Saturday, 23 September 2017

SHOESTRING: An interview with film editor GRAHAM WALKER

"Private Ear" Eddie Shoestring (Trevor Eve) with Radio West boss Don Satchley (Michael Medwin) in SHOESTRING, the much loved detective series which ran for two series on BBC1, 1979-80.

In 2002, my friend Nick Stewart and I put together a website devoted to one of our favourite TV shows, SHOESTRING.  Many of the cast and crew very kindly responded to our correspondence and we hope it remains a worthy tribute (even if it does now look more dated than the show itself).


In celebration of Shoestring: The Complete Series finally arriving on DVD from Network, we present the first in a series of exclusive interviews on the programme.  These were originally intended to be added to the site as part of a revamp, but we never got around to it.


GRAHAM WALKER has credits as a film editor with the BBC stretching back to the early 1970s. More recently he has worked with the director Joe Ahearne on Doctor Who, The Secret of Crickley Hall and this year's thriller serial The Replacement (which was watched by 8m viewers).



Patrick Mower as Detective Superintendent Steve Hackett of the Regional Crime Squad in TARGET (BBC1 1977-78), another series long overdue on DVD.

In the 1970s, Graham Walker worked on both Shoestring and its predecessor Target, the police drama starring Patrick Mower.  In this 2009 interview, he generously shared his memories of this period in his career with Nick and I.



How did the job of film editor on SHOESTRING arise? Possibly through TARGET, which you had worked on?

In 1975 The Sweeney burst onto British TV screens.  Probably the first truly modern drama series. Action-packed and shot entirely on location with lightweight 16mm film cameras, it looked and felt very different from everything that had gone before. It was a huge success.

The BBC soon realised they had nothing in their schedules to counter this and so in 1977 they commissioned their first all film cop series - Target. The brief was to make a hard-hitting series that would outdo The Sweeney and they actively sought out ex-Sweeney directors such as David Wickes and Douglas Camfield for the first series.

I was the dubbing editor for all the episodes in series 1 and by 1978 and Series 2 I had been promoted to Film Editor and edited 2 episodes*.

[*"Fringe Banking" directed by Terry Green tx 13 Oct 1978 and "Promises" directed by Gordon Flemyng, 20 Oct 1978]

My memory of working on both series is that despite being asked to make a punchy drama the BBC executives were constantly asking for it to be toned down! We want it hard hitting but not that hard hitting!

Target was fairly successful but the constant drip drip effect of complaints about violence, language etc forced the BBC not to go for a 3rd series.

They still very much wanted another all film drama series but less action and perhaps more thoughtful - enter Bob Banks Stewart and Shoestring.


How long did you get to edit an episode of Target or Shoestring?

For the picture editing I had 5 weeks for each episode.  The final cut was then passed onto the dubbing editor who had a further 2 weeks to prepare the sound tracks for dubbing.  These were  typical schedules for any 50 minute film drama in those days. 

Each episode took 3 weeks to shoot and that period was part of my 5 week schedule.  So I was on board from day 1 of the shoot and would edit each day's shooting as the "rushes" came in.  Rushes, for those who don't know, are the first picture and sound prints of a day's shooting - made quickly (i.e. rushed) overnight by the labs and available for editing first thing in the morning of the day after each shooting day.

By the time the shoot ended I had to have a full first cut of the episode ready for viewing because we then only had 2 weeks left for fine cutting and the screenings and changes from the producer and BBC executives.
  
Graham Walker's screen credit for the series 1 episode "Stamp Duty", directed by Martin Friend.

Was there room to do your own thing, i.e. do something in the edit which maybe wasn't the original plan?

Yes, very much so.  Because of the time constrictions my first cut, prepared while the director was away shooting, had to be as close to a fine cut as it could be.  Obviously I would follow the script while editing but there is a deal of difference between the written word and how it visualises on a screen.  Scenes as scripted would often not quite work and it was up to me at that stage to make them work.

Of course the director would always have the final say during our 2 week fine cutting period but I reckon about 70% of each episode stayed exactly as I edited it in my first cut.  Most of the fine cutting period was always spent dealing with 2 or 3 problem scenes which for some reason or other were pigs to get working!

This was not only the way with Shoestring - every TV drama and feature film I have worked on has been much like that. 


Did any problems ever ensue, i.e. did people ever reshoot back then? 

Yes of course!  All movies have their problems and Shoestring was no different and no worse than any other in that respect.  I seem to remember that on one of my episodes Bob Banks Stewart wrote and re-shot a complete new end sequence after seeing the director's cut.

