Tag Archives: film catering

A steam roller in Horning for the 1983 BBC drama serial of ‘Swallows and Amazons Forever!’

 
Mary Soan, Susannah Buxton, Sam Kelly and Penny Fergusson in 1983
 
Assistant director Mary Soan, Costume designer Susannah Buxton, Actor Sam Kelly and Make-up artist Penny Fergusson when filming on location in Norfolk in 1983
 
“I had a telephone call one day from a man working for the B.B.C. he said he had heard I had a steam roller, if so could I take it to Horning to appear in  a film they were about to shoot in the broads area.”

I have just been sent this extract, copied word-for-word from Jimmy Nicholson’s autobiography I kept a Troshin’ originally published in 1989 (by S.J. Nicholson).

“The title was ‘Swallows and Amazons’ which was shown on B.B.C.2.  So on the appointed day I loaded the roll onto our low loader and Geoffrey, our lorry driver, took it to Horning.  I unloaded it near the Swan Hotel about eight thirty, some of the people were already there, the people in charge rolled up about nine.  Then a coach load came, there was also a coach full of costumes. The young lady who was helping to organise things said I had better change some of my things into old time dress, as the film was supposed to have been in older times.  So I went in the bus where all these costumes hung. The young lady in there said I had better change my shirt and boots and wear another hat, an old fashioned cap. So I pulled my shirt off she handed me one of these old ones. I said, ‘What about my trousers, do you want me to take them off!’
She laughed and said, ‘No I think yours will do.’
I thought what a shame.
Another young lady said she thought I should have my hair cut. So I sat on a chair on the Swan car park and had a hair do. The next thing they were queueing up for breakfast from a mobile canteen. The lady in charge said, ‘Come on Jimmy.’ she had learned my name by now. I said, ‘I’ve had mine.’
She said, ‘Never mind have another one. ‘Which I did and had a full English breakfast.
By the time they wanted me to start operating it was time to stop for coffee and other drinks. When I did start I had to drive the roll up the road passed the cameras. I did this about a dozen times, I had to time this with some children running down a side road to see me go passed. By now it was lunch time so I joined the queue again and had another cooked meal.
After having a pint in the Swan the lady in charge said, ‘I think we’ve finished with you now.’
I thought what a shame,  I could put up with this for a week.”

Jimmy was obviously very much taken by all the girls working for BBC television on the drama serial of Arthur Ransome’s books ‘Coot Club’ and ‘The Big Six’. When we made the EMI movie of ‘Swallows and Amazons’ in 1973 the only female member of the actual film crew had been the ‘Continuity Girl’ or script supervisor. In ten years things had changed. Joe Waters, our producer, aimed at having a 50/50 ratio of men and women on his production team and crew. This was a good policy and created an atmosphere that was so full of fun the children thrived.

The young lady ‘who was helping to organise things’ would have been our incredibly efficient AFM, or Assistant Floor Manager, Mary Soan. She would have been known as a ‘Second Assistant Director’ on a feature film. I should explain that in BBC Drama, stage management roles had evolved from equivalent in the theatre, so her job also involved being responsible for the ‘action props’ and action vehicles – in this case a 1930’s steam roller. I am sure Jimmy would have been quite taken by Mary – she was very pretty, with thick blonde hair, an ever radiant smile on her face, a Motorola on her hip. Whilst I went on to direct television programmes for the BBC in the late ’80s, Mary became a Production Manager. It wasn’t long before she went  freelance as a First Assistant Director and started working on the most incredible movies ~ Pearl Harbor (2001), Bridget Jones’s Diary (2001), The Chronicles of Narnia (2005), Stardust (2007) and Skin (2008) as well as TV mini-series such as Place of Execution(2008).

Coot Club - Helena

Helena on the Norfolk Boards in 1983

‘The young lady’ in the costume bus, who was happy for Jimmy to keep his own trousers on, must have been Helena,  the assistant costume designer, while the young lady who thought he should have a 1930’s short-back and sides, would have been our ever laughing Make-up Assistant Penny Fergusson.

