Tag Archives: Endeavour Series 5

THE ENDEAVOUR INTERVIEWS 2019: Russell Lewis Part II

LATE NIGHT DOUBLE FEATURE

CARTOUCHE & PASSENGER

Interview copyright © Damian Michael Barcroft 2019

DAMIAN: You were surprised I liked CARTOUCHE. Why exactly?

RUSS: I thought you might find it too frivolous – too knowing.

DAMIAN: I’ve tried a couple of times in the past to get you to tell me what your favourite episodes are but without much success. Since you’re unlikely to budge on this, perhaps you might instead at least acknowledge that some episodes are more important than others?

RUSS:  I don’t know if I’d agree with you over importance.  To borrow from Marge Gundersson, ‘People always need the little stamps.’

DAMIAN: Let’s look at it from a different perspective then; would you agree that it is unlikely that ITV, Mammoth Screen or yourself would wish to open or close a series of a highly respected Sunday-night detective drama with an episode featuring a mummy on the rampage in Oxford?

RUSS: I would. But while we probably wouldn’t open or close a run with a CARTOUCHE like number, if the entirety of the series followed suit then things might get a little samey.

INT. ROXY/CINEMA SCREEN – DAY 1

In darkness. A crackly, repeating MORSE CODE signal.

— .–. …

Onscreen: Black and white art-deco 1930s FILM LOGO — ‘MAMMOTH PICTURES STUDIOS’ wrapped around a spinning globe topped with a radio antenna sending ‘lightning bolts’ into the ether. An airship circumnavigates the sphere, against the rotation of the planet.

MUSIC of a distinctly Egyptian theme BEGINS… Black and White — TITLES against shifting desert sands. “MERIAM C. DENHAM presents EMIL VALDEMAR in THE PHARAOH’S CURSE” “Screenplay by W.P. Mayhew” “Directed by Von Mayerling.” &c.

DAMIAN: The original description for the Mammoth Pictures Studio logo was more reminiscent of the old RKO and Universal Pictures from the late twenties and early thirties and significantly different from the screen version. At what point did you have the ingenious idea of actually using a mammoth?

RUSS:  When we couldn’t clear the original homage.  I think I’ve mentioned before the legal minefield of clearance.

DAMIAN: It’s not actually Cavendish though is it?

RUSS:  Doubtless an antecedent.


Production designer Paul Cripps designed and built the Mammoth Pictures Studio logo; basically carving an iceberg from poly, bought a Mammoth which he then painted and sprayed. The background was also painted and then he simply stuck both the iceberg and mammoth on a turntable.

DAMIAN: This treasure must surely be proudly housed safely behind glass at Mammoth Screen?

RUSS:  Like the Anglia knight?  Alas. I haven’t seen it around the office.  

Brings back memories.

DAMIAN: I think I get that W.P. Mayhew was the drunken writer in Barton Fink, (Max) Von Mayerling was the silent movie director turned butler from Sunset Boulevard but is Meriam C. Denham a composite of King Kong director and producer Merian C. Cooper and the Carl Denham character from the same film?

RUSS:  Full marks.

DAMIAN: And accompanying those opening film credits, we hear Matthew Slater’s music score. Now, Matt has been doing a fantastic job as composer for most of the last couple of years or so -I think PREY was his first full score?- but CARTOUCHE was simply stunning wasn’t it and almost indistinguishable from a big Hollywood film soundtrack?

RUSS:  Matt’s an extraordinary talent, and his scores are a joy.  His work has spared our blushes on many an occasion.

DAMIAN: There’s been some great scores for horror and fantasy films such as Max Steiner’s work on King Kong, music for the Universal Monster Cycle of the 30s and 40s by composers like Paul Dessau, Hans J. Salter, Frank Skinner and Franz Waxman, in addition to the various artists, perhaps most notably James Bernard, who scored the Hammer films. I’m wondering if you listened to any of these while writing CARTOUCHE or discussed them with Matt as reference points because there’s definitely a Hammer influence in his score isn’t there?

RUSS:  Yeh, we talked about Waxman, and James Bernard.

DAMIAN: It’s perhaps no coincidence that amongst Valdemar’s credits, Buddy and Louie Meet the Pharaoh is mentioned because of all the various costumes and makeup designs for the character over the years, the one in CARTOUCHE most resembles the one in (Budd) Abbott and (Lou) Costello Meet the Mummy. Was this slightly low budget design the look you were going for?

RUSS:  Kind of.  The Hammers also started to look a bit ragged – no pun intended – very quickly. It was meant to invoke something of a B-picture, knocked out very quickly, and on a limited budget.  But Andy – our director – had a lot of fun with it.

DAMIAN: Despite having the most iconic makeup design, I’ve always found Karloff’s The Mummy to be a little slow and stagey much like Dracula as opposed to more cinematic masterpieces from Universal such Bride of Frankenstein, and actually much prefer Hammer’s The Mummy. Do you have a favourite?

RUSS:  A favourite Universal or a favourite Hammer – or a favourite Mummy?  I’m with you on Bride all the way.

DAMIAN: I meant a favourite Mummy. In comparison to other gothic literary characters such as Dracula, Frankenstein’s monster, Jekyll and Hyde etc., the Mummy is possibly the least interesting and I just wondered from a writers perspective, which film you thought provided the most engaging characterisation?

RUSS:  Bubba Ho Tep.  I suppose the first two Brendan Fraser/Rachel Weisz Mummy pictures. And of those two, the second probably gives you the biggest window on Imhotep’s history, doesn’t it?  But – let’s be frank – as a franchise, it’s never been particularly deep, has it? I don’t think I mind the Karloff as much as you do.  It is pretty slow, but it does set down all the key lore. Probably the least said about the latest incarnation the better.

Boris Karloff in The Mummy (1932)
Christopher Lee in The Mummy (1959)

DAMIAN: After the success of individual horror character franchises such as Dracula, Frankenstein and the Wolf Man, Universal created a shared universe for these classic monsters. Now, considering that these films are meant to follow on from each other, it’s rather bizarre that Lionel Atwill is cast in so many and yet plays completely different characters including Inspector Krogh (Son of Frankenstein), Doctor Theodore Bohmer (The Ghost of Frankenstein), the Mayor (Frankenstein Meets the Wolf Man), Inspector Arnz (House of Frankenstein) and Inspector Holtz (House of Dracula). Regardless, with the nod to his name in the script and the character with the one arm, why has the memory of Atwill endured perhaps more than other supporting Universal character players such as my personal favourite, Dwight Frye?

RUSS:  I think – as you say – it was probably Atwill’s presence in so many different incarnations that guaranteed his immortality.  Ah – Dwight Frye. Will Dwight Frye make you Frye of Dwight?!

Lionel Atwill
Dwight Frye in this magnificent publicity still for Dracula (1931)

DAMIAN: I suppose in a similar vein to the Carry On films and other beloved institutes, Universal and Hammer had a repertoire of supporting roles players which we don’t quite see to the same extent in contemporary productions. Do you think that, in always striving to prove their versatility and avoid typecasting, it’s a pity we no longer enjoy character actors in the same way anymore?

RUSS:  Well, a Hammer never really felt like a Hammer without the appropriately named Michael Ripper, did it?  I just don’t think we make things the same way. The world changes. But I’m very grateful we’ve still got all those wonderful films, and those regular faces to enjoy.  

Michael Ripper who possibly appeared in more Hammer films than any other actor.

DAMIAN: And the Hammer Horrors featured many glamourous scream queens such as Valerie Leon and Ingrid Pitt but Veronica Carlson must still be a favourite who you mentioned in one of our early interviews and gets a nod in CARTOUCHE as Veronique Carlton. In your opinion, why is she the epitome of the 60s Hammer and British Horror scream queen?

RUSS:  I think it’s that she pulled off that extraordinary back to back double in ‘68 and ‘69 with the Count and then the Baron.  Dracula Has Risen from the Gravy — and Frankenstein Must be Dismayed.

Veronica Carlson
Veronique Carlton

DAMIAN: Apart from Bela Lugosi who died in 1956, which of the iconic horror actors would you have liked to have cast as Emil Valdemar if CARTOUCHE was actually made in the year in which it was set?

RUSS:  Well — we were thinking about Bogdanovich’s Targets a lot – which was a big jumping off point for the story.  So – it was Karloff the Uncanny, all the way. It would have had to be someone British and old enough to have served in the Great War.

Targets (1968) Boris Karloff is so scary he even makes himself jump.

DAMIAN: As always, there’s so many references in the episode such as Fu Manchu, the Corman/Price cycle and Poe more generally, that we can’t possibly discuss them all, although I thought the nod to Lauren Bacall (Betty Perske/Persky) was particularly lovely because she was actually a theatre usher in real life wasn’t she?

RUSS: Exactly that.

An early photo of Betty

DAMIAN: It was wonderful to see Thursday in such a (rare) good mood reminiscing about the cinema of his childhood although I was less impressed with Endeavour’s response – is he only interested in watching Ingmar Bergman films and -much later in life- Last Tango in Paris?

RUSS: Colin didn’t really give us much of a steer on his cinematic interests.  But Endeavour’s recollection of Saturday Morning Pictures are mine. I’m not sure if it made the cut – but his invocation of Dante made Damien Timmer chuckle, which always pleases me.

DAMIAN: Yes it did, something about all that screaming in the dark. However, for someone who consistently shows such a reverence in their writing for classic cinema, I’m somewhat surprised and confused by such negative recollections of Saturday Morning Pictures. I would have thought you would have more in common with Thursday than Endeavour in this regard?

RUSS:  Endeavour’s recollections are perhaps not unsurprisingly my recollection of the one and only trip I made to the Granada, St.John’s Hill for Saturday Morning Pictures. I can still hear the screaming.

DAMIAN: Starting with Carol this series, Endeavour begins his Casanova phase which I had a few problems with and hope to debate in a future interview, however, can you not think of a nice young lady to introduce to Strange for a change?

RUSS:  Well — we have seen him out on a double-date with Endeavour – to a Horror Double Bill appropriately enough.  Well — I look forward to discussing Endeavour’s Casanova phase. A one night stand with the least appropriate young woman imaginable – and a meaningful few months with Claudine, of whom he had hopes.  Some Casanova phase. Surely such Homework would warrant, ‘Must try harder!’ in the margin?

DAMIAN: And speaking of other halves, Bright is eating alone in the restaurant because his wife is otherwise engaged yet again! Come on now Russ, this is getting quite ridiculous unless Reginald has perhaps buried her under the patio or keeping her well-preserved mummified corpse in the fruit cellar?

RUSS:  It’s been quite fun keeping people guessing about Mrs.Bright.  We shall see.

DAMIAN: Towards the end of the episode, Charlie says ‘You’re the best of us, Fred’, to which Thursday replies, ‘The best of us never came home’. Earlier, when reminiscing about Saturday morning matinees as a child, Thursday mentions to Endeavour that he’d go in first and then ‘spring the window in the Gents for Chas and Billy’. Can you tell us more about Billy, presumably the youngest of the three Thursday brothers, or is this perhaps something you might elaborate on in a future story?

RUSS:  There is a story that tells us more about Billy – but whether we will get to make it is doubtful.  The exchange rate has taken a bit of a hit since I first had it in mind — and probably rules it out.

DAMIAN: You make the parallels between ex-Detective Sergeant Ronald Beavis and Endeavour quite explicit with similar characters traits and shared interests including a passion for opera; the two even have the same Rosalind Calloway performance of La Traviata LP – oh, just out of curiosity, why were you so specific in the script that the record not have her image on the sleeve?

RUSS:  Was I? I think I just wanted to avoid the LP Endeavour had signed in the very first film also being owned by Beavis. As if it were the ONLY Rosalind Calloway recording in existence.

DAMIAN: Anyway, after leaving the museum at the end of the episode, there’s a discussion of the parallels between Beavis and Endeavour and Thursday says ‘he’d no family to keep him on the straight. Lot to be said for family’, to which Endeavour replies, ‘What if you don’t have one? Is that how you finish your days? Alone in some two-bob kip with nothing but a bottle for company?’. Thursday ends the discussion with, ‘That was his future. Not yours. You’ll make better choices’. First of all, does Thursday really believe this, and secondly, would he, if not really approve, then reluctantly give his consent -at this particular moment in time at least- if such choices included Joan?

RUSS:  I don’t think there’s any reason for Fred to think Endeavour won’t make better choices.  His first thought would be of Joan’s happiness. If being with Endeavour made her happy, then I’m sure Thursday would be behind her all the way.  

DAMIAN: Of course, we know how it ends for Endeavour, but the way the scene is written suggests that he does too. Let’s say, for the sake of argument, that loneliness is a subjective experience. For someone like Endeavour with all his emotional baggage and psychological damage, his loneliness and estrangement might foster a self-defeating attitude in that the more he marginalises himself, the more his protracted loneliness intensifies, and becomes increasingly difficult to break free from such a mindset that negatively influences his perception of relationships making him more pessimistic as to their outcome (as might be the case with Joan or Susan Fallon for that matter). To what extent would you agree with all this and has Endeavour -again, at this point in the story- accepted his fate or is he simply just a miserable sod?

RUSS:  No – I don’t think he’s accepted his fate at all at this point.  Did he ever? He always seemed optimistic when pursuing romance. In this instance, I think Endeavour was rattled by finding some similarities with Beavis – primarily, the music – and beyond that, the want of family.  And, of course, he was an ex-copper.

DAMIAN: And so without further delay or cancellation, we arrive at possibly one of the most beautifully shot films of this or any other series of Endeavour. You’ve often found inspiration from poetry during the conception and development of characters such as Thursday (Henry Reed’s Lessons of the WarNaming of Parts in particular) and Bright (Betjeman’s Subaltern’s Love Song), so I’m wondering if there’s any deeper significance to your inclusion of WH Auden’s Night Mail in PASSENGER beyond the theme of trains?

RUSS:  Well – all credit to Jim Field Smith and DoP Jamie Cairney.  For my part, it was just an early memory of a re-run of the 1936 documentary that ends with the verse.  The British Documentary Film Movement is an endless source of wonder and inspiration. But ‘Night Mail’… probably melts a bit into the train journey in ‘I Know Where I’m Going’. Trains – particularly the old steamers – have an innate air of romance, mystery and – for our purposes – danger.  That ‘The sigh of midnight trains in empty stations’ makes the list of ‘These Foolish Things’ is no accident. The Orient Express. The Blue Train. The 4:50 From Paddington. All aboard!

DAMIAN: Interestingly, Auden was addicted to the crime genre and had some very particular opinions about it which shaped the poem, Detective Story, and an essay on the subject, The Guilty Vicarage, in which he makes a series of observations while deconstructing the Whodunit formula including the discourse between good and evil, the ethical and eristic conflict between Us and Them and the dialectics of innocence and guilt, while also identifying its five essential elements: milieu, victim, murderer, suspects and detectives. Perhaps even more than Sherlock Holmes’ more cosmopolitan and diverse Victorian London for example, I wonder if it’s milieu that’s particularly applicable to the Morse Universe if we view Oxford as a kind of garden of Eden in which the various sins don’t necessarily attract evil to the city, but instead reveal the evil that already inhabits the dreaming spires hiding under the gown of piousness and respectability?

RUSS:  ‘As the milieu told its tale…’  I think much of Auden’s take on the Whodunit applies particularly to the Golden Age and the notion of Mayhem Parva.  It probably starts to break down when applied to Bay City. Oxford as a Garden of Eden? I guess I’m with you about the frailties of human nature residing there already – rather than something that arrives with an interloper.  (Though that may change…) But no more or less than any other town of a like size. Don’t be fooled for a moment by the architecture. Or by the trappings of academe. The pursuit of knowledge for its own sake. A juicy and coveted Chair is just as likely to be pursued, as is the wife or daughter of another don. Clixby Bream come on down! That’s one of the many things Colin did so well in the novels. And he knew that world better than most. Where abideth man, there abideth sin.  

Richard Briers as Sir Clixby Bream in the original Morse: Death is Now My Neighbour

DAMIAN: And perhaps Endeavour represents this loss of innocence more acutely than either Inspector Morse or Lewis ever did?

RUSS:  Yes, I think that’s fair to say. We have a much younger protagonist. And a romantic to boot. He was always going to have much further to fall. But I think that one of the things about his older incarnation is some part of that hope still remains. That’s what lends it its melancholy. And, of course, it’s what redeems him.

DAMIAN: One aspect of Auden’s musings on the detective story that certainly can’t be applied to Endeavour is that the characters are not changed in or by their actions. Indeed, reflecting on the heartbreak and misery frequently bestowed upon Endeavour and Joan for example, how far are you willing to go in putting your loyal and loving audience on a downer?

RUSS:  Does it bring the audience down, do you think?  One of the great, unlooked for delights of writing this thing has been charting the push and pull of those binary stars. Who knew?

I don’t know about putting the audience on a downer, but how far am I willing to go with telling that story?  All the way. Always.

EXT. JOAN’S FLAT/ROOF – DAY

JOAN clambers up through a skylight onto the roof. ENDEAVOUR follows. By the time he’s out and into the daylight, with the resultant queasiness of realisation that he’s up high. JOAN is at the edge, looking out over OXFORD.

JOAN: It was the view I fell in love with.

ENDEAVOUR’S POV: JOAN against a backdrop of magic hour Oxford – a sky of pink and pearl.

ENDEAVOUR: Yes.

A world contained in a single word. If his heart were to stop now, it would be enough. To die in the moment of perfection. Like…

ENDEAVOUR (cont’d): Cherry blossom.

His whisper lost on the breeze.

JOAN: You can’t see from there. Come closer.

ENDEAVOUR: This is as close as I get.

And it is. And ever will be.

ENDEAVOUR (cont’d): Come back now.

And it is. And ever will be.

JOAN: Scared of heights?

ENDEAVOUR: Not heights. Just falling…

DAMIAN: Fans may occasionally debate the merits of certain plot points and the motivation of various suspects or perpetrators but there can be little doubt that scenes such as this clearly demonstrate your transcendent and unrivalled talent for consistently writing characters in a detective drama that we all care about so very deeply. Knowing that you will almost certainly deflect the compliment in your now familiar self-effacing and reticent maner, I challenge you to give me an example of just one other detective drama written for TV that consistently delivers both the mystery and emotion of Endeavour.

RUSS:  I don’t watch enough to have a representative sample upon which to draw. But, I think if all we were doing was constructing a puzzle for the audience to solve, it would be a very dreary exercise.  A much bigger conversation probably, but, ‘Why write at all?’ Why tell stories? It’s about making a connection, isn’t it? One heart speaking to another. I think if you’re going to do it at all, then you have to be prepared to go all in.  The audience can sniff out fakery at 500 yards. You might be dressing something up in slightly different clothes, or presenting it at one or more remove — but the initial impulse – the thing you’re having these characters saying – has to come from something real.

The plot and the whodunit are hugely important – but it’s the emotional beats that I suspect will outlast the conundrum. “All the feels”, as I believe the young people have it.  Like the man said, “Nobody goes home whistling the scenery”.

DAMIAN: And then you almost go and spoil it all by following such a beautiful scene by having Claudine appear and Endeavour lighting a cigarette for her which I have two problems with: firstly, although I understand that one of the functions of the scene was Joan wanting to introduce Endeavour to someone who might look after him, doesn’t the smile he gives Claudine show his instant attraction to her despite having literally just walked away from Joan only seconds earlier and somewhat undermine his passion and love for Joan and all the pink, pearl and cherry blossom?

