in any of us.
THURSDAY: I’m good for a while yet. – NEVERLAND

~

Interview copyright © Damian Michael Barcroft 2016

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4Kx

THE ENDEAVOUR INTERVIEWS: Russell Lewis – Part IV

Please note that this interview was originally published prior to the broadcast of Endeavour: NEVERLAND (S2:04) on April 20, 2014.

Interview copyright © Damian Michael Barcroft 2016

Russell Lewis

An exclusive interview

by Damian Michael Barcroft

With thanks to Viscount Mumbles

and Rowsby Woof

ACT V
HOME’
(The last in our selection box. Unwanted. Alone)

“Home is the sailor, home from sea…”
– A. E. Housmam, R. L. S.

FIRST BUS TO WOODSTOCK, GIRL, FUGUE and ROCKET all done and dusted. So, one final interview with the writer and executive producer of Endeavour, Russell Lewis, and as Chris Geiger once observed, all journeys eventually end in the same place, home…

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©itv/MammothScreen

Damian: At its very worst, Endeavour is simply the best detective-whodunnit show on television. At its very best however, Endeavour also boasts strong character development which rewards long term fans by enriching the “Morse Mythology”. The final film of the first series is perhaps the best example of the latter and explores Morse’s history to unparalleled (with the possible exception of FIRST BUS TO WOODSTOCK) emotional effect while simultaneously incorporating the events of Cherubim and Seraphim from the original series. To what extent were the childhood aspects of this story something you intended to explore when you originally plotted the story/character arc for series one?

Russ: Well – that’s very kind of you to say so. But certainly over the last two or three years everyone involved has done their very best to honour its heritage and deliver a story cycle worthy of its much admired progenitor.

You’ll have to excuse me if my recollections are a bit hazy. I know it’s only a year and a bit ago, but there’s been a lot of ink under the bridge since then. And a fair amount of blood. But I’ll try to remember as best I can.

With such caveats in mind… HOME, like the rest of the series, went through a number of evolutions, some more violent than others. I’d always wanted to end it with high drama, and something that invoked the Western, (another passion), but if memory serves my first pass at it was very linear. The Coke-Norris story – if it existed at all, and I suspect it didn’t – did not feature Mrs.C-N. Starting on this, I realise that my recollections are really, really shaky. In fact I’m fairly certain the Coke-Norris angle might have come later. The best person to ask would be Sam Price [Script editor]. Things fly in and out across the drafts as you try to get the thing right – the blend of case and personal material – so that sometimes (often) it’s very difficult to go back and recollect the exact order of things. But Sam seems to manage it effortlessly.

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©itv/MammothScreen

But the potted version is – my first go round was too radical a departure from the mood we’d established over the first three films in the series, and the single. Sometimes you need to go too far out, to overstate something, so you can find the thing you’re looking for – and then, once you’ve found it, you can dial it down on a second and subsequent pass. But it’s better to overshoot, than not to try something. These things are as much about trust as anything else, and I’m very lucky with the Mammoths [Mammoth Screen – the Production Company]. We have a long history, and they know my methods. However, we were fairly up against it for time – Christmas 12/13 was spent hunkered down rewriting it to shoot early January – and it got circulated quite early, with much of the sturm und drang still intact – which somewhat frightened the horses.

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©itv/MammothScreen

I think… there was another gangland story woven into it – which I’ll spare you – and things got a bit (a lot!) Peckinpah in the final couple of reels. Colm McCarthy, who I’d worked with on Murphy’s Law and FIRST BUS TO WOODSTOCK, came back to direct HOME and had been waiting for some kind of an Endeavour twist and that simply wasn’t in place. So he was a bit – unsurprisingly – nonplussed. Some stories come together easier than others.

I think it was Damien Timmer who suggested we reconnect it with what he calls ‘fragrant ladies’. That would be ‘fragrant ladies’ in terms of characters, rather than in the audience – of whom I’m sure there are many. And fragrant gentlemen too, no doubt. It had become very boysy. Not exactly a British gangster flick, but certainly less dusty dons and ivy clad quads than might be expected. A very wistful, ‘But it will be charming, won’t it? Won’t it? It will be charming.’ is Damien’s standard mock nervous response to some of my more outré diversions or descriptions of storylines I’m kicking around.

