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30 YEARS OF MORSE ONSCREEN

An exclusive celebration

by Damian Michael Barcroft

Copyright © Damian Michael Barcroft 2017

For Colin…

Our love to you and your family.

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

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

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

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

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

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

ED BAZALGETTE

Director ~ GIRL

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

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

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

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

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

JAMES BRADSHAW

Dr. Max De Bryn

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

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

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

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

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

SAM COSTIN

Script Editor ~ Series I – III

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

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

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

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

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

IRENE NAPIER

Make-up Designer ~ Pilot & Series I – IV

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

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

SEAN RIGBY

Detective Sergeant Jim Strange

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

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

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

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

Long may it continue!

MATTHEW SLATER

Composer

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

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

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

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

— — .-. … .

ABIGAIL THAW

Dorothea Frazil

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

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

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

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

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

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

DAMIEN TIMMER

Executive Producer ~ Pilot & Series I – IV

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

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

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

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

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

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

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

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

SARA VICKERS

Joan Thursday

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

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

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

Happy 30th Birthday Endeavour Morse! x

HELEN ZIEGLER

Producer ~ Series IV

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

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

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

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

JAMES GROUT

Chief Superintendent Strange

NORMAN JONES

Chief Inspector Bell

KENNY MCBAIN

Producer

ANTHONY MINGHELLA

Screenwriter

ALASTAIR REID

Director

PETER WOODTHORPE

Dr. Max De Bryn

and

JOHN THAW

Chief Inspector Endeavour Morse

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

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

Copyright © Damian Michael Barcroft 2017

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

Exclusive ENDEAVOUR interview with Russell Lewis on CODA

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THE ENDEAVOUR ARCHIVES: CELEBRATING 30 YEARS OF MORSE ON SCREEN

Interview copyright © Damian Michael Barcroft 2017

“Coughing better tonight” – The Wigan Nightingale

Russell Lewis on CODA

An exclusive ENDEAVOUR interview

by Damian Michael Barcroft

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

Remembering Graham. My Grandfather, mentor and friend.

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

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

RUSS: I honestly couldn’t say.

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

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

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

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

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

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

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

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

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

RUSS: Unlikely.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I’m also available for Children’s Parties.

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

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

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

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

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

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

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

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

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

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

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

DAMIAN: Will there be a cliffhanger?

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

DAMIAN: Will there be sandwhiches?

RUSS: Always.

DAMIAN: What about wildlife?

RUSS: Sheep may safely graze.

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

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

‘She should have been held.’

‘Perhaps she was.’

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

And for Tootles…

“Bloody nice shoes”