RUSS:  C’est la vie, mon vieux.

DAMIAN: The second aspect was Endeavour lighting her cigarette; why would he even be carrying a lighter when he doesn’t smoke? – yet!

RUSS:  You will recall Thursday’s advice to Trewlove concerning cigarettes.  We forget now – in these more health conscious times – the social connection and conviviality that was part of the theatre of nicotine.  “Cigarette?” was a great ice-breaker. An instant connection. For a detective dealing with those who have witnessed terrible things – to be able to offer a cigarette to someone ‘in shock’ was considered at the very least an act of kindness.  Likewise – in interview, with a suspect or indeed the guilty party – the bestowal or withholding of tobacco – is a tool in the box. For Endeavour to be tootling about without a box of smokes would be a bit of a shortcoming.

DAMIAN: In response to my question in our last interview regarding how much longer the show could continue, you said that there’s a little way to go yet, but, you are starting to say goodbye. Therefore, given there’s a few other characters from the original series yet to make an appearance, I wonder if there’s still time to see Endeavour and Susan Fallon reunited and if so, is there even enough room for yet another doomed relationship – I mean how many great, ill-fated loves can one man have?

RUSS:  I think it unlikely we’ll see Susan Fallon.  The Prime Directive is all. Yet another doomed relationship?  Well — given where we found him in ‘87 and left him at the end of century, one might argue that ALL his relationships were doomed.  How many great, ill-fated loves can one man have? I’ll have to get back to you on that one.

Enter — DI RONNIE BOX, (30s), a young thief-taker, and DS PATRICK DAWSON, (30s), a mordant, humourless, career copper – a young Kenneth Colley.

BRIGHT: Ah. Perfect timing.

DAMIAN: Why now in this particular episode and what does Dawson’s relationship with Box say about his character here and in his future incarnation?

RUSS:  There is perhaps more to tell on that score.  We shall see if room is available.

DAMIAN: Unlike the antagonist DS Peter Jakes who audiences eventually began to warm to, there can’t be any such redemption for a character as despicable as DI Ronnie Box can there?

RUSS:  Well, that’s the question, isn’t it?  

DAMIAN: Was his introduction here planned to set up the character (and storylines) as a regular for the sixth series?

RUSS:  Box certainly played into the evolution of the Sixth Series.

DAMIAN: I think we may have spoke about the use of clichéd and stereotypical archetypes before and how they can be both useful -especially in detective stories in terms of misdirecting the audience- but also dangerous for a writer. In retrospect, do you think that a stuttering trainspotter who still lives with his mother was a bit much?

RUSS:  Clearly not.  One might as well be hung for a sheep.  The major story here concerned… well – it’s not possible to set down what it concerned without spoilers.  But, one thing that did horrify me was a suggestion that one was presenting a character on the autistic spectrum.  I’d grant ‘English eccentric’ and ‘flawed and malignant personality’- but when it comes to autism nothing could have been further from our intentions.  A moment’s thought about that – given some of the things we’ve done elsewhere in the show – and I’d hope anyone would realise that, if such was indeed our intent, then we’d never engineer such a crass depiction.

DAMIAN: Did you ever have a train set?

RUSS:  I did. Hornby.  But like South West Trains, I could never get it to run properly.

DAMIAN: Some lovely cultural references again in this episode such as Norborough Station (60s Avengers) but I would have put money on nods to The Signal-man or Brief Encounter – did I miss them?

RUSS:  We are ever constrained by what can be delivered.  I had wanted to use the original location for The Signalman – but it lay far beyond our reach.  ‘Hallo! Below there!’ Brief Encounter… I don’t know if it made the cut – but I’m pretty sure we’ve nodded to ‘taking books back to Boots’ elsewhere.

DAMIAN: I could have understood Bates Motel (indeed, there’s a slight reference: ‘Twenty-four chalets, twenty-four vacancies’) but bloody Crossroads Motel! You’ve given us countless tales that witness your fanaticism for Tony Hancock, Carry On films and The Beatles but why on earth would you even think of paying homage to such a decrepit piece of soap opera history?

RUSS:  Damien Timmer is very fond of Crossroads, and was very keen to honour it. Lest we forget, when Miss Diane left Kings Oak, she tipped up in… of all places…  a certain city of dreaming spires. Easy to knock, of course — but it once commanded huge audiences, and the viewing nation hung spellbound on the fate of Meg and Sandy and Jill, and all the rest

But as always with Endeavour, one might imagine it to be A Crossroads, rather than necessarily THE Crossroads.  We rationalised it – kind of – thus, that once, perhaps, Hazel Adair and Peter Ling had taken a wrong turn on a lonely highway and ended up at our Crossroads, which had in turn inspired them to create their Crossroads.

You are right about Bates Motel, of course.  In fact, I think in the original iteration of the script there was an extended night driving sequence for Endeavour before he arrived.  Alas, time and budget, and poor man’s process, wait for no man. But I clearly thought it would have been funnier if we’d laid in a longer build-up to the reveal of his destination.

DAMIAN: And a certain Mrs. Turtle is referenced in the script and briefly seen on screen at the reception desk who looked remarkably similar to Ann George. Like Veronica Carlson, please tell me she wasn’t another one of your boyhood crushes?

RUSS:  I worked at ATV in Brum for some time in the early 70s — and we would often see the stars from Crossroad in the canteen, or heading into studio.  Ann George was quite glamorous in a furs and bling way – but, no, she never caught my imagination in quite the same way as Miss Carlson.

DAMIAN: What can you tell us about the second film of series 6, APOLLO?

RUSS:  Er, well — Shaun’s directed it.  And a very fine job he’s done, too.  William Goldman’s advice was ‘Give the star everything.’  So – I hope the moon will suffice. Seriously – it’s quite spooky the way it worked out.  Of all the films in all the series in all the world that he could have directed…

I’m sure I’ll have much more to say about it at a later date, but we were blessed to be joined on this film by Stephen La Riviere and his wonderfully talented team at Century 21.  He brought with him some absolute pioneers of British film and television. So, for a couple of days, our pretend past reached out across half a century and joined hands with those who had lived the real thing.  It also marks (and will remain) my only onscreen appearance in Endeavour, and proves that sometimes one’s childhood dreams really can come true.

Damian and Russ meet for their very first interview at a Japanese Monster Convention

THE ENDEAVOUR INTERVIEWS 2019: Russell Lewis Part I

Cavendish, I’ve a feeling we’re not in Cowley anymore…

THE PROLOGUE

1969: It is a new year; a new era for Oxford’s finest. A new unit base houses the set of the new police station where both old and new characters have been gathering since just before 8am in readiness to shoot scenes for Film 1 of the sixth series of Endeavour. Oh, and of course, Endeavour is sporting a new moustache.

It’s the 21st day of shooting for this film although it’s the 44th in total thus far as Film 2 was shot beforehand. Unlike my previous visit to unit base which was in Beaconsfield last year and its location safe to disclose as it would be used for the final time to make way for the redevelopment of the property, I’d better not reveal where we are this time. However, I can tell you that filming today at the impressive Thames Valley Police Station set are interior scenes in various individual offices as well as CID and the lobby with an equally impressive roll call including Shaun Evans, Roger Allam, Anton Lesser, Simon Harrison, Richard Riddell and Colin Tierney who plays a character called ACC Bottoms.

Bottoms! Despite various attempts, Anton gets the giggles every time he has to say the name ‘Bottoms’ and after one particular take, Shaun and the rest of the cast and crew are treated to him doing impressions of Frankie Howerd. Now, if you’ve never heard Anton Lesser, the great RADA-trained actor and former associate artist of the RSC, do Frankie Howerd while in costume as Reginald Bright, then you’d better hope and pray that ITV/Mammoth Screen include the outtakes on a DVD release one day as evidence of this most momentous of moments in television history.

Putting such titters aside, in many ways ‘69 is a new beginning for the series and yet, one can’t help but feel -my glass eternally half empty- that this might just be the beginning of the end. Shaun Evans seems to be increasingly interested in directing while Roger Allam is in constant demand across film, television and theatre. Besides which, would Endeavour really be the same show that we have come to know and love if it were set during the seventies?

I can think of no one better to ask than the man who devised the show and has written every one of its 27 episodes, please join me in paying attention to the man behind the curtain – the wonderful wizard of Oxon – Mr. Russell Lewis…

EQUAL OPPORTUNITY SLAUGHTERHOUSE

An exclusive ENDEAVOUR interview with Russell Lewis

Interview copyright © Damian Michael Barcroft 2019

DAMIAN: Russ, I’m sure you don’t need me to tell you that Endeavour has millions of worldwide fans who would be absolutely devastated if the show were to end any time soon. However, realistically, how much longer can it go on for?

RUSS:  I don’t think there’s a danger of running out of stories — but for various reasons it’s probably safe to say that we’re closer to the end than the beginning.  There’s a little way to go yet, but, for better or worse, we are starting to say goodbye.

DAMIAN: Could the show still work if set during the seventies?

RUSS:  I don’t see why not.  I’d always thought ‘69 was a natural terminus – but my long term partner in crime Damien Timmer [executive producer and co-managing director of Mammoth Screen] has always felt that we could move into the early 70s quite happily.  He’s usually right about such things. So we shall see. There’s something that appeals to me in leaving things a little ragged at the edges.

DAMIAN: Why was Film 2 shot before Film 1, don’t you usually shoot in chronological order?

RUSS:  Well — it’s no great secret, now – but Shaun Evans directed FILM 2, and that needed to shoot first so he had time to prep the film.  He couldn’t have prepped his film if he was busy shooting FILM 1.

DAMIAN: And why has Endeavour grown a moustache this year?

RUSS:  Mmm. I hope this will become clear in the watching. I’d seen Shaun do Miss Julie/Black Comedy at Chichester a few years ago — he sported a tache and, I think, a little soul patch, goatee number — and that look stuck in my head.  There may also – subconsciously – have been some wish to reflect the change from the lovable mop-tops of the early part of the decade to the altogether hairier gentlemen striding across the zebra crossing outside Abbey Road.

People change hair styles – hair colour – try a beard for a while – all the time. You might keep it a month or two – or a year or so, and then change your mind, and move on to something else.  It didn’t seem beyond the realms of possibility that it’s something he might have tried. It seems odd to me that – when it comes to their look — all fictional characters should have to be set in aspic.  That’s their look in Series 1, and that’s what they look like through to Series whatever. Particularly as Endeavour’s always been about a young man becoming an older man. We change – we evolve. So should characters.  It shouldn’t just be confined to the clothes somebody wears. Endeavour’s wardrobe – Thursday’s Wardrobe – Strange, Joan, Dorothea, Win — their clothes are subtly updated as each year rolls by.

But as I say — there’s a deeper reason for it too.

DAMIAN: I thought that last year’s scripts were arguably the best example so far of you structuring the various story and character arcs across the series. Do you think this might be because you knew that all the events had to lead up to the end of Oxford City Police and Cowley station, you had to write out two of the main characters, you had an extra two films to work with than usual, or simply that you’re becoming a more skilled screenwriter?

RUSS: Thanks – that’s very good of you to say – I think.  It was nice to have a larger canvas – so one could let things breathe a bit more.  We always know where we’re going to end up each Series – but the changes at the end of 1968 were perhaps seismic.

DAMIAN: Let’s focus on MUSE, the first episode from series 5 which in addition to the usual abundance of assorted cultural references, showcases an impressive knowledge of art including works by Caravaggio and Rembrandt. Now, I hope we know each other well enough by now that you won’t be offended when I mention that you didn’t receive the best education. Indeed, your days at school were rather sporadic (transcendental apex predators and suchlike) and I don’t think you ever went to college or university. However, it’s immediately obvious to anyone speaking to you in person or reading your scripts that you are undoubtedly an extremely knowledgeable and cultured man. I’m sure the internet has proved invaluable for research but you have to know what to put in the search engine in the first place (for example you wouldn’t just come across Weibermacht/Power of Women or something relevant to the theme of sexual hierarchy by chance) so where does all this knowledge and culture come from?

RUSS:  The only thing of which I’m acutely aware are the vast gaps in that which passes for the things of which I have a rudimentary grasp.  I always read a lot. One book begets another. Something catches one’s interest – and one reads around the subject. But like most con-men, frauds, bluffers and lawyers, I have a nose for knowing how to find things that are useful to my purposes.  And across 5 & 6 I’ve been aided and abetted by Amy Thurgood – who has a very fine story mind, and is very good at chivvying things out that we can press into service.

DAMIAN: You originally wrote a beautifully detailed and wonderfully epic opening for MUSE set in Russia featuring the Romanovs and Bolshevik soldiers. Did you not anticipate that all this information could be more economically conveyed to the audience in a slideshow lecture as it appears in the broadcast version?

RUSS:  Ha! Sometimes things are not realised to quite the degree one would wish.  The lecture was a late additional pick-up. But in intention at least there seemed to be a interesting parallel between 1918/1968 and knowing it would transmit in 2018.  Revolution, political upheaval, extremism of one sort or another in the air. A sense of some sort of history repeating. Prague, &c.

DAMIAN: As most Endeavour films do, MUSE begins with scenes intercut with the opening title cards which often serve to set up the story, its various subplots and characters but I was particularly intrigued with two juxtaposing scenes of the aforementioned lecture on the Fabergé egg (called ‘Innocence’ also known as ‘Nastya’s Egg’) and the demise of Oxford City Police. In addition to the more obvious parallels with the call girls and exotic dancers, was the egg also a deliberate way of symbolising the end of innocence for Endeavour and his colleagues at Cowley or a foreshadowing of new life and rebirth into Thames Valley?

RUSS:  The egg arose from wanting to include the fate of the Romanovs.  I had a dig around some of the missing eggs – and those commissioned and undelivered at the time of the Revolution — and it felt like we had the wriggle room to arrive at something meant for Anastasia.  The parallel between what had happened to her, the issue at the heart of the matter, and Artemisia Gentileschi. All of these things felt complementary – connected in some way. The Me Too Movement. Where we’d left Joan at the end of 1968.  All of that was in my mind. I wanted to do a collect the set serial killer type number — but I didn’t want to add to the long catalogue of dead women as entertainment. I think with the exception of SWAY, where it was germane to what we were about, we’ve always tried to be an equal opportunity slaughterhouse.

DAMIAN: Given that we’ve touched on the subject of James Bond so many times in our previous interviews (indeed, there’s another reference in MUSE with the Maurice Binder style of projected images onto the women at the party), might I be forgiven for thinking of Roger Moore in Octopussy every time the Fabergé egg is mentioned?

RUSS:  Yeh — it was absolutely Maurice Binder, and specifically From Russia With Love I’d had in mind.

But the idea of these images projected onto a woman’s body seemed in keeping with the general theme of the piece.

The Thomas Crown Affair
The Thomas Crown Affair

The Male Gaze, etc. We were playing around also with The Thomas Crown Affair.

MUSE
The Thomas Crown Affair
MUSE
The Thomas Crown Affair
MUSE
The Thomas Crown Affair

INT. GYMNASIUM – NIGHT 1

Boxing match. Two AMATEURS knock seven bells out of each other for the entertainment of a roaring crowd. Blood and resin.

RINGSIDE — EDDIE NERO (50s), a small town big cheese who saw too many George Raft movies. Flanked by ICE CREAM BLONDE brasses, and a COHORT of arm-twisters and jaw-breakers, EDDIE seems to live every punch; ducking and weaving in his seat, regretful that he’s not the one in the ring dishing it out.

With his bared teeth, and goading, ‘Have him!’, EDDIE’s relish of the violence borders on the edge of something carnal.

DAMIAN: We’ve often seen rather polite and cultivated villains across Inspector Morse, Lewis and Endeavour, so I’m wondering if the creation of a character like Eddie Nero, combined with the following description early in the script for MUSE: ‘The decade has turned. The promise of the Summer of Love withered upon the vine. Comedown faces. Sour. Sallow. Tired.’, is evidence of you attempting to paint a more bleak and gritty portrait of Oxford than we are usually accustomed to?

RUSS:  I think we’ve always tried balance the ivory tower/college side of things – which is Endeavour’s world – with Thursday’s slightly more grounded world of cops and villains.  But, yes – looking at period material – newsreels, cultural material – I certainly picked up on a sense of comedown after ‘67. Hope deferred. Paradise indefinitely postponed. The Garden of Eden become rank with sedge and weeds.  The aspiration was a beautiful thing, though it took one hell of a beating – Vietnam; Doctor King; Bobby Kennedy. For a long time it’s felt as if – to borrow a phrase – ‘John Doe has the upper hand.’ The Man. The Establishment. Lately, the gangster states.  Call it what you will. But the dream endures. The reverses are painful, but temporary. ‘All you fascists bound to lose.’

DAMIAN: Didn’t Emperor Nero also have a gym?

RUSS: Up at the Golden Palace?  I don’t think he used it much.

DAMIAN: Personally, one of the highlights of series 5 were the scenes between Endeavour and Strange sharing a flat together. A beautiful example from this film would be Endeavour trying his best to focus on his Times crossword while Strange is reading a tabloid newspaper and slurping tea from the other side of the breakfast table. All a bit Morecambe and Wise wasn’t it?

RUSS:  We were going for Neil Simon’s The Odd Couple (1968) throughout.

DAMIAN: How did you come up with the wonderful idea of Strange playing the trombone?

RUSS:  It seemed his natural instrument.  

DAMIAN: Thursday was shot at the end of the second series and the third picks up months later after all the drama of his recovery and the reaction of his family happens off-screen, similarly and also off-screen, Endeavour discovers Joan is pregnant and asks her to marry him at the end of series 4 but months later, we learn in MUSE that she ‘slipped’. Would it be fair to say that you’re better at creating dramatic and emotional cliffhangers than you are at resolving them in an equally dramatic and emotional way?

RUSS:  Mmm. Well — that would be one way of looking at it.  My feeling is that a lie agreed upon – that Joan ‘slipped’ – says a deal more than a plonky, ‘well – this happened, then that happened.’  There are months of story between series — things to which we’re not privy. I find it more interesting to offer glimpses and clues, and give the audience room to draw their own conclusions.  Back to Thursday’s ‘not every question gets an answer.’ Life more often messy than coming with pat answers and tied up with a bow. Things like that… life experiences are an ongoing thing. Part of us.  There isn’t a moment where a line is drawn. Things fade – but it’s a slow, soft fade. But each to their own.

EXT. LONSDALE/QUAD/CLOISTERS – NIGHT 1

Quiet and still. Nothing stirs. Moonlight over the chimney stacks and towers. A shape takes substance. THE SHADOW.

A FIGURE IN BLACK — night’s dark agent, in balaclava and rope soled shoes, moves with feline stealth across the cloister…

Dr.ROBIN GREY, (40s), crosses the quad with the MASTER. He glances upwards, and reacts to something o.s. [off screen]

ROBIN: Good Lord. Master…

MASTER: Ho, there! You! Up on the roof!

THE SHADOW — spotted, turns and melts into the darkness.

DAMIAN: ‘Night’s dark agent’ and ‘melts into the darkness’. I think the more I do these interviews, the more elusive your intentions and motivations become. Are you being genuine or is there a certain sense of irony when you write stuff like this or simply trying to evoke pulp fiction, spy novels and other genres such as your references to the Pink Panther movies elsewhere in the script?

