Tag Archives: Unit Call Sheet

Filming with Virginia McKenna at Bank Ground Farm, Cumbria ~ in 1973

Forty years ago today we were filming with Virginia McKenna at the location used for Arthur Ransome’s Holly Howe above Coniston Water. It was a day of days – the sunshiny day that we had all be waiting for.

Virginia McKenna at Bank Ground Farm

Virginia McKenna at the other side of the boat houses at Bank Ground Farm in 1973 ~ photo: Daphne Neville

David Bracknell with Virginia McKenna at Bank Ground Farm

First Assistant Director David Bracknell standing-in (or kneeling-in) for Roger with Virginia McKenna at Bank Ground Farm. The great trees in the background are sadly no longer there ~ photo: Daphne Neville

The buttercups and daisies were still out in the field that flows from Holly Howe to the lake. Roger was able to tack up the meadow to receive the despatches from Mrs Walker, described in the opening pages of Arthur Ransome’s book.

‘…Each crossing of the field brought him nearer to the farm. The wind was against him, and he was tacking up against it to the farm, where at the gate his patient mother was awaiting him.’

Virginia McKenna with Hairdresser Ronnie Cogan

Virginia McKenna having her hair adjusted by Ronnie Cogan ~ photo:Daphne Neville

I don’t think you can tell that this section of the scene was recorded seven whole days later than the sequence that runs directly on from this when the Boy Roger delivers the very same ‘If not duffers’ telegram to Captain John. The hole that had been dug for the camera alongside our picnic had been filled in. You can see this from Mother’s perspective when I was milling about near the lake looking towards the island I couldn’t actually see.

Virginia McKenna on location at Bank Ground Farm (Holly Howe) in the Lake District. Property Master Bob Hedges is working in the foreground. Lee Electric lighting assistants stand-by with reflector boards while Assistant Sound Recordist Gay Lawley-Wakelin waits on a box with the boom ~ photo: Daphne Neville

Poor Sten, he had to run up the field on what proved to be our hottest day. I remember Jean McGill, the Unit Nurse ministering cool drinks and a flannel soaked in cool eau de Cologne to make sure he did not get dehydrated. We all wanted a go with the cool cloth on the back of our necks at lunch time.

With Virginia McKenna at Bank Ground Farm

The Walker Family ~ Suzanna Hamilton playing Susan, Stephen Grendon as Roger, Sophie Neville as Titty, Virginia McKenna as Mother and Simon West as John in the meadow full of buttercups at Bank Ground Farm

It was good to escape the heat by getting out on the water. We shot the scene set on the old stone jetty at the boat houses below the farm when Titty leads ‘Good Queen Bess’ down to the harbour to inspect her ship. I didn’t realise she had a large box of matches in her hand. Virginia kept it a surprise from us in real life. I was excited to find out that Simon Holland, the Designer had painted the branded cover by hand.

As the Call Sheet specifies, our dinghy Swallow had been loaded with all the tents and camping equipment that had been on Peel Island the day before. I didn’t realise at the time quite how often the design team had struck camp and made it up again. I just sat on top of the equipment singing Adieu and Farewell, not very well, as we sailed out onto Coniston Water, waving goodbye to our Fair Spanish Ladies.

Arriving at Holly Howe

Claude Whatham with Virginia McKenna. Mrs Jackson stands patinetly at the door ~ photo: Daphne Neville

I am sure that we had already recorded the scene in David Wood’s screenplay when the Walker family arrive at Holly Howe, but Claude decided to take advantage of the golden light and shoot it again.  I am sure this was a good decision. It had been a long day and we were tired but the excitement of our arrival is tangible.

Arriving at Holly Howe

Director Claude Whatham, in a 1970s yellow long-sleeved t-shirt, watching the taxi drive up to Mrs Jackson’s front door in 1929. DoP Dennis Lewiston sets up the shot with Focus-puller Bobby Sitwell ~ photo: Daphne Neville

Nurse with Baby Vicky, the ship's baby

Nurse with Baby Vicky, the ship’s baby at Holly Howe ~ photo: Daphne Neville

Sophie Neville holding the horses

Stephen Grendon, Sophie Neville and Simon West with Mr Jackson at Holly Howe~ photo: Daphne Neville

My mother thought that Mrs and Mrs Jackson, Mrs Walker’s nurse and Vicky the ship’s baby, who are listed as Extras on the Call Sheet, were particularly well cast. It must have been a long day for them. It was a long hot day for all of us, but a happy day.

Simon West, Stephen Grendon, Suzanna Hamilton and Sophie Neville

Simon West, Stephen Grendon, Suzanna Hamilton and Sophie Neville playing the Walker children in ‘Swallows and Amazons’ 1973 ~photo: Daphne Neville

The girls who had been taken on as our Stand-in’s the day before did not seem to be around to help limit the hours we spent on set, but perhaps I am muddled. They may have only materialized on Peel Island at a later date.

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

What I really did not know, until I watched the documentary broadcast last Sunday, was that Mrs Batty, who held the lease on Bank Ground Farm, had locked out the crew. She explained that when she was originally asked if we could film on her property she did not quite realise the scale of operations and only asked for – or accepted – a location fee of £75. The arrival of the two red double-decker buses, the Lee Electric van, the generator and other lorries, not to mention the Make-up caravan rather daunted her, as did the furniture moving activities involved at the start of the filming when we shot the interior scenes. She said that she decided that £75 was not enough, padlocked her front gate and wouldn’t let them back in until they agreed to pay her £1,000. It was a lot of money, more than double the fee I received.