THE ENDEAVOUR ARCHIVES / No.26 / CODA

Interview copyright © Damian Michael Barcroft 2017

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

~~~

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

TIGER: Rubbish! – get off…

JIM LOACH: An exclusive interview with the director of tonight’s ENDEAVOUR

Jim Loach – Director

An exclusive ENDEAVOUR interview

by Damian Michael Barcroft

DAMIAN: Hello Jim and thanks for this. Quite understandably, and for rather obvious reasons, you never originally intended to become a director. However, would you agree that even very early on in your career, you still clearly felt compelled to tell stories in some form or another?

JIM: I guess. I mean I was always telling stories – most of them quite tall, and they often got me into trouble!

DAMIAN: So, having studied philosophy and worked in news and current affairs, why did you then decide to actually become a director after all, and perhaps even more to the point, although I can appreciate the link between this and your recent projects, why did you leave campaigning journalism to work on soaps such as Coronation Street and Hollyoaks?

JIM: Well my heroes were people like John Pilger and Paul Foot and the great Don McCullin. I wanted to be a heroic journalist, and so documentaries and current affairs was an incredibly exciting place to find myself. Plus I was lucky enough to be making documentaries for World in Action, which was the iconic current affairs show at the time. At Granada television, there was kind of an understanding that you could move from World in Action to Coronation Street – directors like Michael Apted had done it. And by then I’d admitted to myself I wanted to make drama, so they let me have a go on the Street.

DAMIAN: I wonder if forging your own identity as a director was an important issue for you, and if so, were you therefore ever tempted to stay clear of projects that one might, rather simplistically, describe as films with a social conscience?

JIM: I’m still working it out, I think. I mean it’s probably no secret it’s something I’ve struggled with at times, but I kind of don’t think about it too much anymore. You know there’s some things that are easy to pass on because they’re just too close to my Dad, but generally I’ve kind of made my peace with all that. I just follow my gut, and do the things that I’m passionate about. People write what they write, think what they think, it’s not for me to try and control. Mostly it’s OK.

DAMIAN: And given that identity was a central theme in both Oranges and Sunshine (2010) and Life of Crime (2013), do you think this is what attracted you to two these projects?

JIM: Yeah I guess. Plus I liked the characters in both, and I wanted to see them on screen. Identity is always fascinating to me – who we are, what makes us who we are, I think all drama can be reduced to this, in a way, because it’s the essence of the human condition isn’t it ?

DAMIAN: To deal with Oranges first, was the impetus behind the film to explore the person, Margaret Humphreys, or the issues her work raised?

JIM: Well I came across the story and I just was amazed and shocked by it, and really wanted to make the film. The fact that an incredible woman was at the centre of the story, with her own dilemmas, just made it stronger to me. So it was both those things really, in tandem. I thought there was something very primal about the idea of children being separated from their parents, and the story had very visual elements – so I knew pretty much straight away I wanted to make the movie.

DAMIAN: Who approached Margaret [above] and what was her initial reaction to making a film based on her memoirs?

JIM: I went to see her, and she was pretty wary. For good reasons, which I fully understood. Maybe I just wore her down, I don’t know! Margaret is a very close friend now, and I’m so fond of her.

DAMIAN: Like someone such as myself asking their subject interview questions such as those found here I suppose, how does a writer or director get to the truth about a real person they are making a film about without becoming manipulative or exploitative?

JIM: I think you just tell the truth, as it seems to you in that moment. Honestly I don’t see it as any more complex than that. When we made Oranges, we didn’t want to be mawkish or sentimental, and of course we felt a huge responsibility to the real people involved, to make sure they would be OK. But at the end of the day we also had a responsibility to make a film that connected with a wide audience.

DAMIAN: Emily Watson gives yet another extraordinary performance in this film. Using Emily’s portrayal of Margaret as an example, can you tell us a little bit about your method of working with actors in terms of research, exploring characters, rehearsals and possibly improvisation?

JIM: With that film, Emily spent some time putting in what I call some building blocks for the character…. where she went to school, college, where she’d met her husband, where she worked, that kind of thing. I think working out the stuff that’s before the events in the film is most important, rather than rehearsing scenes from the script. Emily and I worked together very intuitively, I think. Not too much chat, we’d set the scene up as truthfully as possible and then just start shooting – always very long takes, not too much cutting. There was a lot of emotional content to every scene, so we didn’t want to hinder that in any way.

DAMIAN: In many ways, both Margaret Humphreys and Denise Woods, the character in your three-part police drama Life of Crime, share quite a few similarities don’t they?

JIM: Well they’re both very strong women, not to be messed with!

DAMIAN: What do Oranges and Life of Crime say about our society when the relationships between the husbands and the lead female characters in these two stories are severely challenged, or ruined in the latter case, because of their work as crusaders for truth and justice?

JIM: I think the private cost of public duty is a great dramatic dilemma – it’s a circle that can’t ever really be squared, although it doesn’t stop anyone trying.

DAMIAN: Hayley Atwell who played Denise Woods is probably most famous internationally for her appearances in the Marvel Cinematic Universe such as Captain America and Agent Carter. How did she become involved with Life of Crime?

JIM: I love her work and we met up and talked it through. It was a tough shoot, and Hayley turned in a brilliant performance.