RUSS:  It’s important to convey to everyone what I’m trying to invoke – an atmosphere; a vibe – to spark their imagination, and to do it with a certain economy.  So – I guess that’s where such things come from. It’s not the job of the writer to fill the screenplay out with Camera Directions or block the scene on the page — and to do so is looked on pretty dimly by those wearing the Von Stroheim pants and hunting boots.  But what one can do is suggest mood and describe the action as elegantly as possible. The golden age of Pulp writers were brilliantly economical, so maybe the pulp thing comes from that. You know, real estate on the page is at a premium. We’re not describing every location or character in minute detail — so we have to present thumbnail sketches of whatever it might be.  And hopefully that gets across to the director what one’s about – and the Heads of Department – and will set their motors running. Then, as we get closer to the first day of principal photography, we get together for a tone meeting or two, and everyone presents what they’ve drawn from the text – costume, design, hair and makeup.

You have to be prepared to be flexible – I’ve probably said it before — a location falls through, or actors’ availability changes due to unforeseen circumstances, or the schedule means you can’t get a scene – so you might have to conflate a couple of things.  What I’m saying is unless it’s specific to the plot, you might not be able to realise everything that’s on the page, but so long as what is substituted is true to the intent and the tone of the original design… Which is why those little florid, mauve passages of stage direction can be useful.

It’s as much To Catch a Thief as anything else – but, yes, the shadow of the Lugash Diamond looms large.  I think something we’ve done across the various series – and something that I find an interesting and enjoyable process – is recasting something conceived elsewhere as light or comedic in intention into something darker.

DAMIAN: It’s interesting that Endeavour mentions Simon Templar in reference to the Shadow. Do you happen to know the title of the book in which Templar made his debut?

RUSS:  Not offhand.  But having googled it, I can see why it would amuse you.

DAMIAN: Small things Russ, small things. In addition to perhaps foreshadowing the relationship between Morse and Lewis, was the creation and one of the primary functions of George Fancy to die and thus set up a chain of events that will be followed up in series 6?

RUSS:  George Fancy served a number of purposes – but you’re correct about an early incarnation of the Morse/Lewis dynamic.  We thought it would be interesting to see how Endeavour took to the role of mentor that came with his slightly more senior rank.  There was also a wish to give Dakota Blue Richards/Trewlove something to play beyond her more familiar role, and a fitting departure. We only got the word that Dakota didn’t want to do any more on the day we wrapped Series 4.  It seemed a shame that Trewlove wouldn’t get to say goodbye properly — so Damien Timmer and self had tea with Dakota and outlined what we had in mind. Thankfully, she was agreeable. Series 5 was very much about saying so long to Shirley.

DAMIAN: I loved the editing in the scene between shots of Endeavour reaching to unveil the bedsheet under which is the decapitated body of Simon Lake and Thursday reaching for the silver platter covering the severed head. Was it a dramatic or financial decision not to show any graphic detail or simply a matter of taste?

RUSS:  A matter of the Watershed.  Though we run from 8pm to 10pm — we are bound by the strictures of Ofcom for the whole running time as we start before 9pm.  The mind of the viewer can always be relied upon to come up with something more horrific than we would be able to present to them on screen.

DAMIAN: Can you describe the reaction at the readthrough to The Berserkers and what they did to the pig’s head centrepiece at the Shiplake Chase Hotel?

RUSS:  There may have been a certain amount of laughter.  Likely of the hollow variety.

DAMIAN: What can you tell us about the first film of series 6, PYLON ?

RUSS:  Things have changed.  The death of one of their number, the end of Cowley, the decade guttering to a close…  it all seems to mark a certain end of innocence. For us, too. ‘68 was the end of the Second Act.  Endeavour was notionally mid-twenties when we began – knocked about a bit, but still with something of the puppy about him.  Eager. Optimistic. Hopeful. For all his protestations to the contrary, the murder of George Fancy affected him deeply. We have, I think, said goodbye to the boy.   

Exclusive ENDEAVOUR Series 5 Set Report

We meet at the train station where the tannoy system blasts out its arrivals and departures but, as I notice his car parked and waiting for me outside the booking office, all I hear is Rachmaninoff’s Piano Concerto No. 2…

DAMIAN: Morning Lewis, much in? Oh, before I forget, Dolly Messiter sends her regards. Now then, tell me a little bit about Endeavour HQ and how long you’ve been based there.

RUSS: We’ve been at a place called Wilton Park – a former Tri-Services Language School in Beaconsfield – since Series 3 — so… three years, more or less.  Series 1…  the name of place escapes me, because I’m getting old – but series 2 we were in a derelict paper mill at Taplow in Bucks that had a substantial Victorian house attached, that was lived in by the owners when the place was in operation — and was built for a survivor of the Charge of the Light Brigade.

At Wilton Park our standing sets – Cowley nick; Strange and Endeavour’s flat; the Thursday house; mortuary, &c. — are housed in a couple of buildings.  The gymnasium – having the most floor space – taking the lion’s share.

However, our current home is now being redeveloped so – should we return – we’ll be looking for a new base to house those sets.

Up until 1968, oddly enough, an impressively grand house used to stand on the site before it was sadly knocked down and replaced by a rather unattractive fifteen-storey accommodation block which was then the tallest building in Buckinghamshire and not entirely dissimilar to the one we found Joan hiding in last year.

Although it’s quite a short drive from the station, it’s long enough for me to find great amusement in the fact that I’m about to arrive armed with my usual laundry list load of questions when it was here that the War Office also used the place as an interrogation centre for Nazi prisoners of war. Indeed, some of its notable “guests”  have included Deputy Führer to Adolf Hitler, Rudolf Hess, no less. Russ may well sympathise after all my frequent interrogations of him over the years – I mean the interview techniques and not the Nazis obviously! No, like a certain famous archaeologist, he hates those guys.

The car stops next to the security guard at the gate who looks exactly how you probably imagine them to appear, or at least that’s how they always seem to look in movies. Surprisingly, and perhaps also a little disappointingly, there’s no secret password like “swordfish”, or “vesper”, and instead, Russ merely says… well, I’d better not say but it really wouldn’t be too difficult to guess. And so, as simple as that, the chap raises the barrier and we drive through.

Ladies and gentlemen, welcome to Wilton Park – or as I like to call it, Endeavourland…

