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30 YEARS OF MORSE ONSCREEN

An exclusive celebration

by Damian Michael Barcroft

Copyright © Damian Michael Barcroft 2017

~

For Colin…

Our love to you and your family.

~

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

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

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

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

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

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

ED BAZALGETTE

Director ~ GIRL

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

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

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

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

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

JAMES BRADSHAW

Dr. Max De Bryn

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

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

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

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

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

SAM COSTIN

Script Editor ~ Series I – III

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

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

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

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

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

IRENE NAPIER

Make-up Designer ~ Pilot & Series I – IV

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

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

SEAN RIGBY

Detective Sergeant Jim Strange

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

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

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

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

Long may it continue!

MATTHEW SLATER

Composer

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

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

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

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

— — .-. … .

ABIGAIL THAW

Dorothea Frazil

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

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

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

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

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

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

DAMIEN TIMMER

Executive Producer ~ Pilot & Series I – IV

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

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

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

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

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

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

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

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

SARA VICKERS

Joan Thursday

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

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

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

Happy 30th Birthday Endeavour Morse! x

HELEN ZIEGLER

Producer ~ Series IV

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

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

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

~

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

JAMES GROUT

Chief Superintendent Strange

NORMAN JONES

Chief Inspector Bell

KENNY MCBAIN

Producer

ANTHONY MINGHELLA

Screenwriter

ALASTAIR REID

Director

PETER WOODTHORPE

Dr. Max De Bryn

and

JOHN THAW

Chief Inspector Endeavour Morse

~

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

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

~

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

 

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.

The Endeavour Archives: NOCTURNE also previewing ARCADIA

THE ENDEAVOUR ARCHIVES #7

Russell Lewis

An exclusive interview

by Damian Michael Barcroft

~

With thanks to Hilary Bray

Camille Pleyel

and Wynnie Stoan

~

SO, last week I was telling you about the eleventh day of shooting and the first on location in Oxford for Series 3 – Film 1: RIDE. You’ll forgive me if I didn’t go into too much detail for fear of spoilers but I hope to rectify that now the episode has been broadcast.

Radcliffe Square was the first of the day’s three location shoots. Rehearsals and sound checks etc. were all well underway by the time I got there at 08:22. Remarkably, considering the scene only lasts just over two minutes in the final cut that you will have seen last Sunday, it took until 10:43 to get the required footage. But then, despite the promise of spring (12 April 2015), it was bloody cold and windy – so much so that they had to stop filming because Shaun’s eyes were watering. Indeed, I don’t think I ever expected to see Endeavour Morse jogging on the spot outside the Bodleian to keep warm.

However, in addition to the weather, cast and crew had to contend with various obstacles including unruly cyclists and a particularly angry delivery man – all determined on making a cameo appearance. It is testament to the good natured family atmosphere enjoyed by both cast and crew that they all remained so humorous and patient – although, since I’m posting this on a Sunday, I won’t reveal what Roger said when confronted by a group of snap-happy tourists hell-bent on a selfie or two.

Needless to say, a lot of cheese and pickle sandwiches were eaten that morning. Anyway, more of this later. I’ve also included a full transcript of the scene in question at the end of the following interview as there is a particularly lovely moment between Endeavour and Thursday which was sadly cut from the final edit. For now though, here’s the second part of an exclusive interview as we continue to explore series two while offering the odd glimpse of tonight’s film…

1052Part II:

NOCTURNE

DAMIAN: As with FUGUE (S1:02), the second film of series two also happens to be a horror/thriller story. Will tonight’s film ARCADIA continue the trend for series three?

RUSS:  The short answer is no.  There was a request to shake the Selection Box a little this time out — so that we didn’t get too predictable.  There is an ‘ENDEAVOUR does… (insert genre here)’ film amongst the four, but we have swapped the order around a little.

1100DAMIAN: We talked about your love of horror in one of our interviews last year and there are so many references again in NOCTURNE but would it be fair to say that THE INNOCENTS (1961), the work of M. R. James’ and the seventies GHOST STORIES FOR CHRISTMAS were particular inspirations for the mood and tone of this film?

RUSS:  All of those things.  PICNIC AT HANGING ROCK came up a bit too — in my discussions with the Director, such as they were.