DAMIAN: Obviously an actor will audition for a part but how does a director usually get chosen for a film or television project?

JIM: Well there’s a difference between the projects you have developed yourself, and those that are sent to you. I like both, but it’s a different process. If it’s a script you’ve been sent – you have to audition, like everyone else! But I tend to be quite careful, you have a sense of where your zones are, material-wise, if you know what I mean. And my agents tend to only send me stuff they know I’ll respond to.

DAMIAN: And can you describe how and why you think you were approached for ENDEAVOUR?

JIM: I was really keen to get back into British television, as I’d been away for a long time. And I met Helen Ziegler, our supremely talented producer, and we talked it round the houses. For me, it’s always a combination of the material, the writer and the producer that makes me want to get involved.

DAMIAN: So you get the job, you read the script and then, because I’m fascinated by the whole process, I wonder what happens next – can you take us through your approach to directing tonight’s ENDEAVOUR, HARVEST?

JIM: Well we started with a brilliant script of course. Without that you really haven’t got anything. But then I loved the elemental feel of it, and the very pagan, ritualistic story, set against the modernity of nuclear power. So that central conflict seemed very cinematic, and like a representation of Morse’s inner conflict. So together with the brilliant Ed Rutherford, our director of photography, Alison Butler, the designer and Charlotte Mitchell our costume designer, we developed the visual plan for the piece. We wanted to use lots of low, direct light straight into the lens, flares and all that… we wanted a kind of ethereal, ‘other worldly’ feel, where anything is possible.

DAMIAN: In terms of camera angles and setups, do you ever wish you’d have approached certain scenes differently when you see the rushes of during the editing process?

JIM: Shall I lie ? Yeah, course. You’re constantly confronted with your mistakes, but you learn to try to work in a way that enables you to cut them out! It’s when you’re stuck with them you’re in trouble. But then again, you’ve got to take risks I think – playing it safe isn’t really an option. No guts, no glory, I reckon.

DAMIAN: I don’t know if you’re a fan of ENDEAVOUR or INSPECTOR MORSE, but do you think it is a help or a hindrance if directors are “Morse literate”?

JIM: I think you can do it either way. I don’t personally like to get too hung up on what’s already been done, and the references and all that are cool, but I’d personally prefer to leave them for the audience. You kind of have your own thing going on, and you want to develop that.

DAMIAN: There are often many revisions to the script throughout the shooting of ENDEAVOUR, can you describe your collaborative process with the writer Russell Lewis?

JIM: Russ is an exceptionally talented writer and a pleasure. Basically he told me what’s going to happen, and then I got on with it! We had a lot of fun, and he’s a very collaborative writer, full of ideas. When everyone sat and pondered, he’d go out for a crafty smoke – and come back with the solution.

DAMIAN: I know that Shaun Evans has a very particular view and insight into his character, often sharing his own opinions regarding the motivations of Endeavour etc. At what point would you say that most of his queries are resolved, during pre-production or while shooting?

JIM: Well anytime really. Anytime is fine with me, so long as it’s post coffee. We talked all of the time, throughout the whole process. Inevitably a lot of stuff gets worked out as you shoot, because the whole thing has come to life then, and the questions become more urgent and real, in a way. Shaun has a brilliant eye for the detail, which is important because ultimately he’s the guy that’s got to tell us what’s been going on. I loved watching him from the camera.

DAMIAN: And with a cast of such a high calibre as ENDEAVOUR, isn’t it a little daunting to direct actors who know their characters inside out and have been performing them for some years now?

JIM: Not daunting no, because actors are actors, you know? The process is the same. You’re all searching for the the truth of the piece, and looking to stretch yourself creatively.

DAMIAN: As opposed to projects such as ENDEAVOUR, would you say you enjoy more creative freedom when directing your own films which might be described as a little more intimate or personal?

JIM: In a way, yes, I mean on my films you kind of have complete freedom, because you are the originator of the project. But then I have to say the producers gave me a lot of creative freedom with this, which was really brilliant. It’s exactly what you want from producers really – encouraging you to go for it, to have the courage of your convictions. So creatively it was very rewarding, and I’m very proud of the result.

DAMIAN: Each ENDEAVOUR film has had a different director (apart from FIRST BUS TO WOODSTOCK and HOME which were both directed by Colm McCarthy), is there ever a sense that directors are expected to remain consistent to a particular style or are directors free to put their own visual stamp on their episodes?

JIM: The producers told me to put my own stamp on it. There’s no ‘house style’. They want you to do your thing. So that was a big reason to get involved.

DAMIAN: Would you say that you have a particular visual style?

JIM: Oh god, you know it’s not always easy to articulate, because it’s sort of intuitive, it’s a part of you. It’s a reflection of how you see the world, people, relationships, your aesthetic tastes, your hang ups – absolutely everything. I mean, I would say definitely yes – but that’s probably for others to judge…

DAMIAN: Which film or television directors do you admire?

JIM: So many. Cassavetes was my hero, the Dardennes, Winterbottom, Lynne Shelton, David O’Russell. So many. I think I’m probably influenced by everything I see, in some way – I guess we all are.

DAMIAN: What can you tell us about your new film Measure of a Man which I believe is due to be released sometime this year?