~

195: PART I

An Exclusive ENDEAVOUR Set Report

Article, interviews & photographs copyright © Damian Michael Barcroft 2018

~~~

It all looks ordinary enough to begin with although it does remind me of the sort of place you’d expect to find Jon Pertwee during his largely earthbound adventures back in the early seventies when he’d reverse the polarity of the neutron flow every other week or so. Indeed, Brigadier Lethbridge-Stewart can’t be far away. However, as we walk closer to what I’ll refer to as the main building which houses Cowley CID, those vans and lorries start to appear everywhere rammed full of wires, lighting and a multitude of machines with lots of twiddly bits.

Filming is already well underway by the time we arrive and so writer and executive producer, Russell Lewis, makes me a coffee and we grab a quick smoke while waiting outside. Quick being the operative word because no sooner have we managed a mere few drags, than two bells dramatically sound and the red light above us is switched off heradling ‘CUT’ (all access points onto the studio floor are lit and alarmed. Just one bell rings and a red light goes on for ‘ROLLING’).

Walking over and into another building opposite the main one, we are greeted with a rapturous round of applause which is really rather lovely. Maybe it isn’t just Kirstie who reads these interviews and articles after all. But, alas, it doesn’t take me long to realise the clapping isn’t for me or even Russ for that matter. No, James Bradshaw has filmed his last scene of the series as Dr. Max DeBryn and so we quickly go over to him before he leaves.

Now, back in April of 2014, I did an interview with Jimmy in which he told me that he celebrated getting the part of the much-loved pathologist by going straight to Marks and Spencer to treat himself to a nice pudding. Well, of course, it’s only natural that I’ve been wondering what the pudding actually was during these intervening years, and so, in an utterly delightful moment that I’ll cherish forever, no sooner do we say hello and shake hands than he instantly remembers and tells me what it was. And so, I can finally reveal that the pudding was in fact a rather large Raspberry Royale!

Taking our leave of Jimmy, who I like to imagine is about to retire for the day with a gin and campari at the Gardeners, we explore his mortuary where the attention to detail is utterly astonishing with various medical equipment everywhere including microscopes, test tubes, jars and bottles containing all sort of wonders, various labels on cabinets and draws such as “Laryngoscope anterior commissure” (no, me neither), books like The Concise Home Doctor, Minutes From the General Medical Council and Grant’s Method Of Anatomy – By Regions Descriptive And Deductive (originally published in 1965). Additionally, of course, we have Max’s famous brown medical bag which you’ll always see him carrying when examining bodies at the scene of a crime.

I would have very much liked to introduce you to Shelly Acton who, according to the label, died 30th March 1968 at 09:45 from a catastrophic cervical fracture, but, when I open the door to one of the refrigerated boxes in the mortuary, there’s literally no body there and you just see what’s on the other side of the wall. It’s all smoke and mirrors as Russ often tells me.

Moving onto the next part of the building takes you to the interior of the Thursday household but Win’s not home. Unfortunately, Caroline O’Neil finished filming her scenes yesterday which is a shame because I really wanted to ask her what she makes for Fred’s sandwich on a Wednesday. I desperately try to find some clues in the kitchen but, since the crew are in the process of packing everything away in boxes, the only evidence that remains is a lonely half a loaf of bread left behind on the cutting board.

I have a quick look round the dining and living room which are adorned with the various family photos we’ve seen throughout the years and finally walk up the stairs to have a look at the bedrooms. Except there aren’t any bedrooms and the staircase just leads to nowhere. Smoke and mirrors again but small wonder Fred and Win look so tired sometimes.

Walking around the place it’s obvious that everyone is tremendously busy and visibly tired. After all, at 195 days and counting, this has been the longest shoot of any of the series thus far. And yet, talk to any of the cast and crew of Endeavour and their unreserved passion and enthusiasm for the show soon becomes apparent. One such person is the thoroughly good script editor, Amy Thurgood.

DAMIAN: Amy, can you tell me a little bit about your background, your interests in film and television and how you got into the industry?

AMY: Of course! Well, I’ve always been an avid reader and TV watcher – much to my parents’ concern, I’m sure! – so when the time came to work out what to do with my life, storytelling was always going to be a big part of it. While I was doing my English degree I produced a lot of theatre, so when the opportunity came up to do an MA in film and TV producing, I jumped at the chance. It was only then that I realised that the job I wanted to do – working with writers and creating stories, script editing! – actually existed. From that MA I got my first job as a runner at a TV production company. I worked for an actors’ agent for a while, then moved into drama development, learning the ropes of working with writers and scripts – and rose through the ranks from there!

DAMIAN: Why script editing though?

AMY: I think that’s a question most script editors ask themselves everyday! It’s essentially as close as you can get to writing and creating stories, without being an actual writer. I mean, there’s also a million other things you’re dealing with everyday, but that’s the best part.

DAMIAN: What qualities do you think a good script editor must possess?

AMY: I think the biggest misconception about script editing is that it’s just about making changes to the script. Phil Gladwin captures it best I think – you’re a “conciliatory diplomat, evil politician, surgeon, best-friend, appointed heavy, hit-man, administrative genius”; and that’s on top of having to be acutely aware of how story works, how scripts translate to the screen and how any changes affect everyone else on set. So people skills, problem-solving, attention to detail and stamina – you’ll be working long hours on production – are essential.

DAMIAN: Can you tell me more about what a script editor does by using examples from your work on the fifth series of Endeavour and working with Russ?

AMY:  Well, every show you work on will have different demands – depending on your writer, your genre, your format. In terms of Endeavour, after creating script schedules and initial research, my job properly kicks in when Russ is planning the stories for each film. We talk a lot about interesting motives, contexts, cultural and historical references, and then developing into plot.

In QUARTET (Film 5), we talked about the state of Britain in 1968, its politics and it’s relationship with Europe, and it’s culture at that time, which informed the story. In COLOURS (Film 4) we found a news article about a real-life protest at a hairdressing salon, which inspired the themes that permeate the episode. Then once Russ has written a first draft, we (Russ, myself, producers Neil and John and execs Damien and Tom) talk about how to move it forward – Russ and I will jump on the phone and bash through their thoughts to work out how to best translate them into the story.

We’ll do that with all the drafts until we get to the readthrough, where I’ll sit nervously hoping I haven’t missed any typos (that’s right, proofreading too!).  Repeat until we get to shooting script (the version used while filming) – when any changes we make will usually be informed by more practical things – changes in location, actor availability, weather. In ICARUS (Film 6) we tweaked some action based on the locations we were shooting in. It’s those changes that we issue on different colour paper which you might have seen in people’s scripts. Then as well as working with Russ, I’ll be liaising with the other departments and the actors to make sure they’re kept informed of changes, and answering any script-related queries they might have! Repeat for 6 films, then sleep.

DAMIAN: And what’s Russ like to work with?

AMY: Wow, such a diva! No, actually nothing could be further from the truth. Russ is an absolute gem, a total gentleman and incredibly generous with his time and talent. His brain works in such brilliant ways, and the stories and solutions he comes up with are always a joy to watch unfold.

DAMIAN: When those dreadlines loom, Russ has told me all about his “Dark Passenger” taking over during extended periods of sleep deprivation which can sometimes last for forty-eight or even seventy-two hours until he writes ‘ROLL END CREDITS’! During such dark times, does this also result in your head hardly touching the pillow?

AMY: Well I get significantly more sleep than Russ does! But yes, if I know he’s pulling one of his long stints I’ll be constantly on email and phone – just available in case he needs anything. To be honest though, that’s my choice – he would never expect me to do that, but I think if he’s emailing a question at 3am, better to respond sooner than later and help him move forward with things!

DAMIAN: The shoot for this series lasted over nine months! Is it a really tough job at times?

AMY:  In all honesty – yes, but every show I’ve worked on is tough! Endeavour is one of the most fun and rewarding shows I’ve been involved in – everyone is genuinely lovely and we all get on brilliantly – but making TV isn’t glamorous. It’s long hours, usually in cold places, drinking instant coffee out of recyclable cups! It’s those times when you really do become one big family – we all want to make it the absolute best it can be, so we all help each other with lots of laughter and on-set chat. It’s the old childbirth analogy I guess – you forget the hard bits when it’s over, and then you just want to do it all again!

DAMIAN: Do you have to travel a lot or do you stay in Oxford while shooting on location and near Beaconsfield when filming at headquarters?

AMY: To quote Ariel, I like to be where the people are, so I’ll be with the crew on set whenever I can. It means I can anticipate issues before they arise and make sure we’re ahead of the game on any script changes we might need to make. That involves a fair amount of travelling about; I live in London so – aside from when we stay in Oxford for the city-based days we have – I spend a lot of time in my little car! To be honest though, that’s a personal choice – not every script editor does it, and sometimes the lure of a warm office over a cold set can be quite tempting!

DAMIAN: One of your early credits in the industry was working on Primeval.  Did you ever cross paths with Jimmy Bradshaw back then?

AMY:  Sadly not! We were shooting that series in Dublin, and I was based in the London HQ, so unfortunately we never got to meet in person. Jimmy is absolutely brilliant – a consummate professional and a lovely man – and we never had him eaten by a dinosaur, which is quite an achievement! (in Primeval obviously, not Endeavour!)

DAMIAN: Could have been eaten by a tiger though. Anyway, another more recent TV show you worked on just before Endeavour was in fact Call the Midwife and the two have been known to be in direct competition with each other on Sunday nights. Where would your loyalty lie regarding the remote control?

AMY: Endeavour, of course! I’m still friends with a few people at Midwife though, and we did have a little joke about being in competition last time we met up! Midwife is hugely successful and rightfully so; it’s similar to Endeavour in the scale and ambition it has, but I think – despite the similar period – they are two very different shows. We can both exist in the same world!

DAMIAN: Were you a fan of Endeavour before you started working on the show?

AMY: I actually was – a huge fan! I grew up watching Inspector Morse, so there was always that appeal. I love shows that you can really dig into – and Endeavour is so multi-layered, you could watch it 4 or 5 times over and still be picking up things you’ve never noticed before. And – as you’ve noted from my time on Midwife – I do seem to have quite a thing for the 1960s! I’m waiting for someone to write a show about a fireman in the 1960s, just so I can complete the emergency services trilogy.  Russ and I had also worked together many years ago (when I was a development coordinator) so I’d always kept an eye out for his work.

DAMIAN: Was there any particular research you needed to do either about the history of the show and its characters or regarding Oxford in the sixties?

AMY: As I came to Endeavour from Midwife, I already had a good steer on the history and atmosphere of the 60s, which was a massive help. And already being a fan, I felt pretty confident in the backstories of the characters. The big bits of research on Endeavour mainly centre around the worlds we find ourselves in – for example, when we visit the army barracks in COLOURS, that’s a world we haven’t seen before, so we did a huge amount of research into the environment, the uniforms, the protocol. We found a brilliant military advisor who had actually been in an army barracks in 1968, which was incredibly helpful! In terms of Oxford, searching through newspaper archives are an absolute goldmine – as I mentioned, it was there that we found references to the hair salon protest that inspired events in COLOURS.

DAMIAN: Because everyone has been so busy for so very long on the show, do you think that sometimes people forget to enjoy it and are there ever moments when you think, hey, I’m working on Endeavour!?

AMY:  It’s easy to get caught up in the day-to-day business of making the show, but it’s always when we’re in Oxford that it really hits you. There’s always such massive support from the public when we’re shooting there, people who are genuinely excited that they’re watching Endeavour being filmed; and it does remind you that there’s a big audience out there who are really looking forward to the finished series!  And then of course, when it goes out on ITV, and I get text messages from people watching it. That’s always nice too!

DAMIAN: Why do you think Endeavour continues to be such a success and so well loved around the world?

AMY:  I think it goes back to what we were saying about it being multi-layered – there’s so much satisfaction to get out of watching every episode – from the Morse nods, to the cultural references, and then the joy of watching an investigation unfold and trying to spot the culprit. Endeavour Morse has always been a wonderful character, and seeing what Shaun brings to it – it feels fresh and new but still the character we love – is a massive draw for the audience. Russ’s (and Roger’s!) creation of Fred Thursday just makes a perfect pairing – and I now can’t imagine a Morse universe without him in it!

DAMIAN: What’s been your favourite episode or at least the one you’re most proud to have worked on?

AMY:  I love every film equally! But if you’re pushing me to choose – I love PASSENGER (Film 3) because I love the world; I loved it from the very first draft. That quintessential English summertime, mashed up with the dark world of greed and murder. And I thought Jim Field Smith and Jamie Cairney did an amazing job of bringing it to life. I also love COLOURS –because Russ and I worked so hard on the story, characters and the research – so it’s hugely satisfying to see it come to life! But then QUARTET was so interesting to film; I’ve legitimately never laughed as hard as the day we filmed the Jeux Sans Frontieres sequence!

DAMIAN: The aforementioned producers on this series of Endeavour, Neil and John, told me in my interview with them that they both previously worked as script editors with the plan to move onto producing one day. Is this something that you’re also interested in?

AMY: It’s definitely an area I’m interested in. Many script editors do move on to become producers, and I think it’s due in part to the skills you need to successfully script edit – there’s a lot of crossover. And working with Neil and John was a brilliant experience which enabled me to learn so much more about producing. So hopefully one day – but I’m not quite ready to let go of the scripts just yet….!

Before we leave this section of the complex, and rather confusingly since the main CID set is housed in the opposite building, we come to the office of a horse of quite a different colour – one Chief Superintendent Bright. Some people find excitement in exotic holidays while others get their kicks from adventure sports but, for me at least, this is about as thrilling as it gets as I have a go at sitting in Bright’s chair behind his great desk and rifle through the various accessories and nic nacs – and look, the famous horse head ornament in the window…

Having a look through Bright’s book collection, I find an edition of Los Premios Nobel de Literatura which dates from 1964 and contains works by Saint John Perse, Andre Gilde, Karl Gjellerup, Gerhart Hauptmann, Ivo Andric and John Steinbeck. This seems more to Endeavour’s taste than Bright’s, but again, it’s the astonishing period detail that impresses most. Oh, and quite appropriately given some of Anton Lesser’s impressive previous credits, there’s one or two books by Dickens.

DAMIAN: Russ, all these sets, props, costumes, the various sound and lighting equipment – not to mention the vast army of cast and crew, are all here because you sit at home writing words like ‘INT. COWLEY GENERAL. MORTUARY’, ‘INT. THURSDAY HOUSE’ or ‘INT. POLICE STATION. BRIGHT’S OFFICE’, and then all these talented artists and craftsmen work tirelessly to create your vision. Five years in and everyone seems to take it all in their stride but do you ever just pause and appreciate what a tremendous gift this is – a gift that you’ve shared with millions of fans around the world?

RUSS: If there’s a gift – it’s the one that we’ve been given as programme makers. The opportunity to continue to explore a world created by Colin Dexter, and brought so memorably to life by the original production team – cast and crew.

DAMIAN: There’s a scene heading from your script to HARVEST that simply reads ‘EXT. OXFORD – DAY 1’ and then, ‘Skyline. A vision that never fails to thrill…’. When you visit the sets like today or take a trip to Oxford to see filming on location as I know you do from time to time, do you feel a special connection to the great city of dreaming spires and do its vistas indeed never fail to thrill?

RUSS:  It’s hard not to fall in love with the place. We’re terribly spoiled as we get to shoot in lots of areas that in the normal course of events would be out of bounds to many.  So – that’s lovely, and – again – a ridiculous privilege.  

And the people of Oxford have been enormously kind to us.  Very generous, understanding, and patient to a fault, as we return each year to make life difficult for them by closing roads, and otherwise making a general nuisance of ourselves.  

Happily, we’ve made some truly wonderful friends here, who come out and see us when we’re shooting. Amongst whom, I must mention Julia at Happy Cakes – a local baker – to whom cast and crew are deeply indebted. It’s as close as I’ll get to being a member of the TMS team. The days are long – the weather often grim – and the restorative powers of Julia’s extraordinary creations have always been a miraculous boost to morale on many a wet and bitterly cold shoot. I’d go so far as to say that they’ve helped get us over the line on more than occasion.

DAMIAN: Isn’t Oxford and all of this something of a magical playground for you?

RUSS: It’s a tremendous sandbox. Oxford is madly photogenic. I love it in all its moods. But it occupies a relatively contained number of days out of the shooting schedule on each film. One to four days – with two or three being about the average. We probably do a week – sometimes a little over at base — and all points of the compass for the rest of it.

DAMIAN: You have the power to decide who lives or dies, who will experience great joy or deep sorrow. For far less modest and humble screenwriters (and I bet there are a few out there!), wouldn’t they see it as an almost God-like power of creation?

RUSS: It’s my name on the byline, but there’s a lot of moving parts. From each according to their gifts. I don’t refer to it as Team Endeavour for no good reason.

Things will be kicked around until everyone is happy with them. Compromise and reciprocity. Win some, lose many. Stay limber.

DAMIAN: I’ve only really known two screenwriters and both are vastly different in their personalities and styles of writing. It’s undoubtedly hard for you to be objective on the subject but would you say there are certain characteristics or personality traits that many scriptwriters have in common?

RUSS:  Raging egomania and a propensity for violence.  The latter – usually unexpressed. In all seriousness, anyone who ever went the distance has my affection. What do we have in common? A haunted, thousand yard stare, probably. And ‘War Stories’. Get a bunch of writers together — decades ago, we used to organise our own non-corporate annual get together – “The Usual Suspects’ Christmas Jamboree” – and talk very quickly turns to War Stories. What happened on this or that show. Who got fired from what and how. The laughter born of recognition. Because we all know that sooner or later the joke’s on us. The old gag about the Actress who was so dumb that she slept with the Writer to get on in the business still stands.  

We’re hired guns is the bottom line. Sellswords. I always come back to that line at the end of The Magnificent Seven — ‘Only the farmers won. We lost. We always lose.’

DAMIAN: When I think of screenwriters, I’m often reminded of those as portrayed in some of the classic Film Noirs such as Humphrey Bogart as Dix Steele from In a Lonely Place or William Holden as Joe Gillis in Sunset Boulevard. Are you ever amused by how the media depicts its own screenwriters?

RUSS:  The truth is much closer to Barton Fink.

DAMIAN: Have you been in the business that long that you’ve lost the ability to appreciate the romantic notion of a screenwriter?

RUSS:  I don’t think I had any romantic notion to lose.

DAMIAN: Filming today is for the last film of the series but this piece will be posted on the day that FILM 5 will be broadcast. Tell us what we can expect from the penultimate episode, QUARTET?

RUSS: Thrills and spills. Games without frontiers. Hard to describe without giving the game away, but Endeavour finds himself in very murky waters. Geoff Sax – who directed NEVERLAND – returns to the flight roster. I think he had fun with it.

We head back over to the main building to have a look around CID before the main cast are called to the set. I hear familiar voices from behind the door of what I now realise is used as a green room. One such voice in particular with a cough or two followed by a frequent clearing of the throat is especially unmistakable…

Article, interviews & photographs copyright © Damian Michael Barcroft 2018

Coming up in part two of this exclusive set report, and in addition to exploring CID, we’ll also visit the costume, production and props department as well as chatting to some more of the crew, and, perhaps we’ll say hello to one or two of the cast.

~

THE ENDEAVOUR INTERVIEWS 2018: Paul Cripps Production Designer

Above photo courtesy of Paul Cripps (centre)

An exclusive ENDEAVOUR interview

PAUL CRIPPS

Production Designer

Interview copyright © Damian Michael Barcroft 2018

~

DAMIAN: Having lived in Oxford, I wonder to what extent you were aware of Inspector Morse growing up?

PAUL: I was aware of Inspector Morse for a few reasons. I think it started filming around 1987 when I was finishing my A Levels and I grew up in Woodstock and obviously the first Colin Dexter Morse novel was Last Bus to Woodstock. I knew the TV series was set and partly filmed in Oxford so there was a local buzz about it. Also my dad was a friend of Peter Woodthorpe the actor who played the original Max De Bryn. They did their national service together at the Joint Services School for Linguists training as Russian translators.

DAMIAN: Before we talk anymore about Morse, I’d like to ask you about the kind of films or television which may have inspired you to consider the art of production design. Do you have any particularly vivid early memories of trips to the cinema and specific films that may have had an influence?

PAUL: That’s easy, I was a Star Wars kid. I queued round the block to see it several times in 1977. And then in 1978 Harrison Ford came to film in Woodstock my home town for a WW2 film called Hanover Street with Christopher Plummer and Lesley Anne Down. So naturally I was desperate to see him, my sister got him to give us his autographs (my middle sister also works in Film and TV and does big movies like Wonder Woman and Darkest Hour). But also our whole town was turned into a WW2 Nazi occupied French town. Blenheim Palace became the local chateau turned into the German army headquarters. My grandmother’s Florist shop was turned into a Boulangerie. There were gun battles and car chases and Musco lights above the town for two weeks. That fascinated me. Then other films came. I watched Mel Brooks recreate the French Revolution at Blenheim Palace for History of the World Part One. I also failed to get an extras part in Another Country and watched them filming it in the Turl. So I wanted to work in film and TV but didn’t know how.

DAMIAN: If you were to compile a top ten of your favourite production designs from the movies what would such a list look like?

PAUL: Hmm, tricky… off the top of my head, lots of Kubrick: 2001, The Shining, lots of Greenaway: The Draughtsman’s Contract, Belly of an Architect, The Cook, The Thief… lots of Sci Fi: Bladerunner, The Star Wars original trilogy, Alien, Dark Star, Tarkovsky’s Mirror, Stalker and The Sacrifice. David Lean’s Oliver Twist and Lawrence of ArabiaFight Club, Zodiac, All The President’s Men, Brazil, Time Bandits, Kagemusha, Spring Summer Fall Winter Spring, Mon Oncle, In the mood for love. I could go on…

DAMIAN: Can you tell me about your training and at what exact point you decided to pursue a career in production design?

PAUL: I always wanted to work in TV or film but I started doing an art foundation course and was pointed towards fashion. I finally went and did a BA in theatre design at Wimbledon school of art. I worked for a year after that (my first job was costume assistant on a Ridley Scott ad for BP for Charles Knode) and then I went to do an MA in Film and TV Design at the Royal College of Art. I started working in design for entertainment chat shows, music shows, game shows. I worked on TFI Friday for quite a while. Then I moved across and started doing TV drama and films.

DAMIAN: Looking through your credits which include The Missing, You, Me and the Apocalypse, Atlantis, Skins and Merlin, I was fascinated to learn that you worked on both of the Judge Dredd movies; as a trainee in the art department on the 1995 Sylvester Stallone production and then the more recent one in 2012 as art director. Is this pure coincidence or are you a fan of 2000 AD Comics?

PAUL: I had every issue of 2000 AD as a kid but it was pure luck working on both. I got a work placement on the Stallone Dredd for about three weeks making models and tea in the art dept. There were some great people on that film: Nigel Phelps, Leslie Tompkins, Peter Young, David Allday, Chris Cunningham. Then I was doing Never Let Me Go with my friend Mark Digby and DNA were talking about Judge Dredd so I did some Pre budgeting and visuals but then for various reason didn’t work on it in South Africa but then they did a whole load of reshoots and extra bits in London and asked me to do them.

Judge Dredd (1995)

Dredd (2012)

DAMIAN: Before we go any further, could you just clarify for those who are perhaps new to the subject, what the differences are between an art director and a production designer?

PAUL: Basically the Production Designer is the boss, the one with the complete vision and the art director is his or her right hand person who implements the realisation of that vision, dealing with construction of sets, drawing up and handing jobs out to the various members of the art and props department. The other right hand people are the set decorator; who helps with the choices of  furniture and decoration for each scene; and the propmaster who organises he dressing of the sets. I had two talented women in those roles for Endeavour. Stacey Dickinson the art director and Faye Brothers the set decorator and trusty sidekick Simon Drew as propmaster.

DAMIAN: Back to Mega-City One, the first Dredd film was a critical and commercial flop, the fans hated it but it must have been huge fun to work on?

PAUL: It WAS great! My friend Andrea the actual art dept assistant has some great photos. Seeing them build the Mega City One streets in the Shepperton car park was amazing. If you look carefully all the shops are named after puns of people in the art dept. My two favourites were Bill Ying Tong’s Chinese restaurant named after John Billington and The All Day and Night Diner after David Allday.

DAMIAN: I thought the Karl Urban 2012 film was pretty good and did much to restore the hopes of fans for a decent and well deserved faithful comics-to-screen franchise – what happened?

PAUL: Sadly the success of a film called The Raid and being too similar did it for Dredd really I think. I think The Raid came out first and stole our thunder. I think the financial backing came from India and not a recognised studio and it just didn’t make enough money to warrant a sequel for DNA unlike 28 Days Later which was an unexpected hit.

DAMIAN: How did you come to work on Endeavour?

PAUL: Well I’ve mostly done contemporary drama and apart from some fantasy I’ve never really done proper period so I’ve been looking to try and find something like Endeavour to do. A few other shows I was mooted for, that shall remain nameless, didn’t happen so I was kicking around not doing anything much. I read MUSE and met John the producer and I think we really got on so that was it.

DAMIAN: Endeavour has had various previous production designers: Pat Campbell did First Bus to Woodstock (or “Pilot”), and then Matt Gant, Anna Higginson, Anna Pritchard and Alison Butler for the subsequent series that followed. Did you look at their work as part of your research or for reference before you started your own designs and is it more challenging to take over from previous artists or more artistically rewarding to start from scratch?

PAUL: When I got the job I went back and watched every single episode of Endeavour. The one thing about Endeavour is that most single episodes look different, each has its own feel and look and that’s what was interesting for me. You don’t really have to reproduce the look just the quality. This is only the second time I’ve not done the first series of a programme, so it’s unusual for me to follow someone but I took Endeavour as it was one of the shows on TV that I actually watched and liked. Plus my personal connection to Oxford and being born in 1968 in Oxford I couldn’t not do it!

DAMIAN: And is it generally more fun to work on something period, contemporary, futuristic or does really just depend on the project?

PAUL: I think for me it depends on the project, particularly the script and the other people working on the project. Script sells it a lot of the time. And much to my agent’s dismay I’m quite fussy about scripts.

DAMIAN: Which books or websites proved to be the most useful in researching Endeavour’s Oxford of 1968?

PAUL: Probably one of the best sources was the Oxford History Centre which I spent a few days at in Pre Production. It’s in Cowley and holds all the council archives and a fabulous photo library. The council had done a survey of pubs in 1968 which proved useful ref. They also hold microfiche of Oxford Mail’s and Times from the period. I found a few of my Mum’s advertising drawings popping up as I was searching the papers. We also visited a guy who runs the Oxford/Thames Valley Constabulary archive which again was a really useful source.

Reference pic of the original Thames Valley 1968

Paul’s actual model. Photo: Damian Michael Barcroft

Original CID model plan. Photo: Damian Michael Barcroft

DAMIAN: Presumably you see the script and then start making notes but can you take me through your pre-production process as a production designer using Endeavour as an example?

PAUL: I read the scripts as they come through. Then talk to the director and then he and I and the location people spend weeks driving round finding locations. Also I’m designing any sets that need building such as Strange and Endeavour’s shared maisonette from this series.

Paul’s model for Strange and Endeavour’s maisonette. Photo: Damian Michael Barcroft

Strange’s maisonette under construction. Photo: Paul Cripps

I tend to start with plans moving into 3D renderings using a programme called SketchUp. Then we do drawings for the construction people. When the locations and sets are all decided we do what’s called a tech recce and the heads of departments and key crew all get in a bus and drive round every location and decide how every scene will be shot. I then talk with my crew deciding how we will dress and strike the locations and then Faye and or myself will go off and chose furniture and furnishings. Stacey and I will decide on what needs constructing and painting, vehicles and graphics and Simon will do a dressing and strike schedule all in relation to the main schedule. Finally I like to go to the readthrough as that really begins to bring the whole thing together and helps me character wise for various settings. Then the shoot starts.

DAMIAN: And then when it’s actually production time and the cameras are ready to roll, can you describe a typical day on set – series five of Endeavour had a particularly brutal schedule but perhaps the very first day of shooting would be the most illuminating example?

PAUL: Well I’m actually not on set much. We normally as an art dept work ahead and behind the shooting crew. So we will go in the day or a couple of days before the shoot and dress the set or location. I will come on the morning of the shoot and check everything is to the liking of the director and DOP and then troubleshoot if required. But I will try to leave as quickly as possible as I will be onto dressing the set for the next day or next section. Also Simon and his crew will return the day after the shoot (or sometimes the night of!) to return the location back to how it was when we arrived. The schedule is often relentless. Often on Endeavour I usually arrived on set once the set was already dressed as the day we started shooting each film was usually the day the next director started and so the whole process of location hunting on the next film would start all over again!

DAMIAN: How many different sets or locations might you need to prepare for an average day’s shoot?

PAUL: Well it varies, sometimes there are two or more sets or locations in a day so we will dress one the day before and one on the morning whilst the crew is shooting the first one. Then once they have moved to the second location we will return and ‘strike’ the first location. Generally it’s one or more locations a day for twenty odd days. Sometimes we are in a location for several days so we can get some respite and recover and re-plan or re-group.

DAMIAN: Is it easier to design sets for location or studio filming?

PAUL: It’s sometimes easier with a set in a studio as locations can have specific problems or issues but then you have to get a studio set to look and feel real. There lots to love and lots to frustrate in both.

DAMIAN: To what extent does production design necessitate a creative collaboration with other departments such as the art director, set decoration or location manager?

PAUL: The art director and set decorator are all in my team so collaboration is essential. And of course there is collaboration with lots of people; locations, costume, DOP etc. Probably the most important are the DOP and location manager. If you don’t find good or the right locations the job is much harder and if the DOP does not light your sets or locations well it won’t matter how well you’ve designed them!

Location dressing plan for Muse. Photo: Paul Cripps

DAMIAN: Where were the Roxy cinema interior and exterior scenes filmed in CARTOUCHE?

PAUL: The exterior, foyer, bar, owner’s flat and roof were all the former Carlton cinema in Essex Road Islington currently a church. The auditorium was the Broadway Theatre Catford with additions by me including an orchestra pit and the rising organ (a hydraulic lift!) Interestingly the auditorium was an almost exact match of a cinema I location scouted in Germany for The Missing 2 for BBC. That cinema was built around the same time in a Nazi training camp called Vogelsang and when I went to Catford for the first time I was astounded by the similarity. We saw a lot of abandoned cinemas for CARTOUCHE it was heartrending seeing the dilapidation of the State cinema in Grays.

DAMIAN: The rising organ very much reminded me of the two Dr Phibes films from the seventies. Were these a particular influence?

PAUL: Actually no I’m afraid to say. I was influenced more by the organ at one of the potential cinema locations we recce’d; The State Cinema in Grays, Essex.

Photo: Paul Cripps

Also I remembered the two remaining organs in Leicester Square one of which I saw playing at the London Film Festival screening of Never Let Me Go.

Rising organ and shooting for the Roxy at Catford Theatre. Photo: Paul Cripps

DAMIAN: As regular readers will know, CARTOUCHE was a particular delight for me as a huge fan of the Universal and Hammer Horrors. To what extent were these a direct influence on your designs and did you research specific films or the work of production designers for Universal such as Charles D. Hall or Bernard Robinson at Hammer?

PAUL: Yes I was very influenced by the 60’s Hammer output. I watched quite a few and the location at an old abandoned school near Wallingford worked really well for the film within a film. I remember watching a lot of those films when I first went to film school at the Prince Charles Cinema late night screenings.

I also sought out some behind the scenes photos at the BFI library. The book,  Hammer Films – The Unsung Heroes The Team Behind the Films was a really useful reference for the filmmaking scenes. My favourite note was that Peter Cushing wore a single white glove when smoking off camera so as not to stain his fingers!

DAMIAN: I know the writer, Russell Lewis, is also crazy about these films so I’m wondering if there were many phone calls and emails back and forth in discussing the right look and feel for the film?

PAUL: Well I have to say that Russ is the ultimate professional in that he never really calls me to demand we do this or that and I’m sure some of the things we do really frustrate and annoy him but he never seems to let that show. I did make an error with a specific book cover he wanted as I didn’t realise it was one of his brilliant nods to other shows, this one being something from Tony Hancock. But I think Russ was so busy writing during the shoot I think getting involved more about how we were shooting them would probably have cost him the only three hours he must get to sleep. I don’t know quite how he does it, keeping up with all the nods and winks to other shows and creating those amazing Thursday quips! But he lets us get on with it and I hope we do it some justice.

DAMIAN: The “Mammoth Pictures” logo with the Morse Code was a stroke of genius which obviously brought back happy memories of the old RKO films such as King Kong. Who’s idea was this and who actually made it?

PAUL: I’m going to claim this as my own. Myself and Andy Wilson knew we wanted a 3D RKO like logo as per Russ’ description rather than just a graphic but the Mammoth, the Iceberg and the backdrop were all the work of my own hand! Luckily it was meant to look a bit shonky!

DAMIAN: Is there a sense of sadness once the shoot has wrapped and the sets start to be dismantled?

PAUL: I did feel a pang of sadness on one of the last days as I walked through Strange’s flat devoid of furniture and dressing. I’ve made Jim Strange an Oxford United fan (Yes!) and would be trombone player so I hope that might remain.

Photo: Paul Cripps

DAMIAN: To slightly misquote Indiana Jones, doesn’t this stuff belong in a museum?

PAUL: Some of it yes. One of my favourite props was the Lapis Lazuli Scarab with the Aktnaten cartouche given to Emil Valdemar which we moulded from one owned by my wife bizarrely. I thought that prop was beautiful. And Russ must have visited the Pitt Rivers museum before us as when we opened a drawer of scarabs and there was one missing just as in the script!

DAMIAN: I have a beautifully illustrated and insightful book, Film Architecture: From Metropolis to Blade Runner, but what books or websites would you recommend for anyone wanting to learn more about the art of production design?

PAUL: A few books: Setting the Scene: The Great Hollywood Art Directors, Ken Adam by Christopher Frayling, Peter Ettedgui’s book Production Design & Art Direction, The Stanley Kubrick Archives, The Invisible Art (all about glass paintings).

For interesting contemporary stuff I would recommend a website a Canadian art director runs called Artdepartmental. I also like Film Grab a site that shows stills from lots of great films.

DAMIAN: Where is that clock from CARTOUCHE now?

PAUL: You mean the one in the Cinema managers flat? Oh that’s a sad story. I loved that clock in the prop house when Faye and I were choosing props for the Roxy. I said we must use that. It worked so well in that room and went so well with the decor of the Carlton Cinema. But really sadly the prop house it came from, was closed with little notice, shortly after Christmas due to financial problems caused by a compulsory purchase of land for the HS2 rail scheme. All the furniture from that prop house, which a lot of the Endeavour settings came from, have now been split up or sold outside the industry. It’s been really devastating for us all in the business. So who knows if that clock even exists anymore. So sad.

DAMIAN: Paul, thank you very much indeed.

PAUL: My pleasure.

Photo: Paul Cripps

~

 

THE ENDEAVOUR INTERVIEWS 2018: Russell Lewis Part III

DAMIAN: Russ, before we start the interview, I’ve been thinking that we’ve mentioned The Beatles, Tony Hancock and Carry On films quite a bit over the years and perhaps, well, maybe we should mention them a little less from now on. Would that be alright Russ?

RUSS: As you please.

~

INT. COWLEY GENERAL – NIGHT 1 (22.56)

Night lit. An empty corridor. One bulb flickers.

Mantovani’s Strings playing ‘Charmaine’ fills the air. The sickly sweet scent of putrefaction in three-quarter time.

We float through the deserted galleries.

Operating theatre. Instruments laid out ready for use.

Another empty corridor. A staircase. SIGNS point the way to…

HOUSE OF PAIN

An exclusive ENDEAVOUR interview

With Russell Lewis

Interview copyright © Damian Michael Barcroft 2018