1056DAMIAN: While we were doing our interview prior to the broadcast of NOCTURNE, you mentioned that the actual backstory regarding the Victorian murders sprang from a loose personal connection with the murder of Francis Saville Kent and an affectionate tribute to Dan McCulloch (producer of series one), could you elaborate on this please?

RUSS:  In the late 70s, I worked on a BBC dramatisation of the Constance Kent case which was shot in the West Country – as near as damn it to the original locations.  If I remember right – the cast had an anniversary supper – on the evening of the murder.

I suppose we were down there two to three months — across the summer.  Staying in various hotels.  One in the Quantocks had a touch of Fawlty Towers about it.  Not in the service – but in the 70s atmos.  Public telephone in the hallway – with a ‘hood’ for privacy!  This was an England where a glass of orange juice was often offered as a ‘Starter’.

Fawlty Towers’ ‘The Wedding Party’ with the flirty French guest who goes out in an evening to sample the delights of Torquay..?  Mad, but there’s something about the still, summer-night blackness beyond the entrance that absolutely nails what this hotel was like.

One of the locations we used was a house owned by a Headmaster at some school or other — I can’t remember where exactly — and, though a much smaller building, that had a feel of Shrive Hill House.  While the crew were filming outside, I had an explore of the servants’ quarters and attic.  It stuck in my head, and provided the jumping off point for Endeavour exploring the upper floors of Blythe Mount.

The tribute to Dan…    Well, he’s a Home Counties boy — and Dorking has some very pertinent personal associations for him.  It was a tease — the notion that he might end his days a hopeless rummy in a rooming house there.  In truth, I can think of no future for him that would be less likely.

1054DAMIAN: Morse tells us that “this place [Shrive Hill House/Blythe Mount School for Girls] is like a honeycomb; backstairs and concealed corridors…” which instantly reminded me of Poe, particularly the Corman film version of The Fall of the House of Usher (1960). While there’s an abundance of gothic elements and nods to the genre (note the Hammer Horror double-bill that gives Strange “the proper willies”) in some of your scripts, I thought that NOCTURNE, unlike FUGUE, was similar to The Hound of the Baskervilles in that it takes a detective famous for their logic and deductive reasoning and places them in an apparently supernatural setting which almost stretches the conventions of Morse to bursting point. While I, and I’m sure other “connoisseurs of the macabre”, loved every moment, were there any concerns that the audience might find it a little too Scooby-Doo?

RUSS:  I suppose it may have been a stretch for some, but I hoped we’d built up enough trust with the audience over the preceding films that they’d go with us.  Probably just me trying to have my penny and my bun.  But – for all the ghostly bells and whistles — we did try to play fair by the rules of the whodunit.

It’s interesting that you reference The Fall of the House of Usher.  Though Blythe Mount didn’t crumble into the tarn, in the original, early drafts of NOCTURNE, the school went up a raging blaze – Endeavour hunting for Bunty and the killer through the smoke and flames; an ending like so many Hammer Horrors – but, the director wasn’t keen.  So…

1055DAMIAN: Who is your favourite screen Sherlock Holmes by the way?

RUSS:  Oh – that’s hard.  Benedict Cumberbatch is doing great work, of course.  A Sherlock for the 21st century.  Modern and thrilling.

Perhaps it’s like the Doctor – every generation has its own Sherlock.  For someone of my years… Jeremy Brett is hard to trump.  One of Paget’s illustrations sprung to life.  I did see him and Edward Hardwicke do The Secret of Sherlock Holmes on stage, which was rather wonderful. But I remember when the first of the series went to air – JB’s brilliance notwithstanding, it was David Burke’s Watson that was the real great leap forward.  They redefined the relationship – after decades of a kind of ‘received’ performance from the what-what-what? school of Watson, David Burke restored his dignity.

Basil Rathbone was the Sherlock I grew up with as a kid, with the movies on re-run, so I’ve a great fondness for his portrayal.  That would have been the first Sherlock that properly registered with me.  Peter Cushing was terrific.