JIM: It’s a classic American coming of age film, about an overweight kid, who just wants to fit in. It’s a film I’d wanted to make my whole life really – I think it’s a genre that American independent cinema does so well – and Stand by Me has been a film that I’ve always loved. I wanted to make a movie with more of a smile on its face, just lighter in tone – I thought it was time to have some fun. So there’s a lot of humour, but I think it’s a story that anyone can connect with, because we’ve all felt like an outsider at some point. Judy Greer, Luke Wilson, Donald Sutherland star alongside young Blake Cooper, who is incredible.

DAMIAN: And what is the legendary Donald Sutherland like to work with?

JIM: He’s deadly serious about the work of course, and tonnes of fun also, so it’s a good combination. I think he’s the most technically accomplished actor I’ve ever worked with, and he found an extraordinary emotional connection to the character. He’s done something quite special in Measure of a Man, and I can’t wait for people to see it.

DAMIAN: Your next film after that is another collaboration with screenwriter Rona Munro. What is it about her writing that you find so engaging?

JIM: Rona writes dialogue which is so beautiful, and so true, and we adore working together. I think we see the world similarly, which is important, and balance each other quite well, except she’s much cleverer than I am. I hope we can get to make another film soon – we have a script ready. But first I’m going to be making a film called The Panopticon – it’s a fantastic script by Jenni Fagan, adapted from her own novel. It’s set in Edinburgh, and a really special project.

DAMIAN: I notice that many films these days, particularly those with a relatively small budget, have many production companies, distributors and financiers credited in a list almost as long as its cast. How difficult is it to get your feature films made and into cinemas?

JIM: It’s hard, and getting harder, but others are better placed to say why. I just want to be able to raise enough money each time to make the films I want to make.

DAMIAN: What do you think you’d be doing now if you hadn’t decided to become a film and television director?

JIM: Ha, God knows! Centre midfield for arsenal?!

DAMIAN: Well I’m glad you did, particularly when you direct projects with such honesty and integrity. And I must say, I much prefer to see you directing in Oxford as oppose to Weatherfield. You know, I remember seeing Russ as a child and he kept a sick pigeon in a box at the bottom of his bed until it was well again. I wonder if you had any birds as a child – a kestrel perhaps?

JIM: HA! No birds, but we did have a cat called Fanny. Don’t ask why…

DAMIAN: Jim, thank you very much indeed and all the very best with all your future work.

JIM: Thanks!

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

Exclusive ENDEAVOUR interview with Gillian Saker

Gillian Saker – Dr. Patricia Amory

An exclusive ENDEAVOUR interview

by Damian Michael Barcroft

DAMIAN: Hello Gillian, it’s lovely to catch up with you again. It’s been a few years now since our RIPPER STREET interview, what have you been up to since?

GILLIAN: I really can’t believe it’s been so long! Goodness, quite a bit has gone on since then. More of the same really; more TV, a lot more stage work. And a lot of singing too. I hope I’ve come on somewhat since RIPPER STREET which was my first ever job and a wonderful place to learn the ropes. I’ve got a long way to go, mind! I’ve got a lot to learn still.

DAMIAN: [RIPPER STREET SERIES 2 SPOILER ALERT!] You were obviously thrilled to be asked back for the second series of RIPPER STREET but then they killed your character off, did you know Bella’s fate as you signed up to return or was it something of a unpleasant surprise?

GILLIAN: I was really surprised to be asked back. As far as I knew, I was only signed up for a guest role, so it was really wonderful that the writers decided to extend my character’s storyline. I knew that something was going to happen to Bella. That was part of the deal when I signed on. But I didn’t know what it would be or when. I think I found out while we were shooting the previous episode. So a bit of a surprise! That said, it was a pretty cool way to leave and Toby Finlay is a brilliant writer so I was glad to leave in one of his episodes.

DAMIAN: Curiously, when I asked you about your research for RIPPER STREET and the episode A STRONGER LOVING WORLD in particular which featured spiritualism and the occult, you told me that you read all about the friendship between Arthur Conan Doyle and Harry Houdini. A couple of years later and you’re appearing in the HOUDINI & DOYLE TV series – how strange is that?

GILLIAN: I know! How strange is that?! It was fate. I actually worked with another ENDEAVOUR director on that – Ed Bazalgette. Maybe you’re my lucky charm. I should talk ideas with you more often.

DAMIAN: I am your lucky charm and absolutely anytime. So, continuing the trend for appearing in TV shows that I like, tonight you’ll be appearing in ENDEAVOUR. How did you come to be involved?

GILLIAN: The usual way. I’d met the Mammoth Screen team for a couple of other projects. I came in and auditioned for Ashley Pearce (director) and Helen Ziegler (producer). I’ve been a fan of ENDEAVOUR since I saw the first film while I was still at drama school. And I think Shaun Evans is brilliant, so when I was offered a role I jumped at the chance.

DAMIAN: What can you tell us about tonight’s episode GAME?

GILLIAN: I don’t want to give away too much. It’s about a bunch of academics who are in the process of creating a chess-playing machine, and in the lead up to the machine’s important debut tournament with a Russian chess pro one of the team goes missing.

DAMIAN: And something about the character that you play, Dr. Patricia Amory?

GILLIAN: I play one of the academics. My father is a pioneer in the industry and I’m trying to find my place as a young female academic in a male dominated world. The loss of Richard hits her really hard. It was a really fun role to play, in part because the team was so great. The other actors were all fantastic, and I’m sure as many of the ENDEAVOUR cast and crew say, the atmosphere on set is brilliant, and I’m still friends with a fair few of the company. Plus James Laurenson, who played my father, is so experienced. It was wonderful to watch him work.

DAMIAN: Gillian, it’s an absolute pleasure as always – thank you very much indeed.

GILLIAN: And you! I wonder when we shall cross paths again. Happy New Year!

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