~~~

With very special thanks to Gilbert Taylor

& Denys Coop

~

DAMIAN: The exterior shots of Cowley General Hospital looked remarkably familiar, where might we have seen the location before?

RUSS:  Ho ho.  Well, it’s Maidenhead Town Hall – which, as some eagle eyed viewers correctly deduced, was the hospital exterior in Carry On Doctor, Carry On Again Doctor – and I believe appeared briefly in Carry On Camping.  Sadly, the frontage has had a bit of a make-over in the intervening years – so we couldn’t have ambulances pulling up outside, but enough of it survives that it’s still recognisable.

DAMIAN: I had terrible trouble with my ears as a child and was in and out of hospital on regular occasions throughout the late seventies and early eighties so on the one hand, I recognise the kindness, good humour and cheerfulness of kind doctors and nurses, the saucy winks and ding dong mentality of some of the male patients evoked so wonderfully in your script, but what particularly resonates is that dreaded moment when visiting time is over, Mum has to leave you with just a kiss, a copy of the Beano and the ‘obligatory grapes in a brown paper bag’ to see you through the long night ahead. Then, lights are replaced with shadows and strange, unfamiliar noises – much humming and distant footsteps constantly marching back and forth. We recently spoke about department stores as palaces of wonder and delight, but also of those inherent dark corners and backstairs worlds. It’s the same with hospitals isn’t it?

RUSS:  Absolutely.  Yes – Battersea General – long gone – was my childhood house of pain. Known by locals as the ‘Anti-viv’ or ‘Old Anti’ — because it was against animal experiments/vivisection. Pretty building. 1890s. Sort of Italianate style. Right by the Park. Closed in the early 70s.  But yes — hospitals after dark…  can be quite spooky.  I’d like to have included a few more of those empty corridors for atmos — but the schedule was very tight.

DAMIAN: We see Nurse Monica Hicks return briefly in this film but, as we’ve mentioned in the past, the potential of her character was never really fully explored. So it was with some interest regarding female characters on the show, that in my interview with Dakota, she said that ‘When I first auditioned for Endeavour I was sent an episode to read in which Trewlove had only four lines. I was promised that the character would grow and develop into one of the gang as the series went on’. To what extent do you think you’ve succeeded in keeping this promise?

RUSS:  Jim Strange’s move across to CID left us without a uniform presence – Bright notwithstanding.  But obviously Strange was much more a rank and file foot-soldier – whereas Bright is brass.  So – in all honesty – there was no need to have a regular uniform constable at all.  We could have had a roster of rolling PCs – but it’s nice to have some continuity, a recurring character the audience can readily identify.

In terms of plot – as often as not it’s uniform who are first on scene.  One can either have their findings as reportage via one of the CID regulars, or first hand from a uniform.  I was interested in looking at a woman’s place in a pretty boysie environment, hence Trewlove.

If you consider INSPECTOR MORSE and then LEWIS there were very few recurring characters beyond the central duo.  With ENDEAVOUR we have around ten.  Screentime across 89 minutes is at a premium, so all our characters have to punch above their weight, always.  I try with all of them to provide a moment or two in the sun – as the story allows.  I think the affection in which Trewlove is held by the audience suggests that she has punched through.

DAMIAN: Dakota also said that she ‘didn’t know anything about the character – what sort of a person she was, where she came from or where she might end up’ and that ‘Trewlove was something I had to figure out on my own’. Given the delightful detail in which you’ve previously talked to me about some of the influences and inspirations for Trewlove, why didn’t you share these with Dakota?

RUSS:  Mmm.  Those details are useful from a casting point of view — and inform what I put on the page.  Beyond that, it’s for the director to convey to the actor what they want from a performance — hopefully in service of the writer’s intent, which is something we’ll have discussed before they get on the floor.  Beyond that — I’m always available to discuss further if there are things an actor is bumping on in the script.

The whole notion of ‘character’ – not to be confused with ‘back-story’ – is a much bigger conversation – and one we don’t really have room to go into it here.

DAMIAN: I loved the warmth and beauty which you gave to the scenes with Trewlove watching over Bright at the hospital but what was Anton Lesser’s reaction to being confined to bed and unconscious for most the episode?

RUSS:  He took it lying down.

Anton is a joy to write for.  His instincts are flawless.  He just gets it.  Every time.  I don’t think he’s ever baulked at a line, or a situation we’ve put him in.  The greater the artist, the smaller the ego.  Any and all vanities set aside in service of the drama.  He just brings his A Game – as they say.  Every day.  I don’t think he has a B-Game.  You just sit back, and watch, and delight and revel in his greatness.  And he’s a great sense of fun – and not a little mischief.  There’s a lot of laughter – particularly at read-throughs.  So – yeh…  Hearing he’d agreed to play Bright was one of the better days at the office.

DAMIAN: I’ve been banging on about wanting to see Mrs. Bright for some time so it was somewhat frustrating to learn that she was away on a trip during his stay at hospital. Wouldn’t this have been the perfect opportunity to introduce her character?

RUSS:  I’d refer you to my earlier answer.  At 89 minutes — there is only room for so much anything.  We already had to reduce some of Caroline’s material, and a whole strand for another guest character.  Bolting on Mrs.B would have meant even more would have been lost. Each thing in its season.

DAMIAN: Bright seems unimpressed when Library Trolley Lester says he might be able to get him a copy of Lady Chatterly. Since you’ve denied audiences a peek into the Bright residence, I wonder what sort of titles might occupy his bookshelves?

RUSS:  Until returning to Britain from the colonies, the Brights have always been on the move – so I don’t imagine the library to be extensive.  Mostly non-fiction up Bright’s end of the bookshelf.  Guides to some of the places he’s lived in.  A long cherished Scouting For BoysCoral Island; Treasure Island; some Sir Walter Scott, and a bit of Henty.  His reading material a counter-weight to Mrs.B’s Bloomsbury end.  No euphemism intended.

DAMIAN: There’s more than a whiff of Black Narcissus about this film. In addition to some of the names (Dr Powell and Sister Clodagh) the script calls for a chapel/high place: ‘Locationally dependent… either a stairwell void, exterior or rooftop’. Putting either budget or available locations aside, what exactly did you originally envisage and were the colours somewhat reminiscent of the great Jack Cardiff in your mind’s eye?

RUSS:  Well — you’ve put your finger on it.  Black Narcissus definitely underpinned our intentions with Lazaretto.  I think early drafts had it finishing on the roof.  In terms of colour, it would have been lovely to invoke the climax of that picture, but you have to be guided by what’s available – and, of course, the choices of the director and the DoP.  It goes back to the earlier point about character.  I could slather on detail in stage directions and make things madly specific, but to be so prescriptive would be profoundly unhelpful to Production.  Better to give them the ‘idea’ of what I’d like and leave it to the Location Manager’s talent, skill and expertise to offer a range of options.  It always comes down to this – What is necessary to deliver the beat?  They found the tower stairwell — and that served very well.

DAMIAN: Long before the likes of Merchant Ivory Productions in the 80s and Richard Curtis in the 90s, to what extent do you think those Powell and Pressburger films first truly defined (at least for audiences abroad) British identity during and immediately after World War II?

RUSS:  That’s a good question. To a degree, I suppose. I’m probably less interested in what it says about how we were seen abroad, than in what they were saying about how we saw ourselves at the time.  One of the many admirable things about the Archers productions is that they were made for a mass audience. There’s never any talking down – or a hint of pulling in of their ambition because they think a section of the audience won’t ‘get it’.

Art for all – and no one left behind.  I suppose it’s a bit Fred Kite to put it in those terms – all those fields of wheat and ballet in the evening – but look at The Red Shoes.  I think there’s an element – as with some of the MGM musicals, but it seems all the more pointed with the Archers – of emerging from a black and white world of wartime newsreel horror to something giddy and vivid with colour.  You know, it’s there in A Matter of Life and Death — but it just seems to explode once the war is over.  ‘Life finds a way.’

DAMIAN: Funny, but if someone asked me about British identity or film images and cinematography that closely matched my own first vivid impressions of the country and memories of childhood, I’d say, for some very strange reason or another, Hitchcock’s Frenzy every time.

Yes, it’s an odd choice because it obviously evokes Hitch’s childhood in the East End and not my own in Stoke, and yet, there’s just something about the cars, clothes and the general colour and “smell” of it all that resonates deeply; something strange and unsettling bubbling under the surface. Eyes watching.

Now, I know I seem to be continuously obsessed with questions regarding your childhood but, as I hope readers will agree, they do help to inform our understanding of your writing. So, given that you clearly draw upon them time and again in Endeavour, can you please try to give me an example of a film that visually echoes your first memories?

RUSS: 10 Rillington Place.

That’s not quite as facetious as it sounds.  There were still bits of London that bore signs of The Blitz.  Little areas that were still very ‘Hue and Cry’.  Around ‘70, we shot bits of Sunday Bloody Sunday in Spencer Park – about five minutes away from where I grew up.  So I can always stick that on.  There was a sequence in that (spoiler alert) where something happens to the family dog.  Shooting on location, we used a squat as a base for wardrobe and make-up.  I have a strong recollection of Afghan coats, pachouli oil and dope.  It was all very ‘Withnail’ – so that’s another touchstone.  The Art Direction – like everything else about Bruce Robinson’s masterpiece – is just superb.  Bits of Blow Up.  Weirdly — but not more weird than any of these, I suppose — the first series of Catweazle catches lightning in a bottle.  Essence of ‘69.

Some aspects of Pete Walker’s ouvre make for a terrific time capsule.  The opening of Frightmare – that features Andrews Sachs very briefly – is Battersea Park, where I spent a lot of time as a boy.  And the Susan George picture Die Screaming, Marianne – which I think also features Barry Evans — has some good London stuff.  But going back to Withnail — one of the many things it absolutely pins down is just how bloody cold and damp it was.  Britain before Central Heating was the norm.  Now, it’s underfloor heating.  Then, you’d wake to ice on the inside of the window panes.

DAMIAN: We finally see Joan Thursday in Leamington Spa which seemed a curious choice of location. Would this have anything to do with a certain by-election which took place there in The Thick of It?

RUSS:  No.  It just struck me as somewhere interesting for her to wash up.  Rog had reservations that we wouldn’t have found flats such as she was living in — but a bit of digging turned up some not dissimilar.  There are, of necessity, some blank pages which cover how she got there, but it was as much to do with her ‘fancy man’ as anything else.

DAMIAN: I’d like to highlight some of the following scene between Endeavour and Caroline Bryce-Morgana as it appears in the script:

ENDEAVOUR: You know, it’s hard to believe you’re anything to do with Susan at all.
CAROLINE: She’s a romantic. Like her father. That same streak of pity for life’s not-quite-up-to-its flows through her veins. Still. You cured her of that. I suppose I should be grateful. She never loved you, Morse.
ENDEAVOUR: ‘If equal affection cannot be…’
CAROLINE: Oh. Poetry. I’d forgotten that particular affection. The last refuge of the emotionally incontinent. You think you have a monopoly on feeling. Well, you don’t. I feel things too. Just as much as you. More so, perhaps.
ENDEAVOUR: What do you feel, Caroline?
CAROLINE: Real things. The things that dragged us out of the primordial slime. That make us strong. Pride. Anger. Resentment. Jealousy. Hatred.
ENDEAVOUR: That’s called grief. When you speak to Susan, give her…
CAROLINE: Oh yes? Giver her? Give her what? Your love?
ENDEAVOUR: Condolences. I was going to say. Give her my condolences. Whatever you think of me, I’m sorry he’s [Mr Bryce-Morgan] dead. Truly.
CAROLINE: I wish you were dead. You’ll die, Morse. You’ll die old and alone. And no one will give a damn.

Although I understand why she’s so hurtful in this particular scene, why exactly does she hate Endeavour so much in the first place?

RUSS:  I think she resented his coming between her and Susan.  Some mother/daughter relationships can be unhealthy.  Controlling,  Caroline felt she had married…  unwisely, and was to a degree attempting to rectify her own mistakes by managing her daughter’s life better than she felt she had managed her own.  Endeavour was potentially a spanner in the works.  She had to see him off.

DAMIAN: Described as a young Joanna David in her mid-late 20s, we see Susan for the first time (her “appearance” in First Bus to Woodstock obviously doesn’t count) at her father’s grave, I wonder if you originally had any plans to introduce her properly in the following film or films?

RUSS:  We’re mindful always of the Prime Directive.

DAMIAN: There are also various other mourners mentioned in the script including William (a young Richard Pascoe) and Henry Fallon, and curiously given we’ve already had a parrot in the film, a manservant with an eyepatch! Who’s that then?

RUSS: A young McGregor!  Who else?!

DAMIAN: Just time for one more question before I leave to catch my train, can you say something about Film III: Passenger?

RUSS:  Our Ladybird Book of the Railway.  The jumping off point was the Varsity Line which ran between Cambridge and Oxford, and its closure at the end of 1967.  Interestingly, it was one of the few closures that didn’t arise from the Beeching review.  It appears it had simply become more practical for passengers travelling in either direction to use London as a nexus.  So – that was the grit in the oyster.

I’ve got a thing for lonesome stations, and old branch lines.  Blame The Signalman, amongst others, I suppose.  Tickets, please!

THE ENDEAVOUR INTERVIEWS 2018: Dakota Blue Richards

The Home Office was appalled and said that women were not proper persons in the eyes of the law when Edith Smith became the first female police officer with official powers of arrest in 1915. However, by 1920, and after The Sex Disqualification (Removal) Act of 1919, the Baird Committee stated that women could indeed be appointed as police officers although this came with the caveat that their duties be confined to dealing with women and children only.

The conditions in which female officers work, and the respect and recognition afforded to them, have obviously changed for the better over the years but progress has been frustratingly slow and much still needs to be done to increase awareness and understanding of the issues affecting women within the police force today.

There were 2,500 women police officers across the UK in 1960, the marriage bar (women had to leave the profession if they married) was lifted towards the end of the decade and women were finally given the opportunity of carrying out the same duties as men. However, in 1968 (the year in which the fifth series of Endeavour takes place) there were only 14 female officers working in Oxford City Police compared to 276 male officers. These figures rose when the amalgamation occurred later that same year and became Thames Valley Constabulary which covered Berkshire, Buckinghamshire and Oxfordshire, but in one of the largest territorial police forces in England which employed 2305 officers, just 126 were women.

While the British Association of Women in Policing continues its equality campaign for female police officers across the UK in which women make up 51% of the population, it has been estimated in recent years that only 27.9% of today’s entire police force are actually female.

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RINGLEADER, TOM-BOY, AND CHUM TO THE WEAK

An exclusive ENDEAVOUR interview

With Dakota Blue Richards

Interview copyright © Damian Michael Barcroft 2018

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DAMIAN: I donʼt know if you were familiar with Inspector Morse, Lewis or Colin Dexterʼs novels on which they were based but what was your initial reaction to being offered the part of WPC Shirley Trewlove?

DAKOTA: When I first auditioned for Endeavour I was sent an episode to read in which Trewlove had only four lines. I was promised that the character would grow and develop into ‘one of the gang’ as the series went on and given a vague outline of what that might entail, but the truth is I was going in blind. I didn’t know anything about the character – what sort of a person she was, where she came from or where she might end up. But I had seen the first two seasons of the show and was struck by the high production values and the wonderful acting of the regular characters so I figured I ought to put my trust in the team behind it and hope for the best. I suppose you could call it a leap of faith. It was daunting, of course, joining a cast so well established but everyone was so welcoming that I soon felt at home on set.

DAMIAN: The writer, Russell Lewis, has told me in previous interviews that Trewloveʼs creation owes a little something to the female police officers depicted in Carry on Constable, Joyce Grenfellʼs PW Sgt. Ruby Gates in the St. Trinianʼs series, Shirley Eaton in many British films from the period in which she played cool, capable and resourceful characters such as Nurse Denton in Carry on Nurse and he wondered what might happen with those kind of characters if he wrote the part straight rather than for laughs. Other inspirations include Sue Lloyd as Jean Courtney in The Ipcress File and John Betjemanʼs poem Myfanwy. Did you ever discuss these influences with Russ at any point?

DAKOTA: Sadly Russell never shared his influences with me. Trewlove was something I had to figure out on my own.

DAMIAN: How did you go about researching your character given that there were so few women police officers during the sixties?

