Auditioning to play the part of Titty Walker in the original film of Arthur Ransome’s book ‘Swallows and Amazons’ in 1973

Fifty years ago this day, auditions were being held at 10 Long Acre near Leicester Square in London for parts in the original film of Arthur Ransome’s book ‘Swallows and Amazons’ produced by Richard Pilbrow of Theatre Projects with the help of Neville C Thompsom and financed by Anglo EMI Films. It was to star Dame Virginia McKenna, but the leading roles were all for children under the age of thirteen who needed to be able to row and sail.

Producer Richard Pilbrow with Neville C Thompson on Derwentwater in the Lake District in 1973
Richard Pilbrow and Neville C Thompson in the Lake District in 1973

I recently received a Tweet from the award-winning author Wendy Clarke who wrote: Funnily enough (many, many years ago) I auditioned for the film role of Titty Walker… I would have been 12 then. I didn’t belong to a sailing club and couldn’t sail! Amazed I got the audition!’

When I asked if she could tell me more, she replied: ‘I have next to no memory of the day so wouldn’t have very much to say about it! I’m seeing my mum tomorrow and have asked her to bring her 1973 diary!’ Here it is:

Wendy Clarke’s mother, Joy Matthews, kept a diary every day of her life

‘This is where I went for the audition apparently. Was that the same place as you?’

It was! I remember the actual room.

Wendy explained that her mother, Joy Matthews, ‘has written a diary every day since I can remember (even if it’s just to say what the weather was like). Over the years it’s been very useful. She is now 91. I think this was the photo we sent!’

Wendy Clarke, aged 12, who auditioned for a part

I’ve just been reading your post and laughing at the escapades during the shooting of S&A. Can I really picture myself in your shoes… if I’m honest, no! I would have been too much of a scary cat. Especially when the mast broke!

A friend of mine also auditioned for ‘Swallows and Amazons’ but she couldn’t remember any details. Simon West, who ended up being cast as Captain John, told me that he met Richard and Neville for a first audition at his sailing club. His sister, Ginny, who was keen on acting, spotted a notice, but his father was amazed when he said he would also like to be considered for a role in ‘Swallows and Amazons’. Aged eleven, he was a little young for the part of John, but he was bright, practical with a passion for sailing. Kit Seymour and Lesley Bennett, who would eventually play the Amazons, also heard about the opportunity at their respective sailing clubs. Richard Pilbrow was very keen to find children who could sail and were able to swim well.

Wendy wrote: ‘Second interview… so I couldn’t have done too badly! (Probably still hadn’t mentioned the small matter of not being able to sail)… I may not have got the part but least I got to go to Madame Tussauds and the Planetarium!’

My parents only received a letter asking if I would like to be considered for a part on 26th March 1973. It was addressed to my father who was on an export mission to South Africa and the envelope lay unopened in our hall for a while. Luckily it was printed with the Theatre Projects logo and Mum did open it. We collected Dad from Heathrow and drove straight to Leicester Square and walked through China Town. I remember Claude looking rather intense as he asked me questions. He wanted to know what my favourite television progamme was. I don’t think he asked me to read anything, which was just as well as I would have been hopeless. Did he ask if I could row or sail? I might have told him that I could swim well, as I’d just gained a bronze life saving medal, one of my few achievements to date.

I too was taken to Madam Tausauds when the ticket took you to the neighbouring Planetarium as a double bill. We possibly went after another visit to London for ‘Swallows and Amazons’.

Wendy returned to Theatre Projects’s offices in Long Acre for a third interview. She was doing well:

I was fortunate in that I’d worked for Claude Whatham in 1971 when he had cast me as Eileen Brown in the first BBC adaptation of Laurie Lee’s book ‘Cider With Rosie’, set in the 1920s. We later found out that Claude liked working with actors like Brenda Bruce who he had employed on previous occasions. I’m not sure when he joined the production of ‘Swallows and Amazon’ but it could have been late in the day as he was the second director taken on board.

Sophie Neville with Claude Whatham

We were told that 1,800 children had been considered for the six parts in ‘Swallows and Amazons’. Most of them had been members of sailing clubs. Claude had not wanted to visit stage schools but Suzanna Hamilton, who was cast as Mate Susan, had been going to the Anna Scher after school Theatre Club in Islington, which he may have visited. I had first met him at a drama club in Stroud in Gloucestershire in 1971.

Our final audition was held afloat, when about twenty children spent a weekend on a scout boat at Burnham-on-Crouch in Essex. This can’t have been an easy location for my parents to get to but Richard and Claude wanted to see how confident we all were on the water. We were taken dinghy sailing in wet and windy conditions. I remember Kit and her twin sister Alison Seymour facing the waves without a qualm. Richard bought his children Abigail and Fred along and I knew Sten Grendon who had also been in ‘Cider With Rosie’. We might have travelled to Essex together. The five girls up for the part of Titty all shared a cabin. I thought I was too old, too tall and too gangly. We were not aware of a screen test but Richard’s assistant Molly took super 8 cine footage.

Meanwhile, Wendy Clarke had been taken to Cumbria by her parents: ‘We’d gone to the Lake District to get a feel for it. Hadn’t heard anything about interview so Mum rang and, as she so very succinctly put, ‘that’s that’. That made me laugh.’

I noticed they had been to see the waterfall where we eventually shot a scene on the way to visit the charcoal burners.

