Tag Archives: Inspector Morse

30 YEARS OF MORSE ONSCREEN

An exclusive celebration

by Damian Michael Barcroft

Copyright © Damian Michael Barcroft 2017

~

For Colin…

Our love to you and your family.

~

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

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

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

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

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

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

ED BAZALGETTE

Director ~ GIRL

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

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

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

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

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

JAMES BRADSHAW

Dr. Max De Bryn

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

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

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

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

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

SAM COSTIN

Script Editor ~ Series I – III

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

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

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

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

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

IRENE NAPIER

Make-up Designer ~ Pilot & Series I – IV

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

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

SEAN RIGBY

Detective Sergeant Jim Strange

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

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

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

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

Long may it continue!

MATTHEW SLATER

Composer

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

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

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

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

— — .-. … .

ABIGAIL THAW

Dorothea Frazil

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

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

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

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

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

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

DAMIEN TIMMER

Executive Producer ~ Pilot & Series I – IV

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

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

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

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

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

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

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

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

SARA VICKERS

Joan Thursday

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

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

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

Happy 30th Birthday Endeavour Morse! x

HELEN ZIEGLER

Producer ~ Series IV

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

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

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

~

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

JAMES GROUT

Chief Superintendent Strange

NORMAN JONES

Chief Inspector Bell

KENNY MCBAIN

Producer

ANTHONY MINGHELLA

Screenwriter

ALASTAIR REID

Director

PETER WOODTHORPE

Dr. Max De Bryn

and

JOHN THAW

Chief Inspector Endeavour Morse

~

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

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

~

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

 

Exclusive ENDEAVOUR interview with Russell Lewis on CODA

THE ENDEAVOUR ARCHIVES: CELEBRATING 30 YEARS OF MORSE ON SCREEN

Interview copyright © Damian Michael Barcroft 2017

“Coughing better tonight” – The Wigan Nightingale

Russell Lewis on CODA

An exclusive ENDEAVOUR interview

by Damian Michael Barcroft

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

~

Remembering Graham. My Grandfather, mentor and friend.

~

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

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

RUSS:  I honestly couldn’t say.

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

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

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

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

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

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

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

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

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

RUSS:  Unlikely.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I’m also available for Children’s Parties.

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

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

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

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

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

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

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

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

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

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

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

DAMIAN: Will there be a cliffhanger?

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

DAMIAN: Will there be sandwhiches?

RUSS:  Always.

DAMIAN: What about wildlife?

RUSS:  Sheep may safely graze.

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

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

‘She should have been held.’

‘Perhaps she was.’

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

~

And for Tootles…

“Bloody nice shoes”