DAKOTA: It was tricky. As you say, there weren’t many women in the police force which gave me relatively little to work with and what I could find about them was usually just statistics. No first hand accounts. I read a lot about the sort of jobs women were typically given; usually the ones seen to be too sensitive for the male officers, such as breaking bad news or dealing with victims, particularly cases involving children or sexual assault. Trewlove is actually involved in the investigative work a lot more than most women would have been allowed to be at that time. With that being said, I can appreciate how it feels to work in a field where you are treated very differently to your male counterparts.

DAMIAN: How do you think the show deals with issues of gender inequality and what do Trewloveʼs storylines or character arc reveal about this struggle?

DAKOTA: I think the show, for the most part, steers clear of tackling this issue head on. On the whole, the men around her treat her with the respect her hard work earns her. It goes without saying that Trewlove’s career trajectory will be different to that of her peers, but that doesn’t deter her from getting involved (as much as possible) and from striving to be her best self. She rarely lets anybody see how affected she is by the pressures of working in a male-dominated environment, but there is a lovely moment this season where she empathises with Fancy when he claims he feels overlooked. There are occasions in this series where guest characters attempt to patronise or harass her but she takes it all in her stride – she can feel that times are changing and as Endeavour tells Fancy in Film 1 ‘She doesn’t suffer fools.’

DAMIAN: Letʼs talk about your thoughts on some of the other characters. For someone who is essentially a loner, Endeavour certainly has his fair share of female admirers. What do you think makes him so attractive to women?

DAKOTA: I think to a greater or lesser extent we all want what we can’t have. Endeavour may be intelligent, principled, witty and very occasionally charming but he also is emotionally unavailable and that is a real draw for a lot of people. And those cheekbones certainly don’t do him any damage.

DAMIAN: Trewlove is attracted to him as well isnʼt she?

DAKOTA: Naturally – it’s a rule on the show that everyone is attracted to Endeavour. Trewlove connects with Endeavour on an intellectual level that I think is quite rare. She has a lot of respect for him and harbours a deep desire to impress him. I think to an extent she sees him as another puzzle – something to be figured out. But she can also be quite playful with him, she’s one of the only characters that dares tease him.

DAMIAN: As you say, certainly on an intellectual and cultural level, wouldnʼt Trewlove and Endeavour make a perfect couple?

DAKOTA: I think so. But Trewlove isn’t going to waste her time waiting for him to realise that. Endeavour is his own worst enemy when it comes to romance; he’s allowed himself to become so obsessed with chasing something he can’t have that he’s blinded himself to everything and everyone else. He has a few affairs this season but they’re short lived and he never really allows himself to be fully present. Trewlove is a little more pragmatic in her approach to romance; if you want love just pick somebody and love them. Endeavour may come to realise what he could have had with Trewlove, but, as with all great love stories, it’ll likely be tragically too late.

DAMIAN: For me, one of the lovely surprises of the show has been the way in which the bond between Trewlove and Bright seems to grow with each new series but how would you describe their relationship?

DAKOTA: I love Trewlove’s relationship with Bright. He’s always looked out for her and given her encouragement and she returns the favour in his moments of vulnerability. She looks up to him as a sort of father figure. I always imagined that Trewlove had lost someone she cared for and perhaps Bright goes some way to filling the gap that was left.

DAMIAN: Thereʼs a beautiful scene in PREY in which Bright tells Trewlove the story about him killing the man-eating tiger of Kot Kindri but that he failed to save the life of a fellow officer. Thereʼs another moment which I loved when theyʼre hunting the tiger in Oxford and he says “If we should encounter anything, you stay by me, yes?” which highlights his almost fatherly relationship with her. And yet, in the script for LAZARETTO (Blue Amendments) where Trewlove visits Bright in hospital she says, “Itʼs alright, sir. I wonʼt leave you. You just get some sleep. Iʼll be right here”, and a particularly revealing line in the description that reads: “TREWLOVE settles into a chair [next to his bed]… A tigress minding her cub.” Now, this actually made me look at the relationship from a different perspective because I originally thought of it as Bright mentoring Trewlove but couldnʼt it also quite easily be the case that it is he who actually needs her?

DAKOTA: There comes a time in every parent/child relationship when the cared for becomes the carer and vice versa. It’s nice to see Trewlove return the favour.

DAMIAN: As I often say, the cast is exceptionable and one of the finest ensembles on British television, but what is it like working with an actor of such gravitas as Anton Lesser?

DAKOTA: Anton is one of the world’s better people. The ideal combination of talent, humour, professionalism and gentility. He never fails to delight me and is always the best part of my day. Working with him has truly been a joy and an honour.

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Very special thanks to the British Association of Women in Policing and especially Professor Louise A. Jackson of the School of History, Classics & Archaeology at the University of Edinburgh and author of Women Police: Gender, Welfare and Surveillance in the Twentieth Century for their generous time and assistance with the information which proceeds this interview.

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THE ENDEAVOUR INTERVIEWS 2018: Producers Neil Duncan & John Phillips

Exclusive ENDEAVOUR Interview

Producers Neil Duncan & John Phillips

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Interview copyright © Damian Michael Barcroft 2018

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DAMIAN: I think readers will have a pretty good idea of what most of the key creative team do on Endeavour such as the writer or director, but what exactly does the role of a producer entail?

NEIL: The producer primarily works alongside the director (and the heads of each department), working together to bring the writer’s vision to the screen. You often have to work within the limitations of the budget creatively, so the show maintains its production value without too much compromise. As producer you’re ultimately responsible for the day-to-day management of the whole process, from casting right through to the final mix and delivery of the episode.

JOHN: Yes, Neil has summed it up well. Essentially we’re responsible for the show coming in on budget and schedule and to a creative standard everyone expects.

Just checking the walls, dear. Neil during a FILM 6 recce (location scouting) ©Neil Duncan

DAMIAN: Neil, you worked on EastEnders for two years as script editor and then became one of the producers by 2007. What were you doing prior to this and how did it lead to Albert Square?

NEIL: EastEnders was my second script editing job – before that I worked on River City, where I started as trainee script editor. Prior to that I worked as a researcher for factual programmes, and before that I was an archivist at the BBC.

DAMIAN: Between 2007 and 2012, you also worked as script editor on The Bill, New Tricks and script editor, script executive and later producer on Skins. What did you learn from those early experiences in television?

NEIL: Too many to mention! Soaps (and continuing dramas) are fantastic training grounds. Script editors on these shows learn to develop scripts quickly, it really sharpens your instinct for story and how to fix problems within individual scenes or across the overall structure of the script. Skins was a very collaborative and creative show to work on, so I was able to get involved in other areas of production, such as the edit and the sound mixes. I also got to work with actors for the first time, which I love doing. After that experience I was hooked. The main things I learned were – trust your instincts, and have fun.

DAMIAN: And you worked as series story producer on the second series of Fortitude – what the hell was that show all about because I’m still scratching my head?

NEIL: Well stay tuned because a third and final series is in the pipeline!

DAMIAN: In comparison to a regular producer, what is a series story producer?

NEIL: A story producer works with a writers room, developing the stories across larger volume series, e.g. Fortitude had ten episodes with a larger ensemble of characters compared to the usual six part series. Larger volume shows with bigger budgets often use several writers, working together in the room, and the story producer tries to corral all the ideas together while honouring the lead writer’s vision.

©John Phillips

DAMIAN: And John, you started in the industry by making short films from 2010 to 2013, served as production associate on Lip Service, and then like Neil, worked on various TV shows as script editor such as M.I. High (development script editor), Doctor Who (assistant script editor and later script editor), Midsomer Murders (script editor), Our Zoo (script editor) and The Job Lot (script editor/script executive). Again, this is potentially confusing to the layman so could you explain what a script editor does and clear up the differences between this and development script editor and script executive?

JOHN: I actually started in the industry before that. I was a runner first and then kind of fell into production at Kudos, who, at the time, produced great shows like Ashes to Ashes, Spooks and Hustle. My heart was always in scripts though! But to answer your question a script editor works closely with the writers and execs to help develop the stories. From helping to develop storylines and character arcs to giving notes and getting involved in logistical planning, it actually varies a fair bit from job to job. Every writer works differently and you have to adapt to their needs and ways of working.

DAMIAN: What was it like working on something as huge as Doctor Who which I think was during Matt Smith’s time in the TARDIS?

JOHN: It was a wonderful experience and I was very lucky. I worked with fantastic writers like Steven Moffat (obviously), Mark Gatiss, Neil Cross, Neil Gaiman, Steve Thompson. Some of the best screenwriters out there! Plus I think it was an exciting period in Doctor Who history.

DAMIAN: Then you must have worked very closely with Moffat who, in addition to Doctor Who, was also showrunner, writer and executive producer of Sherlock. How on earth do you think he managed to juggle both projects for so long?

JOHN: Ha. God knows, you’ll have to ask him! He’s an incredible writer and brain though who can deliver an amazing first draft of something and he just has this incredible capability of juggling so much.

DAMIAN: John and Neil, since you’ve both worked as script editors and gone on to produce, would you say that script editing is a good way of getting into producing and was this part of your cunning plan all along?

JOHN: Yes definitely. Traditionally there’s probably two classic ways of moving into producing and that’s either going the script editing route or up through either production managing or assistant directing.

NEIL: Yes, absolutely. It’s very much a traditional path in the UK television industry. Some producers come from a production background, but most of the producers I’ve worked with are ex-script editors.

DAMIAN: When I’ve done interviews with actors, writers, directors or composers etc. in the past, I’ve always asked them which artists in their particular field inspired them but I don’t imagine it’s quite the same with producing is it?

JOHN: Probably not as I don’t think you can call us producers artists and at the end of the day it is artists that inspire! I definitely moved into TV because of writers and directors I admired as a kid. The likes of Jimmy McGovern and Paul Abbott in TV to directors like David Lynch.

NEIL: Not quite. For me, the joy of this job is getting the chance to work closely with those same writers, directors and actors whose work you’ve admired, and helping create the conditions that allow them to do their best work.

Behind the scenes shot from FILM 2: CARTOUCHE ©Neil Duncan

DAMIAN: How did you both get the job of producing such a prestigious project as Endeavour?

NEIL: I’d worked with Tom Mullens (Exec Producer) on EastEnders, so we already knew one another from back then. I had a couple of meetings with him and Damien Timmer (Exec and CEO at Mammoth Screen), and that was that.

JOHN: It was thanks to Damien Timmer who I had a general meeting with and we just hit it off. He then introduced me to Tom (Exec) and Russ (writer) who took a punt on me.

DAMIAN: Endeavour has become not only a well-oiled machine but also something of a family. Indeed, often collectively referred to as Team Endeavour, many of the cast and crew have been around since the beginning. With this in mind, was it difficult or nerve wracking when you joined and can you describe your first day on the job?

JOHN: I felt it had a healthy mix of people who had done it from the beginning and new blood that Neil and I brought in. Having talented HODs (Heads of Department) already attached, terrific people like Helga Dowie (line-producer) who has done it since series 1, was a real blessing too.

NEIL: I was a little apprehensive, but everyone was very nice and welcoming from the start. I think my first day involved being driven to various art deco cinemas by location manager Alex Cox, who is very much part of the Endeavour family, and whose patience and generosity helped me find my feet.

DAMIAN: Were you previously fans of Endeavour and were either of you familiar with Inspector Morse or Lewis?

NEIL: Yes, absolutely. I didn’t watch Lewis but remember watching Inspector Morse with my family and have loved Endeavour from the pilot onwards.

JOHN: My family loved Morse and I remember it as a kid although I wasn’t an avid fan. However I thought Endeavour was so charming and elegant, always beautifully written and well crafted. I felt very lucky to be offered the opportunity to work on it.

DAMIAN: It seems quite a unique situation here and one that I haven’t come across before; John, you produced films 1, 3 and 5, while you Neil, produced films 2, 4 and 6. Why split the films between two producers and how was it decided who would produce which films?

JOHN: Endeavour is a challenging show and the ambition is to make features on a TV budget and schedule! And this series they were making six rather than the usual four so I think the execs felt it would be too much for one producer. I was hired before Neil so it was through default really why I produced the opener.

NEIL: Endeavour is a tough show to produce, in that it requires a lot of involvement in getting the details right. If one producer was working across six films, they wouldn’t be able to give each one the attention it deserves. John started on the job before me, so the order of our films was due to circumstance more than anything.

DAMIAN: Retrospectively, do either of you wish you’d have been able to swap any of the films you worked on?

NEIL: I always loved film 3 from the first draft onwards, and thought Jim Field Smith was an inspired choice of director for the show. But I’m immensely proud of each of the three films I worked on and the people who helped make them possible.

DAMIAN: But isn’t the last film of each series always the most dramatic and exciting for example?

JOHN: I loved the finale script as your series arcs all come to a natural conclusion and I just thought there were some beautiful, memorable moments in there (I won’t give you any spoilers, sorry!).

NEIL: You do get to bring serial storylines to a climax in the final episode, but this means you get less time to spend with the story of the week, so it’s give and take.

Behind the scenes shot from FILM 2: CARTOUCHE ©Neil Duncan

DAMIAN: I’ve discussed this in great detail with Russ and what should be a fairly simple process (writer writes script, actors learn their lines and director points the camera in the right direction) usually ends up becoming unimaginably complicated to anyone outside of the television industry. For example, in preparation for this interview, I asked Russ the very simple question do the cast see the script prior to a read-through, and are the scripts hand delivered or simply emailed to the actors. His response, as always, was typically detailed and, indeed complex, but I hope readers will find it quite illuminating:

“Shaun and Roger get scripts at early draft stages. Readthrough/Shooting Drafts usually go out electronically, and then in hard-copy, as we’re usually very close to the wire. Scene Nos., are locked before the read — and usually Pages are locked too — so that further revisions (colour coded – starting with Pink; Blue etc.) can be slotted in without having a knock on to the rest of the script. Sometimes Shaun and Roger will feed back early — but it’s more just a case of them having something early. More recently, they haven’t looked at it until just before the Read.

So — if there’s time — we’ll do a 1st Draft (circulated to Production – so they can start location hunting/casting etc..); and then a Tech Recce Draft, which will be a 1st Revision, with early notes actioned as best as possible. Sometimes with ‘place holder’ fixes, until the right solution is hit upon.

Tech Recce — Director visiting locations with Heads of Department to work through technical challenges, requirements — usually occupies, TUES/WEDS/THURSDAY in the final week before shooting. I attend the post-Tech Recce on THURSDAY afternoon, and we spend a couple of hours working through the proposed shooting schedule; ironing out any areas of difficulty, identifying anything we can fix on the page to make the shooting go more smoothly.  Anything we can drop to ease shooting etc.

That Friday/Saturday/Sunday, I will be working on the ReadThrough Draft for delivery Monday.

After the Read — there’s a lengthy post mortem/Notes session, often at Mammoth [Screen] Towers, with Network representatives; Shaun & Rog; Damien Timmer [Executive Producer and Joint Managing-Director of production company Mammoth Screen], Tom Mullens [Executive Producer], script editor – this series Amy Thurgood; self; producer(s) attending — where ‘notes’ are given. Everybody pitching in – and offering thoughts on how it can be improved. Changes requested. Any production issues that need to be addressed – unavailability of locations/props/‘heavy days’ where more is scheduled at a location than can possibly be realised in a working day. Can the scenes be relocated elsewhere? Can they be cut? Amalgamated elsewhere?

The time available before turning over on Day 1 is 12/24 hours, usually the former.  We have been starting shooting Thursday/Friday this time around. So, if you can make sure the first 2/3 days stand up (don’t require changes), and get any notes affecting scenes shooting across these days out by around lunchtime on the day before shooting, then you buy yourself the weekend to address anything outstanding, or requiring more thought – often ‘story’ things.

So – the week we start shooting usually looks like this…

MONDAY – Deliver & issue Readthrough Draft.

TUESDAY – Readthrough 10:30 through to around 12:30 — apres ski at the Black Lodge 13:00 to whenever.

WEDNESDAY – Deliver any changes affecting DAY 1, 2, 3 – ish.  (This will usually require working through the night TUES, and getting it in by early doors/mid-morning for issue to All Departments & Cast.)

THURSDAY – DAY 1 shoot — Script Dept (self & editor on phone for any crunchy bits) will be continuing with revisions arising from the apres ski.

FRIDAY – DAY 2 shoot — Script Dept — as above.

SATURDAY — Script Dept — more of the same…

SUNDAY — Script Dept — more of the same…  Often, late Sunday evening, further thoughts from cast will come in.

MONDAY – DAY 3 shoot — deliver ‘Shooting Draft’.

It is standard that the script will be further revised during production – for many reasons. Usually we try to get as much of this out of the way in the first week as possible — but circumstances beyond our control, often mean further changes right through the shooting schedule. Weather – across S5 – has been a swine; meaning we haven’t always ‘made the schedule’ – achieved all the ’strips’ on the callsheet for the day. Rescheduling the scenes we were unable to shoot = robbing Peter to pay Paul. So other scenes will be dropped, amalgamated etc. across production.”

Wow, really quite astonishing. Can you describe at what point you began work on series five and take us through the process, difficulties and challenges outlined above by Russ from your own perspectives as producers?

NEIL: When I started on the series, Russell had delivered a first draft of film 2 and shooting was just about to begin on film 1. Some of the challenges as producer include – getting the guest cast booked in time for the start of the shoot (as characters can be added or cut as the drafts develop) or getting locations in place before the tech recce (locations can be added or cut and are often very specific). All of which is standard stuff – the job is easy compared to the heavy lifting Russell has to do on each film. You just have to be flexible in your thinking.

DAMIAN: It must be extremely stressful. First of all, how do you cope on something as big as Endeavour and, secondly, since you’re both relatively new to producing, did either of you ever have any doubts you were up to it?

NEIL: We had the support of our crew, our exec producers and most importantly our line producer Helga Dowie. So it never felt overwhelming to me as it was a team effort.

JOHN: When you work with terrific people it makes your life easier and there are some great minds on Endeavour. Producing is a tough gig though, no doubt about it, and you make personal sacrifices to be a success, but at the end of the day we work in a brilliant industry and are lucky to do what we do.

DAMIAN: Series 5 was a long shoot. Do you know exactly how many days you worked and how many (completely uninterrupted) days you had off to relax during this time?

NEIL: I honestly can’t remember, it’s all a bit of a blur!

JOHN: I have no idea now but it was long! I had a couple of days off in the middle because I got married but that was it really. I’m lucky my wife is incredibly supportive and understanding!

DAMIAN: Did you ever look to each other for support or simply a sympathetic ear when things got tough?

JOHN: Definitely. Producing can be quite lonely and it was brill to have Neil there to ask advice or just have a general moan to.

NEIL: Yes, it was definitely useful having another producer to lean on every now and then.

DAMIAN: What makes a good producer?

NEIL: I think in the long term it’s about adaptability – every show is different, and every production company is different. As a producer you have to be able to move between jobs and find a way to get the best out of people while working within the rules or expectations of your employers (i.e. the production company and the channel).

JOHN: Neil’s hit on a very good point. You have to be adaptable in this game as he’s absolutely right, every show is different. I think you also have to be a people person; as a producer you’re managing a lot of different people and personalities.

DAMIAN: What makes you a good producer?

JOHN: Ha, I don’t know if I am! You’ll have to ask the people I’ve worked with!

NEIL: I don’t think I’m there quite yet.

DAMIAN: Do you have a favourite film from this series and which was the most difficult to work on?

