Tag Archives: Endeavour Series 5

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.

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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

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With very special thanks to Gilbert Taylor

& Denys Coop

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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