Wendy wrote: ‘That May, mentioned in Mum’s diary extract, was my very first time in the Lake District. It was only years later, in my forties, that I visited again and fell in love with it. Maybe I’m destined to sail that boat after all! So lovely to ‘meet’ you (even though I probably hated you at the time for taking my part (which I would have been rubbish at anyway!) x

Wendy Clarke, whose website can be found here

‘My husband has just said, ‘why did you not tell me any of this?’ I was probably just relieved I didn’t have to get in a boat! In later life I discovered I was better at novel writing than acting!’

She added: ‘I’ve just found something else that links us. We both entered our books into the Flash Fiction Novel Opening Competition. My debut psychological thriller What She Saw, which was set in the Lake District, won it in 2017!’ I had a story shortlisted in 2022, which was encouraging.

Claude Whatham with the children he eventually cast as the Swallows

I would love to hear from others who auditioned all those years ago – do email me or leave a comment below. I have written a little more about the gaining the part from my perspective on an earlier post here.

We are approaching the 50th Anniversary of the filming, which began on 14th May 1973 – only a few weeks after my first interview. I’ve been asked to give a few talks on ‘The Making of Swallows and Amazons’, which I will detail on my Events page. You can find different editions of my books listed here

'The Making of Swallows and Amazons (1974) by Sophie Neville'
Different editions of ‘The Making of Swallows and Amazons (1974) by Sophie Neville’

with an audiobook, narrated by me, Sophie Neville, available on all the usual platforms.

Swallow, the dinghy that starred in ‘Swallows and Amazons’ (1974)

Sten Grendon as Roger and Sophie Neville as Titty rowing Swallow
(c)StudioCanal

BBC Antiques Roadshow featured Swallow, the dinghy used in the original feature film of ‘Swallows and Amazons’ in their first episode at Windermere Jetty repeated recently on BBC One. You can read about how she was valued by Rupert Maas on an earlier post on this blog here.

I wrote a little more about her history in an article for Practical Boat Owner, Britain’s most popular sailing magazine. The story opens in 2010, when I nearly bought her myself:

Swallow is coming up for auction,’ my father said, sending me the details of a clinker-built sailing dinghy stored in Mike Turk’s warehouse in Twickenham. It was the Spring of 2010. I took one look at the online photographs and wept.

Swallow stored in Twickenham

The letters WK were carved on her transom. It was the twelve-foot, all-purpose, run-around vessel built by William King of Burnham-on-Sea that had been purchased by Richard Pilbrow in 1973 to feature as Swallow in the original feature film of Arthur Ransome’s classic novel Swallows and Amazons.

Swallow built by William King of Burnham-on-Crouch

I knew the little ship intimately. She looked a bit dried out but my husband thought we ought to buy her. I had played the part of Able-seaman Titty, the nine year-old girl who Ransome so cleverly made into the heroine of the story when she grabbed a chance to capture the Amazon, which enabled the Swallows to win the war set to determine ‘who should be the flag-ship’. In mooring her prize overnight near Cormorant Island, Titty witnessed Captain Flint’s stolen treasure chest being buried and was eventually able to rescue it. She was rewarded by the gift of a green parrot.

‘Did you know how to sail before playing Titty in Swallows and Amazons?’ people often asked. The truth was that I had crewed for my father in a similar dinghy and felt confident in a boat. I had grown up living by a lake in the Cotswolds where we had a Thames skiff, which I was used to handling. This was important as Titty does quite a bit of rowing in the film. She and Roger become galley-slaves rowing back from the charcoal burners’, they row out to Cormorant Island and she takes the Amazon out of Secret Harbour. This I did alone, in one take, later rowing some distance from Peel Island with the lighting cameraman and his 35mm Panavision Camera onboard. No one had thought about the implications of this when we first tried out the two boats on Windermere but being aged twelve, rather than nine, I just about coped and grew adept at launching Swallow and moving about in her. As the book was written in 1929, we did not wear life-jackets.

Swallow with Simon West and Suzanna Hamilton (c) StudioCanal

Arthur Ransome described Swallow as being thirteen-foot long with a keel, rather than a centre board. In the illustrations she is painted white, a common way of protecting wood in the 1930s. I am pretty sure that Richard Pilbrow, the producer of the movie, bought the dinghy we used when we where in Burnham-on-Sea to audition for the parts in March 1973. She was varnished but had, or was given, the red-brown sail and balanced lug-sail as described in the books.

Simon West who played Captain John, aged only eleven, was a capable sailor with an understanding of the wind that enabled him to cope with gusty Lakeland conditions. Swallow had no buoyancy. In the scenes when we first sail to the island she was laden with camping gear, including heavy canvas tents, the lighthouse tree lantern and a shallow basket of kitchen utensils I shifted every time we went about.

My father Martin Neville on the shore of Coniston Water

My father was an experienced sailor, used to racing yachts having frequently crossed the Solent in his own clinker-built dinghy as a boy. He was looking after us children when he agreed to appear in costume as a ‘native’ aboard the MV Tern on Windermere, which bares down on the Swallows in the story. He watched, terrified, as we sailed towards it. The Victorian steamer only had a notch throttle and an inexperienced skipper. He realised that Claude Whatham, the film director had not anticipated the fact that we would lose our wind in the lee of the passenger ferry and gave Simon a cue over the radio that was far too late. We only just went about in time, being pushed away from the larger vessel by the bow wave. Watch the film and you can see how very close we got. I was about to reach out and feebly fend off.

Dad spoke sternly to the producer that afternoon, pointing out that we could have all gone down. Sten Grendon, who played the Boy Roger, was only aged eight and could hardly swim. I could have become entangled in the camping gear. My father tested the old BOAC life jackets we wore for rehearsals and to travel out to film locations. They failed to inflate. He nearly took me off the film.