JOHN: I genuinely like all of them for different reasons! That’s part of the success of Endeavour, each film is creatively quite different and there’s elements to each one I really love. The most difficult to work on was definitely the opener as there’s a lot of expectation and pressure on making it right. Plus I was new to the show, fairly inexperienced too, and personally I felt I grew stronger as a producer after each film so for me, looking back, I found that one the most challenging.

NEIL: I think film 3 is excellent. Film 4 was a real challenge – we had to split the army base over 4 different military locations and the weather was very unkind to us.

DAMIAN: What was the single most difficult aspect to producing Endeavour or producing in general?

NEIL: The travelling was difficult. Endeavour is filmed across quite a large geographical area. Because locations are so important to the show, we had to do lots of driving on recce’s and during the shoot itself. I spent a lot of time stuck in motorway traffic jams.

JOHN: Making everyone happy, perhaps. You can’t always do it! Filmmaking is an art, an art that happens to have been turned into a successful business but it’s still subjective. What one person likes another might not and sometimes as a producer it’s tricky to navigate through that when you have a writer, director, exec etc preferring different things. Luckily 9 times out of 10 we were all in agreement though!

DAMIAN: Do you think you’ll stick to producing now or are there also other areas you’d like to explore?

JOHN: I love producing, so definitely. I also love development and I’m working on a few of my own ideas which, when they are ready to take to market, I’d love to attach a writer and follow through to delivery. That would be the dream.

NEIL: I’m happy producing – it’s a good time to be doing this job as there’s lots of opportunity and growth in TV drama at the moment.

DAMIAN: John and Neil, thank you both very much indeed.

JOHN: Thanks. All the best.

NEIL: Thank you Damian.

~

THE ENDEAVOUR INTERVIEWS 2018: Lewis Peek

Introducing DC George Fancy

An exclusive ENDEAVOUR interview

With Lewis Peek

Interview copyright © Damian Michael Barcroft 2018

~

DAMIAN: I’d like to begin by talking about your childhood in Devon and for you to perhaps give me an idea of the sort of television, film or theatre that you were exposed to during this impressionable age. What was it like growing up there and at what point did you realise that you wanted to act?

LEWIS: I guess I’m biased, but I would say Devon is one of the best places to grow up in the UK and I’ve always been extremely proud to come from the West Country. Devon is an incredibly tranquil and picturesque part of England, but in terms of opportunities to get involved in TV and Film, you find yourself a little isolated from the rest of the country. I’d always had an interest in the screen and I have a vivid memory of watching the first Lord of the Rings film when I can’t have been more than eight, and coming away absolutely mind blown and swept away by the experience. I became so interested in how Film and Television conjures up these vast worlds and storylines, and it was something I desperately wanted to be a part of. I couldn’t  give you the exact moment or event that made me want to become an actor – I’ve wanted to act for as long as I can remember.

DAMIAN: Which actors did you find particularly inspiring?

LEWIS: Jake Gyllenhaal is an actor I’ve always been particularly drawn to because the majority of the parts he undertakes tend to be quite interesting and understated – a little outside of the box – the kind of characters I could see myself playing too. Naturalism and finding truth is something I always strive for, so any actor who executes that well inspires me.

DAMIAN: Looking in the mirror as a teenager then, faces constantly changing and evolving, was there ever as sense of what sort of characters you would be suited to or feel comfortable playing?

LEWIS: I always saw myself playing more introverted, enigmatic characters because that’s what I felt like at heart, not the more generic male leads or love interests. I always feel like there is a big difference between what characters you see yourself as, opposed to how others see you. But I suppose that’s what being an actor entails, using your abilities to embody whatever character the part requires you to be.

DAMIAN: It’s become something of a cliche for writers but I still like the quote that goes something like, ‘I don’t enjoy writing, but I enjoy having written’. Given that so many actors often say that they don’t like seeing themselves onscreen, is this quote the exact opposite when applied to performing?

LEWIS: I guess it depends on the actor. I know people who watch themselves and I know people who don’t. It’s preference. For me I will watch the things I make for a couple of different reasons. One being – let’s take Endeavour for example – I spent the majority of my time last year on the project and a lot of my head space, I met incredible people and want to see what we made as a collaboration. I enjoy viewing the scenes that I wasn’t involved in. Another reason is that I believe it is important to evaluate your work. I can see the things that I liked and also maybe some mistakes I feel I made, which probably only I would pick up on. For me not watching my work especially in the early stages of your career is missing a vital opportunity to better yourself as an actor. But on the whole I wouldn’t say I enjoy watching a performance I give as I think it’s impossible to distance yourself from the character. At the end of the day I am literally just watching myself.

DAMIAN: From previous interviews with actors, I often get a sense that there’s a contradictory nature to them, almost an ongoing battle of uncertainty between confidence and insecurity especially in the early stages of their careers. Having enjoyed the exposure that came with your role as Ted Carkeek in the hugely successful Poldark, did you breathe a sigh of relief and find a certain sense of security or accomplishment as an actor?

LEWIS: Poldark was an incredible experience and a great reassurance that I was moving in the right direction and finding my feet in the industry, but in no way thought that I had ‘made it’ as an actor, it was more of a stepping stone to bigger achievements. I wasn’t naive enough to think it would be easy from that point on, in a way it gets harder because you are striving to outdo yourself, but I think that is something every actor feels at every stage of their career. Being an actor for me is about progression, to quote one of my favourite lyrics ‘I’ll never be as good as I’d like to be’.

DAMIAN: Indeed, after filming Poldark, you worked in a coffee shop for a while. I imagine working there that you’ve had your fair share of grumpy and complaining customers. I’m wondering if on a particularly bad day you were ever tempted to scream ‘I’M TED CARKEEK FROM POLDARK!’?

LEWIS: Definitely my fair share of complaining customers! But I always liked to keep my career at arms length from any other work I did on the side. So to answer your question no, and if I am honest I don’t think anyone would of known who that was!

DAMIAN: Well, something to really shout about is your role as Detective Constable George Fancy (originally Bob Fancy before negative checking couldn’t clear the name*). Now, there wasn’t much of a description in the script for your character other than he was a young shaver but rather it was one of those cases where they had a pretty good idea what they were looking for and would know when they found it. So, given that there was so little description and you obviously couldn’t guess what was inside their heads, how did you go about playing Fancy in the audition?

LEWIS: I guess instinct. That is all you have in those situations. Once you have taken all the information you can from the scenes you are given for the audition, and the notes on the character – which the majority of times are very brief – then the rest is up to you. I always see it as this: you go into the audition and present the character the way you think it should be played. If this instinct you use to play a character is what the team who are casting are looking for then you’ve got the part. With Fancy when I first got the scenes I immediately saw a part of my teenage self in him, especially when I was in school. So I thought about that and then kind of just read the lines as younger me, but still having in my mind that he was a 22/23 year old man. There is always a part of you in any role.

DAMIAN: Can you describe the moment you found out that you landed the part and how did you celebrate?

LEWIS: I was living in Devon still but was in London at the time. I had just finished a second recall for the current UK tour of War Horse. Emerging from The National Theatre’s toilets I saw I had a missed call from my agent. It was about a week after my third audition for Fancy. So I rang him back and he was like ‘Oh, you’ll need to come back to London on Monday’. I just thought this was maybe for another audition. Then he said ‘Because you have the read through for Episode 1 of Endeavour‘. I couldn’t actually believe it and I think I asked him if he was joking about five times! I was ecstatic, and it’s always extra special when you land a role which you really wanted, and this was one of those cases. In terms of celebrating I didn’t do anything extravagant, just spent time with friends and family at home.

DAMIAN: So, you find yourself in Beaconsfield standing in an old gymnasium where some of the sets have been built. Taking a short walk along the corridor and past the police noticeboard, you turn right through the door and you’re in CID with such a fine ensemble of actors ready to film a scene. What’s going on inside your head?

LEWIS: I couldn’t even explain. A lot. Above all I was extremely nervous. I had joined a phenomenal cast, the majority of which had been working together on the show from the get go, which at the time would of been 4 years. But I had to trust and reassure myself I had been picked for the right reasons, and I was here to do my job. I was so welcomed though that I quickly found my feet in the cast and felt like an integral part of the team.

DAMIAN: The writer, Russell Lewis, has always tried to explore Endeavour’s character and reveal fresh aspects of his development both as a detective and a human being. Finally, having been promoted to Sergeant at the end of the last series, and after been mentored by Thursday for so long, it is Endeavour’s turn to take on a young apprentice. What does this reveal about Endeavour and how would you describe his relationship to Fancy?

LEWIS: It reveals a whole lot about how Morse deals with responsibility. At first he is very reluctant to mentor his new apprentice and even says to Thursday ‘I’m used to working alone Sir, he’d learn more from you’. I won’t say too much on the subject as I want the audience to see how their relationship evolves, but it certainly puts Endeavour in a situation he is quite alien to. I feel that even though he doesn’t really want this occasional burden, he has to learn to accept his new responsibilities and do his job the best he can.

DAMIAN: I don’t know if you’ve ever watched the original series but to what extent do you think the relationship between Endeavour and Fancy foreshadows that of Inspector Morse and Sergeant Lewis?

LEWIS: I would hate to make anyone feel old but, I wasn’t born when Inspector Morse was released and we unfortunately never crossed paths.

DAMIAN: What’s the character dynamic between Fancy, Thursday and Bright and what’s it like working with actors with such gravitas as Roger Allam and Anton Lesser?

LEWIS: Their relationship is different of that with Fancy and Morse, which is probably a good thing. As you’ll see in the first episode Morse doesn’t quite take to his new colleague Fancy but does still have his back. Therefore a lot of Fancy’s early mishaps are left unseen by the two big dogs. But Thursday and Bright are totally pro Fancy throughout the series and give him a lot of credit, probably more than he deserves. They are masters of their fields, and as the highest ranks Fancy has tremendous respect for them.

Working with any actor who has had a long and successful career is extremely humbling. I actually spent quite a bit of time watching and admiring their performances at any chance I could. I learnt from them and had some very valuable conversations with many of the principle cast. Anton in particular being the kind and gentle soul he is had many a wise word of wisdom about the ups and downs of being an actor.

DAMIAN: And what about his relationship with the younger officers such as Strange and Trewlove?

LEWIS: As the three youngest members of the force there was always going to be connection with Fancy and those two naturally. Fancy spends a lot of time with Strange, and even though Morse is labelled as Fancy’s mentor, he learns a lot from him. Straight off the bat Strange accommodates and makes Fancy feel welcomed, and Fancy clearly appreciates this. I would definitely say Strange always has Fancy’s back even when things are not looking up for him. Fancy and Trewlove’s relationship is one that I will let people see develop for themselves.

DAMIAN: Tell me a bit about location filming in Oxford and how do you find the reaction from the fans?

LEWIS: It’s the home of Morse, it’s where it belongs. Anytime I got to film in Oxford itself was an absolute pleasure. You cannot beat filming in a real location and especially somewhere where the location itself really encapsulates the show and is so integral to the story. For me it makes my job so much easier. I do really feel like a detective in 1968 walking the streets of Oxford and prowling around the colleges. Seeing so many fans come out to watch drives home how special and well received the show really is. There seems to be a real excitement in the air when Endeavour comes to town.

DAMIAN: One of the things I like most about Oxford is exploring the pubs, so many of which have obviously featured in Inspector Morse, Lewis and Endeavour over the years. Did you discover any personal favourites during your visits?

LEWIS: I think I was lucky enough to film in two of the famous Morse pubs in Oxford. Walking into them and seeing the sets that I had only seen on the TV was very special. To top that off, to actually get to be a character in these iconic locations was wonderful. I wouldn’t say I had a favourite as I unfortunately never got to sit down as a punter and have a beer.

DAMIAN: Your family must be so proud and over the moon for you, particularly as we get closer to transmission of the first episode. Will they be joined together round the TV to see the debut of DC George Fancy?

LEWIS: Of course! Luckily a lot of my family are big fans of Endeavour so they will be glued to the television.

DAMIAN: Lewis, thank you very much indeed and before I go, can I get an espresso please?

LEWIS: I’M TED CARKEEK FROM POLDARK!

~

*  Television and film productions have to clear any names of fictional characters so that they can’t be confused with people in real life and thus avoid any legal complications.

THE ENDEAVOUR INTERVIEWS 2018: Russell Lewis Part I

PROLOGUE

From Burslem to Beaconsfield

I’d always lived in and around Stoke-on-Trent while Kirstie resided in Uttoxeter. I wouldn’t say I’m a particularly proud “Stokie” but, and despite the occasional unflattering cultural references to Stoke in shows such as The Likely Lads and Steptoe and Son – not to mention Prince Philip’s alleged description of the city as ghastly, I don’t have a chip on my shoulder about it either. However, not long after we’d met while studying Media together at a college in neighbouring Burslem (or Bursley as Arnold Bennett renamed it in his Five Towns novels – some of you may recall the 1952 Alec Guinness film, The Card, based on a story by the author set and largely filmed on location in Burslem), she told me with no small measure of relish, and a slightly annoying air of superiority, that people like me in Stoke were generally known to people like her in Uttoxeter as “Chip eaters”. Well, I’d never heard of such a phrase before but later discovered the Urban Dictionary definition is as follows: ‘Common person, usually resident in one of the lesser-developed cities such as Liverpool who likes to eat chips for/with every meal’. Good “evans” – I hope this doesn’t mean everyone from Liverpool!

I protested that I didn’t even like chips that much, but as always – or at least more often than not, Kirstie was right and sure enough chips do seem to feature heavily in memories such as me, as a little boy, sitting on a wall eating a bag of chips in Llandudno (strangely enough, Alec Guinness’ character, Denry Machin, in The Card also enjoys holidays in Llandudno) with my Mum, Nan and two uncles who were more like older brothers since my Mum fell pregnant at a relatively young age. Two divorced and single cash-strapped Mums trying to raise us boys as best as they knew how but what marvellous stories they told us there including how Lewis Carroll (there’s a little Oxford connection while you wait patiently for me to get to the point) would visit the young Alice Liddell at her holiday home on Llandudno’s West Shore and, during those ‘happy ramblings’, saw a white rabbit hastily hopping along the beach which allegedly (it’s never been proven that Carroll ever even visited Llandudno and local historians continue to argue about it to this day) inspired that most wonderful of adventures.

Another happy memory, some years later and now almost a teenager, I met up with my Dad one Christmas Eve and he gave me a card with some money in it. I was rich!!! Well, at least for a few hours because I then went shopping and spent most of it that same afternoon buying horror videos from Woolworths. A new film on VHS usually cost £9.99 back then but you could get twice as many in the budget Cinema Club range at a bargain £4.99 such as old classics like Roger Corman’s The Fall of the House of Usher and the original Invasion of the Body Snatchers. Most, but not all of the money because I decided that for my very first independent visit to a restaurant, and I did feel ever so grown up, I would treat myself to the finest meal in town! So, there I sat alone and really rather pleased with myself, in the grand cafeteria of British Home Stores eating chips and beans surrounded by some delightful old ladies sucking cigarettes and slurping tea.

Today, and I promise to get to the point now, I couldn’t be further away from The Potteries or sadly neglected and now lost department stores because I’m in Beaconsfield at the headquarters of Team Endeavour hobnobbing with the cast and crew. But, as we shall see,  not all that much has really changed and I’ve simply swapped delightful old ladies with delightful television-makers sucking cigarettes and slurping tea. However, I’m here specifically to meet with writer and executive producer, Russell Lewis, and to make a start on my annual batch of Endeavour interviews once more. It’s a cold Autumn morning and the penultimate day of filming. I haven’t met with Russ since one lovely summer’s day in 2016 so we have a lot of catching up to do and I have many questions to ask him regarding the making of series five as well as our usual analysis of films from the previous series.

Turns out that Russ has one or two questions of his own: what time does filming break for lunch? (about 12:45) and what’s on the menu? (Shepherd’s pie or vegetable burrito both served with various sides – including chips!). Now, I can’t have the Shepherd’s pie because I don’t eat meat and I’m not very adventurous with food so I ask what the vegetable burrito is all about. Wise and wonderful man that he is, Russ tells me it’s probably, rather than quite obviously, a Mexican wrap filled with vegetables but he says it in such a nice way so as not to make me feel stupid for asking such a ridiculous question. Russ actually goes for said vegetable burrito. Me? Well, remembering Kirstie’s remarks all those years ago, I certainly don’t want to appear to be a “common person” in such esteemed company and as we stand in line watching Roger Allam walk away with his Shepherd’s pie and Anton Lesser just a few feet in front of us in the queue (he also has Shepherd’s pie – I don’t know where Shaun Evans has gone but perhaps, like Endeavour, he doesn’t eat all that much) I consider following in the footsteps of my mentor, but no, I stay true to myself -an unadventurous vegetarian who doesn’t particularly like vegetables- and stick to what I know; I do, of course, simply have chips.

And, as Russ and I sit here talking about Endeavour, canteen food, and childhood trips to Woolworths, I smile and wish she was here to share this little moment with me because Kirstie was right after all and I know that this will prove to be another happy memory…

…served with chips!

DAMIAN: Do you wish you’d have had Shepherd’s pie or are you happy with the vegetable burrito?

RUSS: I like to live on the culinary edge.

DAMIAN: There’s something comforting about canteen food isn’t there?

RUSS: Yes – I’ve always had a weakness for it.  Not that I’d compare the fare magicked daily by the battalion of chefs de cuisine in our field kitchen to canteen grub.  One of the things I’ll most miss due to the cultural vandalism visited upon BBCTVC at White City is its sundry canteens. There was a lovely one at ATV Birmingham Studios in Broad Street – back in the day.  And also at Elstree – now home to Walford Square – when it was an ATV base.  (You’ll recognise it as Harlington-Straker Studios in Gerry Anderson’s UFO.)

Long term guests of Her Majesty might disagree, but there is something comforting in communal eating.

DAMIAN: What restaurants and shops do you remember from your childhood – are they similar to my favourite haunts such as BHS and Woolworths or are they a bit more posh like Burridges?

RUSS:  Posh?  Sarf London?  I suppose Arding & Hobbs up the Junction had a certain piss-elegance.  It was probably the prototype for Burridges – in my fever dreamscape.  Palaces of wonder and delight.  Wooden stepped escalators.  Lifts that still boasted lift operators.  But I’m aware of dark corners also.  A sense that behind the public façade there was a backstage, backstairs world.  Unsettling, and vaguely malevolent.  Department stores after lights out…

We did have a Woolies, of course.  Pick ‘n’ Mix.  A coin-operated launderette at the top of the road.  And on the other side of the street, there was an ironmongers cum haberdashers called Cato’s (One for the classicists.  And Pink Panther fans) that hung its wares around the doorway.

A supermarket that probably inspired Richardson’s called ‘Frosts’ – which, thinking about it now, gives me a shiver.  The strange associations a child’s mind makes – with the limited information available to it – had tied it into ‘Jack Frost’; a faintly demonic figure in my imagination…  ‘Wrap up warm or Jack Frost will get you.’

Toyshops, of course, loom large in memory.  I’m surprised they haven’t turned up yet.  Russ’s on Battersea Rise was the favourite.  More of a model shop.  This was where I got most of the Aurora ‘Glow in the Dark’ Universal Monster kits from – which you’ll recall feature a bit in Salem’s Lot.  Sun blanched Airfix mornings.  The faintly orange tang of a certain brand of model glue.  Jumpers for goalposts…

Otherwise, I remember when this was all fields.