Although the director had final say in the edit of the director's cut, after this was completed it was shown to the producer and then to the BBC executive in charge.  Changes and modifications would always result from these viewings - sometimes minor and sometimes major involving re-shooting additional material.

The biggest problem one always has with drama productions is not the shot to shot editing of each scene but the overall structure of the whole piece.  How each scene moves and develops the narrative with the next scene.  For some reason the scene order of written scripts rarely works when visualised on a screen.  So a lot of the editing time is spent in restructuring the scene order.  I can't emphasise enough how important structure is - if the structure is wrong, no matter how brilliant the individual scenes are, the audience will quickly lose interest.

Trevor Eve on the Radio West set at Ealing Studios


The BBC at that time wouldn't have been that used to all-film series -- did this have any bearing on your work?

Yes that's right, Shoestring was only the second all film series the BBC had made.  The main difference to the way we were used to working at the BBC was because of the sheer scale and complexity of producing 10 x 50 minute drama films in one season, the whole post production process had to be very carefully planned and run on an almost factory like process.

I must give the BBC credit here, instead of trying to develop their own methods of working (which they were prone to do) they listened to advice and followed the standard film industry (i.e not television industry) practices which were well established for the production of multiple drama films - after all the Americans had been doing it for years.

So, on Target and Shoestring for the first time ever we had a Supervising Editor to oversee the scheduling of all the episodes and the day to day running of all the various cutting rooms plus a dubbing editor for each episode (the usual BBC practice was for the film editor to do the dubbing editing after the cut had been finalised).

It was also fascinating to see during this period feature film industry terms such as Director's Cut, Picture Lock, Final Mix etc gradually creeping into the BBC's language.  For me, and others like me who were more rooted in film than television, it was wonderful to see Ealing Studios turning once more into a proper film studio.



I would always discuss with John any sound issues that might have been difficult or problematic on the episodes I was working on but mainly it was just being at the dub with him.  Although, I always said John was the only dubbing mixer I would have been happy to just send the tracks to and not even go to the dub - I just knew he would always produce a superb job with or without my input.

John is not only a brilliant technician - he really understands the drama of sound.  In earlier times John had worked with Alan Dykes who dubbed the first series of Target.  Alan was not only the best dubbing mixer at the BBC he was probably the best dubbing mixer in the country.  So John's credentials are impeccable. 


Did you edit every episode or was there a rotation?

It was impossible for one editor to edit all the episodes because of the way the scheduling had to work.  All the episodes were shot back to back without stopping - so that's 30 weeks of non stop work for the film crews!

So by the time Ep 1 has stopped shooting, the rushes for Ep 2 are starting to come in. But Ep 1 is still in the fine cutting stage so another editor has to work on Ep 2. By the time Ep 1 editor has finished, the shooting would be at least up to Ep 3 or 4.

So in practice the editing was split between 4 or 5 editors who would do 2 or at most 3 episodes each. I edited 2 from both series: "HIGHER GROUND", "STAMP DUTY", "THE MAYFLY DANCE" and "UTMOST GOOD FAITH".


Trevor Eve with guest star Lance Percival as Radio West DJ Jake Rivere in "The Mayfly Dance".

What did you all think of the series at the time, i.e. were you aware it was a winner?

Yes, we were all aware this was a very different and rather special series.  Trevor Eve of course is a fantastically charismatic actor and the whole idea of setting a private detective in a radio station was a stroke of genius from Bob Banks Stewart.

There were a few worries in the beginning that perhaps it might be a bit too different to catch on  - audiences are funny things - but once again Bob had got it just right.

We were all very upset when Trevor Eve decided not to do a third series and I remember very well discussing with Bob in the cutting room one day what could possibly replace something as original as Shoestring.  Bob said  "Well, I've got this idea about a detective series series set in Jersey - what do you think?" ..............we all know where that one went!  Like I said, a genius.


Many thanks to Graham Walker for his memories of a fascinating time for BBC drama.

Monday, 28 March 2016

BRIAN DE PALMA interviews FRANCIS FORD COPPOLA (1974)

From Filmmakers' Newsletter, May 1974 -- "The Making of The Conversation: An Interview with Francis Ford Coppola by Brian De Palma"






Saturday, 30 November 2013

THE COLUMBO FAN BOOK PROJECT!

Hello, Columbo Family!  How much would you like to own a book celebrating the wonderful series we all love?  Well, you can!  All we have to do is write it!

The gentleman who brought us all together, Twitter's very own Lieutenant Columbo and myself have been thrashing out an idea for the last few weeks: a definitive Columbo book, written by the fans.  To include: production history; reviews; interviews.  And if anyone has any other bright ideas for inclusion, we are open to suggestions.

It will be self-published via Lulu.com, which costs nothing.