Swallow and Amazon on the Puffin cover

Another tricky scene to film was when John, Susan and Roger set off from the Landing Place on Wild Cat Island leaving Titty to guard the camp and light the lanterns as they hoped to capture the Amazon and sail home after dark. I had push them off, grabbing the telescope at the last minute. Since Swallow’s mast was liable to catch in tree branches, I needed to wade out and give her a hard, one-handed shove. I slipped on a rock and fell up to my waste in water. Knowing it would be difficult to set up the shot a second time, I struggled to my feet and waved them off, dripping wet. By this time John had the mainsheet out as far as the knot and stood to grab the boom to avoid a Chinese gybe as Swallow was hit by a fresh gust of wind as he cleared the headland at the northern end of the island and sped northwards toward Coniston Old Man.

Simon West and Suzanna Hamilton at the helm of Swallow with Stephen Grendon in the bows, while Sophie Neville looks on from Peel Island.

Having spent nearly seven weeks filming in the Lake District, the film was post-synced at Elstree studios. We arrived to sing out our lines to find Swallow there. She had been set in a tank so that the sounds of sailing could be captured. It is something you tend to take for granted as a viewer while it draws you into the experience. I last saw Swallow looking dejected outside the studio and was worried about what had become of her. Although she was offered to someone who had advised on the film, she was kept safely at Mike Turk’s prop hire company. Richard Pilbrow was hoping to make another film in the series.

Swallow at
Swallow at Mike Turk’s store in London

When Mike retired, many boats that had featured in movies came up for auction. I knew Swallow would be costly and in need of renovation. After fans of the film and members of The Arthur Ransome Society contacted me, we clubbed together to make a bid. In the end about eighty members of a hastily formed group called SailRansome spent approximately £5,700 on the purchase.

I contacted Nick Barton of Harbour Pictures, the film producer who was gaining the rights to make a new movie, hoping we could be able to re-coup costs by renting her back to him. Nick came up to Coniston Water to watch me re-launch Swallow in April 2011, sloshing brandy wine on her bow in true Ransome style. I helped him to raise finance for the new film, which was made in the summer of 2015 and released in 2016, starring Kelly Macdonald as Mrs Walker, Rafe Spall as Captain Flint and Andrew Scott as a Russian spy. In the end, he decided to use fourteen-foot RNSAs dinghies for Swallow and Amazon as they satisfied the film insurance company who demanded that two identical dinghies were used for Swallow.

This article was first published in Practical Boat Owner magazine

Joining SailRansome was pivotal for me as I was asked by the Nancy Blackett Trust and The Arthur Ransome Society to give a series of talks on how the old film, and the BBC serialization of ‘Coot Club’ and ‘The Big Six’ was made. I ended up speaking at a number of literary festivals, on BBC Radio and even ITV’s News at Ten, promoting the societies and urging people to help get young people out on the water. I ended up taking Swallow out on Ullswater, the Orwell and River Alde, remembering how difficult she is to turn, but enjoying her speed. She ended up being featured on BBC Antiques Roadshow when I brought movie memorabilia up to Windermere Jetty museum for two episodes first screened in 2021.

Sophie Neville with Swallow on Coniston Water
Sophie Neville after re-launching Swallow on Coniston Water in 2011

You can sail Swallow yourself, in the company of an experienced skipper, by contacting SailRansome.org who are looking for volunteers to help care for her. As you can see from this clip, she was in need of restoration when first acquired by Sailransome

You can read more about the adventures we had making the original film in ‘The Making of Swallows and Amazons (1974)‘ by Sophie Neville, published by the Lutterworth Press, available from libraries, online retailers and to order from all good bookshops including Waterstones.

An article by Sophie Neville first published in Practical Boat Owner. A subscription to this bestselling UK magazine makes a great Christmas present.

How the chance of acting in the movie Swallows and Amazons began in Stroud in the Cotswolds

When I first published ‘The Secrets of Filming Swallows and Amazons’, someone left a review online saying they thought it a good idea for a novel but that it was a bit farfetched.

This amused me. It was a non-fiction book, written because the extraordinary story was true. Of all the roles, in all the novels ever written, I was asked to play Titty in Swallows and Amazons, an EMI film made in 1973 for universal distribution.

The offer came out of the blue. Within a year, I, an ordinary schoolgirl, found my image on the front of daily newspapers and on film posters pasted on the walls of the London Underground. All this happened nearly fifty years ago and yet the publicity never ends.

Swallows and Amazons (1974) now distributed by StudioCanal

Arthur Ransome, a haunted foreign correspondent, who escaped from Russia with Trotsky’s secretary, wrote Swallows and Amazons in 1929 while suffering from stomach pains so bad they prevented him from travelling. He said that the book wrote itself, but it is clear that he was self-medicating, grieving his own childhood, when he’d been longing to make friends and prove himself to his father who died when he was only thirteen.

Tweed-clad and continuously pipe-smoking, Ransome was oblivious to Lakeland weather. I acted out his almost-real fantasy in nothing but a thin cotton dress and a pair of enormous navy blue elasticated knickers. My book on ‘The Making of Swallows and Amazons’ is not a novel, not a fantasy. It is a true story. The movie is streaming on Amazon Prime where you can watch the trailer.

Why was I cast in the film? Why me? I had loved all the Arthur Ransome books I’d read in the Swallows and Amazons series, imagined myself exploring Wild Cat Island and the Great Lake in the North. Did I ever ask the Lord if I could live out the stories for myself?