~

THE ENDEAVOUR ARCHIVES / No.26 / CODA

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

~~~

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

TIGER: Rubbish! – get off…

 

Far to go: Exclusive ENDEAVOUR interview with the Thursday children

THE ENDEAVOUR ARCHIVES: CELEBRATING 30 YEARS OF MORSE ON SCREEN

Interview copyright © Damian Michael Barcroft 2017

FAR TO GO…

An exclusive interview with the Thursday children

Jack Bannon – Sam Thursday

Sara Vickers – Joan Thursday

~

By Damian Michael Barcroft

~

DAMIAN: Jack and Sara, thank you so much for talking to me about Thursday’s children. How are you both?

JACK: Great thanks.

SARA: Very well, thanks.

DAMIAN: Sara, obviously water and swimming pools featured quite heavily in the first episode this year but what’s this I hear about you performing ROMEO & JULIET in a swimming pool?

SARA: Seems there’s plenty of drama to be had in a swimming pool and plenty deaths for that matter. We did a site specific theatre piece in Victoria Baths, Manchester, for HOME theatre. Juliet’s tomb was in the first class men’s pool. It took days to fill with water and was decorated with floating candles and flowers. Quite a sight. Although one performer did fall in during a show… the atmosphere may have suffered slightly on that occasion.

DAMIAN: And Jack, I’ve recently done interviews with Gillian Saker and Jonathan Barnwell, and you are yet another actor to work on both RIPPER STREET and ENDEAVOUR. What can you tell us about your time in Whitechapel?

JACK: It was certainly very different to my time in Oxford tends to be. In Oxford I keep out the way, mind my own business, whereas in Whitechapel I was in the thick of it. I play a drunken, incestuous fishmonger… who says I don’t have range?!

DAMIAN: Looking through your CV Jack, you’ve worked on FURY starring Brad Pitt and THE IMITATION GAME with Benedict Cumberbatch no less! What were those two projects like to work on?

JACK: They were both fantastic projects, a real experience for me! I’d never done a feature film before so it was kind of a baptism of fire. Weirdly I had the first round of auditions for the two films on the same day along with an audition for KIDS IN LOVE an Ealing studios film which I ended up doing too… I only wish I knew what day of the year it was, I could line up as many auditions as possible on that day every year!

DAMIAN: I think one of your first screen credits was on a show called SHADOW PLAY back in 2004 and I noticed that Helga Dowie worked as line producer on that and later produced both LEWIS and ENDEAVOUR amongst other things. Did this connection have anything to do with you getting the part of Sam?

JACK: Yes!! What an eager eye you have. As far as I’m aware it had no bearing on me getting Sam. You’d have to ask Helga. I remember recognizing the name when I started ENDEAVOUR and it was my mum who made the connection. However I’ve never spoken to Helga about it… I doubt she’d even remember me from SHADOW PLAY – I was 10!!!

DAMIAN: Sara, and how did you get the part of Joan?

SARA: I auditioned for Joan during casting for film 1 of the first series. After a couple of meetings, I was told the Thursday family had been written out. Luckily they were back for film 2 and off I went for another meeting. I remember the day I got the part. I hadn’t been out of drama school all that long and I was serving champagne at a catering event. I thought I need to be drinking this stuff right now – not serving it!

DAMIAN: Were either of you familiar with the world of Colin Dexter before ENDEAVOUR, had you seen any of the original INSPECTOR MORSE or LEWIS?

JACK: My grandparents have always enjoyed it and I’d seen bits and bobs…it’s great being at the start of the Morse journey.

SARA: I was familiar with the shows and had watched the odd episode but never seen a series right through. Luckily ENDEAVOUR precedes all that work, so maybe it’s better not to know too much!

DAMIAN: Other than ENDEAVOUR Sara, I suppose you must be most recognized for your work on another detective series SHETLAND with Douglas Henshall who I admire greatly as an actor. What’s he like?

SARA: Dougie is fantastic to work with. He is always experimenting with numerous options of how a scene can be played, he would never pin anything down until he absolutely had to. I really admire that element of endless creativity within the technical confines of filming. He is constantly questioning and unearthing and has a real fire in his belly… perfect qualities for playing a detective.

DAMIAN: And you’ve worked on two Matt Smith projects, BERT & DICKIE and the phenomenally successful THE CROWN. Tell us something about your experiences working on those?

SARA:  Well BERT & DICKIE has a special place in my heart as it was my first TV role as a professional actor. I got to work with fantastic people and play a headstrong Scot called Margaret Bushnell. Playing a real person brought another dimension to the work. I met Margaret’s daughter at the screening who luckily welcomed my interpretation of her Mum. In THE CROWN I played another real person, Crawfie the Queen’s nanny. It was fascinating diving into her story, as it was quite the scandal.

DAMIAN: Filming for ENDEAVOUR involves a lot of scenes around the table in the Thursday home but Jack, is it fair to say you usually do most of the eating?

JACK: Haha yes!! From the first scene we ever shot where we are eating beef stew I decided Sam was a big eater – growing boy and all, although I think I remember we were about to break for lunch, it had been a long morning and I was just hungry so I shoehorned in some character ‘choice’ so I could gorge. Props weren’t too happy having to top my plate up every take but they get their own back when it’s an eating AFTER lunch and I can’t fit anything in. From that first scene on Sam always seemed to have something in his mouth, you’ll have to ask Russ if that’s deliberate, I hope so, it’s a nice running theme I think.

DAMIAN: What are Roger Allam and Caroline O’Neill like as your onscreen parents?

JACK: They’re brilliant. Every day is fun when we’re all together. The fact we get to meet up every year and chat about what we’ve been doing etc. – it’s like a real family.

SARA: The best. Win is a caring, loving, yet don’t mess with me kind of mum. I reckon Joan and Sam have both pushed their luck over the years and not gotten very far! Fred is an overprotective, straight down the line kind of Dad. But can you blame him in his line of work!? There is a lot of love, laughter and warmth in this family. Perhaps that is why Endeavour is drawn in.

DAMIAN: Roger is one hell of an actor and a pretty formidable presence on set, were either of you nervous filming your first scene with him?

JACK: I was nervous to meet him what with it being my first TV job for years and being a fan of his but once that first handshake at the read-through was out the way it was brilliant. He’s absolutely hilarious, the nicest man and most generous collaborator. Every set should have a Roger. He also occasionally helps us get into the era with little memories of his childhood which is great.

SARA: Funnily enough I felt very at ease filming with him. For one, he is a total joker. What a dry sense of humour he has. He also has a real grounding quality. As soon as we start we know what world we are in. The family naturally orbit around him. Very much the traditional British family in that sense.

DAMIAN: Sara, there’s a beautiful chemistry between Joan and Endeavour which I think really began to shine during HOME from the first series. The writer, Russell Lewis, told me that from the moment he had her open the door to him for the first time in FUGUE, he knew that Joan and Endeavour would fall for one another. Did you have any idea back then what Russ had planned for the characters?

SARA:  I’ve been very much on a path of discovery, along with the audience! Directorial wise, especially in those first few episodes, I had been steered towards light hearted flirtation and friendly teasing, and things seem to have grown from there. It’s wonderful to play a character and then have things grow from moments created on set.

DAMIAN: How would you describe Joan’s attraction to Endeavour?

SARA: Good question. I think Joan is very intrigued by Morse. She is not one for the ordinary and Endeavour appears to be everything out of the ordinary. They have something they can’t put their finger on. But surely that’s the best kind attraction, the indescribable.

DAMIAN: I admire you commitment to the role because it must be terribly difficult to pretend to fancy Shaun Evans.

SARA: It’s a real tough job. Thank God he’s a nice person.

DAMIAN: And Jack, I loved that moment in PREY last year when you express your faith and admiration for Thursday (Sam: This with work… Whatever it is, you’ll get him. THURSDAY: Will I? Sam: Of course. You’re my dad). I wonder if there is a sense with Sam that he feels the need to gain respect from Thursday by following in his footsteps by joining the army as he did before becoming a copper?

JACK: Sam definitely looks up to Fred and seeks his approval. It’s also something very much of the era I think, he would never say as much but quietly he does, we all do, still, a bit don’t we? It’s a good job Sam likes Morse otherwise he might be a bit irritated by this young bloke taking a lot of Fred’s ‘mentoring’ energy away if you could call it that…

DAMIAN: There was another tender moment that I loved at the bus stop when Sam and Thursday say their goodbyes as he leaves for the army although it was a very quiet and restrained send-off with so much that seemed left unsaid. I asked Russ about this and why Thursday couldn’t have given Sam a hug to which he replied, well, it was the sixties. What are your thoughts on this?

JACK: Well, male relationships were different then. A father son relationship will always be an odd thing I think. In that scene I saw it as all the other wanted to say was ‘I love you and I’m proud’ but they just don’t it’s all very ‘jolly good, look after yourself.’ I loved that scene, it was a rare moment of just Sam and Fred without the girls chatting away and a rare foray out the house for Sam!

DAMIAN: I don’t know if you’ll remember this Jack but there’s a moment from ARCADIA where, upon finding the coveted Thunderbird 2 toy in the cereal box, you give an Eric Morecambe-like “Wha-Hey!” Again, I’ve asked Russ about this and he told me to ask you so presumably it wasn’t scripted?

JACK: It was scripted! I hadn’t deliberated referenced Eric Morecambe but if you think it works then yes, thank you, it was most definitely intentional…

DAMIAN: The relationship between Joan and Sam is also lovely to watch but how do the two of you get on off-screen?

SARA: We get on very well and have good laugh as the kids! We can go through a whole series without meeting any of the guest cast. So it’s a darn good thing we are mates. Sometimes it feels like we are filming our own show… The Thursdays!

JACK: She’s horrible. Really, really horrible. (She’s bloody brilliant and I wouldn’t want anyone else playing my sister) As Sara says, we are a little aside to the plot a lot of the time so it’s just us hanging out which I kinda like… watch out for ‘The Thursdays’ it will be great, although Sam can’t be eating all the time in that, I’d end up 20 stone!!

DAMIAN: What would you say the two of you share in common with your characters?

JACK: I love food and recently bought some ‘shoe trees’ because I also believe if you look after your shoes they’ll look after you…or whatever the quote is…

SARA: We both have a soft spot for the good guys.

DAMIAN: And finally, what have you both got lined up next?

JACK: I’m about to start rehearsals for a play at the Hampstead theatre and look out for my Scottish accent in The Loch and Clique two new series on ITV and BBC respectively which will air in a couple of months! Oh and ‘The Thursdays’ hopefully!

SARA: A new year…..who knows…hoping it’s something exciting!

DAMIAN: I’ll be watching with interest. Thank you both very much indeed.

JACK: Cheers mate! All the best.

SARA: Thanks Damian. Hope you enjoy the rest of the series four.

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.

Exclusive ENDEAVOUR interview with writer Russell Lewis on ARCADIA

THE ENDEAVOUR ARCHIVES: CELEBRATING 30 YEARS OF MORSE ON SCREEN

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

– Oxford English Dictionary

 

Russell Lewis on ARCADIA

An exclusive ENDEAVOUR interview

by Damian Michael Barcroft

With thanks to Arthur Octavius Prickard

~

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

~

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

RUSS:  You’d have to ask Jack Bannon.

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

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

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

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

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

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

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

~

THE ENDEAVOUR ARCHIVES / WPC734 / ARCADIA

Interview copyright © Damian Michael Barcroft 2017

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.

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


* Mrs Cravat, your cheque is in the post.

Exclusive ENDEAVOUR interview with composer Matthew Slater

THE ENDEAVOUR ARCHIVES: CELEBRATING 30 YEARS OF MORSE ON SCREEN

Interview copyright © Damian Michael Barcroft 2017

Matthew Slater – Composer

An exclusive ENDEAVOUR interview

by Damian Michael Barcroft

DAMIAN: As a very young boy I was given two records from an uncle which I played constantly. One was Children’s TV Themes (1972: Cy Payne & His Orchestra) and the other was Star Wars and Other Galactic Space Themes (1978: Geoff Love & His Orchestra). The latter, in particular, showcased some very cheesey disco-pop versions of music from film and television but they started a life-long passion for orchestral music and soundtracks and I’ve since amassed a huge collection of original scores. Now, I enjoy all sorts of musical genres from Frank Sinatra to indeed opera, however, my first and true musical passion will always be soundtracks. Needless to say then, it’s an absolute thrill and a pleasure for me to be able to do this interview with an actual composer so thank you very much indeed. I wonder, what sort of music were you listening to as a child?

MATTHEW: Thank you for asking me and you’re more than welcome. Your reference to the ’78 disco version of Star Wars did make me laugh out loud.  When I first played that version of Star Wars to my children they were incredulous as to why they hadn’t heard of it before.  Being a child of the 70’s this pop version did resonate with me a little more than it perhaps should have done.  Can’t help but wonder what Mr Williams would have thought of it?

I always had a leaning towards music written for picture there was something powerfully attractive about the story telling aspect of it.  Star Wars obviously was playing constantly in our house. In fact, anything by John Williams, Jerry Goldsmith, Bernard Herrmann, John Barry and Ennio Morricone there would be a good chance I’d be listening to it.

DAMIAN: At what point did you realise you wanted to be a composer?

MATTHEW: The Purley Way cinema, Croydon, December 1982.  I can remember queuing around the block with my Mum to get into the cinema to see E.T. The Extra-Terrestrial.  I watched that film in complete awe and amazement.  The direct emotional contact the score had on me was profound and from that moment on I wanted to be a composer.  I had a very unconventional route into the world of orchestral music for picture; not following the conservatoire route completely but learning through the times of electronic and experimental music in the ‘90’s and in many other areas of music before becoming a professional composer for picture.

DAMIAN: Can you remember the first time you became aware of soundtracks and the artistic possibilities of the synthesis between sound and screen?

MATTHEW: December 1982!  That film did show the power music can have to picture.  I once remember seeing a documentary where John Williams couldn’t quite make all the hit points work in the final twelve minute sequence in the film, bearing in mind that Williams was conducting to spots and streamers on screen which is largely a lost talent and very difficult to do compared with the click tracks we all have today which make the recording process considerably quicker.  Spielberg famously said that he’d take the picture away from the screen in the recording studio and let Williams conduct the end sequence as he would if it were a concert work or symphony.  Spielberg would then recut the end of the film to fit the most musically emotional performance by the orchestra and to me that’s why it’s one of my most emotionally charged moments in modern cinema where the combination of music and picture combine in perfection.

