Tag Archives: film editor

The boats used for filming the BBC drama ‘Coot Club’ on the Norfolk Broads in 1983 ~

Norfolk County Sailing Base, Ludham

The ‘Titmouse’ under sail in 1983

I think Jim Searle might have given me this lovely photograph of  Titmouse, and that was taken when the boys from Norfolk who played the Death and Glorys were given sailing lessons prior to filming in the summer of 1983.

Henry Dimbleby resting between takes in the 'Dreadnaught'

Henry Dimbleby resting between takes in the ‘Dreadnaught’.

The Dreadnaught was a useful punt. Henry Dimbleby is sitting on the life jacket he was obliged to wear during rehearsals, despite the fact that he jumped into the water in the action to avoid being spotted by the Hullabaloos, the holiday makers who had hired the Margoletta, in reality the Norfolk cruiser Janca.

Coot Club - Bruce McCaddie the designer

Bruce McCaddie, our Designer with Prop Master Ricky King in the ‘Cachalot’

Am I right in thinking that this must be the Catchalot? It looks as if our designer, Bruce McCaddie, is sorting out a fishing rod used by the actor Sam Kelly, who was after pike.

The Death and Glory at Gay Staithe

The Death and Glory at Gay Staithe

One of the jobs Bruce gave to his construction team was to build the cabin on the Death and Glory, with its flower pot of a chimney. He transformed the look by adding rigging from the mast.

Bruce Mackadie

Our Set Designer, Bruce McCaddie using a dressing boat to approach the ‘Death and Glory’ complete with her cabin. Is the ‘Titmouse’ moored alongside?

In terms of set design ‘Coot Club’ and ‘The Big Six’ were rather unusual productions to work on but Bruce loved boats. Instead of being an extra person on the vessel used by the film crew, he would take a period dinghy to gain access to his sets – which of course were often other boats. This run-around boat could then but used in the back to shot, especially if he needed to hide something modern.

Coot Club - the  camera boat

Norfolk teacher Angela Scott with the ‘Catchalot’

This is one of the only shots I have of the Catchalot, which looks as if it might have been taken up near Horsey Mere. It shows Angela Scott, the children’s tutor making a funny face at the end of the day. You can just see the make-up artist, Penny Fergusson, and what could be Mary Soan on board.  Jill Searle may have been there too. She became a great friend of Liz Mace, our Production Manager who had always been keen on sailing.

Coot Club - Lullaby as the Teasel undersail

Lullaby undersail, playing the Teasel with her stage name painted on a false transome

The Teasel was played by Lullaby. Roger Wardale tells me she is  a mahogany hulled crusier, a gunter-rigged, 4-berth ‘Lustre’ class yacht built in 1932 and kept at Hunter’s Yard in Ludham, where I believe she is still available for hire. She is similar to the 3-berthed ‘Fairway’ yachts that Arthur Ransome and his wife would hire for holidays on the Broads  in the 1930’s.

The Teasel towing the Titmouse

The Teasel towing the Titmouse – click on this photo to see a close-up of the cockpit

One of the secrets of filming Coot Club is that although this looks as if Mrs Barrable is sailing the Teasel, it is not Rosemary Leach but a young man from Hunter’s Yard wearing her costume. Caroline Downer, who played Dorothea Callum, Richard Walton, who played Dick, and Henry Dimbleby who played Tom Dudgeon are in the cockpit, but we also used ‘doubles’ on that day to play Port and Starboard.  I found girls two girls from Norwich, Julia Cawdron and Claire Dixon, who played the twins for a day.

The reason for this was that sailing scenes are time-consuming to film and quite tricky to edit together. While our Director, Andrew Morgan, was busy filming the scenes at the Farland’s house with the actor Andrew Burt and the twins, Sarah and Claire Matthews, accompanied by their mother, I was on a second unit headed up by the Producer Joe Waters. Although Joe had directed a huge number of dramas he asked his film editor, Tariq Anwar, up to direct the sequences, knowing that he would be cutting the shots together.  He came up to the location with his wife and we took most shots from the camera boat, Camelot.

Tariq Anwar is still working. He edited Vivaldi, based on Antiono Vivaldi’s early life, starring Elle Fanning, Neve Campbell and Brian Cox. His latest credits include Great Expectations and The King’s Speech as well Down the River featuring Joe Henry, Tom Jones and Hugh Laurie. I haven’t seen the documentary but presume it must include the odd boat.

Do write in the comments below if you can fill me in on the names of those who helped us with the boats for the series.  My address book lists: Jim and Jill Searle, Rupert Latham, Pat Simpson of Stalham Yacht Services, Richardson’s of Stalham, Lawrence Monkhouse, Keith King of Feny Boatyard and the Steam boat Association. I still have a certain sticker on the front of my BBC address book ~

Coot Club - My Address Book

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Filed under 1983, Arthur Ransome, Film crew, Film History, Filmaking, Landscape Photographs, Memoir, Movie stories, Sophie Neville, Swallows and Amazons, truelife story, Uncategorized

Off to Elstree Studios ~ to dub ‘Swallows and Amazons’ in 1973

Sophie Neville at Elstree Studios in 1973

The process of editing a film can be terrifying for a director. There is always the prospect of finding a sequence that will not cut together. But working with a good film editor is hugely creative and fulfilling. Problems do arise but great things can happen. Richard Pilbrow says in his new book, A Theatre Project  that he was completely captivated by the process. ‘Moving a few frames from here to there, could change the whole emphasis of a scene.’  On the whole editing is an exciting, yet more relaxing time for the director than having to lead a massive crew out on location. And the actors are never around.