When you work with someone — as long as I’ve worked with with Damien, say — you develop a kind of shorthand. What he was saying, in his equally charming way, was he thought we could afford to dial up the Rattigan/Coward meter. Both masters of a particular brand of quiet, English desperation. An understated darkness at the centre. So… you get a note like that, a strong tug on the choke-chain, and a light bulb goes on. Ping! Sam Price, our doughty Script Editor, and me – are great admirers of what were once termed ‘women’s pictures’ – the work of Douglas Sirk, etc. The filmic, American version – to a degree – of the same kind of territory Ratigan and Coward made their own in Britain. Things not said. Still waters. Soldiering on. Celia Johnson returning to her husband at the end of Brief Encounter. Relationship dramas.

Going back to HOME, I guess the elder sister, Helen Cartwright (nee Sloan) played by Olivia Grant (from GIRL), would fall into that ‘fragrant lady’ category. The scene she plays with Dr. Prentice – a negotiation of sorts – is pretty electric and very quietly erotic. She’s like a wire, thrumming with untapped energy. That proverbial thin bat-squeak of sexuality. At some point his hand touches hers, and Olivia gives this intake of breath, which tells you everything you need to know, and in its way says so much more than something overt. Beautifully directed by Ed Bazalgette, and played to perfection by Olivia and Mark Bazeley.

So, it was just a case of reconnecting it with that. Reconciling the gangsterism with something more in keeping with Endeavour world. The Browning Version is a great favourite. Such a brilliant play – and two terrific film versions. And most recently a knockout BBC Radio 4 version with Michael York, Joanne Whalley, Ioan Gryfudd and our own Henry Broom, Mister Martin Jarvis. And so I kind of ran aspects of that through the Endeavour filter. Rattigan had taken inspiration and recast themes from Aeschylus’ Agamemnon. So it was interesting to the give the wheel another turn. Thus Clytemnestra becomes Millie Crocker-Harris becomes Millicent Coke-Norris.

(I took it as some kind of cosmic approval that when we finally found a Production Base for Series 2 it was in a village called, of all things, Taplow…)

But – yes, Endeavour’s home… I think it’s something we’d always been leading towards. Again, like the Thursdays, I may have tried – unsuccessfully – to introduce them earlier in the run. A visit from Joyce, maybe. Happily, they found their moment – though some scenes didn’t make the cut – in the last. And that was fitting. Pretty much everything there was extrapolated from Colin Dexter’s clues. There’s a bit of mild license with certain things. Cyril and Constance may have divorced at a certain point according to canon – but I felt we had a little wriggle room. They might have divorced at such and such a time, but they could believably have split up many years earlier, which would explain the closeness in ages between Endeavour and Joyce. A dignified veil was drawn over the chronology. But many families had what were then seen as ‘dark secrets’. A certain amount of ‘What would the neighbours say?’ People moved, pretended to be married, widowed, etc.. Keeping up appearances.

I certainly felt that things had not gone altogether swimmingly for Cyril and Gwen. The return of the prodigal when Endeavour’s mum died providing a constant reminder for both of them of a previous set of circumstances from which they’d tried to move on, or strike from history. And there was Endeavour as a boy dumped right back into the middle of it. Unwelcome. Resented by Gwen. A constant reminder of the first Mrs. de Winter. So their mutual antipathy sprang from that. Cyril chose Gwen and Joyce over Endeavour. Anything for an quiet life.

There was a scene we shot and cut – or perhaps dialogue from the scene where Endeavour first arrives home, which really played to Endeavour and Gwen’s dislike of one another. Some harsh exchanges. But sadly – for length, they ended up on the cutting room floor. I think in the end we felt we’d got just about enough with what survived to understand that relationship.

There were some other home memento bits that didn’t make the cut. But they’re on file. Who knows?