Blasphemous, perhaps, so say it softly, but I thought Robert Downey Jnr & Jude Law made a pretty decent fist of it in the two Guy Richie movies.  Jared Harris was a corking Moriarty.  And Eddie Marsan’s Lestrade…  On screen for all too brief a time, but not a second of it wasted.  But then Eddie Marsan’s work always has such integrity.  I don’t think he’s ever played a false moment.  You know – like Edmund Reid, or Fred Abberline – one didn’t become a Detective Inspector in Late Victorian London by being dull-witted.  I think you really feel that with Eddie Marsan’s portrayal.  That he could handle himself – intellectually and physically.

Nicol Williamson was interesting in The Seven Per Cent Solution, but a bit of a stressful watch. Hard to take your eyes off Alan Arkin’s Sigmund Freud, though.  Hard to take your eyes off Alan Arkin in anything.  Weirdly enough – it was Arkin’s turn in ‘Wait Until Dark’ I had in mind for the photographer in TROVE.  That sort of Paul Simon ‘do’?  A sort of… French Crop, is it?  But, sadly – the look fell by the wayside.

However…  ‘favourite’ Holmes…  I have a very special place in my heart for Christopher Plummer’s turn in Murder By Decree.  James Mason also gives a hugely entertaining old school Watson.  ‘You squashed my pea!’

Of course, like From Hell — it shadows the late Stephen Knight’s now much discredited hypothesis.  But the yarn spun, and the supporting cast…  Frank Finlay’s Lestrade; Donald Sutherland’s Robert Lees; Sir Anthony Quayle, Sir John Gielgud, and a cracking turn by David Hemmings…  together with a suitably creepy score and cracking production values, makes for an altogether irresistible two hours.   Great opening model shot of London skyline too.  If you haven’t seen it…  Great fun!

But he’s crime fiction’s answer to Hamlet, isn’t he?  It’s quite possible that the greatest Holmes may not have been born yet.

DAMIAN: I loved the moment when the author of “Plighted Cunning: An account of the Blaise-Hamilton murders”, Stephen Fitzowen (splendid Desmond Barrit), bangs on the door of the school and says in a very Lionel Grisbane sort of way, “Good Evening” which I almost expected him to follow with “I have returned…”. Was there a particular model for the character or an actor in mind to play him as you wrote the part?

RUSS:  Yeh – Desmond was great.  I think the stage direction in the shooting script featured an exterior establishing shot – which was Fitzowen getting out of a taxi, and framed in a halo of light from a lamp by the door – portable recording equipment in hand, standing in for Max Von Sydow’s suitcase.  But in the end – for scheduling reasons — this was never shot.

That whole sequence was intended to take place on a dark and stormy night.  Thunder. Lightning.  If you’re going to embrace the tropes..?  All or nothing at all.  But, despite my best efforts, I couldn’t convince the director to get behind it.  C’est la guerre.

1030The character was a nod to Dashiell Hammett’s The Dain Curse – which featured a writer Owen Fitzstephan right at the heart of proceedings.   There was an adaptation of this in the 70s with James Coburn as ‘Ham Nash’, the Gumshoe; and everyone’s favourite troubled Jesuit — Jason Miller — as Fitzstephan (which was another happy connection.)

My memory is a dented and wonky sieve, but I think Fitzowen was originally several characters; including a trio of academics with an interest in parapsychology.  I don’t think I went as far as naming them Venkman, Spengler & Stanz, but that’s certainly what I was drawing on.  Just a bit of fun.  Seeing how they played out as dramatic characters, rather than comedic ones.  Sadly – due to space and budget – they ended up biting the bullet, and some of their material was grafted on to Fitzowen.

1036But he was a type, more than anything…  A touch of Ronnie Barker’s ‘Magnificent Evans’ in there.  Maybe even a bit of Ed Reardon.  Some of that… Neil Oliver is it?  The TV historian?  Some of that Celtic ‘WhooOOOOoo!’ in the delivery.  A chap, one suspects, who could invest even the most commonplace occurrence with a suggestion of the fey folk at work or the Gods at dice.  I’d love to hear him order breakfast.

It was a bit of a pig for poor old Des – especially the magic lantern show, which featured hideous amounts of unadulterated plot-spiel.  Lines like that are very difficult to get down – as there’s nothing to play off.  No cues.  But he did it wonderfully.