The reality began in Stroud, at the Subscription Rooms. I put up my hand when someone asked if there was a ten year-old girl who could play the piano. They didn’t say, “play well.”

A young director called Claude Whatham, who lived in the Cotswold village of Camp, was looking for children to appear in the 1971 BBC adaptation of ‘Cider With Rosie’, based on Laurie Lee’s haunting memoir. He needed to find a little girl who had been to a village school near Stroud. I had attended Oakridge Parochial Church School when it was heated by pot-bellied stoves and the vicar told us Bible Stories.

I was chosen to play Eileen Brown, who shared a desk with Laurie Lee and accompanied him as he played Oh Danny Boy on his violin at the Christmas concert.

Sophie Neville in the 1971 BBC adaptation of ‘Cider with Rosie’, directed by Claude Whatham

My music arrived three days before filming began. It consisted of endless cords – a complicated accompaniment with no tune. To tackle the piece, I’d needed to practice for seven hours a day with the help of my long-suffering piano teacher from Far Oakridge.

Claude Whatham ~ photo: Daphne Neville

The director must have remembered me as a determined little girl because two years later a letter arrived, addressed to my father, only he was working in South Africa. My mother very nearly didn’t open it, however the words Theatre Projects were embossed on the envelope and she was intrigued.

But she did. We drove up from Gloucestershire to collect Dad from Heathrow and went straight to Long Acre near Leicester Square for an interview with Claude.

I was then invited to take part in a sailing audition at Burnham-on-Crouch in Essex – miles from the Cotswolds. The producer, Richard Pilbrow, was determined that any child chosen for a part knew how to sail. I had grown up beside one of the few lakes in Gloucestershire and knew how to row a Thames skiff. I’d added my own sail, made from a green dust sheet, but was no expert.

There were four other girls auditioning to play Titty. They were all smaller and prettier than me, with straight teeth. I didn’t think I was in with a chance.

The filming was to commence on 14th May 1973 and continue through the summer term. Our local authority – Gloucester County Council – needed my headmistress’ permission for me to miss five weeks of school.

Only, I didn’t go to school in Gloucestershire. I went to an Anglican convent in Berkshire. The nuns prayed about the proposition. They gave their permission – if I was chosen.

I didn’t think I was right to play Titty at all. I was three years too old and too tall. Ransome’s illustrations in the books portrayed girls with straight, dark hair. I didn’t know it but the character had been inspired by a real little girl called Titty Altounyan. I share her Scots, Irish and English heritage, but she was one quarter Armenian and had dark colouring.

However, unknown to us, Mrs Ransome had asked that ‘an English Rose’ should play Titty. Claude Whatham cast Sten Grendon, who had played Little Laurie Lee, as my younger brother Roger. Mrs Ransome – NB:the lady who once been Trotsky’s private secretary – was not happy that he had black hair. She nearly cancelled the film, but conceded when she saw him with a short-back-and-sides.

Sten Grendon as Roger and Sophie Neville as Titty rowing Swallow (c)StudioCanal

Sten claims we had the best parts. He grew up in the Whiteway Community and later went to school in Eastcombe. He now lives in France but still has family living in the Cotswolds. Back in 1973 his mother Jane, and my mother, Daphne, travelled up to the Lake District to look after us all.

Daphne Neville with Sten Grendon, Suzanna Hamilton, Sophie Neville, Jane Grendon and Simon West

In at the deep end. Whoomph! We literally had to swim for it. The water was icy, but we had plenty of support. I was able to embody my part because Suzanna Hamilton, who played my sister, was so brilliant. She anchored us, as did Simon West, who played John. He was only aged eleven but very bright and a confident sailor.

Stephen Grendon as Roger Walker with Suzanna Hamilton on location in 1973

Making the film was character-building stuff. While it was an inspiration and privilege to work under arc lamps with Virginia McKenna, it was often chilly and involved a lot of hanging around.

Stephen Grendon, Simon West, Virginia McKenna, Suzanna Hamilton and Sophie Neville, trying not to look as tall as she was in 1973 ~ photo: Daphne Neville

Virginia had four children of her own and brought us together as a team. While making things fun, she got us to focus and concentrate as we recorded the first scenes at Bank Ground Farm.

Virginia McKenna at Bank Ground Farm
Virginia McKenna at Bank Ground Farm in 1973 ~ photo: Daphne Neville

Arthur Ransome had been inspired as a boy by two of his aunts who left for Peking to serve as missionaries. They must have had great adventures. One even received a Boxer arrow in her bonnet. The story of Swallows and Amazons is about a family of four children on holiday who embark on something of a missionary journey themselves when they are allowed to sail off in a dinghy called Swallow to explore an island on a lake. They are confronted by two local girls, the Amazons, who are behaving badly, as their Uncle Jim has retired to his houseboat so that he can concentrate on writing his memoirs.

There is a strong undercurrent of fatherless-ness. Ransome had lost his own father before he could prove himself. The Swallows, whose father is in the Navy, come alongside the Amazons, who have lost their father and are being ignored by their uncle. They unite, make friends and have a lot of fun, whilst relishing in their independence granted because they are not duffers.

The crisis, in the story, is about the draft of a book being stolen, which I can only think must have been Ransome’s greatest fear. No one believes Titty, the youngest girl, who is sure she heard the burglars, so – in the film – she gets Roger to help her row Swallow to Cormorant Island where she finds it in what looks like a treasure chest.