Damian: It could be argued that all of the films from series one share the thematic elements of family: the possessive Sloan family and Pamela’s fighting for custody of young Bobby in GIRL, the contrast between Morse’s loneliness and Thursday’s happy family life in FUGUE, the family feuds between the Brooms in ROCKET and not least the risk to Thursday’s home and of course the troubled home of Morse’s childhood in this film. Many writers often return to the same ideas, motifs and preoccupations, was this notion of family ever a conscious dramatic decision or did the stories simply evolve this way?

Russ: I think it was unconscious. It was something Dan McCulloch first brought to my attention. You know – sometimes your nose is so close to the page, and for so long, that you don’t always get above it to take an overview. The family thing was certainly in my mind with the Morse/Thursday dynamic – Endeavour’s unhappy home, as against Thursday’s boisterous, loving brood. And, by extension, Endeavour’s professional family. Something of a ragbag – Bright, Jakes, Strange, Max and Dorothea. Each of them… unconventional in their way. I’m hesitant to say dysfunctional, but they are all to a greater or lesser degree solitary. Taking solace in the companionship of their fellows. Between those two notions it’s probably not too great a surprise to find a theme that bled out into the other stories. Thank you, Doctor Freud.

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©itv/MammothScreen

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©itv/MammothScreen

Damian: I suspect you’re going to dodge this next question like a bullet but I’m going to take aim and ask it anyway. Obviously Morse, Strange and Max were the creation of Colin Dexter but of all your original characters for Endeavour, Thursday is perhaps the most well defined in terms of characterisation. I accept that this may be an unfair comparison given that Thursday obviously has more screen time than the supporting characters such as Bright, however, if we look at his many quirks and mannerisms, the character details such as his home life and family – not to mention the sandwiches, it would be hard to argue that Thursday isn’t the most vivid and well-drawn. So, here goes, of all the characters in Endeavour, is Thursday the one with which you most identify or perhaps infuse with your own personality – possibly with particular reference to his dialogue?

Russ: Fascinating. Um… Of the original characters… Well, as you say, he occupies more story time than any of the rest of the ensemble. So it’s difficult to make a fair comparison. They are all facets of oneself to some degree, I suppose. They have to be. Aspects of one’s personality, or those one has encountered along the way. Isolated and exaggerated so one can get a handle on them and they don’t all sound the same. But I’m very fond of them all. Of Colin’s originals as much as those I’ve added. Someone like Max – who looms large in the books – but who only appeared in, what was it, seven of the thirty-three films… the opportunity to flesh out his younger days, fill in some of the blanks, is really too good to resist. And you add James Bradshaw’s delightful performance to that, and that makes you want to know him all the more. Extraordinary to think that already Jimmy’s racked up more onscreen adventures with Endeavour than his later incarnation did with Morse. And it’s the same with Sean Rigby’s Strange. A terrific actor through whose performance one gets the chance to explore hitherto unknown aspects of that original character. And the Thursdays, and Dorothea, and Bright, and now Nurse Monica Hicks who has brought so much to the thing in her relationship with Endeavour… It’s just a dream ensemble of brilliant actors who bring these fascinating characters to life. That one gets to spend so much time with them in one’s head… Ridiculous good fortune to play with them in one form or another for the best part of a year at a time. And even in the breaks between series, they’re still there. The ideas for them stacking up.

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©itv/MammothScreen

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©itv/MammothScreen

But, yeh… Thursday. You know – it’s Roger Allam, who’s pretty damn fine — in character or out. And rather adorable to boot. He’s Thursday. I just do the words. He wears the hat.

I couldn’t truthfully say I identify with Thursday as his experiences are so far outside of my ken – the War pretty much sets him apart from anything I could imagine. But I have known people with his qualities. And one reads as much as possible – to try to gain some insight into what makes someone like that tick. He most definitely is not me. Far too physically brave for one thing. He’s the Chandler ideal, I suppose. ‘Down these mean streets…’ And no doubt an idealised version of the man who was good enough to raise me and give me a name. He too was of that extraordinary generation who went through so much, and gave so much, and asked so very little in return.