103310341035DAMIAN: Once again, this film features a plethora of cultural references including, in addition to those already mentioned, Lewis Carroll, Ian Fleming, Philip Larkin, Charles Perrault, P. G. Wodehouse and John Wyndham to name but a few. At what point do these occur to you, is it through the research and writing stage or do they forever reside within your consciousness rather like Simonides’ method of loci?

RUSS:  Mostly just flotsam and jetsam swilling around the cloaca maxima that serves for a mind.

DAMIAN: And is Plighted Cunning simply a reference to King Lear and, if so, was this used because of the story, like NOCTURNE, concerns themes of betrayal and justice regarding a father’s fortune?

RUSS:  I think – because I was drawing on the Murder at Rode (Road) Hill House – that I was trying to find a title that had an echo of Cruelly Murdered by Bernard Taylor.   That and Yseult Bridges’ The Saint With Red Hands – were our two main guidebooks to the case.  I think I was just trying to come up with a title that a rather florid character such as Fitzowen might have used, and it seemed to chime.  The Queens of the Golden Age plundered Shakespeare, so it felt right and fitting to follow their example.  One of those three in the morning decisions that’s hard to accurately recall after such a passage of time.

DAMIAN: I know you’re fond of walking, to what extent have your adventures manifested themselves into your scripts such as the Domesday Book (TROVE) and Holmwood Park Sanitorium (NOCTURNE) for example?

RUSS:  Quite a bit, I suppose.  You do see some odd things.  Long abandoned vehicles in unlikely places.   The caravans in NEVERLAND came from one I’d seen in a state of advanced disintegration.  It was on a regular route – and, over a couple of years, I just watched this thing gradually disappear.  Actually, when I first saw it, the caravan looked rather like the mobile home at the start of THEM!  Torn open.  Thankfully no fifteen foot ants came whiffling out of the tulgey wood.  But yes – I’m a sucker for the atmosphere of such places.

Holmwood Park first put in an appearance in LEWIS – Falling Darkness – and it seemed fun to fold it back into ENDEAVOUR in some way.  I think I read somewhere, or someone told me, about a place like Holmwood Park, not too far from Oxford, where undergrads that had burnt-out sometimes ended up.  A kind of proto-Priory.  Quite a lot of derelict medical facilities out there.  Nature reclaiming buildings.  Creeping decay.  Ruin.  Damp.  Fungi.  And there’s definitely a sense of frozen in aspic about some of them.  Time stopped.  Some of the larger sites – the staff social areas – clubs and canteens.  Press your nose up against the window and you can see cabinets still filled with old Darts trophies – shields and cups.  Round Robin Tennis fixtures – decades out of date.  Fantastic.

DAMIAN: There are close-ups of “Plighted Cunning” in NOCTURNE and we regularly see various shots of articles and clippings from The Oxford Mail. Given their detail and relevance to the plots, who actually writes these?

RUSS:  Sam Costin creates the text for these – and he’s an absolute genius at it.

10421041DAMIAN: Where are all the props such as Plighted Cunning and the autographed Rosalind Calloway LP (from FIRST BUS TO WOODSTOCK) stored?

RUSS:  In various prop-houses and storage facilities.

DAMIAN: How was Chopin’s Nocturne chosen?

RUSS:  It’s a favourite.  They’re all terrific, but something about the one we went with seemed to my ear even more eerie than its fellows.  And I thought if we could put that on a musical box…

DAMIAN: We talked about film noir last week so I was intrigued to discover there is actually a 1946 George Raft movie in that genre called Nocturne! – were you aware of this or is it just a coincidence?

RUSS:  It is just a coincidence.

DAMIAN: There are some lovely moments between Morse and Joan Thursday (Sara Vickers) and there has been an obvious attraction and chemistry between the two since the first series. Wouldn’t it be wonderful to see them destined for a bit of slap and tickle or perhaps I should say a bit of how’s your father?

RUSS:   It’s an interesting relationship.  And the chemistry is rather lovely to watch.  I do know exactly how it’s going to evolve, but more than that…  I can’t say.

1049DAMIAN: Another scene which I adore was between Morse and Max after the young girl Maud Ashenden is murdered. Max says to Morse, “Adults, one takes the rough with the smooth. But this… you find this piece of work, Morse. You find whoever did that. For me, all right? You find them…”. An absolutely beautiful moment in which Morse expresses sympathy but also genuine surprise at Max’s unusual lamentation for a corpse. Was this purely because it was a child’s death or were there possibly hints that there might be other reasons that it resonated with Max to such an extent?