DAMIAN: Which film/tv composers have inspired you most as an artist?

MATTHEW: Certainly the greats as I’ve already spoken about but I think there is an enormous wealth of talent from composers like Danny Elfman, Thomas Newman, Alexandre Desplat, James Newton Howard, Michael Giacchino and George Fenton.  I also have a great deal of respect for Christopher Gunning, especially his concert works.  So, in answer to your question, all the above!  Dominik Scherrer also has a sound that is completely different which I find intriguing and has influenced me a little.

DAMIAN: And if I asked you for your favourite film or television scores?

MATTHEW: Star Wars, E.T. and To Kill A Mockingbird is sublime for film.  For T.V., now that’s a more difficult question for me.  I don’t tend to buy or listen to many T.V. scores, mainly as I think the music now must do a subtly different job to that in music for film.  I find the combined world of orchestral and electronic scores very exciting.  There are some great dramas in recent years all with very different sounds and feels and many are excellent at linking music with picture but few that you could necessarily hum the theme tune to.

DAMIAN: In recent years, Classic FM has started to play the odd film/tv theme and BBC Radio 3 has its Sound of Cinema programme but other than that, I’ve always felt that soundtracks never really get the respect and exposure that they deserve. Would you agree?

MATTHEW: I think that’s changing.  More and more people are wanting to become composers than ever before; the advent of technology has widened the creative net for people wanting to score to picture.  Just look at the number of scoring to picture courses and classes that have been established over the past ten years and it seems to be increasing every year which can only be a good thing if the foundations of composing music itself are not lost in the technology.

DAMIAN: You worked on the orchestration for the following original INSPECTOR MORSE episodes (THE DAUGHTERS OF CAIN, DEATH IS NOW MY NEIGHBOUR, THE WENCH IS DEAD and THE REMORSEFUL DAY) not to mention eight series of LEWIS. Additionally for ENDEAVOUR, you’ve worked as an onset music supervisor and arranger, composer of original songs and now also orchestrator and composer of the music score. So, you’ve obviously worked closely with Barrington Pheloung for many years, how did the two of you come to work together on MORSE, LEWIS and eventually ENDEAVOUR?

MATTHEW: Alan Bullard, my composition teacher at my college, suggested I enter a competition run by the Society for The Promotion of New Music to work with Michael Kamen on a week-long master class at the South Bank in London, culminating in a recording with a small ensemble at Angel Studios, also in London.   I duly sent off my scores and thought nothing further of it.  A few weeks later I received a letter saying that I’d been chosen as one of five from hundreds of applicants to attend the masterclass.  Unfortunately, (or one could say fortunately in my case) Michael’s scoring commitments meant he was unable to come to London for the masterclass and that Barrington Pheloung would be taking the masterclass instead.  I knew of Barry as I was a Morse fan so happy days all round.  The class ensued as did the recording and I was the only one of the five composers who wanted to conduct their own music. I jumped at the chance in fact.  Something must have impressed Barry as he invited me down to his studio and by the end of the day offered me a job as his music assistant.  That was around 1996 so I started making coffee for him and now some years later have conducted and composed the music for four ENDEAVOUR films and have pretty much done all jobs regarding the creation of a score to picture from tea boy to composer thanks to Barry.

DAMIAN: In all your years working with Barrington then, what do you think you have learnt most from him?

MATTHEW: His huge appreciation of the quality of the musicians we both work with and how to run an efficient yet relaxed recording session.  If it’s right on the second take, move on to the next cue.  Done.  Of course, quality must always be maintained but he taught me not to get into the take after take after take mentality.

DAMIAN: To what extent would you say Barrington’s music was an influence and how does it figure in the way you approach the music for ENDEAVOUR – for example, do you feel free to completely do your own thing or are you perhaps restricted in terms of, if not emulating his music, trying to remain faithful and consistent with the tone already well established?

MATTHEW:  Having worked with Barry for over twenty years it would be very not hard to have had some of his musical influence naturally come into my own music.  It wasn’t a process that I think needed a great deal of thought when scoring ENDEAVOUR.  I’d worked with Barry, Colin Dexter’s and latterly Russell Lewis’ characters for years so they seemed naturally embedded in me although Morse, Lewis and now Endeavour all have a subtle musical difference yet are definable as sitting in the same dramatic world.  It’s an unprecedented situation I think, especially when dealing with an enormous body of film work over thirty years.   Having the opportunity to work with some wonderful directors in this series also allowed a blend of the established world of Endeavour and my own sound to come in and in the right places we could go somewhere different and new.  I also had the opportunity to work closely with Tom (exec. prod.) and Helen (prod.) more than perhaps would be normal due to schedules etc. which I found a very creative experience with the exchange of ideas between everyone.

DAMIAN: You composed the complete score for PREY (SERIES 3: FILM 3) and also films 1, 3 and 4 for this series. But what can you tell us about the two original songs that you wrote for film 2 which your collaborator, Russell Lewis, tells me was like him playing Lorenz Hart to your Richard Rogers?

MATTHEW: Ha! Wonderful question! What a kind comment from a lovely talented man and friend.  I had a call from the production office on the Thursday saying that two original 1967 sounding classics were required, at least in draft form for a scene being shot on the Monday – I’d already had a little time to think about it beforehand after going on set to talk through some ideas with Mike and Helen.  Without giving anything away it naturally left Russ and I little time. There were a few lyrics in the script but not songs.  I asked Russ whether he’d mind writing a few more verses to give me a handle on the songs.  He fantastically provided, and in about 30 minutes each song was written both lyrically and musically.  It just seemed to work between us – Mike Lennox the director instantly liked them and that was that!  We went into RAK studios in London and recorded with a rhythm section, brass, strings and the actors themselves singing to make sure it all looked and sounded as real and convincing as possible.  It was a great day, even Shaun, Helen, Mike and Russ popped down to listen to the process.  No pressure for me then!! Joking aside everyone was incredibly supportive and complementary.

Working with Russell like this was an absolutely pleasure and I was thrilled to be asked to collaborate with him.  I was on set during one of the playback scenes when I overheard two actors trying to Google one of our tracks to see who originally wrote it in the ‘60’s which was a rather humbling experience.  Russ is such a great writer that it’s a composer’s dream to get to play with themes, songs, clues, historic references, operatic and orchestral masterpieces all within the one series.  It’s challenging to say the least but when that musical primer presents itself everything else comes together.

DAMIAN: If the script writing work dries up, do you think Russ has a future as a lyricist?

MATTHEW: I think there’s little chance of the writing ever drying up for Russ but yes, I would wholeheartedly say there’s another world out there just waiting to be explored.  I’ll leave that one with you…

DAMIAN: At what point in the production do you become creatively involved with each film and to what extent are the musical choices, both the underscoring and source music, discussed with Russ?

MATTHEW:  That very much depends on each film. Some require a lot of discussion and work during production and filming whilst others occur during post production so it’s generally down to how much and what type of music is woven into the plot.  Russ, the directors and producers also have their input at each stage so each film has its own unique way of unfolding in terms of collaborations with the composer.  That’s what makes the whole ENDEAVOUR process so exciting as each film I’ve ever worked on sets up new challenges and the fun is how are we going to deal with each musically.

DAMIAN: And I’d like you to take us through the process of how you approach composing the music for ENDEAVOUR. You talk to Russ, look at the script and then what happens – is there much research involved or do you initially begin with your immediate responses and feelings?

MATTHEW: It rather depends to the extent of music that’s incorporated into the story.  If there is little then the editors, directors and producers will lay up what’s called a guide score.  This is used to give the composer an idea of what emotions need to be conveyed at that point in the film.  I usually receive a copy of the script well before this so have an idea of what I think will be required.  Once the film has been locked off, that is there are no further structural changes to the film, I receive a copy of the film with the guide music score then head into the edit suite with the director, editor and producer and talk about each spot where music should or shouldn’t be, what’s liked, what isn’t and that gives me a good feel of where to start musically.  Sometimes that might be to compose the last climatic cue first so we can all see where our film is heading towards musically and making sure everyone is on board for that and sometimes the film needs a more chronological approach from start to finish in terms of composing the score.  That’s the beauty of ENDEAVOUR, each is unique and the challenge is to inject a new musical element that brings that episode together, yet remains within the music universe that is ENDEAVOUR.

DAMIAN: How long would you say it takes to write the complete score for a ninety-minute episode?

MATTHEW: That’s the six-million-dollar question.  It’s the amount of time you have available to write it!  Sometimes that’s a few weeks, other times it can end up being a matter of days to get a first draft of the score together.  As dubbing the recorded music into the final film is one of the last things that happens before the film goes out for transmission, the music schedule often gets compressed as do many other areas of production that are at the end of the production process.  That’s not always a bad thing though as I tend to work well under tight deadlines – perhaps I shouldn’t have said that…sssh, don’t tell anyone.

DAMIAN: Are all the scores recorded in chronological order and how long do these sessions take?

MATTHEW:  Not always.  For example, in this series we recorded film 2 first.  It depends completely on which films are ready for scoring and that’s not always as it sets out to be at the start of the production process.  Generally, yes, and of course that’s always a nice way to develop themes and ideas across a series so sometimes you have to think around corners to keep a sense of cohesion and development across a series.

DAMIAN: How do you decide on which individual orchestras and musicians to perform the scores?

MATTHEW: That’s an easy one.  The London Metropolitan Orchestra were formed back in 1987 with the first INSPECTOR MORSE film.  Many of the players still play on the ENDEAVOUR sessions today and are some of the world’s finest musicians without a doubt.  It’s always an honour to work with the LMO as it’s like working with friends who just happen to be world class musicians.

DAMIAN: Finally, if you had to choose just one piece of opera that best reflects the character of Endeavour Morse, what would it be?

MATTHEW: I’m going to swerve this one I think.  Over the thirty years so many wonderful operatic works have been used in the films, many reflecting different aspects of Morse’s character, others annoying him terribly.  We’ve seen him through INSPECTOR MORSE, LEWIS and now the events in ENDEAVOUR that led him to THE REMORSEFUL DAY.  I don’t think any single opera has the scope of thirty years of Endeavour Morse, much like his much loved Times crosswords, he works on so many levels.

DAMIAN: Matthew, thank you so much.

MATTHEW: You are more than welcome!

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.

Exclusive ENDEAVOUR interview with writer Russell Lewis

THE ENDEAVOUR ARCHIVES: CELEBRATING 30 YEARS OF MORSE ON SCREEN

‘Sit down, Lewis. Glad to see you.’ He continued to write with furious rapidity for two or three minutes. Finally he looked up. ‘Lewis, I’m going to ask you some questions. Think carefully – don’t rush! – and give me some intelligent answers. You’ll have to guess, I know, but do your best.’ Oh hell, thought Lewis.

– Chapter Twelve of Last Bus to Woodstock by Colin Dexter

Interview copyright © Damian Michael Barcroft 2017

Russell Lewis on RIDE

An exclusive ENDEAVOUR interview

by Damian Michael Barcroft

Very special thanks to the best midwife/cheerleader in chief that a fellow could ever wish for.

~

Well, here we all are again. The fourth series is almost, finally!, upon us and if that were not reason enough to raid the Randolph and demand a bottle of their finest champagne, we’re also celebrating the 30th anniversary of Inspector Morse on our television screens. John and Colin, I raise my very first glass to the two of you and simply say thank you – what a legacy! — what a ride!!! Yes, RIDE. Of course, my thanks also to the writer and one of the executive producers of Endeavour, Russell Lewis, who has kindly agreed to submit himself to yet another interrogation – actually our ninth if you can believe such a thing! And, if you’re one of those lovely people who’ve been around since the beginning of these Endeavour interviews (very much appreciated by the way – and if you’re late to the party, welcome – I’m sure you’re equally quite lovely in your own way but what took you so long?), you may also find it hard to believe that there is actually anything new left to discuss.

Well, dear readers, you will be the judge of that but I can assure you, for me at least, there are still so many important questions yet to be asked such as what does Thursday have on his Wednesday sandwich and where the hell is Mrs Bright? Anyway, I’m reminded of the time, some years ago now, when Russ suggested that I begin these interviews with the warning that he tends to wheeze on like an old busted accordion. Should you the jury find him guilty of such a crime – I’ll surely be sharing the same prison cell. However, until such a verdict arrives, we’ll continue with what has now become something of a tradition and take a look back at the films from the previous series while also previewing tonight’s new offering. And, since it’s been thirty years since Inspector Morse first appeared in the corner of our living rooms (we should have asked him to pay rent if only we’d known back then how long he’d stay or at least get the drinks in every once in a while), let’s also ask Russ about some of his favourite episodes.

So, put on your best bib and tucker, join us in raising a glass to the cast and crew (both old and new!) who, for all these years, have nurtured, nursed and nourished Colin Dexter’s legendary and beloved creation – our friend, Endeavour Morse. Happy 30th Anniversary! – here’s to Team Endeavour and you, the Mateys – let’s have some bloody fun…

DAMIAN: Lewis, I’m going to ask you some questions… No, no, seriously now, Russ, how are you?

RUSS:  Mustn’t grumble, dear fellow.

DAMIAN: And how are you feeling as we approach the broadcast of ENDEAVOUR IV and the 30th anniversary of INSPECTOR MORSE?

RUSS:  The usual blend of apprehension and excitement.

DAMIAN: Like the James Bond franchise (with the possible exception of DIE ANOTHER DAY – invisible Aston Martin indeed!), there’s something to enjoy in every ENDEAVOUR film but those that I would regard as classic or at least what I consider to be some of the very best include: FIRST BUS TO WOODSTOCK (so called “Pilot”), FUGUE (Series 1: Film 2), HOME (S1: F4), NEVERLAND (S2: F4) and CODA (S3: F4). Seen as a whole, series three was quite different in many ways; really rather unconventional particularly in comparison to INSPECTOR MORSE and saw the introduction of an evil twin brother, poisoned applesauce -Hey, now!- and a bloody man-eating tiger on the loose! Any regrets?