I have been collecting behind-the-scenes information on the series for many years and looking for the perfect place to include it.  This seems ideal.


Columbo, created by Richard Levinson and William Link, is the property of Universal Studios.  No copyright infringement is intended.  As we are only writing about the subject - since the bulk of the book will be reviews - and not using material owned by Universal, I believe we remain within our rights.  

Of course won't be able to include official photographs, but if we make sure the content is exemplary, I don't see why this can't be a first rate publication.  And speaking of which - artistic contributions would be very welcome, too, given that we cannot use photos.

"The Columbo Phile" by Mark Dawidziak (Mysterious Press, 1989)
“The Columbo Phile” by Mark Dawidziak is obviously an inspiration.  A superb guide to the series, but it only covers the period up to 1978, and is long out-of-print.  This project will allow us, at the very least, to hold in our hands (or own as eBook, PDF etc.) a complete guide to the wonderful Columbo.

We must credit Lewis Christian first and foremost for this idea.  His “Celebrate, Regenerate” – a 50th anniversary Doctor Who review book by fans – gave us the impetus.  Last year he invited DW fans to contribute, and earlier this year the book was published, entirely off Lewis’s own back, to great acclaim.  If you haven't seen it, it's superb and believe me, you really would like to see a similar volume about the good Lieutenant C.

Lewis Christian's Doctor Who 50th Anniversary fan project
This will of course be a non-profit publication.  I wouldn’t expect there to be much, but I propose that what profit there is go to The Alzheimer’s Society, for reasons that I'm sure you understand.  I have contacted them – they are more than agreeable in principle but given the rights issue with Columbo we cannot say for definite at this stage that this will pan out.

HOW TO CONTRIBUTE

The way we'll do this is: contributors choose what episode or episodes they want to write about.  Two viewpoints per ep would give a nice balance, so there should be plenty up for grabs.

Email columbobook@gmail.com to register your interest and get commissioned.

We encourage as many people to as possible to contribute – the more the merrier and of course, everyone will be credited for their work.  As the Tweet-a-longs prove, you've all got plenty of interesting things to say about the show!


RULES FOR SUBMISSION

Choose an episode or episodes to write about from the list below and, as I said, email us at columbobook@gmail.com.  We'll indicate the episodes as they are taken.

The word count is up to you, but a maximum of 600 words.  Secondary reviews need only be 200 words.

The format?  Well, again that’s really up to you but basically it should be a structured review explaining why you like (or don’t like) the episode in question.  By all means choose an episode you don't like!  I think the book should be critical if required.  Write about the story, writing, direction, acting, and maybe add a personal touch if you wish.  What Columbo means to you, etc.

So no strict rules.  And any bright ideas for something else you'd rather contribute? We're listening!  But we would like all the episodes to be reviewed so that the book feels complete.


DEADLINE FOR SUBMISSIONS

Please do contribute folks!  The finished product will be fantastic, we promise, and a fitting tribute to the late, great Peter Falk and everyone else who helped to make the wonderful Columbo.

Any further questions?  Anything really obvious we've missed?  Let us know via the email address, or Lieutenant Columbo and myself can be found on Twitter.

Thanks to you all!

Update 30.6.2014 - 69 out of 69 episodes represented; 32 episodes covered by more than one reviewer; over 50 contributors.  Continued thanks everyone!

Lots of terrific reviews in the past few weeks, and I'm currently gathering everything together.  I've got a completion date in mind, which I'm not revealing so as not to jinx it.  However, it's not too far away all being well.

This will be one of, if not the final invitation to contribute, because we have to wrap things up.  There are still a number of episodes with only one contributor (see below), so if you'd like review an episode or episodes, let us know.  The more the merrier!

Secondary reviews, only 200 words or so, are very welcome.

The book's cover, which should be a wonderful surprise, is still very much on the cards.

Thanks again everyone for the excellent material contributed so far!

Tentative title for the book: "The COLUMBO Compendium".  Alternative suggestions very welcome.


THE EPISODES TO CHOOSE FROM...