Assistant Make-up Designer Penny Fergusson with John Woodvine who played PC Tedder in 'Coot Club', 1983

Assistant Make-up Designer Penny Fergusson with John Woodvine who played PC Tedder in ‘Coot Club’, 1983

Penny Fergusson originally trained at the Royal Ballet School. What would Jimmy have said had he known he was having his hair cut by a girl who had performed at the Royal Opera House and the Venice Film Festival before dancing her way across Europe with Pan’s People?

‘The lady in charge’, who gave Jimmy permission to go was probably Liz Mace, our senior Production Manager. Sadly I don’t have a photograph of her, but she was certainly in charge of our film schedule, logistics and locations as well as Health and Safety on set.  You will have seen her name on the end-credits of BBC drama serials such as The Ondein Line, When the Boat Comes In, Secret Army, on Doctor Who, the Police series  Juliet Bravo and All Creatures Great and Small. She worked with me in Ealing on a series of Thinkabout Science before returning to work at Elstree Studios making numerous episodes of the soap opera Eastenders.

Jimmy concluded his tale by adding:

“When the film was shown on television you could just see the roll go passed and that was it, but I did enjoy myself and I enjoyed it even more when I received a cheque for the job.”
Coot Club - the cycle shop

Mark Page, Jake Coppard, Richard Walton & Henry Dimbleby filming at Itteringham Village Shop in Norfolk in 1983. Click on the photo to see the location today.

 Where was this bike shop location?  Was it in Horning? I remember it being a set, rather than a real shop but the boys were deeply interested in the window display.

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Filed under 1983, Arthur Ransome, Biography, Film crew, Film History, Filmaking, Memoir, Movie stories, Sophie Neville, truelife story

A letter from behind the scenes on the third day of filming ‘Swallows and Amazons’ in 1973

Last night I sat on the floor of the loft, where I have my computer, looking for old newspaper clippings and photographs of the Haverthwaite Railway Station.  Along with an article from The Times and a shot of us looking up at the steam engine, I found letters that my mother had written, in the Lake District, to my father who was at home in Gloucestershire with my two younger sisters.

Mum kept her letters, my diaries and scrap books in what must have been a smart carrier bag from Carnaby Street. She had bought a very expensive velvet dress for me there when we first went up to London to meet Claude Whatham, the director of Swallows and Amazons for my first interview back in April.

It was now 16th May 1973, the third day of filming ~

1970’s English food ~

The food at the guest house was talking its toll. Not a good idea to feed children on packet soups and baked beans in the days when 35mm film stock was so extremely expensive.  No one realised why, but the ingredients made Sten hyper- active, or as my mother put it, ‘causing a little hoo hah.’  A visiting  journalist wrote,‘By the end of the day Roger, aged seven, had mown down the entire film crew using a hammer as a mock machine gun. He had fallen down several times and emerged with grazed knees all splattered with mud.’

Location catering ~

Suzanna Hamilton, who was playing Susan, simply refused to eat the revolting food.  Mum said,  “I couldn’t get her to eat anything.” Location catering is excellent now – exquisite – but back in the early 1970’s it could be pretty basic canteen food produced on location from a ‘chuck wagon’. We’d queue up for a tray of meat and two veg, which was usually consumed in a red London double-decker converted into a dining bus with the old scratchy seats either side of Formica tables. There were no salads, no fruit, just a working man’s lunch with coffee in plastic cups and paste sandwiches provided later with tea. The tea was good.