RUSS:  Well — we always try to provide a bit of something for everyone across the run.

It didn’t feel particularly unconventional to us as we were making it, I don’t think. Things evolve — and should do, otherwise there’s a danger of it becoming stale for the audience, and for those of us involved in making the show. But that said — it still had Endeavour’s DNA hard-wired throughout proceedings.

DAMIAN: In terms of visual effects, what cost Mammoth Screen more money, the tiger or Jenna Coleman’s eyes?

RUSS:  Beguiling as they are, I couldn’t speak to Ms.Coleman’s eyes.

DAMIAN: I promise not to tell Mr Timmer but what were you watching in the BBC and ITV battle for Sunday nights last year – POLDARK or VICTORIA?

RUSS:  Happily, I was too busy working on Series IV to have to make a choice. My stockpile of shows awaiting a watch grows ever larger.  I will binge all of it one day.  However, I was heartened to see so many ENDEAVOUR alumni involved in the latter — both in front of and behind the camera.

DAMIAN: Back to the subject of twins, did you happen to see SHERLOCK: THE ABOMINABLE BRIDE which aired last year only a couple of days before RIDE?

RUSS:  I did, indeed.  Always a delight.  I guess what you’re rather diplomatically alluding to is, ‘It’s never twins.’  Except, of course, when it is.  Agatha wasn’t above using them.  Nor Shakespeare, Dumas, &c..  So, I didn’t feel I was in too poor company.

There were also what the Daily Mirror (was it?) tactfully referred to as ‘two sporting brothers’ knocking around the East End.  So…  Jack the Hat might have had something to say about ‘It’s never twins.’  Or perhaps, more properly, to give them their dark due, ‘It’s never The Twins.’

I think — originally — our pair started out as twins found in a dodgy orphanage in America, and ‘acquired’ by the magician for the purpose for which they were eventually professionally deployed, but, in the end, it was felt to be another loop of plot that required explanation, and we just simplified it.

The original story was much darker — and touched on a case in which Endeavour had been in another part of the country when still a probationary Police Constable — which would have given the audience a view of Shaun in uniform.  In that version, Conrad was a serial killer in a slightly more traditional vein.  Trewlove was also introduced in this iteration of the story.  But, all of that was kicked into touch in pre-production.

“The finding of this Board is that the tragic events of last December, which led to the shooting of DI Thursday and the arrest of DC Morse, were due solely to a mental breakdown suffered by ACC Clive Deare. We are also of a view that further investigation into other, extraneous, matters would not be in the national interest. To which end, all investigative materials relating to Blenheim Vale Boys’ home are to be sealed for 50 years.”

– RIDE

DAMIAN: At the end of series two, you left us with Thursday shot and fighting for his life, Endeavour languishing in jail, Jakes still drowning his sorrows in the pub, Monica with the moped peering out of the window searching for her lover, and Win, Joan and Sam waiting anxiously by the telephone. Despite the audience having to wait almost two years to find out what happened next, you decide to open series three, not with the recovery of Thursday or even the release of Endeavour, but rather an expository voiceover and moving the story forward some three months later. What would you say to some fans and members of the audience who may have felt somewhat cheated by the resolution of what was a stunning cliffhanger?

RUSS: Clearly, one wouldn’t want anyone to feel cheated or short changed.  The two year break was not something we anticipated when the cliffhanger was laid down – as I’ve mentioned previously – the World Cup schedule caught us all off guard.

There was a feeling that — with the additional time that had fallen between series — opening with a huge information dump ran the risk of alienating those perhaps tuning in for the first time — and could also confuse both the casual viewer, and even those with some recollection of how things had been left.

If I remember right — the drafts, until quite late into prep., went into greater detail — covering a fruitless search of Blenheim Vale grounds for Big Pete, and the villains who had got away… However, all of it was flashback and viewed through the device of the Board of Inquiry.  As we got closer to shooting, and again in the edit, these beats were reduced and thinned down to the salient information required to grasp where Endeavour and Thursday were.

Essentially – the most important cliffhanger was whether Thursday had survived, and that was answered in pretty short order.  Again — Social Media was always going to let that particular cat out of the bag.  Given Endeavour’s later career, the assumption was that most would understand he MUST have been released from prison.

We could have gone into the aftermath in more detail – shown Bright minding Thursday; Endeavour in chokey, &c., but that could have chewed through most of the first REEL, if not more.

You pays your money, and you takes your choice.  We are always up against it trying to squeeze as much meaty goodness into our 89 minute running time — and the new story had to take precedence.

Starting the story three months after events in NEVERLAND was purely down to a shift in our production schedule.  We shoot in sequence, and achieving mid-winter in early spring would have been somewhat unfeasible.

DAMIAN: Do some of the issues we’ve just discussed also perhaps highlight the problem that you’re obviously trying to balance ongoing character arcs and development with the well established confines and conventions of detective drama and mystery thriller genres?

RUSS:  I don’t particularly think of it as a problem.  It’s always a challenge to get the balance right — but the feedback from the audience is that they would like more character development. Fashions change.  If you look back to Inspector Morse, and LEWIS (to begin with at least) — the transmission order (perhaps with the exception of DEAD OF JERICHO and the later ‘specials’ that pretty much followed Colin Dexter’s ordering) was decided after production.  So they opened and closed with what they felt to be the strongest stories of each series.  There was very little, if any, character development.  The reset button was pressed at the end of each adventure.  Certainly all the feedback we have is that the audience really enjoys and responds to seeing how this set of characters develop and interact.

DAMIAN: Although you have occasionally used very brief flashbacks on the show, the format doesn’t allow you to have, for example, the beginning of RIDE still set in December 1966 in order to facilitate scenes of Thursday in hospital and Endeavour in prison, then move the story forward to the Bixby case in March 1967 does it?

RUSS:  No – we could have covered December 1966 with mostly interiors, and then jumped forward in RIDE, but it was an editorial decision to get into the new story almost from the off — and intercut that with fallout from NEVERLAND.

DAMIAN: Strange tells Endeavour at the fairground that Bright had Thursday under 24-hour armed watch while he was in hospital and never left his side until he was out of the woods. Shame we didn’t get to see it, that would have made a beautiful scene wouldn’t it?

RUSS:  That would have been one way of doing it.  I covered the evolving Thursday/Bright dynamic in a scene in the woods between them, when the body of the clippie was found. However — it was shot as a single unbroken take on day one of the Production Schedule. It contained some pretty soul-searching dialogue from Bright, and some consolation from Thursday.  However, we didn’t have the closes of Rog and Anton — and without them we felt the scene lacked the appropriate level of intimacy for the matter under discussion.  So, very sadly, it didn’t make the cut.

DAMIAN: We’ve seen flashes before of course, but series three saw a significant softening of Bright. Why has the barking and impatient Chief Superintendent suddenly mellowed?

RUSS:  As mentioned, Bright felt himself very much responsible for what happened to Endeavour and Thursday at the end of NEVERLAND, and is resolved to do better by his men. This was covered quite heavily in the excised Bright/Thursday scene, but we hoped there was enough contained in his welcome back to Endeavour, and the expression of his hopes for a better tomorrow, to point the way forward.

DAMIAN: Again, Bright makes reference to his wife in this film (she enjoys flower arranging) but when will we actually see her?

RUSS:  It’s almost more interesting not to see her. But who knows?

DAMIAN: And what does Thursday have on his sandwiches on a Wednesday?

RUSS:  That is for the moment a private matter between Fred and Win.

DAMIAN: There seemed to be few or at least very slight references to Easter so I’m wondering why you decided to set RIDE during that bank holiday weekend?

RUSS:  There may have been more — again, almost two years on, I’m not sure what actually survived into the final cut.  But Easter seemed to be very much in keeping with a theme of coming back to life.  Spring.  The earth renewed.  Change.  And a Bank Holiday is when most fairs tend to come to town.

DAMIAN: Some of the scenes involving Monica and Dorothea were cut. What did we miss?

RUSS:  Cripes – now I do have to rack my brain.  Dorothea was more involved in the early drafts in setting up Bixby — and ran into Endeavour down at his cabin in the woods.  She talked to him there about the fallout from Blenheim Vale and his movements over the intervening months.  I suspect it bit the dust as it was another harking back to Series III.  Monica…  If I remember, there was a scene between them which left things…  not entirely resolved.   My original intent had been to plot the unravelling of the relationship across the rest of the series, but the feeling was that their story had been told, and had been brought – for better or worse – to a close by the events at the end of NEVERLAND.

Endeavour had cut himself off from Monica as a way to try to protect her from the forces that had put Thursday in hospital and him in prison.  It called back to Thursday’s line from HOME, that ‘they come at you through what you care about.’

DAMIAN: Once more, this film is a maze of references in which the Morse scholar could easily lose themselves (Fitzgerald, Kipling, Twain and Orson Welles) but early on, we see the initials JB on a gambling chip which even has the familiar inside a gun barrel design and a fair few other allusions to 007 but it’s also interesting to note the comparisons between Joss Bixby and Lord Lucan who was renowned for his expensive lifestyle and passions including gambling, obsessive love and racing power boats (he also drove an Aston Martin and was apparently once considered for the role of James Bond). Were these deliberate references to Lucan?

RUSS:  The stage directions did include reference to a Lucan lookee-likee, and I think he might be there at the gambling tables.  Much of the underlying inspiration for Series III drew on the Mayfair Set, of which he was a part.

Mulling over the bow-tie and DJ world of the Mayfair Set (our own James Bradshaw played Charlie Benson in the ITV LUCAN drama) — and being rather taken by that milieu, it struck me that there were reasonable comparisons to be drawn between that keystone year in the decade and the excesses and wild abandon of an even earlier incarnation of that Set — the Bright Young Things of the Jazz Age.   Certain emotional parallels.  The giddy, alcohol & cocaine fuelled madness – as lived and described by Waugh, and Fitzgerald, among others – in some way a needful spasm after the bloodletting and carnage of the Great War.  And I wondered if that Summer of Love was in its own way a similar high tide, albeit one far slower to arrive, after the wholesale slaughter of ’39-’45.  A younger generation finally stepping out of the shadows of rationing and forelock-tugging and taking possession of their own moment.

In any event, such was my in all likelihood muddle headed reasoning, and once the idea struck me, the rat was in the bottle.  All else followed on from that.

Bixby was something of an amalgamation of several of the Mayfair Set — including John Aspinall, and drew on his alleged chemmy wheeze with Billy Hill, a notable figure in the London underworld for some forty years.

After Bixby’s death, there was a scene between Strange and Jakes which shed some light on the scam.  A small, old fashioned mangle was discovered, which had been used to put a ‘bend’ on the picture cards — in order to make them easier to read — by those trained to do so — from across the table.  This, it was suggested, was what Bixby and Harry Rose had been up to.  But – again – it was excised due to running time.

In any case — Mister Evans does cut something of a dash in a tux.  So… for that reason alone it was worth putting him amongst the highball crowd.

DAMIAN: There was a gentleman wearing an eyepatch playing at a gambling table during one of Bixby’s parties, was that supposed to be Emilio Largo from THUNDERBALL?

RUSS:  No — like the nod to Lucan, it was a nod to another member of the Mayfair Set.  Many of the various legends surrounding that particular crew provided jumping off points for SERIES III — particularly FILMS 1 and 3.   Perhaps we’ll discuss it more when we get to PREY.

DAMIAN: You mentioned that you had a relative who witnessed the crashing of the Bluebird in one of our interviews last year, could you tell us a little bit more about that please?

RUSS:  His name was Tom Henshaw – and he was my maternal grandmother’s nephew.  What does that make him — second cousin once removed?  He worked for a motor company – the name of which, decades later, escapes me – I believe in an engineering capacity.

DAMIAN: Did you ever see that lovely little 1988 TV Movie ACROSS THE LAKE with Anthony Hopkins as Campbell?

RUSS:  It was a terrific piece of work.  Cracking script, beautifully shot, and Sir Anthony Hopkins was simply wonderful.

DAMIAN: I loved the little nods to later films in RIDE such as Endeavour winning a tiger for Kay at the fun fair rifle range and perhaps most audacious of all – The Great Zambezi coughing up the bullet after the magician’s gun trick! These are almost Hitchcockian in their mischievous allusions to future plot points and storylines aren’t they?

RUSS:  Well spotted.  Yes — the funfair scene was originally a much bigger pissing contest between Endeavour and Bruce — sadly cut down to make schedule.  And the bullet cough…  I guess we’ll cover that in more detail when we get to CODA.

DAMIAN: So series four begins tonight. What can’t you tell us about the first film – GAME?

RUSS:  I can’t tell you who did it.

DAMIAN: I see. Well, you mentioned last year that as part of your preparation for series three, you created “mood boards” or collages for each film. Can you at least tell us which photographs, newspaper reports, brand designs, album sleeves, portraits or stills from movies that you may have drawn inspiration this time?

RUSS:  This year… moving with the times, I put together an A/V Keynote presentation for ITV on the Macbook – and ran that through their TV.  Looking back — I think the underlying theme of SERIES IV was quietly asserting itself.  For ‘67 Volume 2, we wanted to explore Mister Wilson’s ‘White Heat of technology’ a bit.  And that’s certainly to the fore in GAME.

DAMIAN: Will it be “classic” or “unconventional” ENDEAVOUR?

RUSS:  Classically unconventional…  or perhaps unconventionally classic.

DAMIAN: Anthony Donn and Roland Marshall from DECEIVED BY FLIGHT made appearances in RIDE, will we be seeing more characters from the original series pop up?

RUSS:  If not characters from the original series, then certainly characters related to characters. More, I can’t say.  You will, I’m sure, recognise an actor whose path crossed with DCI Morse 30 years ago, in tonight’s film.

DAMIAN: Do any of the films happen to take place on a Wednesday?

RUSS:  They might.

DAMIAN: And when did you say we would meet Mrs. Bright?

RUSS:  I don’t believe I did.  She has a very busy social calendar.

DAMIAN: So, Russell Lewis, I’m going to cast you away on a deserted island with only eight episodes of INSPECTOR MORSE to take with you (Desert Island DVDs or Desert Island Dexter perhaps?). Can you give us your first two episodes and tell us why you’ve chosen them please?