Producer Richard Pilbrow with Neville C Thompson on Derwentwater in the Lake District in 1973
Producer Richard Pilbrow and Production Associate Neville C Thompson on Derwentwater in the Lake District in 1973

Richard Pilbrow and Claude Whatham had a tough time making the movie. Filming in the Lake District with its unpredictable weather and pressure from tourists was not easy. We faced endless problems and over-ran by two weeks.

But Mum was praying, Granny was praying, the nuns must have been praying for me – we needed the covering: I was the only girl who never fell ill. Swallow’s mast broke. I fell in. Water sloshed into a support boat. The rain poured down. We nearly crashed into the Tern. Our life jackets proved useless. There was a gas leak in our bus. We could have had an explosion. Most of the crew smoked continuously.

Sophie Neville with Daphne Neville in the Lake District
Sophie Neville with Daphne Neville in the Lake District

The behavior of some members of the film crew was pretty toxic. Many drove too fast. A cow fell on to the producer’s car. I fell out of a tree whilst playing. Suzanna cut her finger. Ronald Fraser was almost permanently pickled. Someone got hit in the eye by a baseball. The film set was vandalized and I lost a tooth halfway through filming a scene with Virginia McKenna.

Virginia McKenna and Sophie Neville on Peel Island
Virginia McKenna with Sophie Neville keeping her mouth shut ~ photo: Daphne Neville

We pushed on. Ran the race with perseverance. Somehow the challenges gave the finished film an edge, an enduring quality that made it into a classic.

Sophie Neville as Titty

The crew began asking if I would go on to act. The big question: was this a calling on my life? I didn’t just play Titty. I’d been part of the production team, suggesting that Ransome-like title graphics were used, that Seymour’s voice was used for Nancy. I didn’t want to act. I wanted to become a film director.

I’d enjoyed the post production work at Elstree Studios but disliked the fuss around the cinema release. Seeing yourself on camera always feels uncomfortable. The premiere of Swallows and Amazons was daunting.

Premier ticket for the Gala of ‘Swallows and Amazons’

It was first screened at the ABC in Shaftesbury Avenue alongside The Exorcist. But look! I literally had two guardians. My mother invited the nuns from school.

The ABC in Shaftesbury Avenue in 1974. It is now the Odeon Cinema.

Sister Allyne came. She didn’t flatter me but she was there.

Sister Allyne, Daphne Neville, Tamzin Neville and Sophie Neville

Like it or not, I ended up promoting the film on television. After I featured in ‘Animal Magic’, an image of me, rowing up the lake at Bakers Mill in the Cotswolds with a green parrot on my shoulder was used to replace the test card.

I grew too tall to continue playing children on screen and there was not much money for film finance in the 1970s when inflation was roaring. Sister Allyne prepared me for a film test for a musical Disney adaptation of ‘The Old Curiosity Shop’ but I wasn’t chosen. The movie flopped. I returned to my lessons.

At the age of fifteen I had a leading part in an adventure film with Vic Armstrong and Sophie Ward, called ‘The Copter Kids’, and I had a few little television parts in serials like ‘The Two Ronnies’ and ‘Crossroads’ while I was a student, but the drive wasn’t there. It was just as well. I didn’t have the bone structure.

Suzanna Hamilton playing Susan with Sophie Neville as Titty busy writing the ship’s log

Suzanna had a strong desire to act professionally and fought for parts. She went on to appear in Tess directed by Polanski, 1984 opposite John Hurt, Out of Africa with Meryl Streep, Whetherby with Vanessa Redgrave, Brimstone and Treacle with Sting, and a number of increasingly dark movies. She survived to appear in Casualty, New Tricks, Eastenders and is still working.

What she hated was the publicity. It’s a difficult part to any job. As she said at the age of twelve, having your photo on the front page of the Evening Standard ‘makes you felt a right twit’. She was furious with me for writing about her under sung talent in the Telegraph even though she looked beautiful in the arms of John Hurt.

I developed a burning desire to direct and went into television production. I made my first documentary for Channel 4 whilst driving from London to Johannesburg. I must have begun directing at the BBC at the age of 27 and produced my first series aged 29, but overdid it and was hammered by ill health. It was a good training. I learnt endurance, how to edit and I grew used to working to deadlines. I understood about moving the audience, cliff-hangers and bringing out books to accompany your work.

I didn’t learn to embrace the marketing aspect until I worked in the safari industry when I was assured it comprised 50% of the job. This attitude helped when I became and wildlife artist and later an author. After writing two books my readers – and my formatter – implored me to write about the making of Swallows and Amazons, especially once they learned that I had kept a diary whilst making it – as did Suzanna.

I first brought this out as a multimedia ebook, which is now in its second edition. It includes links to the cine footage my parents took on location. There are two versions of the paperback entitled ‘The Making of Swallows and Amazons’, seen here on the flag we captured.

'The Making of Swallows and Amazons (1974) by Sophie Neville'
Different editions of ‘The Making of Swallows and Amazons (1974) by Sophie Neville’

It has been a delight to figurehead a story about sailing, a pillar of childhood that has influenced so many. Parents want me to engender a love for the outdoor life, sailing and exploring the lakes and countryside.

I hope I have helped to attract the right kind of people to the Lake District, that we have been able to inspire young people to read Arthur Ransome’s books, to get out into the countryside and sail, fish, go camping, build friendships, whatever the weather.

In the footsteps of Ransome’s great aunts, I went on a Bible Society mission to China. The people we met thanked us for coming, saying they hadn’t received European visitors for forty years. ‘But we’ve seen Europeans in town.’ ‘Them? They have just come to make money, not visit us.’