TV Movie (1968):
Prescription: Murder - 2 reviewers (COMPLETE)

Pilot (1971):
Ransom For A Dead Man - 2 reviewers (COMPLETE)

Season One (1971-2):
Murder By The Book - 2 reviewers (COMPLETE)
Death Lends A Hand - 2 reviewers (COMPLETE)
Dead Weight - 1 reviewer
Suitable For Framing - 2 reviewers (COMPLETE)
Lady In Waiting - 1 reviewer
Short Fuse - 1 reviewer
Blueprint For Murder - 1 reviewer

Season Two (1972-3):
Etude In Black - 2 reviewers (COMPLETE)
The Greenhouse Jungle - 2 reviewers (COMPLETE)
The Most Crucial Game - 2 reviewers (COMPLETE)
Dagger Of The Mind - 1 reviewer
Requiem For A Falling Star - 1 reviewer
A Stitch In Crime - 1 reviewer
The Most Dangerous Match - 1 reviewer
Double Shock - 2 reviewers (COMPLETE)

Season Three (1973-4):
Lovely But Lethal - 2 reviewers (COMPLETE)
Any Old Port In A Storm - 2 reviewers (COMPLETE)
Candidate For Crime - 2 reviewers (COMPLETE)
Double Exposure - 1 reviewer
Publish Or Perish - 1 reviewer
Mind Over Mayhem - 1 reviewer
Swan Song - 1 reviewer
A Friend In Deed - 2 reviewers (COMPLETE)


Season Four (1974-75):
An Exercise In Fatality - 2 reviewers (COMPLETE)
Negative Reaction - 2 reviewers (COMPLETE)
By Dawn's Early Light - 1 reviewer
Troubled Waters - 2 reviewers (COMPLETE)
Playback - 1 reviewer
A Deadly State Of Mind - 2 reviewers (COMPLETE)

Season Five (1975-76):

Forgotten Lady - 1 reviewer
A Case Of Immunity - 1 reviewer
Identity Crisis - 1 reviewer
A Matter Of Honor - 1 reviewer
Now You See Him - 2 reviewers (COMPLETE)
Last Salute To The Commodore - 2 reviewers (COMPLETE)

Season Six (1976-77):
Fade In To Murder - 2 reviewers (COMPLETE)
Old Fashioned Murder - 2 reviewers (COMPLETE)
The Bye Bye Sky-High I.Q. Murder Case - 2 reviewers (COMPLETE)

Season Seven (1977-78):
Try And Catch Me - 2 reviewers (COMPLETE)
Murder Under Glass - 2 reviewers (COMPLETE)
Make Me A Perfect Murder - 1 reviewer
How To Dial A Murder - 1 reviewer
The Conspirators - 1 reviewer

1988-89 Season:
Columbo Goes To The Guillotine - 2 reviewers (COMPLETE)
Murder, Smoke, And Shadows - 1 reviewer
Sex And The Married Detective - 1 reviewer
Grand Deceptions - 1 reviewer

1989-90 Season:
Murder, A Self Portrait - 1 reviewer
Columbo Cries Wolf - 2 reviewers (COMPLETE)
Agenda For Murder - 2 reviewers (COMPLETE)
Rest In Peace, Mrs Columbo - 1 reviewer
Uneasy Lies The Crown - 1 reviewer
Murder In Malibu - 1 reviewer

1990-91 Season:
Columbo Goes To College - 2 reviewers (COMPLETE)
Caution: Murder Can Be Hazardous To Your Health - 1 reviewer
Columbo And The Murder Of A Rock Star - 2 reviewers (COMPLETE)

1991-92 Season:
Death Hits The Jackpot - 1 reviewer
No Time To Die - 2 reviewers (COMPLETE)

1992-93 Season:
A Bird In The Hand... - 1 reviewer

1993-94 Season:
It's All In The Game - 2 reviewers (COMPLETE)
Butterfly In Shades Of Gray - 2 reviewers (COMPLETE)
Undercover - 2 reviewers (COMPLETE)

Strange Bedfellows (1995) - 1 reviewer
A Trace of Murder (1997) - 1 reviewer
Ashes to Ashes (1998) - 1 reviewer
Murder With Too Many Notes (2001) - 1 reviewer
Columbo Likes the Nightlife (2003) - 1 reviewer

Friday, 19 October 2012

Dangerous Davies and the Cricklewood Film Studio

Leslie Thomas's comic novel "Dangerous Davies - The Last Detective" was first published in the UK October 1976.  It tells the story of accident-prone North London Detective Constable 'Dangerous' Davies, an underachiever until he stumbles on the 25 year-old missing persons case of a young girl, Celia Norris.  "The last detective" refers to him being the last to ever be called upon for anything important.

My paperback copy sat unread for 30 years until I finally picked it up last autumn and it turned out to be one of my favourite reads.  I bought it in 1981, after watching and loving the adaptation starring Bernard Cribbins.  It's a wryly amusing mystery story, with a plethora of wonderful characters starting with the bumbling Davies and his best friend, Welsh philosopher Mod Lewis.

