Tag Archives: Film costumes

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

‘What was it like?’ ~ adjusting to life at home after filming ‘Swallows and Amazons’ in 1973

Newspaper articles about 'Swallows and Amazons' in 1973

A newspaper article by Ernest Chapman that came out in July 1973. The main photo features Ronald Fraser as Captain Flint with Sophie Neville, Stephen Grendon, Simon West and Kit Seymour

Being back at home for the summer holidays was lovely. I must have been pretty tired. But, adjusting to real life when articles like this one appeared in Woman’s Realm was tricky. Everyone seemed to be reading about me in their dentist’s surgery.

‘What was it like?’ I was often asked.

How could I begin to describe working like this ~

Sophie Neville with the cast and crew of 'Swallows and Amazons in 1973

The cast and crew of ‘Swallows and Amazons’ filming on the jetty at Rio in 1973

‘Did you have lots of lines to learn?’

How could I explain that this is how we worked on the dialogue?

Filming the movie 'Swallows and Amazons' in 1973

Rehearsing with Claude Whatham out on the lake

‘What were the others like?’

How could I tell people about the whole crew, that I’d had working relationships with so many adults?

Talking to Martin Evans the Gaffer and Terry Smith the wardrobe master while leaning on a lighting stand at Bowness-on-Windermere

Technical questions were much easier to answer than, ‘How did you feel?’  No one wanted to know that most of the time I felt cold.

‘Did you have to wear make-up?’  This was a difficult one, as we didn’t wear conventional make up but my legs were regularly coated in a layer of foundation so as not to appear shockingly white. You can see the smooth effect in the photograph above. Suzanna was amusing about this in her diary. She hated being sponged down with a matt base and sun-bathed whenever she could so as to avoid it in the near future.

‘What did you wear?’

Suzanna drew pictures of the two dresses she wore at Bank Ground Farm. I always rather liked her blue gingham one. Unlike the Duchess of Cambridge I have never worn a yellow dress apart from the sleeveless one I had to climb into to play Titty. It was really too short for 1929. I remember the costume designer, Emma Porteus, confiding in Mum that they would cheat on the length a bit. Hem-lines were very much above the knee in 1973. Arthur Ransome would have turned in is grave. Luckily Titty’s dresses just look a little out-grown.

Suzanna Hamilton's costumes for scenes set at Holly Howe

Suzanna Hamilton’s drawings of her costumes for scenes set at Holly Howe

‘How did they film you sailing?’

Again Suzanna provided wonderful graphics of this. I don’t think I’ve yet published this page of her diary.

Suzanna Hamilton's diary about using a camera pontoon on Coniston Water

Suzanna Hamilton’s diary about using the camera pontoon on Coniston Water. If you click on the picture you should get through to Ben Fogel’s documentary where Claude Whatham describes this in further detail.

‘What was Virginia McKenna like?’

This question was easy. ‘She was lovely.’

The Walker family played by Suzanna Hamilton Stephen Grendon, Sophie Neville, Virginnia McKenna and Simon West at Bank Ground Farm in Cumbria

The Walker family played by Suzanna Hamilton Stephen Grendon, Sophie Neville, Virginia McKenna and Simon West at Bank Ground Farm in Cumbria

Many years have gone since we sat amongst the daisies at Bank Ground Farm. I am now happy to talk about anything. Do click on the comment box below or go on a Facebook page to ask any questions you might have about the filming of ‘Swallows and Amazons’.

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“It was really horrible” ~ filming the swimming scenes for ‘Swallows and Amazons’ in 1973

“…it was really horrible,” I told Tim Devlin, of The Times. “We had to run into the water and enjoy it. It was icy. I had to try to be a cormorant with my feet  in the air. Then I had to step water as Susan taught Roger to swim.  We were in for about three minutes and they had to do two takes of the scene. It was horrible.”   This was the day when we shot the swimming scenes ~

The first scene of the day was actually was the one when Titty emerged from her tent in her pyjamas, wiped the dew off the top of a large biscuit tin and started writing her diary. I always regret writing Titania Walker on the cover but I had been contracted to play the part of TITANIA WALKER. My mother, Daphne Neville, who is quite theatrical, loved Shakespeare’s Midsummer Night’s Dream and encouraged me to write out the full name, but I do wish I had simply labelled by notebook ‘Ship’s Log’.

I am told that the real little girl who inspired my character, Titty Altounyan, was given the nickname after reading a horrible story of mousey death entitled Titty mouse and Tatty mouse’  from English Fairy Tales by Joseph Jacobs.  Her family called her Titty mouse, then Titty for short. People were concerned that I would be teased for being associated with a name like Titty, but I never was. It’s a sweet name. However, it seems Arthur Ransome did not object when the BBC altered it to Kitty in 1962, when Susan George played the part.

Our knitted swimming costumes, with their little legs were a real novelty to us. I do wish mine hadn’t been red. It was such a cold, grey day I went blue. I remember the entire crew were clad in overcoats – even parkers with fur lined hoods. Looking back it was silly to have gone ahead with the scene in May. Child cruelty.

35m Panasonic, Eddie Collins the Camera Operator in (wet suit), Dennis Lewiston the DOP (in cap) Claude Whatham the Director (in waders) on Peel Island, Coniston Water ~ photo: Richard Pilbrow

The director, Claude Whatham shot the scene using two cameras. The continuity would have been impossible otherwise. Eddie Collins the Camera Operator had a 16mm camera in the water with us. He was being steadied by another chap in a full wet-suit. Fitted neoprene was quite an unusual sight then when divers were known as frogmen.

Filming the swimming scene

Eddie Collins opperating the 16mm camera to capture the pearl diving scene ~photo: Richard Pilbrow

Suzanna Hamilton, who played Susan, did well but it simply wasn’t possible to pretend we were enjoying ourselves.  My rictus smile was not convincing. Later on in the summer the Lake District became so hot that we begged to be taken swimming in rivers on our day off. I wish we had re-shot the scene in July with an underwater camera capturing my pearl diving antics. I was a good swimmer. I still love snorkelling – but only in warm seas. As it was, I had to be extracted from Coniston Water by Eddie’s frogman. I’d almost passed out.

Sophie Neville in 1973 attempting to strangle Terry Smith the Wardrobe Master on ‘Swallows and Amazons’

Quite a few people almost learnt how cold we had been for themselves later that day in May. The boats used to ferry us back and forward to the island were blue Dorys with outboard motors. You don’t want to have too much weight in the bows of those boats. Water can come in very quickly.

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