RUSS: Oh…  That’s a tough one.   In no particular order…  I’ve got a very soft spot for DRIVEN TO DISTRACTION.  A marvellous swansong from the man who opened the batting and set the template for all that followed — the late, great Anthony Minghella.  As Morse stories go, I think DTD was refreshingly unconventional.  Kind of slasher movie opening — done with great restraint.  Almost like the reverse of the extended pull out of Bob Rusk’s flat in FRENZY — back down the stairs, out of the front door into the street.  Unusually limited set of suspects on which to draw — was it going to be Boynton…  or wasn’t it?  And the finale was inspired.  Corking performances from Mr. Malahide, Christopher Fulford, and David Ryall which kept everyone guessing until the very end.

And…  GREEKS BEARING GIFTS.  A seemingly complex case underpinned by perhaps one of the most tragically human motives in the whole casebook.  Deeply affecting.  Stellar cast — Mister Martin Jarvis, of course; and Jan Harvey, as Randall & Friday Rees.  The much missed James Hazeldine as Digby Tuckerman; Richard Pearson almost stealing the whole film with his exquisitely realised Jerome Hogg.

What I love is how the whole thing mushrooms — from the death of a chef from a Greek restaurant, to College and a reconstructed trireme, via TV’s golden couple.  It does what some of the very best Morse stories do – touching on both town and gown, the high and the low, and providing a bridge from Lewis’ domestic world to Morse’s professional life.

The denouement is properly heart-in-mouth, edge of your seat stuff.  Brilliantly realised by Adrian Shergold.  Hilarious, all these years later, to remember it caused a question to be raised in the House of Commons.   MPs unable to distinguish between fact and fiction.  Perish the thought.

DAMIAN: Thank you very much indeed for the intelligent answers. Until next Sunday then…

RUSS:  Until then.  Thank you.

THE ENDEAVOUR ARCHIVES / 3529 / RIDE

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.

Good game, good game! Didn’t he do well? I hope you’re playing this at home…
…and not Sherlock!

The Endeavour Archives: An exclusive interview with Shaun Evans

THE ENDEAVOUR ARCHIVES
Interview copyright © Damian Michael Barcroft 2016

SHAUN EVANS

An exclusive interview

by Damian Michael Barcroft

22927DAMIAN: I understand that you were the first and only choice to play young Endeavour Morse. Can you tell us whose original idea this was and what work they had seen you in that made them think you would be suitable for the role?

SHAUN: Yes, well that’s my understanding of it. I was at the read through for a part I was about to play of a guy who leaves his wife, because she has a brain tumour, and the execs clearly thought, “ah, what a charmer…there’s our man!” –  and the rest is history.

No seriously,  Mammoth Pictures were making a show called Monroe and I was in the first episode and I got the job from that. As to whose original idea the first film was, I can’t be sure, I suppose a combination of Damien, Michele, and Russ’.

22929DAMIAN: You weren’t familiar with the original TV series, Inspector Morse, hadn’t read Colin Dexter’s novels on which it was based, or even looked at a script at this very early point. What were your initial thoughts or perhaps even preconceptions regarding the character?

SHAUN: I didn’t have any preconceptions, as I didn’t really know anything about it, though that said, I wasn’t massively keen on the idea of a cheesy one off, that would just be a money spinner for the channel…however, given that, to my understanding, the execs had sought me out, I thought I have to repay that with a bit of research, and I’m glad I did… So I suppose I did have preconceptions!

10521052A1053DAMIAN: And after you’d read Colin’s books and the script for FIRST BUS TO WOODSTOCK, what was it about Morse that you connected with and thought you could make your own?

SHAUN: I didn’t think I could make anything my own, but I was intrigued by the storytelling in the novels. The character seemed very clear and at the same time distant, I don’t know, I was intrigued I suppose. Then read Russ’ script and thought it was brilliant. So complex and interesting, that it allayed any of the perceptions that I thought I didn’t have!

DAMIAN: Were there any of the novels or short stories in particular that resonated most and what character details did you find in them that influenced your interpretation?

SHAUN: I particularly liked the penultimate novel, I can’t remember the name of it, something about it I just really liked. I’d long stopped reading them for research by that stage and was just enjoying them. It’s too hard to say specifically what influences your interpretation, it doesn’t really work that way in acting, for me at least, its a feeling.

DAMIAN: I wonder if you can describe the very first day of filming, the scene that was shot and at what point in the series did you think, yeah, I can do this – I’m Morse now?

SHAUN: Again, that’s a very external way of looking at it, you just do your days work, and hope people like it. The first day was myself and Jimmy Bradshaw looking at a dead body by a riverside, and I remember…well actually, when I work I often think “no one will see this, its just a bit of a laugh”  and I do that to feel free so that I can be creative, but I remember coming into my trailer on the first morning and the producers had, very generously, left a first edition of “Last Bus to Woodstock”, signed by Colin, along with a replica Jag, (miniature unfortunately) and I thought, “oh shit” , I don’t know why, but I just felt a degree of pressure, which I’ve never felt before, expectation I suppose. So I put the gifts in a drawer until we’d finished (which I guess is significant) got on my knees, said a quick prayer to help me get on with it,  and then went out and had a laugh with Jimmy and the crew, forgot all of it and got on with the job.

1352

1352aDAMIAN: Although the crosswords, the opera and the booze are all essential elements, I would argue that they have become almost a distraction in our understanding of the character. If I asked you to think of Morse as a man you had actually met and knew well, how would you describe him – how do you see him in your mind’s eye, where is he and what is he doing?

SHAUN: Wow that’s a good question, erm, I like to think that’s how he rests, sitting in a comfy chair, opera on the turntable, scotch by his side, and crossword half filled, in a melancholy mood, quizzing over the big questions and being lost in his thoughts…ha I love this character, I know that sounds mad, but I do.

1109

11061110ADAMIAN: Morse is very much a man shaped and moulded by his past – we all are to some extent I suppose. However, if we were looking for clues as to his loneliness and social awkwardness, would we find the most revealing pointers in his failed relationship with his college sweetheart, Susan Fallon, or perhaps his troubled home life with his father?

SHAUN: It’s too academic to want such solid reasons for things, the whys and wherefores, but life is more interesting and mysterious than that. “Thursday’s child has far to go”, who knows why, he just does. Over intellectualising ruins inspiration I think for the actor.

22938DAMIAN: There are some elements of Morse which very much remind me of Educating Rita and, given his working-class background and later education at University, has become something of a “Frankenstein’s monster”. He feels he doesn’t belong to, or is too good or educated for his own family, but by the same token, doesn’t belong to the more highbrow world of Oxford academia either because he constantly feels inferior to them, not because of his intelligence but because of his background. I suppose what I’m trying to say is that Morse, because of his great intellect, isolates himself, doesn’t speak anyone else’s language, and no one can ever fully understand his – he doesn’t truly belong anywhere does he?

SHAUN: That’s right.

1108DAMIAN: This situation is obviously intensified later in his police career and his refusal to either conform or “play the game”. Would you say that Morse is paradoxically both superior and inferior in all his personal and professional relationships?

SHAUN: Er…yeah.

DAMIAN: Except, of course, for Detective Inspector Fred Thursday?

SHAUN: Ah, Thursday. How cool is Roger Allam?

1216aDAMIAN: It would be simplistic to describe the relationship between Thursday and Morse as merely father and son – there’s a more complex and intriguing connection between the two isn’t there?

SHAUN: I think so.

DAMIAN: Is Roger usually in character between takes or is he simply a bit like his Thursday character in real life?

SHAUN: Oh no, he’s glorious…funny, and irreverent, and sharp, but most of all one of the most wonderful, coolest actors I know.

DAMIAN: In addition to yourself and Roger, I can honestly say that I believe Endeavour boasts one of the finest ensemble casts of any recent TV series. If we look at the progression and augmentation of characters from the pilot and series one, such as Max (James Bradshaw), Jakes (Jack Laskey), Bright (Anton Lesser), Strange (Sean Rigby) and Dorothea (Abigail Thaw), these really do seem like living breathing characters who inhabit both Oxford and our imagination in the most serendipitous way. Abigail told me that you both often try to play around with your scenes and their often inherent humour but the directors usually reign you in so I’m wondering to what extent is there room to improvise and take advantage of this beautiful chemistry that the whole cast seem to share?

SHAUN: Well, if you cast well, and let the actors do their job, they’ll give you good stuff… yes we are blessed with a brilliant ensemble, all of the actors are prepared, have thought about the scenes and come offering something. They are all terrific. And yeah within the time constraints we play around as much as possible, it’s very much a team effort, it really is. And that goes on off stage too, if anyone is doing anything else, we usually organise a team outing to support, and also because I love watching them all work.

DAMIAN: Abigail also mentioned that she and Jimmy Bradshaw want their own spin-off series, Dotty and Max! – what are your thoughts on this?

SHAUN: Can I be in it as a guest?

DAMIAN: After the first Endeavour film, FIRST BUS TO WOODSTOCK, you chose to play quite a dark character in The Last Weekend (2012) and again, more recently you opted for another character who couldn’t be further away from Morse in The Scandalous Lady W (2015) – do you think roles such as these are deliberate attempts to avoid typecasting?

SHAUN: I don’t believe in type-casting, you’re only limited to one role if that’s all you can play. I’m lucky that I’ve always had the opportunity to play parts far away from me, which I hope will continue.

DAMIAN: Would you say that it might be more interesting for you as an actor to portray Morse as dark a character as audiences would be willing to accept for a primetime ITV drama?

SHAUN:  I don’t know, I don’t think about it, Russ does the writing, and if I have any ideas or anything jumps out I have the opportunity to air it, but I think that we’re all pretty much on the same page about the important stuff. I don’t really think about the audience, in that way.

DAMIAN: You have a very distinctive way of… Talking. And. Delivering your lines. I can only describe it as measured and introspective which really works for the character. However, I’ve noticed that, in comparison to Roger who is pretty much consistent and says the same line the same way take after take, you are a lot more unpredictable and perhaps even slightly capricious in your delivery. Is this something you are aware of and does it ever affect the interplay with other actors?

SHAUN: I’d never noticed, it could be in the writing, or perhaps I’m trying to work something out, or maybe that’s how I think this person is thinking this thought,  and therefore speaking this… line.

1138DAMIAN: I was actually complimenting Russ for the scene in HOME (S1:04) between Morse and his father, Cyril, shortly before he dies saying how it was written with such beautiful understatement and so many implicit thoughts and emotions only for him to tell me it was originally quite different! Apparently he had written so much more about Cyril/Gwen and Morse/Susan Fallon but you and Colm McCarthy [Director] had some “notes”! I know both yourself and Roger provide significant input into the scripts so is this sort of debate regarding how or a scene should be shot and played typical?

SHAUN: No not typical, they’re brilliantly written, but it’s our duty to create an imaginary world in our heads, so at the read through of each film I’ve made extensive notes about certain things which block that process for me, which then facilitates it being faster on the working day, that we’re not caught up with small inconsistencies.

22944DAMIAN: In preparing for my interviews with Russ that take quite an in depth look at every film, I’ll spend hours simply watching them, pausing the DVD to make notes and trying to research all his cunning references and nods to not only the original series but also anything from horror, noir or whatever scrap of film, television or literature history that seems to take his fancy. If you haven’t watched the original Inspector Morse episodes, do you yourself find it difficult to spot some of the more obscure references?

SHAUN: That’s intentional. If something sticks out to me in the reading to be surplus, I’ll question it and it will quite often be a “heritage” thing, which for me is neither here nor there, unless it slows down our stories. Then you have to question if it’s necessary to the plot, and if it is deemed necessary, but it still sticks out to me, I just try to limit all of my interactions with it, because its cried out to me. I personally don’t find any enjoyment in that, but I know others do, so that’s OK.

DAMIAN: Owing to the phenomenal success of the original series, Colin Dexter began to change the way he wrote Morse in his later novels and short stories so as to incorporate John Thaw’s performance, personality and appearance. Do you think Russ has done the same thing with you and your interpretation over the last three series?

SHAUN: I’m not sure, nah, I don’t think so, I’d like to think I was endlessly surprising Damian, and that they never know what they’re going to get from me!

DAMIAN: The first Endeavour film, FIRST BUS TO WOODSTOCK, was conceived in large part to mark the 25th anniversary of the original Inspector Morse series and was never actually intended to serve as a pilot at the time. Would you still have signed on to play Morse if you’d have known Endeavour would be such a success and last at least three -hopefully more!- series?

SHAUN: No, I don’t think so. It can lead to complacency, that way of looking at work, from everyone, the actors, the execs and the channel’s point of view. People feel like they own you, and it all becomes about business, making it cheaper and more of it-whilst we’ve managed to avoid that, which ultimately adds to the quality. I don’t think you can say any of our films are “fillers”, they’re all little works of art I like to think, some more successful than others admittedly, but all began with the best of intentions.

DAMIAN: Do you think that playing Morse during such long shoots (I think series three took about 95 days to film) has prevented you from accepting other roles you would have liked to explore?

SHAUN: Yes definitely, but you just have to prioritise, like I say I love this work and we have it very good, the team we have, and it won’t last forever, so I make the most of what I have in front of me, and if another job wants me enough, they’ll make the schedule work, and if not, that’s cool too. Its win/win.

DAMIAN: Russ has told me that he knows exactly how Endeavour will end and has even written the final scene. Presumably you’ve discussed this with him but what I and many fans really want to know, since there’s obviously no show without you playing Morse, will we ever get to see that ending?

SHAUN: I hope so.

1112DAMIAN: Shaun, thanks for doing this. As a fan of the novels, the original TV series and now especially Endeavour, it really is an enormous privilege for me to talk to you about this character that means so very much to me and so many other people around the world. And –hopefully Russ will forgive me for stealing his words from one of our previous interviews– thank you for bringing “a certain, special kind of Oxford magic to a whole new generation, with a pitch perfect portrayal of the heart, mind, body and soul of Endeavour Morse.” Thank you Shaun.

SHAUN: Kind words sir, thank you. I hope our new offerings delight more than anything we’ve done thus far. Cheers Damian

