Of all the wonderful days we spent filming Swallows and Amazons, the fishing scene, shot in a reedy bay on Elterwater was one I enjoyed most. It was a cold, rather wet morning but Gareth Tandy taught us how to use our rods and we were absorbed in a way that Arthur Ransome would have understood well.
The only problem we had that day was keeping the fish alive. A chap in waders, with hair so Bryl-creamed that it looked like black patent leather, had brought along a number of perch. Bob Hedges our Property Master, the Designer Simon Holland and Ian Whittaker, the Set Dresser, took it upon themselves to keep them as happy as they could, until they were – very carefully – attached to our hooks. Titty doesn’t catch one but John did. Despite everyone’s best efforts it wasn’t a very lively perch.
The big challenge was Roger’s great fish – a massive pike that meant to be snapping and ferocious. I’ve been told that it ended up being re-suscitated in Keswick Hospital ICU – the Intensive Care Unit.
Sadly this is the only photograph we have of the set designers at work together. Later that afternoon we went to one of the few interiors of the film – the general store in Rio or Bowness-on-Windermere where we bought the rope for the lighthouse tree and four bottles of grog. It wasn’t a realy shop. I think it had been made out of someone’s garage. Ian had dressed it with boxes of wooden dolly pegs and other things you’d buy in brown paper bags. A wonderful 1920’s radio set and two purring cats really made the scene come alive, especailly since, being in reticent explorer mode, we were a bit gruff in our communications with the native shop keeper.
Ian Whittaker struck me as being rather different from everyone else on the crew. He was a very nice looking man and a gentleman of the old school. I remember him telling me that he’d originally set out to be an actor but had found it so difficult to get work that he grabbed a chance to become a Set-Dresser or Designer’s Assistant. He found he rather enjoyed it, and stuck to the job despite his family thinking it was not much of a career. He proved them wrong. By 1971 he was working for Ken Russell on The Boy Friend – a musical about a Musical starring Twiggy with Christopher Gable and Max Adian that I’d seen at school. After Swallows and Amazons he worked on Ridley Scott’s film Alien with Sigourney Weaver, Tom Skerritt and John Hurt and was nominated for an Oscar with the others on the design team. Eventually he won an Oscar for Best Art Direction-Set Decoration with the Designer Luciana Arrighi for Howards End – the movie of EM Forster’s book starring Anthony Hopkins, Vanessa Redgrave, Emma Thompson and Helena Bonham-Carter. In 1994 he was nominated again, this time for Remains of the Day directed by James Ivory. After that he worked on Sense and Sensibility, Emma Thompson’s movie of the Jane Austen classic that launched Kate Winslet’s career, some of which was shot at Montacute in Somerset where my great-grandmother lived. Ian Whittaker received another Oscar nomination for Anna and the King in 2000 and a nomination for an Emmy Award for the TV movie Into the Storm in 2009.
So, it was rather a waste that Ian spent his time just building little stone walls in the lake to keep the perch alive on our set, but I think he enjoyed the fishing scene as much as I.