The 1977 Pan paperback cover.  Completely wrong kind of dog, trenchcoat; he doesn't smoke, etc. etc.
Thomas talks of the origins of the book in the 2006 edition of his autobiography "In My Wildest Dreams": "one dark afternoon in winter, sitting by a log fire in my house, I decided to try my hand at writing a detective story.  [Davies] was an amalgam of some of the policemen I knew when I was a young reporter in Willesden, London, the old X Division of the Metropolitan Police.  I have a great affection for him.

"I cannot pretend that the origins lie outside the real murder mystery in my own family, the sordid killing of my fifteen-year-old niece in a field next to a Birmingham fairground".

Three or so years after publication "Dangerous Davies" was adapted as a film for television.  Producer Greg Smith and Leslie Thomas were in a partnership, Maidenhead Film Productions, for the TV and film rights to Thomas's work. In recent years they had produced Stand Up, Virgin Soldiers for the cinema and the 6-part series Tropic for ATV.

Leslie Thomas, OBE
Smith first worked with veteran director Val Guest on Confessions of a Window Cleaner in 1974 to undeniable if questionable success.  In 1979 they reunited at the expense of ATV for TV movie The Shillingbury Blowers, a gentle tale about a village brass band written by Francis Essex.  This was a huge hit when shown on Sunday 6th January 1980: 16.2 million viewers.  Smith and Guest were asked what they wanted to do next - the answer was Dangerous Davies.  ITC (ATV's film production arm) approved the project.

51 year-old stage and screen legend Bernard Cribbins was cast as Davies, an inspired choice although in the novel the character is only 33.  Cribbins said of the project: "It's not really slapstick because when Dangerous gets damaged he just doesn't bounce back like a cartoon character.  It's much more real than Clouseau, and I think the characters are true to life.

"Although he gets clobbered by everyone, he never stays down.  He's resilient and, as you'll see in the film, he sometimes bounces back and wins.

"There might well be a series of films in him.  Certainly, I'd love to get involved in more of them".
[quoted from "Danger, sleuth at work" by James Murray - Daily Mirror 3.1.1981 and "Enter Dangerous Davies - the defective detective" by Larry Ashe - TV Times 3-9.1.1981]

Pre-production lasted 7 weeks, with the 5-week shoot beginning late April 1980.  Budget was £325,000.  The cast includes Joss Ackland, Bernard Lee in his last screen appearance, Maureen Lipman, Colin Baker, Pam St Clement and Bill Maynard as Mod.  The adaptation is largely faithful - one significant change is that the disappearance is now 15 years before.  Davies being that much older also sees the removal of a possible love interest in the missing girl's younger sister.

Bernard Cribbins as DC Davies, having just received a battering - a regular occurrence
Davies was obviously an attempt to replicate the appeal of Shillingbury, and given a very similar slot, the first Sunday of 1981.  Unfortunately, the same success didn't follow.  It failed to make that week's Top 20 (Shillingbury was 8th), probably thanks to a new series of magazine show That's Life! on BBC1.  ATV's loss of the ITV franchise at the end of the year put paid to further adventures of DC Davies on television as played by Cribbins.

A shame, because a follow-up was planned: titled "Dangerous at Sea" and set on a cruise ship, it was to be filmed aboard the P&O liner Canberra - a curiously specific location for only a mooted project.  A series of movies featuring Cribbins as Davies would've been most welcome, and as a format it was six years ahead of Inspector Morse.

The incomparable Bill Maynard as Mod Lewis
Leslie Thomas subsequently wrote three more novels about the character: "Dangerous in Love" (1987); "Dangerous by Moonlight" (1993); "Dangerous Davies and the Lonely Heart" (1998).

He eventually returned to television played by Peter Davison in 17 episodes of Yorkshire Television's "The Last Detective" (2003-07).  All four novels were adapted, the first by Shoestring co-creator Richard Harris - who I think does rather better than Thomas himself and Val Guest first time round.  More nuance, less predictable though I still prefer the Cribbins version as it is better cast and has a nice melancholy atmosphere.

The books are set around Willesden and Kilburn in North London, as was the 1980 production.  A nearby production base was found in Samuelson's "Production Village" which had opened the year before in Cricklewood.  Samuelson's was a World-famous film facilities hire company run by four brothers.  Read about the Production Village in a July 1979 'American Cinematographer' advertisement here.


Go to 15:15 in the above video - the second of a 2-part edition of Granada children's series Clapper Board devoted to Samuelson's Film Services (tx 3.3.1980) - to see the Production Village, built on the site of a former aircraft factory, and hear Tony Samuelson outline the hopes and plans for the complex.  In the event the PV didn't fare that well, although Breaking Glass and Hellraiser were made there.

The studio pub remained open for business far longer than the complex itself, albeit under different owners, and the place was demolished in 2000 having become a somewhat unsavoury area.  A gym resides there now.