Does the old film shine a light, offer solace? People write in to tell me that the film of Swallows and Amazons carried them through a difficult patch. Some watch it once a week. It exists to remind people that they need not despair.

Does the symbolism still hold? It was my self-appointed job in the screenplay to wait, alone, and light the lantern, to be a light in the darkness that could be seen for miles.

Swallows and Amazons was not made to make money. It wasn’t the producer’s motivation. Richard Pilbrow just loved the books and wanted to bring them to life. We children didn’t do it for the money. There wasn’t very much. I earned £7.50 a day and was given a book token for appearing in the Lord Mayor’s Show. Even today, StudioCanal were reluctant to pay my expenses for re-launching the 40th Anniversary DVD when we were interviewed for the Extras package.

It doesn’t matter. I have been so warmly greeted so warmly by fans of the film. I was invited to become President of the Arthur Ransome Society, and have been offered numerous opportunities to speak about my books. I’ve passed on most of my speaking fees to charity – sending disadvantaged children in South Africa on an environmental course that has literally changed their lives.

Sophie Neville speaking at The Arthur Ransome Society

The treasure Titty found wasn’t pieces of eight. It was heavy to carry, but she was rewarded for her tenacity. She was given her heart’s desire, and parrots live a long time. They can easily outlive their owners.

The author Julia Jones points out that, ‘the treasure that was finally unearthed on Cormorant Island was a book. It might or might not have been a good book but the message of the story is quite clear: if you’re convinced that there’s something hidden under the rocks, all you can do is keep digging.’ 

An extra ordinary thing happened. When Richard Pilbrow was awarded an honorary degree from he invited Suzanna and I to lunch in London. As we left the restaurant in Covent Garden a group of buskers outside where singing the final sea shanty from the film, What Shall We Do With the Drunken Sailor? What were the chances of that? We hurried on to find transport and found ourselves outside the cinema where the premier had been held.

Something else happened to me as a result of Swallows and Amazons. Not what you might expect. We all wanted to learn to shoot with a bow and arrow. The next film role I was offered was as an archery champion. I kept up the sport, and ended up meeting my husband at a long bow meeting in the village where I was born. He was the chairman of the archery society. I won the Best Lady’s Gold. These are my colours:

Sophie Neville's bow and arrows

Proverbs 23-23 talks of wisdom, instruction and insight. My name, Sophia, means wisdom. My hope is that others gain wisdom and insight from what I have written.

You can read more in ‘The Making of Swallows and Amazons’, which is coming out as an audiobook. It will available from all the retailers and is currently on Scribd here.

Sophie Neville has been speaking at the Stroud Christian Book Festival.

A write up of Sophie’s talk for BookBlest – the first Stroud Christian Book Festival – on The Making of Swallows and Amazons can be found on this website here

If you missed Sophie’s talk on ‘The Making of Swallows and Amazons’, you can read about her adventures in one of these editions, available online.

'The Making of Swallows and Amazons (1974) by Sophie Neville'
Different editions of ‘The Making of Swallows and Amazons (1974) by Sophie Neville’

There is a brief resume of the talk on this website, here Prepare to be taken back to the 1970s:

Sophie Neville speaking at the Southampton International Boat Show #SIBS22

Inspirational speaker, Sophie Neville
Southampton International Boat Show 2022

Swallow, the iconic dinghy who starred in the original film Swallows and Amazons is currently on display at the Southampton International Boat Show, greeting families as they arrive.

Sophie Neville who once played Titty Walker with her good little ship

I have been giving talks on filming afloat and how we made the movie on location in the Lake District nearly fifty years ago.

Over 103,000 people are expected to visit the show this year. Although busy, it does not feel crowded. There is a lot to see and do.

Speaker Sophie Neville
Sophie Neville speaking on the Foredeck Stage at #SIBS22

Thanks to the help of excellent technicians, my presentations proved popular, ‘inspiring talks on the Foredeck Stage’.

On the cover or Britain’s bestselling boating magazine

I later sign copies of ‘The Making of Swallows and Amazons‘ at Future Publishing’s corner stand. It has been a great opportunity to meet film fans, readers and feature writers.

Nick Jeffery the yacht publicist with Sophie Neville at the Southampton Boat Show

You can find a four-page feature on how we clubbed together to buy Swallow in this month’s Practical Boat Owner magazine.

A 4-page feature article in the bestselling magazine Practical Boat Owner

You can apply to SailRansome to take her out yourself. She is sea-worthy but we are looking for sponsorship from a boatbuilding company to help re-varnish her and repair a small hole in her bow.

Sophie Neville with Swallow from Swallows and Amazons (1974)

If you were are unable to get to the Southampton International Boat Show this year, you can watch an in-depth interview released this week by Your Take:

Your Take interview Sophie Neville on Zoom

Authors who mention the 1974 film of ‘Swallows and Amazons’

People often write to say how much they have enjoyed the original film ‘Swallows and Amazons’ (U) produced by Richard Pilbrow in 1974, which is currently streaming on Amazon Prime. Being suitable for all ages, it is often screened at outdoor festivals and is on Netflix in Europe.

‘Is it a good movie?’ people enquire of Google.

Helen Fielding mentions the DVD of Swallows & Amazons 1974 in the first edition of ‘Bridget Jones: Mad about the Boy’ claiming it to be more edifying for her children to watch than ‘Beverley Hills Chihuahua 2‘.