So, I mentioned before about that quiet, unshowy heroism. That understatement you get with something like ‘Fires Were Started’. The dialogue… I’m a sucker for any slightly antiquated idiom. Mostly stuff I remember from a kid. Little things – ‘steps’ rather than ‘a ladder’; ‘wireless’ over ‘radio’. Period court transcripts are very useful for that kind of thing. I’ve probably said this before, so stop me if you’ve heard this one, but music was my thing when I was younger. I don’t know – you develop an ear for rhythm and tone. And that carries over into being sensitive to patterns of speech. A word here, a phrase there. File it away. With Thursday it’s definitely a 1940s slant. Too many black and white war pictures. (If there is such a thing as too many of those.) In Which We Serve; The Cruel Sea; Ice Cold in Alex. All of those Sunday afternoon delights.

It sounds glib, and probably is, but I’ve just tried to keep him human. He’s got a dark side, like most of us. A hinterland. He’s seen the worst, and perhaps now looks for the best. There’s certainly a great kindness to him. An old-fashioned sense of courtesy, now far less in vogue than it once was. He’s of a generation that thought it was the right thing to do to hold a door open, or give up his seat on the bus for a woman. Happily, he’s married to Win – who would take it very amiss if he didn’t do those things.

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©itv/MammothScreen

Damian: Some might argue that FUGUE was the most suspenseful of the first series although I would have to say that HOME takes that honour. You deliberately, and quite masterfully, trick the audience into thinking that the threat is with Thursday and his family throughout the episode right up until the very end. Indeed, I was constantly thinking I can’t believe they are going to kill off Fred and coming to the conclusion that maybe Roger Allam didn’t want to do the show anymore! So, to not only have the unexpected twist of Morse actually getting shot in the nail-biting finale, but also connect this to John Thaw’s slight limp was truly a stroke of genius. Can you please detail how these events came to be tied together and was the leg thing an idea you always wanted to incorporate?

Russ: Well, I’m very glad you liked HOME. FUGUE was the more obvious Saturday morning pictures, edge-of-the-seat roller-coaster, but that you found HOME suspenseful is very gratifying. Endeavour catching a bullet was always in there, I think. And being able, in those last moments, to reconnect it again with John Thaw, and by association with Kevin Whately, and James Grout, and those original thirty-three films. There was always the possibility that we might never have done any more, and, if that had been the case, I felt very strongly that we should, at the end, honour that heritage once again.

Damian: The death of Morse’s father was a particularly beautifully written and performed scene which I suspect lesser writers might have overburdened with unnecessary dialogue. I’m curious as to whether this scene, and indeed the others with Cyril Morse, were always written with such brilliant understatement with so many wonderful implicit thoughts and emotions?

Russ: Well, you’d better add me to the lesser writers roster. In a fairly late draft, I think, Morse pere’ had goaded Endeavour during that first visit with a reference to Susan Fallon – (Bryce-Morgan). Something along the lines of ‘D’you ever see that girl?’ Which Endeavour hadn’t answered. It was there as a kind of rebuke – Cyril Morse mocking his son for his high-falutin’ ambitions – university, etc. He was, in effect, reminding Endeavour that for all his airs, girls like Susan Fallon would be forever out of his class. And – as I say – Endeavour left it hanging.

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©itv/MammothScreen

And then the final scene – when Endeavour visits Cyril, who is by this time comatose… I revisited it. Endeavour lays bare his soul – and is only able to do it when his father is no longer in a state to respond or make comment. He describes his feelings at having lost Susan. And then the final line was ‘Is that how it was for you?’

I’d felt that the final question from Endeavour to his father was the kicker. A conversation that they should have had many years before. It seemed to me fairly plain that Cyril and Gwen’s marriage had not been an altogether happy one – ‘I’d have rung it through myself only she won’t let me.’ But that having made his bed, Cyril – for pride, or sheer bloody stubbornness – had stuck it out. And with that question he was reaching out to find some common ground with this man. Was this unhappiness and regret something they shared. Had he ever stopped loving Endeavour’s mother? And it’s a question Cyril will never be able to answer. ‘Not every question gets an answer’ as Thursday warns Endeavour earlier in the series. I’d wanted to deal with what we affectionately referred to as ‘Susan, Susan, Susan’ across the first series. To bring it full circle from that brief maddening glimpse we got of her at the window in FIRST BUS TO WOODSTOCK. The ‘other shoe’ – which had never dropped.