Sadly I never met Michael Bradsell who edited Swallows and Amazons. Like many others on our film crew he’d worked with Claude Whatham before on the movie That’ll be the Day. He went to on edit many great movies; Local Hero for Bill Forsyth and  David Puttman,  Henry V for Kenneth Branagh and Wilde, which starred Stephen Fry. Oh, to think that he hauled my image over his Steenbeck.

I remember that when I saw Henry V at the Curzon Cinema in Mayfair, in 1989, there was something terribly wrong with the projection. The lip-sync was out. Kenneth Branagh’s voice was delivered after his lips started moving. It was most off-putting. I knew all about lip-sync because I had been involved in dubbing movies since I was twelve. For, it was back in 1973, when Claude Whatham was working on the sound track for Swallows and Amazons that, rather unusually, I was summons to the EMI Elstreee Studios.

Sophie Neville at the EMI Elstree Studios in 1973

Visiting Elstree Studios was exciting. I remember meeting the Dubbing Mixer and being there with the other Swallows, but I don’t think we saw anyone else in the cast. Suzanna came along with her nine-year-old cousin who was called Seymour – a very bright boy who was wearing stripey canvas trousers like a deck chair. Mummy had bought me a smart new dress that was the height of fashion. Looking at the photograph I rather wish she hadn’t bothered.

We were led into a huge dubbing theater hung with long black drapes around a high white screen. Claude explained that he needed to re-record our dialogue for various sequences. This was because the original soundtrack had been spoilt by the sound of motorboats, car horns or simply the wind. At first we were handed dubbing scripts, but it was difficult to look at them as well as the screen. As we could still remember our lines we didn’t need them. Instead, we stood in front of microphones on spindly stands and sung out the words we knew as sections of the film were projected. To help up a thick black cue-line would pass across the scene. When it hit one side it was time to start speaking. This was to ensure that our voices would be in sync with out lips. It could help, it could be off-putting. In the end we just went for it naturally. After each ‘take’ the film would be re-wound and we would go-again. There is a scene in at the Amazon Boathouse when John scrunches up the Amazon’s message and throws it in the water. It amused us to see this in reverse.

The post-syncing was a chance to improve on our performances and diction. Some time was spent in re-recording our sea shanty, Adieu and Farewell to you Fair Spanish Ladies. I made a mistake here that I have always regretted. Instead of singing sweetly and true I went for volume, which was not only unnecessary, but disastrous. It is acceptable on the film when you can see I am singing out on the water but sounds horrid on the LP. We had no idea at the time that EMI were going to bring out an album to accompany the movie, but they did.

Jack Woolgar as Old Billy confronting Simon West, Suzanna Hamilton, Sophie Neville and Stephen Grendon as the Swallows who were visiting the charcoal burners.

The one line that I simply could not replicate was the dialogue Titty delivered when saying goodbye to the charcoal burners: ‘Thank you so much for letting us see your lovely serpent.’  We went over it again and again, but Jack Woolgar wasn’t at the dubbing studio and I couldn’t do it without looking at him. The charm and sincerity of the moment was not something I could reproduce. In the end Claude said he just had to use the original despite the sound of the roaring wind.

After we had left sound effects would have been added. Richard Pilbrow said that, ‘Bill Rowe was our masterful sound mixer, working magic with birdsong, a rustle of leaves, a broken twig – all the tiniest details that went into making the story spring to life.’ When I watch the film of Swallows and Amazons now I so admire the technique of using sound to illustrate the soaring of Titty’s imagination. The storm bell on Robinson Crusoe’s ship heralds the roaring wind and lends reality to scene when I play the shipwrecked sailor, dragging my parched body towards the island campsite. You can hear parrots and monkeys in the palm trees. I am sure Arthur Ransome would have approved.

Bill Rowe, I read, was the director of Post Production and Sound at Elstree Studios until he died at the age of sixty in 1992.  He’d worked on an amazing number of movies winning an Oscar for The Last Emperor and BAFTAs for The Killing Fields, The French Lieutenant’s Woman and Alien with nominations for Chariots of Fire, A Clockwork Orange, The Mission and Batman. And to think, we had been playing Hide and Seek behind his sound drapes.

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, where she has been left alone with the telescope. Sound of Swallow’s moving parts was added later by the dubbing editor Bill Rowe at Elstree Studios.

One thing that really worried me was that I saw Swallow lying outside Elstree Studios. She looked forlorn, a ship out of water. Looking back on it they must have needed her to record sound effects.  I was concerned that we would not see her again, but we did. The next time we Swallows gathered was to publicize the film. We found ourselves climbing aboard Swallows again, albeit in a very different location from the Lake District. And this I will write about in my next post.

Later in life, when I worked in television production, I spent many months at Elstree Studios at Borehamwood. However these were the BBC Studios on the other side of the road where we recorded endless episodes of  Eastenders and the wartime romance Bluebell, programmes that were never post-synced. I’d drive past the old EMI/ATV Studios and never breathe a word that I’d worked there once as an actress.

Sophie Neville, in striped top, on the BBC Studio Director’s Course at the BBC Elstree Studios, Borehamwood in 1990

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Filed under 1973, Acting, Arthur Ransome, Autobiography, Biography, Cinema, Claude Whatham, David Wood, Film, Film Cast, Film crew, Film History, Filmaking, Lake District, Memoir, Movie, Movie stories, Richard Pilbrow, Sophie Neville, Suzanna Hamilton, Swallows and Amazons, truelife story