An utterly bizarre piece of film history, and entirely fitting that "Dangerous Davies" was based there as I can quite easily see Leslie Thomas use it as a setting in one of the novels.

Dangerous and his dog, Kitty, in vintage car. [Ahem] Morse.
 
"Dangerous Davies - The Last Detective" by Leslie Thomas is of course still in print; the 1980 TVM seems to be deleted, but it is included the R1 Complete Collection boxset of The Last Detective.

Saturday, 13 October 2012

ONLY FOOLS and HORSES.... A broadcast history (part 6): 1996-2003


ENCORE No. 1: 1996

After the 1993 Christmas special "Fatal Extraction", things went quiet.  Call it the enthusiasm of youth but I remember penning a letter to the BBC in autumn '94 asking if there would be a special that year - a polite reply came in the negative.

1995 and still nothing.  John Sullivan talks of these wilderness years in a 2002 interview with BBC online, saying that everyone had become too popular to find room in their schedules:

We started doing just Christmas specials: year after year, just Christmas specials.  We could never find that period in the calendar when we could all get together.  So I had a meeting with [producer] Gareth Gwenlan and I said "Look, what's going to happen here?  We can't just fade away.  We've got to accept that the success is strangling it in a way and we should go out in a blaze of glory".

John Sullivan, whose TV writing career stretched for 33 years
So, in 1996 they decided to make one last special to round the series off.  A landmark programme deserved that, though it had never happened for the likes of Steptoe and Son.  Times change - possibly, a measure of sitcom being accorded a bit more respect?  Would the BBC of the mid-1970s have sanctioned a feature length Christmas Steptoe to end their story?  I suspect they'd have thought it a daft idea.

At some point it was decided to make a miniseries of three, rather than just the one, as the schedule allowed time.

David Jason was busy with Series 5 of A Touch of Frost, but apparently declined making an extra episode in the run so he would be able to make the new Fools; and Nicholas Lyndhurst delayed recording of Goodnight Sweetheart Series 4 to the New Year.

Location filming began in Bristol, standing in for Peckham, on 3rd October 1996; the last of the three episodes was recorded in BBC Television Centre on Friday 6th December.  They went out on Christmas Day, 27th and 29th of December.

And they went through the roof.  The episodes were the three highest rated of 1996; and the finale, "Time on our Hands", was only very recently beaten as the UK's most watched single TV programme ever, by this year's Olympics Closing Ceremony (24.46m to Only Fools' 24.35m).

Reaction was incredible.  Not only the ratings - for the next 12 months the series gathered award after award.  David Jason and the production team won at the BAFTAs; Jason, Nicholas Lyndhurst and the programme at the National Television Awards; and Jason again, plus the People's Choice, at the British Comedy Awards.

I don't think "Heroes and Villains", "Modern Men" and "Time on our Hands" are the best that the series had to offer - like most later episodes, they meander - but there was enough very good content to serve as a fitting farewell to the Trotters.  We had the celebrated 'Batman and Robin' scene in "Heroes and Villains"; Cassandra suffering a miscarriage in "Modern Men" gave rise to some poignant scenes, although this isn't the kind of storyline I welcomed; and Del and Rodney finally becoming millionaires thanks to the priceless 'Harrison Lesser Watch' lying in their garage was glorious.

The Joker: Boycie (John Challis) with Del and Rodney in 'Heroes and Villains'
I still can't watch that montage scene without shedding a tear, especially at Albert going up the Thames on his motor launch.

And could there possibly be a more fitting final exchange between Del and Rodney?

Del: [Mum] said to me on her deathbed, 'Del boy, if you and little Rodney become rich, invest in the futures market'.


Rodney: You liar!  There wasn't a futures market when mum was alive!


Del: Exactly, it just shows you what a visionary she was!  This is our big chance Rodders.  He who dares, wins.  This time next year we'll be billionaires!


"[S]lowly, the flats and the estate begin to fade and the road...is transformed into the yellow brick road.  Del, Rodney and Albert become cartoon silhouettes and still walk away from us arguing" - from John Sullivan's script for 'Time on our Hands'

ENCORE No. 2: 2001-02 (and 2003)

We now come, somewhat controversially, to the final chapter in the Only Fools and Horses.... story, excepting spin-offs.  I would have swore blind the show was over.  I wasn't complaining.

John Sullivan says it became obvious very soon after recording the 1996 specials that they were back on.  They'd wrapped things up on account of being too busy to continue, but enjoyed it so much it felt premature.  Very quickly a millenial special was mooted, but for a long time forward movement was slow.