So – that was my original version of it. With the exception of the final question, it had been a speech I’d had in my back pocket for Endeavour since before ROCKET. One of those that just pops into your head more or less complete. An aria. It could have gone in – albeit somewhat ungallantly, though no less truthfully — into one of his scenes with Alice Vexin, but I rather foolishly kept it up my sleeve for the last.

I think it was the day it was shot, I got a call from the floor asking if we could drop it. Both Shaun and Colm had issues with it. That it took away from the profundity of the moment. That it was a moment beyond words.

It was something we’d batted back and forth across the net in pre-production and after the read. So… they wore me down, and in the end I waved a white flag. Hold on tightly, let go lightly. Seriously… it wasn’t so much that I ‘suddenly remembered my Charlemagne’, but rather my Carol Reed and Graham Greene, and the difference of opinion they’d had over the ending of The Third Man.

You know – Shaun and Colm are both bright, smart fellas, and, like the man said, if enough people tell you you’re drunk, then maybe you should have a lie down. I suppose it comes back – as these things so often do – to Sir Arthur Quiller Couch’s advice. Murder your darlings. And believe me, you’d better. Because otherwise you’ll find there are plenty of people willing to murder them for you. In the nicest possible way.

So – there you are. Any praise due for masterly restraint in that sequence belongs wholly to Shaun and Colm. Theirs is the glory. The moral is… Work with good people. They will save you from yourself more times than you can thank them for.

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©itv/MammothScreen

Damian: Well, I could talk about Endeavour all day and I fear we have – several times! Therefore, let us move swiftly on from the end of series one to the last of this year’s films, NEVERLAND and for the final time, will you please tell us just a little something about what we can look forward to?

Russ: It’s a tough one. Of all the films to date, this is by far the hardest to offer a teaser on. Almost anything would be a spoiler. It is early December… and the annual Police Widows and Orphans Gala is upon us… HMP Farnleigh… A report Endeavour was working on for Bright heralds a new beginning… Sunny Prestatyn…

~

EPILOGUE

~

Damian: I think it’s safe to say that 1966 was a most productive and remarkable year for our friend Morse. I wonder about 1967…

Russ: You and me both.

Damian: Russ, we have reached the conclusion of our odyssey and what a journey it was – thanks for taking me with you!

Russ: Damian, after all this time, it’s been a true pleasure to revisit the first four films from Series 1. I’ve dropped by the website to read the interviews you did with Abigail, Sean, Jimmy, and found them all hugely informative. I believe you’ve one with Barrington coming up – so, look forward to looking at that. When we’re in production we really don’t get to spend very much time hanging out or chewing the fat, so to read what the rest of the gang have to say about our joint criminal enterprise has been a delight.

All of us involved in making the show are very appreciative of all the work you’ve put in. And I’d like to offer personal thanks to you for making my own ramblings appears so lucid. Your choice of illustrative material has been pitch perfect.

One thing I mentioned earlier – about working with good people making all the difference. Most of the questions across these interviews have been about plot things in the first series, and Endeavour Morse as a character – and I hope I’ve answered them as comprehensively as I can – but what they haven’t given me the opportunity to do, and, if you don’t mind, I’d like to do now, is talk about Shaun Evans.

Whatever the rest of us on the production side might have put together to make it work on FBTW – the right story, the right look for the piece, whatever it was — ENDEAVOUR was always going to be pretty heavily scrutinised, and judged a hit or miss, rightly or wrongly, on Shaun’s performance. It was a gig which would have struck many as pretty daunting on the page. For all kinds of historical reasons. It came with a lot of additional weight. And no small amount of expectations. Approached the wrong way it was the kind of gig that could turn someone’s head or blow their mind. That Shaun avoided both possibilities is testament to his integrity as an artist and his absolute dedication to his craft.