Dame Margaret Drabble told Claude Whatham, the director, how much she loved Titty in his film of Swallows and Amzons, which was a huge compliment.

Sophie Neville as Titty in 1973

Elspeth Huxley CBE – author of thirty books including The Flame Trees of Thika – loved the 1974 film of Swallows and Amazons, reviewing it for The Tatler magazine under her married name, Elspeth Grant.

Simon West, Sophie Neville and Suzanna Hamilton appearing in The Tatler

There is special interest from a number of authors –

Wendy Clarke, who has set some of her psychological thrillers in the Lake District auditioned for the part if Titty in 1973. You can read her story on another post here.

According to Kathryn Hughs in The Mail on Sunday BOOKS section, Robert Twigger ‘grew up in the 1970s obsessed with Swallows and Amazons’. He’s written 36 Islands: In Search of the Hidden Wonders of The Lake District… And a Few Other Things Too. It was well reviewed by Country Life.

Mail on Sunday - A homage to Swallows, Amazons and a girl with a rather rude name!

The arts curator David Banning profiled the 1974 movie of Swallows and Amazons in his book on films made in Cumbria and the Lake District, which you can see here.

Trevor Boult, who writes books on ships and sailing, is a great fan. He kindly donated the royalties from his most recent book Boats Yet Sailing to The Arthur Ransome Trust. You can order a copy direct from the publisher here.

For a list of well known people who love the Swallows and Amazons books, please click here

Do you know of any other authors who have written about the film? Please leave any information in the comments section, below.

Wilfred Joesph’s title music for ‘Swallows and Amazons'(1974)

You can read the first section about how the film was made back in 1973, for free, on the Amazon preview of the ebook here:

Sophie Neville interviewed by Jadzia Smeaton on The Making of Swallows and Amazons (1974)

Sophie Neville author of The Making of Swallows and Amazons
Sophie Neville

What is most memorable about the making of ‘Swallows and Amazons’ for you?

I love exploring the places Arthur Ransome features in his stories. We were privileged to live out the pages of the book on location in the Lake District, but sailing in nothing but a short cotton dress and a pair of navy blue gym knickers was decidedly chilly – we earned our passage.

Would you consider Susan to be an influence on Titty within the story?

Susan made camping on the island possible. Suzanna Hamilton, the remarkable British actress who played Susan in the original film of ‘Swallows and Amazons’, became our rock without becoming prim or losing the joy and excitement of adventure. She went on to play leading roles in a number of major movies including ‘Out of Africa’ opposite Meryl Streep and ‘1984’ with John Hurt and Richard Burton. She is still working on cutting edge productions and recently had a guest appearance in ‘Eastenders’.

Time Out – April 1974

Is there anything you think should always be included in different versions of ‘Swallows and Amazons’?

You must feature the green parrot! It’s vital to enter the world of a 9-12 year old child, capturing the trepidation. It would be interesting to adapt Arthur Ransome’s books without featuring adults, or only including them as shadowy facilitators.

How did you feel about playing a part where you were able to be the cunning and playful younger sister?

In real life, I was the elder of three sisters so took on the roles of both John and Susan. Playing Titty felt something of a release. I was freed from the responsibility of taking the helm.

Titty is well-read and bright, creative and imaginative but I wouldn’t call her cunning. She longs to be alone on the island to experience what it was like to be Robinson Crusoe, which is why she volunteers to stay behind to light the candles, but is that a cunning plot? She is an innocent.

What was your favourite line in Swallows and Amazons?

Titty’s lines are challenging and can only be uttered with humour and an acceleration of charm. I rather enjoyed, ‘X marks the spot where we ate six missionaries’, although I don’t think it can be found in the book. ‘Thank you so much for letting us see your lovely serpent’ would probably be disallowed these days.

Did you have a favourite scene?

Finding the lighthouse tree was a short sequence that worked well. We shot it on the banks of Derwentwater towards the end of the filming. But I most enjoyed our day with the charcoal burners. They were wonderful.

What did you enjoy most about filming in the Lake District?

We loved High Force, the waterfall, and exploring the mossy woodlands. Secret Harbour on Peel Island is very special, as is One Tree Island where we found the treasure.

Do you feel that you and your character influenced children?

Even now, nearly 48 years after the film was released, I receive correspondence from people telling me how the original film of ‘Swallows and Amazons’ influenced their lives or helped carry them through a tough patch. It is always wonderful to hear how Titty has inspired others.

Maurice Thomas who used to live in Cockermouth wrote: ‘My mum and my Auntie Gladys took me to see this little children’s flick in 1974/5 as it was a double bill with ‘The Railway Children‘. I remember ‘The Railway Children‘ reasonably fondly, but ‘Swallows & Amazons‘ had me utterly mesmerised.’

If you were to give any advice to actors wanting to perform in ‘Swallows and Amazons’ what would it be?

Visit the locations. Go to Bank Ground Farm and run, fast, down the field to dip your hands in the lake as Arthur Ransome did as a child. Capture that feeling and carry it with you as you sing out the lines.

And be prepared for the impact the story will have. It could follow you all your life.

To read another recent interview with Authors Reach please click here

If you would like to read more about the secrets of filming Swallows and Amazons, you can ‘Look inside’ the ebook free of charge here:

Titty’s Tooth in The Times

Sten Grendon and Sophie Neville – trying to row with her mouth shut.

The story of my missing tooth published in The Times! A great honour. The indignity of being toothless still rankles but I now have a full set.