DAMIAN: There’s a reference to buying records from Woolworths in the second film of series four which obviously resonated and made me think back to the first singles I purchased from there as a kid such as Diana Ross’ Chain Reaction, Bobby Vinton’s Blue Velvet (the David Lynch film had just been released) and, erm, I’m ashamed to admit, Anita Dobson’s Anyone Can Fall in Love. I was only eleven at the time but I must confess to having an enormous crush on Angie Watts. Do you remember the first records you bought as a kid?

RUSS: I remember Lily the Pink by The Scaffold being the first 45 in the house. LP-wise it was Sparky’s Magic Piano, and Sparky & the Talking Train.  Magic Piano probably explains a lot.  It’s deeply disturbing.  An anxiety dream committed to vinyl.

Mostly it was family 78s – though.  Played on the radiogram.  Tennessee Ernie Williams.  Slim Whitman.   Eddie Calvert.  Rosemary Clooney.  Frankie Laine.  Doris Day.  Kathy Kirby maybe. Much fun to be had for a kid in playing them at the wrong speed.

I think I might have had to explain to [Helen] Ziegler [producer] about 78s.  How to feel old, Part.1318.

At some point I acquired ‘Back Home’ by the 1970 England World Cup Squad.  But the first record I bought – a double LP – unsurprisingly, was The James Bond 10th Anniversary Collection.  A selection of John Barry cues from the first seven Bond movies.  I got it from Readings For Records on Lavender Hill.  And it cost the princely and unimaginable sum of £3.65.

Before that the only other LP in the house was Hits ’68 – a knock-off of the year’s hits by the unoriginal artists.  A lunatic collection of covers — ‘Don’t Stop the Carnival’ by Alan Price sitting cheek by jowl with ‘Cinderella, Rockefeller’.  And, of course, ‘Congratulations’ – our Eurovision entry.   There’s a Tom Jones hit on there too – which stood me in good stead for this year’s adventures.

Dear Diary…

DAMIAN: In addition to reminding us of happy afternoons in Woolworths, you’ve recreated a wonderful, bygone age and your scripts are full of nostalgia that viewers of your generation, and even people like myself born a decade or so later, will recognise with references to things like post-swim kids clutching cups of hot Bovril, women reading ‘Titbits’ magazine, men drinking Double Diamond, the tin bath in front of the fireplace, the “Necessary” at the bottom of the yard, back parlours kept for “best” and marvelling at a colour television for the first time – quite lifelike! To what extent is all this an evocation of your own family experiences and childhood?

RUSS: Well – due to family circs – I’m part of a demographic raised by people of a generation at one remove from one’s birth parents.  People who remembered the Titanic going down, the Great War, and – as I’ve mentioned before – the man who was good enough to give me a surname, did his tin-hatted bit in the ‘second go-round.’  So – through them – all that was very present and incredibly vivid as I was growing up.  The hoary old joke I’m given to trotting out is that I didn’t know the war was over until I was twelve.  An exaggeration – but not by much.

The Larkins (TV series 1958-64)

Here Come the Huggetts (1948 film)

DAMIAN: I think it was in one of our first interviews that I made the observation that series one was all about family. However, since then, I now realise that this goes much deeper as the series progresses. As we know, and in the absence of a loving family of his own, Endeavour finds solace in the Thursday family of Fred, Win, Joan and Sam. Additionally, we also witness his professional family of Bright, Strange, Max, Trewlove and Dorothea. Very sadly, you seem hellbent on ripping all this apart don’t you?

RUSS:  Things change.  I think if we’d frozen the Thursdays in aspic, and turned them into an Oxford version of The Larkins, or Here Come the Huggetts, that it would have been dishonest. The social change convulsing the rest of country had to affect them.  Joan and Sam had to grow, and find their own way.  And the same with Endeavour’s colleagues.  Nothing lasts…

THE DARK PASSENGER

AN EXCLUSIVE ENDEAVOUR INTERVIEW WITH RUSSELL LEWIS

PART I: GAME

Interview copyright © Damian Michael Barcroft 2018

With thanks to Darcy Sarto, Katie Driscoll & Inigo Jollifant

~

‘Early evening over dreaming spire and cupola. Gargoyle and pediment dissolve softly into shadow. Faces in stone. Blind eyed. Choked with ivy. Stare out from the walls of a hidden FELLOWS GARDEN.

Sheldonian Square deserted. Backs and lanes – empty. July – 1967. The ‘Long Vac’. A landscape without figures. Melancholy. Haunted. Secret.’

– Excerpt from the opening page of GAME (1st draft)

~

DAMIAN: So, Sam is still away in the army, Joan has been gone for two weeks and now Win is either out at work cleaning or attending keep fit classes leaving poor old Fred home alone when he’s not coppering. Like Endeavour, couldn’t we have enjoyed some respite from the ‘orrible murders and basked in the warmth and happiness that came from peering into the Thursday household just a little bit longer and isn’t there a real sense that all this change is happening far too quickly?

RUSS:  Not for us, I don’t think.  Three story years – four/five years in real-time.  I hate to drag you back to the Fab Four again, but they’re a pretty good yardstick for the pace of change. From Help! and Rubber Soul in ’65, (from which we took GIRL), to Pepper and Magical Mystery Tour in ‘67 is one hell of a journey.

Perhaps if we’d known exactly how many series we were going to make from the outset, we might have paced things slightly differently, but you play the hand you’re dealt, and do the best with it you can.

There is a method to the madness.  A gradual, slow but relentless, turning of the screw. Whenever we take our leave of Endeavour, hopefully we’ll have laden him with enough emotional baggage, and provided enough signposts, that our understanding of the Chief Inspector he is destined to become is enriched.

DAMIAN: Series four opens with the following and in the first draft of your script for GAME you go into great detail describing the music and its sound: ‘Strange, unearthly music… Slender rods of GLASS, droplets of water beaded upon them. The drops tremble and fall into darkness… We are looking at, and listening to, a pair of cristal Baschets, one of which is a bass incarnation of the instrument… A small chamber concert. A duo onstage perform Gnossienne No.1 [changed to No.3 by draft four], by Erik Satie. Looking and sounding like nothing on earth, the ethereal tones are created by the players running wet fingers over tuned glass rods. The resulting vibrations are thus amplified and broadcast through the mouths of a trio of conical resonators of ascending size… a reservoir of water at the front of each instrument, into which the musicians dip their fingers’. Why was this piece and the particular way in which it was performed so important?

RUSS:  Er…  I won’t come out of this very well, but I’ve carried lifelong an unhealthy obsession with a Programme for Schools and Colleges from the 1970s called Picture Box.  It was presented for the most part by Alan Rothwell, who cued and introduced a filmed section.  However, what stayed with me – and a generation of school bunkers-off – was its opening credits.  Youtube will see you right — should you wish to become likewise troubled [see link here].  The accompanying music had this other-worldly fairground vibe – and thanks to the internet, I was finally able to track down how it had come into existence.  The cristal baschet was invented in the early 50s by a couple of French brothers – les freres Baschet, no less — who created sound producing sculptures and, also, new musical instruments, including the inflatable guitar!

The instrument was initially deployed in the field of avant-garde musique concrete.  The Picture Box theme was lifted from an album by a pioneer of the instrument – Jacques Lasry – that came out in 65, called Structures Sonores.  And the track in question is called ‘Mánege’.

Matt Slater managed to track down a couple of baschet players in France, where else!, (they’re madly rare – baschets, not French people) and we brought them and their extraordinary instruments across, and recorded them playing the Satie live.  Tough parts for baschet players I’m told.

Amazing bits of kit to look at – properly space age and ‘way out, man’ – while at the same time weirdly organic, and absolutely dependent for their sound upon the use of that most vital ingredient for life…  water.  Quite beautiful in their way.  They felt very right for a series that was looking at new technologies.  And particularly for a story that played with the idea of the ghost in the machine.  The baschets are acoustic, but look as though they shouldn’t be.

There was something pleasing in making a visual connection between the reservoir the players use to wet their digits, and the sacrarium in the church into which our second unfortunate dips her fingers.  Another ghost in the machine – albeit one altogether holier.

DAMIAN: You often mention a variety of actors, characters or general cultural references in the description of your scripts which audiences obviously never get to see. Indeed, GAME contains the following: a white haired boffin from a 50s B-Movie (Professor George Saxon), a Spencer Tracy of a Priest (Father Linehan), the shoulder of his Norman Bates corduroy jacket (Clifford Gibbs), a young Gordon Jackson (Broderick Castle) and a forty-something John Wyndham by way of Dirk Bogarde (Dr. Bernard Gould). Do you do this to help the casting director, to aid the actors in visualising their characters or simply for your own amusement?

RUSS: Probably a bit of both.  It’s a short-hand for Susie Parriss – our saintly Casting Director – as often as not.  A type. I tend to go for deceased actors because invoking the living as a template can be unhelpful.

DAMIAN: For those in the cheap seats, The Beatles references continue to be ever present but we’ve covered this before and will probably touch upon them slightly again when we discuss CANTICLE but I did promise the reader last year that we’d get to the bottom of your Tony Hancock fixation one day. Well, now seems as good a time as any…

RUSS:  Well, Hancock’s place in the British comedy firmament – chiefly through the happy serendipity of his association with Galton and Simpson – is unassailable.

More practically, I’m not sure it’s a fixation as much as a very handy snapshot of social pre-occupations of the time.  Steptoe & Son is another.  No accident they were both written by Galton & Simpson – praise them with great praise.  Comedy – perhaps more so than drama – draws on relevant contemporary figures and anxieties its audience will recognise for humorous effect.  It’s by its nature acutely ‘observational’.

Despite your sensitivity re: Clement & LaFrenais’ pot-shots at Stoke, one can probably learn more from The Likely Lads – and Whatever Happened to the Likely Lads – about the state of the nation, and particularly the North East, at the time, than one could from three years at Lonsdale reading social history.

So – though Hancock was getting very near the end, and had split with Galton and Simpson some years earlier, some of those mid-late 50s and early 60s things still had currency. I’ve said before that it seemed to me the mid 60s still had one foot in the 50s.  And, as you’ve rightly deduced, there’s more of a whiff of The Missing Page about GAME.

A pleasing connection that brings all full circle is that our own Susy Kane has played Andree Melly in Neil Pearson’s brilliant radio recreations of The Missing Hancocks, with Kevin McNally giving a truly extraordinary performance as ‘the lad himself.’  Utter joy.

Susy Kane in Nocturne and recording The Missing Hancocks below

DAMIAN: And there’s also a bit of Bond again with the Russian chess player (and Trewlove mentions the Kronsteen variation) but was it difficult to write all the jargon and various moves or did you consult an adviser?

RUSS:  Mmm.  No – I was familiar with most of it, but we did consult an advisor to make sure there were no unintentional howlers – as against the intentional howlers we include for those who like to truffle out such things.

DAMIAN: You told me last year that you wanted to explore Harold Wilson’s ‘White Heat of Technology’ in GAME. Was this in some way used to signpost the changes ahead for this and the next series and also why was the original nod to 2001: A Space Odyssey changed from H.E.L.420 (the Heuristic Electronic Logician or HEL for short) in the original draft to Joint Computing Nexus/J.C.N/Jason?

RUSS:  Well – HEL was a place holder until I’d come up with something better.  How true it was that 2001 went for HAL because IBM wouldn’t let them use their company name (so Kubrick and Clarke just shifted everything forward by a letter) I can’t say – but we followed the example. And Jason’s not a bad name for a crazed serial killer, is it?

DAMIAN: Thursday, particularly when he’s in a bad mood, will occasionally ask Endeavour to drop him at the tobacconist/newsagent as he does in this film and says he’ll walk to Cowley Police Station from there. Is the shop the one that can still be found on Holywell Street opposite New College?

RUSS:  There’s a couple he patronises.

DAMIAN: This has been bothering me for a while so can you confirm where exactly is Cowley Police Station and how long would it actually take Thursday to walk?

RUSS: It would depend on his pace.  And the demands of the story.

DAMIAN: And can you confirm what Thursday has on his Wednesday sandwich?

RUSS:  Yes, I can.

DAMIAN: Oh! In the scene with the now surely classic line ‘This one’s as ripe and runny as a rancid Roquefort’, Endeavour asks Max where he stands on love. Now, initially I just took their exchanges including ‘Love and fishing. Sooner or later it all comes down to the same thing. The one that got away’ as simply a reference to Joan. However, having read the slightly longer scene in the original draft with more Housman quoted, I’m wondering if Max is also referring to his own lost love?

RUSS:  I think ‘And one was fond of me, and all are slain’ made it through to the final cut. Further I would not wish to go.  Jimmy Bradshaw delivers it so beautifully, and his performance says far more than I could on the subject.

DAMIAN: Let’s move onto Kent Finn. One of his crime novels is called ‘Just For Jolly’ and as you know, I have a keen interest in the Whitechapel Murders – was this a nod to our friend Jack?

RUSS:  Of course.  Jolly being the nickname of his detective – Jolliphant — we just had a bit of fun playing around with made-up titles for his back catalogue. I think we had about a dozen or so in the end, which were required for the Art Department to mock up his other novels.

The following images, which have never been seen before outside of the production office, were created by the brilliant graphic designer Katie Driscoll and I’m extremely grateful to her for letting me show them here.
Below is an unused cover which favoured a more film noir photo look but then Katie decided to go down the route of painted pictures as it was thought that all the Jolly books should have a matching style when they were seen together at the book signing. However, the photo style one was dressed into Kent Finn’s house as though it was an earlier edition of the book so although it wasn’t really seen it was built into the story for the art department.

DAMIAN: Kent’s house is a menagerie of curiosities including the stick men, the death mask painting (L’Inconnue de la Seine), the wine collection and his various memorabilia related to his fiction. Do these objects, and indeed Kent himself, hold a wider significance to Endeavour beyond GAME?

RUSS:  Mmm.  Remains to be seen.

DAMIAN: I actually thought Kent was by far one of the most interesting new characters introduced in this series. You describe him as ‘a brooding inkslinger clinging to his thirties by a fingernail… [his fandom as] an Oxford equivalent of James Ellroy’s ‘peepers, prowlers, pederasts, panty-sniffers, punks and pimps’…” and on seeing Dorothea, “A flirty, lupine smile plays roguishly about his lip… is the kind of crap line that belongs in one of his novels’. However, I was disappointed that someone as wise and perceptive as Dorothea would get involved with such a man. Can you explain the extent of their relationship comparing the various drafts to what we finally saw onscreen?

RUSS:  That’s a tough one. I think it was very early days in whatever it was that might have been between them, but that Dorothea would very soon have seen through him.  As for his fandom – I think we ended up with a more staid and traditional readership.  Though, of course, what goes on behind the net curtains of his devotees is another matter.

RUSS: And as exciting as the chase and subsequent car crash was to watch, I’m wondering in retrospect if seeing Dorothea in the role of damsel in distress was also a little disappointing as oppose to giving her something more empowering to do?

RUSS:  Hmm.  Well – that’s not what we were trying to do.  I think what’s key is that she fought back; she got free and started strangling him with his own rope.

DAMIAN: Continuing with the theme of water in the film, I think fans will be fascinated to learn that instead of the car engulfed in flames, your original idea was to have the car and Dorothea submerged in water. What can you tell us about your original idea and the reason it was changed?

RUSS:  One has to cut according to the cloth.  Water seemed to suit – thematically.  There was a lot of back and forth in production meetings, but in the end one has to be pragmatic.

DAMIAN: And so series five is almost upon us. Whose idea was it to extend the run from the usual four films to six?

RUSS:  The audience has often expressed a wish for more than four stories, and the Network felt the same.  We were happy to oblige.  But it places huge demands on the principal players’ time and precludes them from doing anything else with their year.  I think that should we return it would be in our more usual quartet format.  That frees up the actors to do other things. Theatre.  Film.  Other telly.  And – with Shaun – to wear his directorial hat.

DAMIAN: You see I worry about you Russ and I’d now like to speak to the dark passenger you mentioned to me last year – a Dexter of quite a different colour perhaps. You’ve told me that writing sometimes becomes an out of body experience and the choices made therein almost subconscious. Additionally, you say that there’s no sleep until you write ‘ROLL END CREDITS’ which sometimes means you don’t sleep for forty-eight or even seventy-two hours and it is during these times that your dark passenger appears. This can’t be very healthy for Russ can it?

RUSS:  I can’t speak for Mister Hyde, but for my part – it’s a case of needs must.  You do what you have to.  One of the few comforts of social media is seeing other writers posting in the dead of night – or, having just typed ‘The End’ or its equivalent, crawling hand over hand up the wooden hill.  So, you know you’re not the only living boy in Crazyville.  But it’s interesting to track the gradual mental unravelling and disintegration that arises from such extended periods of sleep deprivation.

DAMIAN: I mean you’ve spent the best part of the last five years on this show and sometimes filming a series can take up to nine months during which time you’re usually doing rewrites between finishing the script for the next film. I’m just wondering if and when you can switch off. Indeed, I’m reminded of Peter Pan in which Barrie writes ‘You know that place between sleep and awake, that place where you still remember dreaming… That’s where I’ll be waiting’. Are you able to leave Endeavour, Thursday and Co. at the keyboard or do you take them to bed with you where they constantly wait in that place between sleep and awake?

RUSS:  Switching off isn’t really an option.  As for them haunting my dreams, it depends how much trouble I’m having.  If there’s a particularly tricky conundrum that got my waking mind occupied, as often as not the answer will come in the dead of night.  I think I read somewhere that anything less than three hours sleep makes little or no difference to one’s physical/mental state, and one might as well forego sleep altogether.

DAMIAN: It’s a new year – out with the old and in with the new! This series will be broadcast exactly fifty years after it’s set so what can we expect to see in 1968?

RUSS:  It’s a most turbulent year – and that makes its way into most of the stories in one way or another.  We see the arrival of a new character at the nick – the young George Fancy, played by Lewis Peek.  And that gives us something new to play with.

Funny – I’d not thought of it before – but I suppose could be described as ENDEAVOUR’s White Album; insofar as it’s longer than anything we’ve done before.  And I think I remember something in the liner notes for that particular artefact about it being a ‘New Phase’ Recording. I suppose the song that informs much of what we’re about is ‘Revolution’.  Paris.  Prague.  All flows from that to a greater or lesser degree.

The exact half-century was often sobering.  On the one hand, how far we’ve come – but, all too often, how far we haven’t.  One didn’t seek parallels, but, with even the most cursory overview, they come thick and fast, and to have ignored them would have been remiss.  With 1968, perhaps more so than any other series, it felt in many regards a serious case of plus ça change.

DAMIAN: We began by talking about how the family dynamic changed during the last two series but reform also seems to be the key theme for series five as well doesn’t it?

RUSS:  Yes – I think one of the scene directions for an early moment in tonight’s film suggests that we are into the comedown from the Summer of Love.  Everything feeling a little shop soiled.  Hung over.  Soured.  November will see Cream’s farewell gig at the Albert Hall.  An electric performance – but Ginger, Clapton, and a white-faced Jack Bruce – certainly as captured in Tony Palmer’s footage – seem the antithesis of a certain, unthreatening, ‘bring ‘em home to meet your Mum’, madcap, mop-toppery that defined the earlier part of the decade.

It’s a little over a year until Danny the Drug Dealer will bemoan the fact that they’re ‘selling hippy wigs in Woolworths.’  But there is already an air of disillusion and discontent abroad. And that’s manifested to some degree at Cowley nick.

DAMIAN: For now Russ, thank you very much indeed.

RUSS: A pleasure, as always.

~

ROLL END CREDITS