~~~

coda~ Damian Michael Barcroft ~

Follow Damian on twitter for more exclusive interviews

~

The Endeavour Archives: SWAY also previewing PREY

NOTE: Please be aware that the following interview contains spoilers for SWAY (S2:03), ARCADIA (S3:02) and episodes of the original Inspector Morse.

THE ENDEAVOUR ARCHIVES: 4KX

“A policeman’s lot is not a happy one, I’m told. But the lot of a policeman’s wife hardly gets a mention. But while I’ve been out running around, nabbing villains and generally playing silly buggers… the real brains of the outfit has made a house a home, raised two children, our children. Seen ‘em off to school each morning, clean and smart. And somehow, even with all that to do, there’s always been a hot meal for me when I get home. Twenty-five years ago I got the best bit of luck any man ever had. The toast is… my Win.” – THURSDAY

Russell Lewis

An exclusive interview

by Damian Michael Barcroft

Part III:

SWAY

With special thanks to JS Kirstie

~

DAMIAN: Last Sunday we said a sad farewell to Jack Laskey. Should Little Pete ever find himself in Oxford again, would you find a way to write him back in the show?

RUSS:  Jack is a part of the Team Endeavour family forever.  So, naturally, I’d be delighted to see Peter Jakes back in Oxford should the opportunity arise.

In real life – Jack’s playing the lead in a fantastic show which shoots in Canada called Company X – and its production dates cross very heavily with ours.  It was possible for him to shoot the first half of this series, but his representation let us know through Susie – our casting director – that he would not be available going forward.  I was broken hearted to lose him, as we’d barely scratched the surface.  But – happily, he survived! – and you never know..?  Faces from the past have a habit of turning up in Oxford.

sun1044DAMIAN: So SWAY, I really love this film. It’s up there with my absolute favourites FIRST BUS TO WOODSTOCK, HOME and NEVERLAND. We all know that you have mastered the art of the “whodunnit” but like FIRST BUS, SWAY explicitly showcases your ability to juxtapose a detective thriller with beautifully written, character-driven romantic drama. The scenes between Thursday and his old war sweetheart Luisa Armstrong (played to heartbreaking perfection by Cecile Paoli), who haven’t seen each other in twenty years are just devastating. Here’s an example of what I mean:

THURSDAY: We were friends once.
LUISA: That’s the last thing we were. Friendship takes time. What did we have? Two months? Three? If that. There wasn’t room for friendship too.
THURSDAY: Don’t tell me. I was there. I remember everything. Everything. Every moment like nothing before or since. It’s here. Still. Forever. The scent of the pines. The sun on the water. So vivid. And you. All above everything, I remember you.
LUISA: Don’t.
THURSDAY: Your eyes.
LUISA: You can’t say these things. You can’t, not to me.
THURSDAY: I’ve no-one else to say them to.

sun1025sun1024sun1024a“I’ve no-one else to say them to” – still brings a tear to my eye! Of course, all this is particularly heartbreaking since Thursday and wife Win are about to celebrate their twenty-fifth wedding anniversary! Aside from all the blood and guts, are you a bit of an old softy really?

RUSS:  Well – thanks.  I’m delighted you liked SWAY.  I’m very fond of it too. I once worked in an old fashioned department store, and I suppose Burridges grew out of that.

sun1049There’s also a terrific Avengers story ‘Death at Bargain Prices’ – from 1965, I think — that has Steed and Mrs.Peel going undercover at a big London department store; which – though heightened in dramatic terms, and a pretty long way from Endeavourland, was a great spur visually.

However, it was the Carry On team, and Norman Wisdom, I had in mind when I was putting it together.  I just wondered what would happen if you recast those almost stock characters // archetypes, and played them straight – rather than for comedy.  ‘Carry On Strangling.’

In my mind at least there was as much of Kenneth Connor’s frustrated ‘Phwoarrr!’ underpinning Joey Lisk as there was Michael Caine’s ‘Alfie’.  You can probably cast the rest with the remaining Carry On stalwarts yourself.

sun1042Anyway, there’s something about such places out of hours – when you’re doing a late night stock-take, say, or laying out stuff for a new display, or a sale – when most of the lights are out, and the escalators have been turned off…  The manikins in shadow…

sun1049aThat was my one regret about SWAY – no escalators!  But, swings and roundabouts…  And the really exciting thing (for a geek like me) is that the location we used for Burridges is the same store that appears in the opening scenes of the Boulting Brothers’ ‘TWISTED NERVE’ – with Hywel Bennett and Haley Mills…

And this is where it all all gets a bit Six Degrees of Kevin Bacon.  Because, it was Bernard Hermann who composed the grating whistling theme to ‘TWISTED NERVE’ — that Quentin Tarantino later rolled out in Kill Bill.  From Bernard Hermann it’s but a step to his frequent collaborator Mr.Hitchcock.  And the whole thing comes full circle via FRENZY through Billie Whitelaw and (good old Bob Rusk himself) Barry Foster, who both appear in TWISTED NERVE. The necktie strangler was clearly a cousin of the stocking killer.  And back to Morse via Barry Foster in ‘The Last Enemy’.  So…

sun1054By the way — Le Minou Noir was a gift of Camille Gatin’s – Producer on Series II — who, as you probably guessed, is French.   I think I’d originally gone for Le Chat Noir as a brand name – but we couldn’t clear it.  Though the logo survived.

An old softy?  I don’t know.  I suspect a natural aptitude for cruelty would be closer to the mark.

DAMIAN: If Luisa, after the “Fredo, hold me. Once. For what we were” moment hadn’t have told Thursday never to come back, would he have continued to see her in secret?

RUSS: “The ‘what if’ game’s no good to any bugger.”  I know what I think, but I wouldn’t want to be prescriptive.

sun1021asun1021sun1020DAMIAN: There’s a lovely moment in which Thursday gently touches Luisa’s hair as they part from their final embrace. Was this scripted or an improvisation from Roger?

RUSS:  I don’t think it was scripted.  It might have been a suggestion of Andy’s – the director – but it’s just as likely to have been something improvised by Roger.

He likewise improvised the front end of Thursday’s farewell speech to Jakes at the pub in ARCADIA – the one that invokes all the Cowboy film titles.  That was all Rog.  And rather marvellous it was too.   They were light on dialogue on the floor to cover a camera move that Bryn had in mind, and for some reason couldn’t reach me or Sam Costin – so…  Cometh the hour — cometh the Allam.

DAMIAN: Another gem of a moment occurs shortly afterwards. Thursday returns home, hangs up the hat and coat and just stares silently at himself in the mirror. Mrs Thursday offers him stew and dumplings and he looks away from the mirror and at her – a moment – but what was he thinking?

RUSS:  Two roads diverged in a yellow wood…

sun1018sun1019sun1019aHere’s this young man from cold grey old England and he finds himself literally parachuted in to this country of colour, dazzling sunlight and heat.  Sights, smells, tastes unlike anything he’s ever experienced before.  He’s living on his wits – death at his shoulder.  Hunted.  Running with the partisans.  Jeeping one step ahead of those who would kill him.  Aware that each day could be his last.  And he’s got Luisa working with him…

They were young.  Love and death.  Two faces on the coin of life.  The heart chooses.  I felt it made him human.  Had he known that she survived the massacre, he might never had come back to England.  But he didn’t – and so he came back and picked up the threads of his life. Made a go of it.  And it’s been a good life.  Win, and Joan and Sam.

sun1031I think that the realisation is there when he looks into the mirror.  This is who he is.

And it ties in to a warning from the Code that was drummed into us as kids when the 5th of November rolled around – “NEVER RETURN TO A FIREWORK ONCE LIT.”  Which was all of a piece with everything else that was going on in the story.  Strange on Patrol in civvies.  Endeavour and Nurse Hicks at the bus-stop, etc.

DAMIAN: Was Luisa’s fate always that which occurred on screen or were there other possibilities in your mind?

RUSS: (WARNING!  INSPECTOR MORSE SPOILERS FOLLOW!) No – it was always going to be a tragic ending.  The jumping off point was DEAD ON TIME – and the Morse/Susan Fallon axis. Lewis finding the cassette tape – and disposing of it.  I thought it might be interesting to turn that coat inside out – and make it Thursday who had the romantic history with a suspect.

sun1015In early drafts of SWAY, I think right up until the readthrough draft – ENDEAVOUR kept the contents of Luisa’s letter from THURSDAY.  Shielded him from the pain it contained.  As with Lewis and the cassette tape.  But Shaun wasn’t comfortable with that.  He didn’t feel he had the right to keep something like that from Thursday.  And so the final few scenes were rejigged to the version we went with.

SUN1014ADAMIAN: I don’t think I’ve seen Cecile in anything before, how did she come to be cast in the part?

RUSS:  Cecile was brought in by Susie Pariss.  And if you ever watched Bergerac you will certainly have seen her.  She was terrific.  Thought she invested the whole thing with great dignity and extraordinary depths of hidden sorrow.

sun1022DAMIAN: I understand that there is a cast read-through for all the scripts before filming begins, what was the reaction to the first draft of SWAY, particularly from Roger Allam?

RUSS:  I think Roger was pleased with it.  Something ‘meaty’ – as he’d describe it — for him to get his teeth into.  Read-throughs are typically our last chance to tinker with the script before its issued as a Shooting Draft.  They usually take place at the front end of the week between shoots – and I have until Friday to turn around any late thoughts or changes arising from the read.  Sometimes it’ll be a production thing – a location or a scheduling issue that’s not going to work for us.  But we always have the Network in attendance, and they point up any plot or dialogue things they’re not happy with – and likewise with Shaun and Rog.  We read the script through, then hunker down for a couple of post mortems.  One with the broadcaster – line changes, etc., points of contention – and then one with the boys.  The director sits in on both.

DAMIAN: Was there ever a conscious decision either by yourself or Roger that there should be a very Thursday-heavy film that explored his past in such detail?

