What is the best way to entertain someone who enjoys acting?
Even when we had very little space or were waiting around for hours out on the water during the filming of ‘Coot Club’ and ‘The Big Six’, one thing that kept everyone amused was the game of charades. Simply imitating each other also proved hilarious and kept up moral whatever the weather. Since the children who appeared in the drama all enjoyed acting, they proved natural entertainers both on and off-screen.
The experienced actors entered into the spirit of this in a trice.
The great thing about miming is that it is silent, which was just as well, when we had to keep quiet on set.
The film crew were wonderful, ever inventive and terribly good at charades.
No one was limited by taking themselves too seriously.
Some members of the production team made a tremendous effort to keep up our spirits.
Julian Fellowes, who played Jerry, told me recently that he so admired Henry Dimbleby for taking part in Swallows and Amazons Forever purely because it was fun, rather than because he wanted to be an actor. I appreciated his indestructible good nature and the fact that he made the three months we spent on location enjoyable, in many ways leading the team, even though he was only thirteen years old.
Of course, what is most amusing, is when the unexpected happens. That is what I will attempt to relate in the next post.
Julian Fellowes recently introduced me to friends, explaining that we had worked together when I had been a Consultant on ‘Swallows and Amazons Forever!’ ~ the overall title given to the BBC serialisation of ‘Coot Club’ and ‘The Big Six’. This was very kind. Apart from a fact or two about Arthur Ransome, my consultant-ish-ness consisted mainly in suggesting the children wore warm clothes when they were out on the water. I need not have worried. Our Producer, Joe Waters, appointed the most wonderful costume designer, who knew all about thermal underwear and hats. ‘I love hats,’ she told me. ‘Everyone wore hats in the 1930s. They give the whole production a period feel.’
Everyone on the unit – certainly all the children in the cast, adored Susannah Buxton. She was only about thirty-three and had not been a costume designer long. A tall red-head, she admitted to often struggling to her feet on set when the Lighting-Camera man called for a certain light.
I’ve just read a review on Amazon.co.uk about ‘Coot Club’, which said, ‘Wonderful attention to period detail. Even the film’s colours are right for the period.’ They certainly were. Susannah managed to source a huge number of original hand-knitted garments.
While she was dressing the children, deciding what they should wear at the beginning of a new day in the story, Susannah explained that she was keen that they didn’t look too chocolate-boxy. The girls playing Dorothea and the Farland twins were all so pretty it would have been easy to go over the top. She carefully combined elements of school uniform with 1930’s clothes that children would have worn in their summer holidays. I can’t remember any member of the cast being uncomfortable – either two cold or two hot, even though we spent three months filming on the Norfolk Broads.
‘How did you become a designer?’ I asked her.
She explained that she loved clothes and it was what she always wanted to do. She’d been working freelance as an assistant in Bristol, thinking she wouldn’t get to design on a television production for years, when the phone rang. ‘I was asked if I could take on the role of costume designer, so I took a deep breath and said, “Yes.”‘ Here I have to explain that many members of the crew had come up from BBC Bristol, which then had a regional crews available to work on period dramas. Our Producer was very pleased about this. He used a crew from BBC Bristol again when we made ‘My Family and Other Animals’ on Corfu a few years later. Susannah had a wonderful assistant called Helena and at least three dressers, including Paul Higton and Lesley Bowling, who were not only meticulous but great fun.
The size of the costume department reflected the difference between the 1974 feature film of ‘Swallows and Amazons’, which was shot in the Lake District with a small cast and very few crowd scenes – when the one Wardrobe Master was helped only by my mother – and our BBC TV adaptations of Arthur Ransome’s books set in Norfolk. ‘Coot Club’ and ‘The Big Six’ had much bigger casts, with many more roles for adults and supporting artistes.
I was looking after the eight children in the lead parts and another six or seven boys in supporting roles, not to mention children who appeared as extras in the village scenes. It was Paul and Lesley’s humour that oiled the wheels that kept us running smoothly. ‘The Big Six’ had to be taken through costume and make-up almost every day for three months and these were costumes that had to stay clean all day. The children were obliged to wear life-jackets when they were near water, right up until the time when the director went for a take. Obviously, these had to go straight back on after each camera set-up. I can still see Paul Higton with an armful of colourful life-jackets he was handing back to five boys at a time. He went on to become the costume designer on forty-eight episodes of Dangerfield and more than 825 episodes of the TV series Doctors.
Susannah Buxton went on to have the most dazzling career. I last saw her when she was striding along the South Bank in London one evening. I didn’t know that she had worked on so many movies. These have included, Millions, 2004, directed by Danny Boyle, ‘As you like it’, directed by Kenneth Branagh and ‘Death defying Acts’, which starred Catherine Zeta-Jones. She won a BAFTA award for ‘Mr Wroe’s Virgins’, directed by Danny Boyle, an RTS award for ‘Shooting the Past’, which was directed by Stephen Poliakoff, and a number of awards for ‘Downton Abbey’, including an Emmy for Outstanding Costume Design. I’m not sure she imagined all this would be in store for her when she was busy loading costumes into a boat on Horning Staithe back in 1983.