The trilogy got its first repeat in January 1998, Friday nights around 8pm - an average 10.81m tuned in.  And the show proved influential: the concept of a Christmas mini-run for sitcoms unlikely to see another full series was appropriated by Men Behaving Badly (3-parter, 1998) and The Vicar of Dibley (4-parter, 1999).

Things picked up when, in February 1999, David Jason was asked about the status of the show at a press conference for a new series of A Touch of Frost: "There was talk about it some time ago, but the BBC and the powers-that-be have not chased it up in any way.  So, we assume that it's gone - sad, innit?"

Frantic phone calls were made and a swift statement issued from the BBC that the show could return some day.

Unfortunately, any return would be without Uncle Albert as dear old Buster Merryfield passed away in June 1999, aged 78.  His TV nephews attended the funeral.  In an interview conducted just after the farewell trilogy, he said "We said goodbye at the end of the filming...[b]ut I can't think why.  Everyone wants to do it again.  Anything that draws 24 million people is not on the wane yet.  The story is open-ended and I think there's more mileage in it.  It would be very comforting to me to have a Christmas special, like Morecambe and Wise". ["I feel like I'm Santa Claus all year round" by Maureen Paton, Daily Express 23rd January 1997]

The late Buster Merryfield as Albert.  I'd be a lot better disposed towards those last episodes if he'd still been around.
A further blow occurred when an unhappy John Sullivan withdrew from adapting BBC One's £4m "David Copperfield" serial for Christmas '99 - set to star David Jason as Micawber with Nicholas Lyndhurst as Uriah Heep.  Sources vary, but it appears his script was too funny for the BBC Drama Department.  Sullivan and Jason decamped to Yorkshire Television, who commissioned their own serial about the Dickens character: Micawber, shown Christmas 2001.

David Jason filming Micawber in Edinburgh, 2000
Only Lyndhurst remained with the BBC version, in which Bob Hoskins played Wilkins Micawber - and which featured a 10 year-old Daniel Radcliffe as the young David.  The 2 x 90m serial went out on Christmas Day and Boxing Day.  It was beaten in the ratings by a repeat of the 1981 Only Fools special.

Nick Lyndhurst as Uriah Heep in the Beeb's David Copperfield, 1999 - adaptation by Adrian Hodges
The new year brought some development - in August, BBC Head of Comedy, the late Geoffrey Perkins announced that another Christmas trilogy was in the planning stages, for 2001: "These are delicate negotiations.  Shows like [this] are too important to say "Oh, we'll just bring them back"". ["Trotters set to trade again as BBC plans comeback for Del and Rodney" - Daily Express, 12th August 2000]

However, a couple of months later and it appears the BBC were dragging their heels at the idea of bringing the show back after such a gap - wisely, in retrospect.  At the annual Only Fools convention on Sunday 29th October, guest Kenneth MacDonald played an audio message from David Jason on the Micawber set, in which he suggested fans let the BBC know they wanted to see it again.  I can't find the recording online but remember him tying it in with One Foot in the Grave, which had recently enjoyed a belated final series.

At long last, March 2001 saw the BBC announce that the show would probably be returning later in the year.  Another hiccup: the original intention was to make all three commissioned episodes for broadcast at Christmas, as per 1996.  In the event, due to David Jason's schedule, they weren't able to start until later than anticipated: he was directing the semi-autobiographical comedy drama The Quest and filming was held up by the Foot and Mouth crisis.

So, one episode of Fools would be made for Christmas, with two more to follow.

Official confirmation came in August, a month which also saw the sudden death of Kenneth MacDonald, who had played Nag's Head landlord Mike since "Who's a Pretty Boy" in 1983.  He was just 50.

Kenneth MacDonald as Mike
Setback after setback, and we've not even reached September 11th.  John Sullivan had only been writing for a few days when the terrorist attack on America took place.  A difficult situation for a comedy writer, but he finally found strength to carry on on the not unreasonable grounds that the nation could use some festive cheer.

Reportedly, the budget for each of the three episodes was £1m.  Production began on Tuesday 20th November, in Monte Carlo.  Episodes 2 and 3 were made the following February/March.  Benjamin Smith was cast as Damien Trotter, who kind of inherited Buster Merryfield's role.

In Monte Carlo filming "If They Could See Us Now", November 2001 - Benjamin Smith joins the cast as the now 11-year old Damien
My verdict?  I don't think these episodes should have been made. It had been too long.  Not only was it five years since the last episode; it was 8 years since regular production had ceased.  Momentum was not picked up again.  The idea, characters, situation - all had had their day.  I don't blame anyone for deciding to carry on, and arguably the public had demanded it but sometimes you can be too successful.