RUSS:  Yeh – I’d wanted to see a bit more of Thursday’s past life.  It had been kicking around in the back of my head even on Series I – and I think I’d mentioned it to Rog even then.   I thought it would be interesting if we muddied the water a bit.  Filled in some of the blanks.   I like characters that are carrying some baggage.   Some folk got a bit cross about it – and thought his involvement with Luisa diminished him in some way.  I didn’t.  Clearly.

I think I mentioned previously – I didn’t want Endeavour – as a character — to be some sort of sexless, neutered, teenybopper fantasy that just held hands and recited Baudelaire over buttered muffins.  And it was the same with Thursday.  He’s lived a life.

SUN1014DAMIAN: As straight as a die. Decent. Unafraid. Those are your words to describe DI Fred Thursday. You once told me that you have known people with his qualities, could you tell us who they were please?

RUSS:  My old man – principally.  Fred Thursday’s war bears a more than passing resemblance to his.  Others of his class and generation.  His brothers.  Mining stock from the Valleys of South Wales.  Some great-uncles on my maternal side who fought in the Great War.  Lancashire Pals.  Signed up under-age.  Out of the mill and into the trenches.

sun1026DAMIAN: There’s a piece of music that plays throughout SWAY including a scene between Thursday and Luisa and the when Huggins tries to strangle his final victim. It took me a while to place it but I went through my John Barry collection and realized it was very similar to his music score for The Ipcress File. Is this an original piece by Barrington and if so, the Barry influence can’t be a coincidence surely?

RUSS:  I haven’t seen it since it was broadcast.  But Barrington’s not much minded to pastiche, so it seems unlikely.  I’m not sure if you’re talking about the ‘record’ that the killer puts on.  In the UK transmission that was Dean Martin’s version of ‘SWAY’ from which the story took its title, but we couldn’t get clearance for the International version, and that includes DVD and iTunes versions – so, it was substituted…  I’m pretty sure it was a library piece.

DAMIAN: Well, the piano has stopped and the beer has run dry, please tell us what you can about tonight’s film, PREY…

RUSS:   Hmm.  Past and future brush shoulders.  To which end I’m indebted to our Line Producer Helga Dowie for making sure we had the right location.  There’s a very loose connection to Joss Bixby’s ‘Belvedere Set’.  It’s quite a pastoral piece.  Not much more I can tell you on this one.   Except of course…  be afraid.

EndeavourPREY~

Every life holds one great love. One name to hold onto at the end. One face to take into the dark…
– Luisa Armstrong

1008Interview copyright © Damian Michael Barcroft 2016

Follow Damian on twitter for more exclusive interviews

 

 

HOUSE OF GHOSTS

Baroque Theatre Company’s Production of Alma Cullen’s play

Inspired by the Inspector Morse novels of Colin Dexter

~

In an exclusive interview, Damian Michael Barcroft talks to producer and founder of the Baroque Theatre Company, Claire Bibby, director Adam Morley and award-winning actor, Nigel Fairs who plays Chief Inspector Morse.

~

Damian: Baroque is a professional touring theatre company founded in 2010 and based in Norwich. Can you tell me a little about the genesis of the company and something of its ethos please?

Claire: We are passionate about our craft and thrive on bringing inventive and high quality theatre to regional theatre venues. Our casts and crews are energetic teams of creative individuals, committed to engaging audiences with vibrant and captivating entertainment. Our goal is to generate a “renaissance” in local theatre, performing a wide range of genres from revitalised classics to exciting new writing, from comedy to drama. Our ethos is to build the company on a repertory style, whereby a core team of actors and crew remain associated with the company. We are proud to have the opportunity to contribute to East Anglia’s rich and flourishing base for arts and culture. We take our touring shows to all parts of the UK and perform in a vast range of different spaces and venues.

Adam: Baroque is creating quality entertainment, traditional story telling, going out across the country with reasonable pricing, aiming to make theatre and live entertainment accessible and affordable to all. We want to entertain not only regular theatre goers but also attract new people to theatre with a wide range of productions including Inspector Morse House of Ghosts which is our most exciting show to date.

Damian: Your previous productions include The Haunting of Hill House, Veronica’s Room, Great Expectations and most recently, Sherlock Holmes. Why did you choose House of Ghosts as your next production and what attracted you to the world of Inspector Morse?

Claire: Morse is a complex, fascinating character with many layers to his personality that we very much wanted to bring to the theatre audience. There is only one stage play written about this iconic sleuth by Alma Cullen and so we felt privileged to be granted the professional touring license in order to bring this wonderful story to regional theatre venues.

Adam: The chance to be part of the Morse cannon, part of a rich history and walk in the footsteps of giants is extremely exciting.  The opportunity to explore this deeply complex and flawed human character is a real honour. Having new insights into Morse’s past and what shaped him has been a real treat.

Damian: Alma Cullen is a prolific writer who actually wrote for the original Inspector Morse television series* (1987 – 2000). Can you tell us about the story and her particular interpretation of Morse and Lewis in House of Ghosts?

Claire: The plot delves deep into Morse’s history as a student in Oxford, reuniting him with ‘ghosts’ from his past. Giving us an insight into some of the events which shaped Morse’s life in years to come. A real treat for the Morse fan. Our Morse in House of Ghosts is in his late forties and the play is set in the 1980’s. He is still developing his persona and traits at this stage of life and the character in the play presents a bridge between the characters in the TV series of Endeavour & Morse.

Adam: We find Morse at a crossroads in his personal and professional life. The show is about obsessions and as the title suggests it reveals previously unknown or little known aspects of Morse’s past.  Similarly we see the depth of relationship between Morse and Lewis as the faithful and tenacious Sergeant tries to keep Morse focused and on track.

Damian: And the stage-within-a-stage concept?

Claire: The play opens with a performance from Hamlet, when Ophelia dies suddenly mid-performance. Inspector Morse is immediately on the scene, having been in the audience. The stage is cordoned off and becomes a fully-fledged murder scene. In the opening scene, the audience are watching events unfold from backstage.  The stories then unfold in a more traditional manner on stage.

Adam: This lovely concept by the incredibly talented and humble Alma Cullen (I have never worked with such a supportive and encouraging writer) allows us to keep the pace flowing beautifully and create a wonderful mixture of different locations including the Theatre. As a director this has been a wonderful challenge transferring what has worked so well on television to the stage.

Damian: Morse enthusiasts may recall the first production of House of Ghosts back in 2010 with former Doctor Who Colin Baker in the role of the Inspector. Are there significant changes in your adaptation?

Claire: Adam has worked closely with Alma to bring a fresh interpretation of this production which we hope will delight Morse enthusiasts as much as we have enjoyed working on it.

Adam: Alma has been amazing and has allowed us to restructure some of the scenes to better suit a theatrical production. We have together gone back to a much earlier draft of the script allowing for even more character development and revelation. The previous incarnation of the show had many short sharp scenes. We have a different pace allowing for a more linear approach and greater plot and background development. It is a true honour to have been allowed so much freedom with such iconic characters. We have always at every step respected the writers and the cannon; this version is faithful and shows a more vulnerable Morse in all his glory brilliantly portrayed by Nigel Fairs.

HOUSEOFGHOSTS2Damian: In comparison to Colin Baker, the casting of Nigel Fairs as Morse is certainly more in keeping with that of Shaun Evans in Endeavour, is this something that you took into consideration?

Claire: Adam will be better able to explain from a Director’s casting point of view. Nigel was able to portray the characteristics we were looking for with skill and flair as well as putting his own stamp on the performance. There is always a risk if an actor’s performance is a carbon copy of a famous actor’s portrayal of an iconic figure such as Morse. With Nigel’s wide spanning experience, versatility and expertise he was able to nod to the character appropriately whilst making it the role his own.

Adam: Casting Morse was the hardest casting challenge of my professional career. Not only did we need to find an actor with the ability to portray this deeply complex individual , we needed to respect and understand the other interpretations and allow our incredibly talented Morse room to grow into the role which he has done magnificently. After the long search we then needed approval from Alma and Colin Dexter, there was no hesitation on their part with our choice. We absolutely kept in mind suitability of the actor and ensured we had found absolutely the right man for the job in keeping with the narrative age and development of the character between Morse and Endeavour.

houseofghosts3Damian: To what extent does the play attempt to bridge the gap between Endeavour (1965 onwards) and Inspector Morse (1987 – 2000)?

Adam: The play itself sits in-between and shows us Morse a Chief Inspector torn between two worlds; academia and the Police. We meet a Morse who is in the throes of internal conflict when new opportunities arise to possibly change direction. In this show you see how he ultimately progresses form the young man in the Endeavour days into the classic Morse we all know and love as played by the late great John Thaw. It is a glimpse of a crucial moment in his development – does he want to be a policeman anymore as the ghosts from his past just a few years previous to Endeavour come back to haunt him.

Nigel: When I first got the part, I vowed to myself not to watch either the incredible John Thaw or Shaun Evans (I’ve yet to see Endeavour) until I’d finished the tour, as it would have been so tempting to try to imitate their performances.  I’ve known and worked with Colin Baker for years and I even resisted asking him how he’d played the part! I felt it was really important to find the truth of the Morse we see in this play and to create my own “version”.  I would hope that I’ve done just that, and feel really honoured to have been given the opportunity of being one of only four actors to play him. Like the lucky actors who’ve played Doctor Who or James Bond, I now feel like I’m a member of a very privileged club!

Damian: I’ve interviewed and discussed Endeavour many times with its writer and executive producer, Russell Lewis, and one of the challenges was reconciling certain discrepancies between Colin Dexter’s thirteen Morse novels plus his various short stories** and the thirty-three episodes of the original TV series – specifically, Morse’s childhood and college days. Since your plot also delves into Morse’s past and student life in Oxford, I was wondering whether you have been either helped or hindered by the enormous success of Endeavour in terms of your own creative freedom in exploring the character?

Adam: It has been a great help. Firstly it introduced the character to a whole new audience who may not have known about Morse and has hopefully lead to them reading the books and seeing the original TV series. Secondly it has given us in our research and development so much more source material and inspirations to consider.  This production is very much its own unique story set in the Morse universe showing us a character we know and love in a truly harrowing and complex investigation with deep personal ramifications to the character. It has many influences but I am extremely proud of how we have made it our own whilst always respecting what has gone before and being true to it. The incredibly talented cast lead by Nigel has worked in their own various ways to achieve the characterisations with my guidance. This is I hope a true treat for fans of the ever growing and ever popular Morse universe.

Nigel: Like I said, I have yet to watch Endeavour but I’m itching to watch both that and the classic Morse episodes as soon as I’ve finished the tour!

HOUSEOFGHOSTS1Damian: Does your production of House of Ghosts explicitly address Morse’s early love life and why he left college?

Adam:  Yes it does in detail; revealing previously unknown events that shaped Morse.  We discover some of the reasons why he left and what his thinking was at the time…these events play an integral part of the plot.

Nigel: This is exactly his struggle.  What I love about the plot is that Morse gets it wrong, despite having all the evidence about the truth presented to him early on. He’s desperately trying to be the professional but that terrible time back at college is constantly clouding his vision.

HOUSEOFGHOSTS4Damian: Can you tell us about your own particular interpretation of Morse and how you prepared for the role?

Nigel: My favourite – and in a way, most vital – bit of “research” came when I read a passage in Colin Dexter’s short story As Good as Gold. It was the first time I’d truly seen into Morse’s head, as depicted by his creator.  Reacting to Strange, Morse thinks:

“Seven – or was it eight? – “she”s.  With one or two “her”s thrown in for good measure? Yet in spite of the bewildering proliferation of those personal pronouns (feminine), Morse had found himself able to follow the story adequately, feeling gently amused as he pictured the (now) grossly overweight Superintendent as a podgy but obviously pious little cherub happily burbling to his baby-sitter.”