You can find the whole story on The Nancy Blackett Trust website

It’s possible to spot the gap by watching the film trailer for the 1974 movie of ‘Swallows and Amazons’ with further information on the International movie data base also seen here:

Sophie Neville, aged 12, without tooth. Suzanna Hamilton, aged 12, with beautiful teeth.

Setting sail from Wildcat Island during the filming of Swallows and Amazons in 1973

If it is tricky navigating in and out of the Secret Harbour on Peel Island, leaving from the Landing Place under sail in a clinker built dinghy can prove even more hazardous. You need a decent shove to get going so you can catch the wind, escape from snaring tree branches and avoid the danger of flat rocks lurking just under the surface of Coniston Water.  This was my job on a rainy, grey day in the Lake District in 1973. With a telescope in one hand.

On the filming of 'Swallows and Amazons' in 1973

In the finished film you don’t see the shot when I slipped in the water up to my waist, and kept on shoving.  The “Don’t forget about the lights, Titty ” scene had to be re-shot on a sunnier day.

bw Susan sailing past Peel Island2
Simon West and Suzanna Hamilton at the helm of Swallow with Stephen Grendon in the bows, while Sophie Neville looks on from the shore of Peel Island.

What you see is a long-shot on a grey day with Titty waving furiously from the shore, as Swallow leaves Wildcat Island. You can not see that her dress is soaking wet but the trees on the island indicate just how windy it is. While Susan is waving back, Roger is looking out for rocks for all he is worth. John is sailing hard, running with the wind, with the boom right out and white water on his bow. He hung on, as he had to, until Swallow passed the big rock, before coping with a massive, dramatic jibe. You see him rise to handle this, while Susan ducks. She needed to. It was so violent the mast nearly broke, but John ‘scandalised’, spilling excess wind and sailed on. The film cuts to two closer shots of the jibe taken on the sunny day, then cuts back to the long shot when Susan bobs up and Swallow sails at speed, north up Coniston towards grey clouds and rain over Langdale.

Painting with Dad the shore of Coniston Water
Painting with my father on the shore of Coniston Water

My father watched all this from the shore, knowing the risks, knowing Stephen Grendon aged nine, who played Roger couldn’t swim. But Simon West was proving himself yet again as a very good sailor. He was totally confident. You can tell – even from a distance – how calm he was, how instinctively he read the wind. He knew it would hit him with force as he left the lee of the island.

These wet windy days in the Lake District were a worry to the Producer and a challenge for the crew. They had already lost a number of days to rain. Whilst Claude Whatham, the Director was always trying to find a way of making the best use of his time, David Bracknell, his First Assistant Director had to make things happen. The practicalities of each day rested on his shoulders.

David Bracknell, First Assistant Director on ‘Swallows and Amazons’ on the shore of Coniston Water near Peel Island ~ photo: Martin Neville

Just co-ordinating our transport out to Peel Island, so that we while the camera crew were never waiting for us we were not missing time at our lessons – would have been difficult. Getting the tea urns out there twice a day, must have been a struggle. I’m not sure what we did about anyone wanting the loo. There wasn’t even a bucket on the island. 

Claude Whatham and his crew on the camera punt
First assistant David Bracknell, director Claude Whatham, grip David Cadwallader and DoP Dennis Lewiston (seated) with three local boatmen ~ photo: Richard Pilbrow

Working in purple trousers, with a Motor-roller on his hip, David kept things safe and kept things going whatever the weather. He would call for ‘Quiet’, before each take, calling, ‘Camera? Sound? then: Mark it!’  The clapper board would be named and snapped shut before Claude the Director shouted ‘Action!’  Then off we’d go.  And the rule was to keep going – whatever happened – come the hell of slippery rocks or high water – until the Director shouted ‘Cut!’ David would then take over command and set up either for a re-take or a subsequent shot. Once a scene was completed he’d move the crew on for a new sequence.

The cast of ‘Swallows and Amazons’ setting off in the Capri for Peel Island, my mother in her bobble hat, a journalist taking photographs and Brian Doyle, the film Publicist, wrapped up warm ~ photo: Martin Neville

David Bracknell was very experienced. He’d worked on a number of hugely popular Carry-on movies, which according to Maureen Lipman, were made at terrific speed. Prior to Swallows and Amazons his credits included Carry on Abroad, Carry on at your Convenience, (I’d seen this at school; it’s all about lavortaries) Carry on Henry and Carry on Loving with Kenneth Williams, Sid James and Charles Hawtrey.  He’d worked on Far from the Madding Crowd  with Julie Christie, Alan Bates and Trevor Stamp, A Day in the Death of Joe Egg with Janet Suzman and Peter Bowles, Bless this House with Sid James, Diana Coupland and Sally Geeson and Battle of Britain, which starred Michael Caine, Trevor Howard and Harry Andrews, Ian McShane, Susannah York and Laurance Olivier. By 1984 he was working on Indiana Jones and the Temple of Doom, in 1986 on Shaka Zulu with Edward Fox, Robert Powell and Trevor Howard again.  We were in capable hands.

On the shore of Coniston Water
With my sister Tamzin on the shore of Coniston Water. Sten Grendon’s father and little sister are in the background ~ photo: Martin Neville

My father recognised this, watching patiently from the base camp with Perry and Tamzin, my younger sisters. I fear it must have been terribly dull for them, especially on the cold grey days, but we were all together and did have a chance to explore Westmorland, as you will see when I reach tomorrow.

My sister Perry Neville on the shore of Coniston Water in Cumbria with Stephen Grendon and Peel Island beyond~ photo: Martin Neville

You can read more about the making of Swallows and Amazons here:

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