Pinewood location catering ~ Suzanna Hamilton pearing into the chuck wagon ~ photo: Daphne Neville

The fruit bowl in our bus ~

Mum started to order fruit for us and we relished it.   It was a huge treat back then to have bananas or melon, oranges and grapes.  A bowl sat in our bus where we had our lessons on more Formica tables downstairs. The upper deck was used by Terry the Wardrobe Master as as our changing room. It also had bunk beds. Mum soon made us rest in these after lunch. I don’t think she could pin down the Amazons easily but she made me use them. I know I objected at first but I must have needed to lie down and rest properly, especially when it was cold.

Molly and Richard Pilbrow

Molly and Richard Pilbrow on location with the two red London Double Decker buses where coffee was being served ~ photo: Daphne Neville

The film crew ~

Apart from Sue Merry the ‘Continuity Girl’ the film crew consisted entirely of men, forty-five of them. I include the Hair and Make-up Designers, the Wardrobe Master, the Art Director, Set Dresser, Propmen and Carpenters, Sound Recordist and Boom Operator, the Director of Photography, Camera Operator, Focus Puller and Grips with the Electricians from Lee Electric who looked after the lights and generators, Lorry Drivers and Sailing Director, the Director, three Assistant Directors and the Production Associate and Producer. I think there might have been a Film Accountant and Location Manager. Being a feature film we had a permanent Stills Photographer and a Publicity Manager.  And this was a small crew as Terry seemed to cope without Wardrobe Assistants or Dressers. They all knew each other pretty well from being on previous movies. I have a list of where they had digs in Ambleside. It’s quite interesting to see who shared with who.  Whenever we needed boats up to six local boatmen could also join the queue for the chuck wagon – and the mobile loos.  Mum wouldn’t let me use them. They were looked after by a ratty looking chap who later managed to persuade one of the Ambleside girls that he was the film’s Producer.

Neville  Thompson, who was effectively the on-line Producer, had a production secretary called Sally Shewing, but she must have been stuck in the production office as we never saw her.  Molly Friedel, Richard Pilbrow’s girl friend and assistant, was often on location. We adored her.  She was American, tall with long brown hair and always had time for us. I remember her working on the lighting design for the next Rolling Stones Concert by the shore of Lake Coniston while we milled about, playing on the rocks.

We had our tutor, Mrs Causey and a wonderful mini-bus driver called Jean McGill. She had been a top British Airways air hostess but had returned to Cumbria to look after her ailing mother and was driving us around the area she so loved to keep busy. As soon as my mother found out that she was also a qualified nursing sister she made sure that Jean was taken on as the official location nurse, which was great as it meant she could be around the whole time and we never had to wait for the bus. We found we soon needed a nurse too. Someone was always hurting themselves.

Jean McGill, our driver and location nurse, operating the radio with Sophie Neville ~ photo:Martin Neville

So in all, with our chaperones there were usually about six women around as well as journalists, friends and relatives who came to watch. It was a huge circus with often eighty people milling about. Certianly the Call Sheet asks the caterers to provide lunch for seventy on normal days. It would be much more when we had crowd scenes such as when we explored Rio.

The male:female ratio on crews is very different today. There are often more women than men, perhaps not on movies but certainly on BBC drama crews. It was already different by 1983 when Richard and Molly Pilbrow came to visit us on the location of  Coot Club in Norfolk, where there were about equal numbers of men and women on set. It made for a better, family atmosphere, certainly more appropriate with so many children involved.  Since he still held the rights to Arthur Ransome’s series of Swallows and Amazons books, Richard was the Executive Producer on the BBC serial Joe Waters produced. It was so good to see him again. I gather he is still going strong having just been awarded the Knights of Illumination Lifetime Recognition Award for more than 50 years of work in theatre lighting.

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Filed under 1973, Acting, Arthur Ransome, Autobiography, Biography, Cinema, Claude Whatham, Cumbria, Diary, e-publication, Film, Film Cast, Film Catering, Film crew, Film History, Filmaking, Lake District, Letters, Memoir, Movie, Movie stories, Richard Pilbrow, Steam train Haverthwaite Railway Station, Swallows and Amazons, truelife story