He found the character as he would any other, by drawing on the text, and by going to the source – to Colin’s novels – through which he found his way back to an Endeavour in his mid-twenties. It was the only sane course of action. And that’s the key, really. We’ve never set out to present Detective Chief Inspector Morse. You’ll see glimpses, of course. How could you not? But to offer up some kind of fully formed version of the character with the same emotional cargo he’s hauling in his middle years? It would be crazy, and impossible, and wrong to attempt it. These are the adventures Detective Constable Endeavour Morse. A young man, with all of a young man’s dreams and insecurities still intact. Not exactly your regular Joe. An outsider for so many reasons. But at this stage of his life still burning with hope, and the potential for happiness, and so much to prove to himself and the world. And Shaun just got that and knew it and felt that in his bones from the off.

That we’ve now got to the end of the ninth film, and the second series, and he’s still bringing something new to it, and letting you feel that we’ve barely scratched the surface, really is a mark of just how deeply he inhabits the role. Sometimes you get very lucky. Working with Shaun would fall into that category.

None of us involved ever forget where we came from with this – the creative debt we owe to the extraordinary work of so many talented people that came before; the writers, directors, actors, producers, execs, musos, innumerable cast and crew who ploughed the field and paved the road. Truly, the shoulders of giants. We’re hugely grateful for having been allowed to make our own contribution to something begun all those years ago on a wet holiday in Wales by Colin Dexter. That we have been given that opportunity to do so for the past three years or so is due in no small measure to Shaun Evans who has reintroduced many to an old friend, and also brought a certain, special kind of Oxford magic to a whole new generation, with his pitch perfect portrayal of the heart, mind, body and soul of Endeavour Morse.

Thank you for watching.

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©itv/MammothScreen

“Ask me no more, for fear I should reply”

“The sum of things to be known is inexhaustible, and however long we read, we shall never come to the end of our story-book.”

– A. E. Housman

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James Bradshaw

Barrington Pheloung

Sean Rigby

Amanda Street-Shipston

Abigail Thaw

and

Russell Lewis

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Damian Michael Barcroft

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The Inside Story

The last look at significant events and encounters from the first series and how they relate to the original Inspector Morse

Bright is quietly impressed by Morse’s shooting range results and notes that he has his Sergeant’s exam coming up soon. Morse later tells Thursday that he learnt to shoot when he was 12. It was the first Christmas after his mother had died and his father bought him a pistol. He would take the young Morse to the common after rabbits.

Morse’s sister Joyce rings to tell him their father (Cyril) is ill (he has suffered from angina for years). Not wanting to leave Thursday short while he takes some time off from work to see his father, Morse recommends Strange to serve as Acting Detective Constable in his place. Strange is very pleased… “Little acorns matey” indeed!

Morse’s stepmother Gwen, only manages a lukewarm welcome back to his childhood home (somewhere up north). Morse’s sister, he calls her Joycie, is much more pleased to see him again. Morse visits the grave of his mother (Constance) at the local church.

Just before Morse goes back to Oxford, Joyce tells Morse that his father is proud of him in his own way (although he never liked the police) but that he reminds him too much of his mother.

Thursday encounters his old nemesis, Vic Kasper. He tells Bright that Vic had recently become persona non with Sid and Gerald Fletcher (Get Carter).

Morse talks to Mrs Carter (now Wilkins), the widow of Mickey Carter who was killed by the Kasper gang. She tells Morse that Thursday looked out for her and sent money at the end of each month up until she got married again. Thursday had taken Mickey under his wing from a young constable. One night Mickey went to see an informant by himself but it was a setup. Thursday blamed himself, especially when he couldn’t prove anything and no one was charged. With a young family to keep safe, Thursday moved to Oxford to start afresh without the continuing threat of Kasper.

Morse is shot in the leg by Mrs Coke Norris during her confrontation with him and Thursday.

Morse’s father dies. Morse and his sister Joyce are at his bedside.

Strange takes his Police Sergeant Examination Paper.

Morse finally sees a doctor about his leg injury. The doctor tells him that it will mend but may well find himself saddled with a limp during middle age particularly when he is overtired or the weather turns.

©itv/MammothScreen

©itv/MammothScreen

In memory of Zack. Goodnight little man – we love you x