If I was being charitable, I'd let the first episode "If They Could See Us Now", squeeze through - that's the one where they lose the money and Del goes on the game show "Gold Rush" (a late replacement for Who Wants to be a Millionaire).  It's quite funny in parts and has a decent structure.

The second, "Strangers on the Shore", the 'Gary' episode, is okay-ish.  Certain of the set-ups strain credulity to say the least, but there is still fun to be had.  There are some nice exchanges between Denzil and Trig.  The ending however is terrible.  I'd rather it had dribbled away without a punchline than the one we got.

Paul Barber as Denzil, doing a nice line in bewilderment at Trig.  Maybe they could've spun off too.
It does contain my favourite gag in this run: after spending ages helping Rodney manouvre the Reliant Robin into an available space at the market, Trigger announces "you can't park there Dave!"

Roger Lloyd Pack as Trigger could usually be relied upon for a belly laugh or five per episode
With the benefit of hindsight, the third and last ever episode, "Sleepless in Peckham" seems more like a backdoor pilot for Rock & Chips, the prequel which didn't go into production for another seven years.  It's more soap than sitcom, and we finally learn the truth about Rodney's dad - something I would have preferred left for viewers to decide.

In terms of audience, the response was fantastic.  Happy to report, the public were still in love with the Trotters. "If They Could See Us Now" went out on Christmas Night 2001 at 9.08pm.  I was sceptical of ratings being comparable to 1996, but they were: 21.34m, 1st for the week and year.  A Stars in their Eyes special played opposite, back in the Matthew Kelly days.

Like I said, episodes 2 and 3 were recorded in the new year.  It seemed likely they would both be shown that Christmas.  However, only ep 2 was.  It went out on the 25th at the quite late hour of 9.42pm, to 17.4m - of the 64 episodes, only "Christmas Crackers" in 1981 went out later.  Opposite, ironically, was a celebrity WWTBAM which picked up 5.33m.  Fools was, again, 1st for the week and year despite the almost 4m drop.

"Sleepless in Peckham" didn't go out until Christmas Day 2003, despite being recorded 21 months before.  TV programmes are like loaves of bread - leave them on the shelf and they go stale.  But the BBC had new episodes of Only Fools which had cost a fortune and by jiminy, they were going to stretch them out - I reckon that was their thinking, anyway.  The episode won 16.37m and was 1st for the week again, but eclipsed throughout the year by episodes each of Coronation Street (Richard Hillman confesses to murder) and EastEnders (Den Watts back from the dead, briefly).  Perhaps signs of a slight decline, but little matter.  On ITV at the same time was World Idol, 4.55m.

The final scene - visiting their mum's grave, Rodney asks Del about his real father.  Side-splitting!
And that was it.  I traditionally spend Christmas Day at my aunt and uncle's, and remember watching those final moments from "Sleepless in Peckham" thinking that that was probably it for my old friends Del and Rodders - but hadn't particularly enjoyed the episode.  The proper finale was seven years before.  I'm still chuffed I watched it with my late father - he passed away the next year.

I've been critical in this post, but it doesn't take away from the comedy genius of John Sullivan.  At its best, which was for an impressively long time, Only Fools and Horses.... was utter brilliance.  Warm characters, strong stories, and very very funny.

I feel so fortunate to have been there!


ACKNOWLEDGEMENTS

Thanks again to the following excellent publications, without which I couldn't have written these posts: 'The Only Fools and Horses Story' by Steve Clark (BBC Books, 1998); 'Only Fools and Horses - The Official Inside Story' by Steve Clark (Splendid Books, 2011); 'The Complete A to Z of Only Fools and Horses' by Richard Webber (Orion, 2002); 'The Bible of Peckham - Volume 1' (BBC Books, 1999); 'The Bible of Peckham - Volume 2' (BBC Books, 2000); 'The Bible of Peckham - Volume 3' (BBC Books, 2001); 'Only Fools and Horses - The Story of Britain's Favourite Comedy' by Graham McCann (Canongate Books, 2011); 'The Dream Team' by Stafford Hildred and Tim Ewbank (Blake Publishing, 2000); and the incomparable 'Radio Times' Guide to TV Comedy' by Mark Lewisohn (BBC Books, 2nd edition 2003).

And I look forward very much to reading the great John Challis's memoirs, 'Being Boycie' (Wigmore Books, 2011) and 'Boycie and Beyond' (Wigmore Books, 2012).

Also, The Stage and Television Today online archive and ukpressonline - and not forgetting The OFAH Appreciation Society.

Oh - and last but not least, Sarah Heron, for her encouragement and general prodding me to finish... xx

To all the cast and crew of Only Fools and Horses...., especially John Sullivan, thanks for the comedy masterclass.