That passage nailed it for me, and not only because that’s more or less exactly what goes on in my own head most of the time (usually accompanied by the most amazing incidental music score; another similarity to Morse)! As I move through House of Ghosts as Morse, there isn’t a single second where I’m not analysing other characters’ speech patterns, imagining outcomes or possible motives, chastising Lewis (and other characters) for their incorrect use of grammar… But all the time being thwarted and distracted by the HUGE emotional resonance of the Past Events that have resurfaced. Morse is in mental turmoil here, which is a joy (if exhausting) to play.

HOUSEOFGHOSTS6Damian: How would you describe the relationship between your Morse and Lewis (played by Ivan Wilkinson) in the early days of their partnership?

Nigel: I adore Ivan Wilkinson, and his beautifully detailed and layered performance of Lewis is a joy to play opposite.  I think that between us we’ve managed to come up with a fascinating relationship that constantly blurs the line between “mentor” and “student”. They both have such a lot to learn from each other. Without spoiling the plot, there are a wonderful couple of scenes in the second act where we see exactly how much they need each other to work as a team, or even individually.

Damian: What will the next Baroque production be after you’ve finished touring with House of Ghosts in May?

Claire: We will be touring with two productions from November 2015 – January 2016. Sherlock Holmes and the Christmas Carol by John Longenbaugh and The Great Santa Kidnap by Roy Chatfield. Our exciting programme for the remainder of 2016 will be announced soon!

Adam: In addition to those shows with Baroque Theatre Company, I’ll be directing The Birds based on the Hitchcock film and Du Maurier book in a co production with Baroque. I will also be directing a Moliere (in French) in London and Paris and then moving onto The Canterbury Tales.

Damian: Claire, Adam and Nigel, thank you very much indeed.

 ~~~

*Alma Cullen’s Morse episodes: The Secret of Bay 5B (1989), The Infernal Serpent (1990), Fat Chance (1991) and The Death of the Self (1992).

**Colin Dexter himself wrote about Morse’s background and history in Mr. E. Morse, BA Oxon (Failed) also known by its original title, Morse and the Mystery of the Drunken Driver, a short story published in 2008 by the Daily Mail as part of a Christmas serial special.

~ Damian Michael Barcroft ~

https://twitter.com/MrDMBarcroft

HOUSEOFGHOSTS8House of Ghosts continues its tour throughout April and May at the following venues:
WEDNESDAY 29TH APRIL 7.30PM
CYGNET THEATRE, FRIARS GATE, EXETER EX2 4AZ
Box Office: 01392 277189
http://www.cygnettheatre.co.uk/theatre-exeter-arts-entertainment-whats-on/
THURSDAY 30TH APRIL 7.30PM
WEYMOUTH PAVILION
Box Office: 01305 783225
http://www.weymouthpavilion.com/page40.html#Morse
FRIDAY 1ST & SATURDAY 2ND MAY 7.30PM
FISHER THEATRE, BUNGAY
Box Office: 01986 897130
http://www.fishertheatre.org/Event.htm?date=201504011930&
WEDNESDAY 6TH MAY 7.30PM
THE REGAL THEATRE, MINEHEAD
Box Office:01643 706430
http://regaltheatre.co.uk/show/house-of-ghosts/
SATURDAY 9TH MAY  7.30PM
THE PLOWRIGHT THEATRE, SCUNTHORPE
Box Office: 0844 8542776
https://tickets.scunthorpetheatres.co.uk/single/eventDetail.aspx?p=28090
TUESDAY 12TH MAY 7.30PM
POMEGRANATE THEATRE, CHESTERFIELD
Box Office: 01246 345222
http://www.chesterfieldtheatres.co.uk/shows/inspector-morse-house-of-ghosts.aspx#.VTtv5fBm21o
FRIDAY 15TH MAY 7.30PM
THE GUILDHALL, LEICESTER
Box Office: 0116 2532569
http://www.leicester.gov.uk/leisure-and-culture/museums-and-galleries
SATURDAY 16TH MAY 7.30PM
THE TOWER THEATRE, FOLKESTONE
Box Office: 01303 223925
http://www.towertheatrefolkestone.co.uk/event/house-of-ghosts/

~

THE ENDEAVOUR INTERVIEWS: Barrington Pheloung

BARRINGTON PHELOUNG

An exclusive interview

by Damian Michael Barcroft

~ With thanks to Papageno ~

MORSE is the loneliest of men. However, despite numerous doomed relationships and tragic love affairs, often overshadowed by the ghosts of girlfriends past, he does have one constant companion which is his music. In addition to being a devoted listener of BBC Radio 3, BBC Radio 4 (although this is mainly to catch every episode of The Archers and the occasional Desert Island Discs) and Classic FM, Morse has an extensive library of LPs which highlight his many musical heroes including Wagner, Mozart, Puccini, Strauss, and not least Rosalind Calloway, to name but a few.

©itv/MammothScreen

©itv/MammothScreen

Since 1987 to the present day, music has featured so prolifically and prominently throughout the original Inspector Morse, Lewis and now Endeavour, that it is also inconceivable that every single note has been the responsibility of just one man. Indeed, in addition to composing all the original music for the three series, he has also arranged all the classical pieces and various “source music” that you hear in each and every film which are performed under his supervision. It is, therefore, a true honour to present this exclusive interview with one of my musical heroes, Mr Barrington Pheloung.

©itv/MammothScreen

©itv/MammothScreen

DAMIAN: Barrington, you were first approached to write the music for the original series back in 1985 and I believe your first brief was to compose a theme that epitomized Morse’s cultured and cryptic mind while simultaneously capturing his melancholy nature. You did this with one of the most memorable and iconic television themes of recent times, expressing various aspects of the character with music that is both beautiful and yet haunting. Can you describe the complex character of Morse?

BARRINGTON: Morse had an incredibly cryptic mind (as do I finishing off The Guardian crossword – only two to go) but Kenny McBain and Anthony Minghella who wrote the first screenplay wanted me to explore the complexity of this character. He loved cryptic crosswords and classical music and therefore he was very close to my character.

©itv/MammothScreen

©itv/MammothScreen

DAMIAN: For all his intelligence, Morse is rather inarticulate when is comes to communicating – especially with the fairer sex. To what extent would you agree that your music expresses the emotions and psychological makeup of Morse that are often implied rather than ever explicitly stated?

BARRINGTON: Less is always more. Morse is not inarticulate but slightly fumbling when it does come to his relationships with women.

DAMIAN: I hope you’ll forgive my lack of professionalism when I confess that I’m a huge fan of your work and own every Morse album that has ever been released. One of my favourites is The Passion of Morse, which in addition to the majestic Sinfonietta in MorseThe Morse Suite, also features some of your other work including Bach Sarabande, Cello Suite from Truly, Madly, Deeply, Bach Keyboard Concerto, Partita from The Politician’s Wife and Fantasia For the Little Prince. I really do recommend this album to both Morse completists and also those who might like an introduction to your other prolific work which has encompassed various film, television and theatre projects over the years. However, the main reason for highlighting this is because you mention in your sleeve notes for the album that some of the pieces, including the Morse track, are very personal and as much about you as they are about the film characters. Would it be too much of an intrusion to ask you to elaborate on this?

BARRINGTON: Every piece of music that I have written in my life has been based on my life and my own close family connections. Therefore I take this very seriously as an obligation.

©itv/MammothScreen

©itv/MammothScreen

DAMIAN: You share more than a few of our favourite detective’s pastimes don’t you?

BARRINGTON: Yes I enjoy a pint at the pub and I certainly love chess and of course the cryptic crossword although Morse does The Times and I do The Guardian.

DAMIAN: Inspector Morse introduced the now familiar two-hour format for TV films and I’m wondering if it is true that the creative choices and stylistic features such as the use of slow camera pans were specifically designed to accommodate long sections of the beautiful music?

BARRINGTON: Our (Minghella and Kenny McBain) incentive was to try and produce a feature film rather than a television episode. Therefore, I was given much more scope to create longer sequences of music.

DAMIAN: You’ve said that you found it somewhat daunting when you were first asked to write the music for Lewis – why?

BARRINGTON: It was that I simply didn’t know where else to go. However, Kevin Whately’s character was so powerful and strong that I believed we had a new way to go and I even wrote him his own theme.

DAMIAN: The writer of Endeavour, Russell Lewis, seems to take an active interest in all aspects of production beyond simply writing the scripts. Obviously much of the music that is used frequently relates to certain plots and characters such as in First Bus to Woodstock (Un bel di from Puccini’s Madame Butterfly and the character of Rosalind Calloway) and Fugue (perhaps most notably the inclusion of Verdi’s Otello in finding clues to track down the serial killer, Dr. Daniel Cronyn aka Mason/Gull). I’m wondering at what point in the production do you become creatively involved and to what extent the musical choices are discussed with Russ?

BARRINGTON: Endeavour, Morse and Lewis has always been a subjective choice. Sometimes by directors, sometimes by producers and writers but ultimately I’m given the final choice and more often than not, these are the works that I have conducted many times before.

©itv/MammothScreen

©itv/MammothScreen

©itv/MammothScreen

©itv/MammothScreen

©itv/MammothScreen

©itv/MammothScreen

DAMIAN: Unlike much television and cinema, where the scores are often used to compensate for the lack of dramatic and emotional depth, your music is chosen carefully and selectively which results in a far more potent contribution to the overall meaning of both the story and its characters. For as much as audiences love and remember the soundtracks, the music is actually used rather sparingly isn’t it?

BARRINGTON: Yes indeed – less is more; always.

DAMIAN: Like Russ, you do enjoy to play rather cunning games with audiences in which you often tease us with various clues but also a few red herrings. Can you give us a few of your favourite examples?

BARRINGTON: On many occasions I have given red herrings in Morse code pertaining to the killer i.e. she did it – he did it.

DAMIAN: Although not as prolific as Colin Dexter’s cameos, you have also made a couple of appearances in the original series, how did this come about?

BARRINGTON: Indeed I have made many appearances on film because I was requested to be on set as the conductor/producer of the music and therefore I was just there.

DAMIAN: I can’t think of another composer who has written the music for a franchise with such longevity and you must be one of the few people to have worked on every single Inspector Morse, Lewis and Endeavour film. What’s the secret behind keeping the music fresh for both the audience and you as a composer?

BARRINGTON: Very simple, if I can’t think of an original theme or to keep a way to keep my music new then that will be time to give up.

DAMIAN: You did a concert at the Royal Festival Hall back in 1991. Is there a chance you might perform again in this country as I’m sure I’m not the only fan who would be thrilled to hear the Morse theme performed live?

BARRINGTON: I would love to as soon as I am asked.

DAMIAN: One final question. I must ask why, a man of your musical talent, is also running a lawn mower repair service?

BARRINGTON: I do indeed repair both my mowers here and in Australia where I have a 30 thousand hectare mountain however, I don’t repair anyone else’s mowers!

DAMIAN: If Russ is the brains behind young Morse, you are his heart and soul. Your music continues to enrich our understanding of the character and its been an absolute privilege to do this interview. Thank you very much indeed Barrington.

BARRINGTON: Thank you and may god bless.

~~~

Special thanks also to Amanda Street-Shipston of DNA Music Ltd.
www.dna-music.com
For more information about the composer, please visit his website:
http://www.pheloung.co.uk/

The final Endeavour film of series 2 is tonight at 8 on ITV

barry01