Sophie Neville with Lucy Batty at Bank Ground Farm, Westmorland in 1973 ~ photo: Daphne Neville

You may have seen the BBC documentary about the making of Swallows and Amazons, when Ben Fogle interviewed Suzanna Hamilton and myself at Bank Ground Farm for ‘Big Screen Britain’. This was  re-packaged last year on a programme called Country TracksMy father’s 16mm footage had been skilfully inter-cut with an interview with our Director, Claude Whatham. I did not know that it was being broadcast but was able to watch on-line.

Sophie Neville at the Bank Ground Farm Boathouses

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Filed under 1973, Acting, Arthur Ransome, Autobiography, Biography, Cinema, Claude Whatham, Cumbria, Diary, Dinghy sailing, e-publication, Film, Film Cast, Film crew, Film History, Filmaking, Lake District, Memoir, Movie, Movie stories, Richard Pilbrow, Sophie Neville, Swallows and Amazons, truelife story

‘Oughtn’t I have the telescope?’ ~ Arthur Ransome’s story breaks into three strands

Sophie Neville who played Titty in Swallows and Amazons on location in the Lake District ~ photo: Martin Neville

When David Wood constructed the screenplay of Swallows and Amazons he introduced dual action soon after the Swallows arrived at the island. By this I mean that he split us up a bit – John went to fetch the milk from Dixon’s farm whilst Susan and I were teaching Roger to swim.  This isn’t quite as Arthur Ransome wrote but it added vitality to the script, moving it along.  I reckon the Director, Claude Whatham needed to avoid a gang scenario of Five go to Treasure Island at all costs. It also enabled us to get on with our school work since no one actor was in every scene.  I was in all the scenes shot on this day 5th June (I wrote 5th May by mistake) but went back to my lessons whilst Claude was out on the pontoon filming John and Susan jibing Swallow – a pick-up shot set into the long shot, when I waved them goodbye from Wildcat Island, recorded on 2nd June.

I think this is of Mrs Bennett, Martin Neville, Lesley Bennett’s sister and Jane Grendon with the film crew on the pontoon filming Suzannah Hamilton, Simon West and Stephen Grendon in Swallow just off Peel Island. Who is the boy sitting on the Capri moored to the temporary jetty?

At this stage in the story Arthur Ransome actually split the action into three. John, Susan and Roger sail off to find the Amazon river, Titty is left alone on the island with her telescope, while the Amazons are busy plotting and planning at Beckfoot.  Up until this time most films followed linear stories – this happened, then that happened – a bit like my diary. My favourite wartime drama A Town like Alice, which stars Virginia McKenna, is an example of this. It’s a road movie.  Lovely – but I need to watch it whilst doing my tapestry.

As it happened the method of running three storylines at once became all the rage in television dramas of the 1980s and 1990s, so when Swallows and Amazons was first broadcast on television it felt fresh even though it had been made six or seven years previously. The playwright John Mortimer said that when he first started writing three strands of action for Rumpole of the Bailey it terrified him. Would the audience be able to follow what was going on?  Now every detective story breaks into three as soon as possible, while soap operas keep a number of storylines boiling furiously. The technique helps to pace the action, up the suspense and gives the director much more flexibility in the cutting room. Apart from anything else it makes it easier to bring episodes in at the exact length required by the television schedulers. One reason why credits roll after a programme is because the Presentation Department can alter the speed they run at. Did you know this? It means that every story can be made to last exactly 37 mins 30 seconds.

Nowadays linear stroy-telling in movies, such a The Kings Speech seems to be received as more cinemagraphic.  I think that multiple action just went too far. ‘Flashbacks’ seem dated and running two storylines in different time periods can be confusing. I couldn’t do my embroidery whilst watching A Social Network.

Meanwhile two or three things were happening behind the scenes in the Lake District.  Terry Needham, the Second Assistant Director, found that most of the men who had come forward to be Supporting Artists for the scene soon to be shot at Bowness were refusing to have their hair cut. My mother was astonished. They couldn’t portray the Lake District unpopulated by men. Only a few, very elderly gentlemen, who didn’t have much hair anyway, agreed to a short-back-and-sides.  And my father.  He was more than happy to receive a free hair cut. Ronnie Cogan brought out his scissors and snipped away there and then on the shore of Coniston Water. Someone grabbed Dad’s Bolex and took a few shots for posterity:

Dad missed seeing me capture the Amazon. Although it seems I was all alone in my story line, this was not the reality. I rowed away from Peel Island with the DoP Denis Lewiston, his 16mm camera and a reflector board held by Claude Whatham who was also tucked into Amazon’s stern. No wonder I was tired by the end of the day.

Sophie Neville in The Amazon with DOP Denis Lewiston, his 16mm camera and a reflector board ~ photo: Martin Neville

Movie Call Sheet for 'Swallows and Amazons'

The Call Sheet for the day. It is quite inaccurate. I was rowing Amazon in Scene 154. We actually shot Scene 120: ‘Oughtn’t I have the telescope?’

Call Sheet for filming on 5th June - You can walk on water

I love the note at the end about having sufficent faith to walk on water. I avoided getting my feet wet by being carried ashore.

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Filed under 1973, Acting, Arthur Ransome, Autobiography, Biography, Cinema, Claude Whatham, Cumbria, Diary, Dinghy sailing, e-publication, Film, Film Cast, Film crew, Film History, Filmaking, Lake District, Memoir, Movie, Movie stories, Richard Pilbrow, Sophie Neville, Swallows and Amazons, truelife story, Uncategorized