RUSS:  I thought it would be nice to see another side of Max.  The typically sanguine and unflappable pathologist undone by the brutal ruin wrought upon poor Maudie.  And Jimmy Bradshaw played it – as always — to perfection.  I don’t have a lot of room to cast as much light as I’d like to upon those most intimately involved with Endeavour – mainly for reasons of time, and the demands of unspooling the plot, but I hope I can give some clues here and there as to what makes them tick.  Nice for the actors to have something to play, rather than simply offering ‘just the facts, ma’am.’

1046aDAMIAN: In the absence of you actually telling us anything about tonight’s film ARCADIA, can you please say something clever and cryptic instead?

RUSS:   Well, we’ve done the Manufactory; the Department Store; and so this is – to some small degree – our ‘Ladybird Book of the Supermarket.’ A key player from Morse’s later adventures puts in an appearance.  And we touch on Endeavour’s childhood connection to Quakerism.  One door opens…

ARCADIA~~~

101. EXT. OXFORD LOCATION PARK BENCH [Radcliffe Square] – DAY 5

ENDEAVOUR and THURSDAY.

ENDEAVOUR: Didn’t you say that was Harry Rose’s business?

THURSDAY: Slots? In part. Harry Rose has been at it since the Devil was in short trousers. Oh — and it’s definitely Bixby by the way. Dr.deBryn was able to match his prints to a number of latents taken from the house. (digs out sandwiches) Right.

ENDEAVOUR: You’ve seen them? Cheese and pickle. The Belboroughs?

THURSDAY: All bar the tennis player. She stayed at the Randolph. The rest haven’t got a decent alibi between them for Bixby. Though your mate Anthony Donn says he was with Belborough the night Jeannie was killed. (a moment) You really think there’s a connection between Harry Rose and this bloke at the shooting gallery?

ENDEAVOUR: Maybe. I don’t know. I’m just stumbling around.

THURSDAY: What you’re good at.

THURSDAY eats his sandwich – watches the world go by.

ENDEAVOUR: The first week I hardly slept. I didn’t know if I was going to be found hanged from the bars of the cell, or take a dive from the top walk. (off Thursday) Every night I expected to hear boots on the landing – the key in the lock – but nobody came by. A month. I didn’t know if you were alive or dead. That was the worst of it. No. Not quite. The worst was… Knowing it was my fault.

THURSDAY — appalled.

ENDEAVOUR: (CONT’D) I was too slow. My stupidity nearly left Mrs.Thursday a widow, and…

The thought is too much for him.

THURSDAY: I knew walking in to Blenheim Vale that I might not walk out. (That’s) The job, I suppose. Something bad like that? Sometimes you’ve to put all you are against all they’ve got. It was my decision. And I’d do it again without a second thought. Don’t ever blame yourself.

ENDEAVOUR: If I’d been quicker off the mark…

THURSDAY: You were there at the end. Nobody else. You had the chance to run. To look to your own neck. But you didn’t. You stood. A pinch like that, it’s not brain that counts. It’s guts. I won’t forget it. Ever. (a moment) You should eat something. You don’t eat enough. Here.

THURSDAY offers the other half of his sandwich. A moment — ENDEAVOUR takes it. Just two men, sharing a sandwich.

12/04/15 08:22 Setting up for the first location shoot for RIDE @ Damian Michael Barcroft

12/04/15 08:22 Setting up for the first location shoot for RIDE

Excuse the quality of some of these photos - I was cold too, shivering and my fingers not working.

Excuse the quality of some of these photos – I was cold too, shivering and my fingers not working.

Location2: Market Square

Location2: Market Square (11-13:50)

You just see the director, Sandra Goldbacher, in between Roger and Jack Laskey

You can just see the director, Sandra Goldbacher, in between Roger and Jack Laskey

Location 3: Just outside Shirburn Castle, Waltlington, Oxon

Location 3: Just outside Shirburn Castle, Waltlington, Oxon

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Filming began 16:32 and wrapped 18:30. A splendid day was had by all.

Interview and photos copyright © Damian Michael Barcroft 2016

All other images copyright © itv/Mammoth Screen

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