WEBVTT

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Right, first question. Oh, it's quite one for everyone. Can you recall how each of you

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got the acting parts for Mission to the Unknown? Oh, good heavens above. That's 35 years ago.

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And I suppose that my agent was rung up by Derek Martinez, who directed it, did he not?

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That's right, he did. And so he was bold enough to ask for me, and my agent was silly enough

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to send me along. But wasn't I grateful, because it's one of the most interesting episodes,

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and the only one that hasn't got a Doctor Who. Yeah, that's true. Well, I don't know

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why I was chosen to be a plant, because I don't have very much to do in it. You've got

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green fingers. But yes, I must say, yes, they probably knew I was quite a good gardener.

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I did specialise in dying rather a lot. I remember my daughter said to me, you like

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being in Doctor Who, Daddy, don't you, because you get killed in the seams. She pronounced

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it seams. Oh, seams, yes. It's very uncomfortable to be killed in the seams. So I was obviously

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always killed in the seams. Yeah, your turn. Yeah, well, I was up in Edinburgh doing the

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Edinburgh Festival, and we were doing the Scottish play, Maccas, and I was playing Mac

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Duff, and I had some time off. And I'd been in Doctor Who before, and so they phoned me

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and sort of said, are you free for a week, because we'd filmed our bits in one week.

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And I said, well, yeah, I've got some, it was a three-week rehearsal period, I think,

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so I had a middle week off. And so I whipped down to London and did the Doctor Who, and

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then whipped back up to Edinburgh and continued doing the Barn. So that's how I came on. Well,

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you were lucky to have two jobs at once, weren't you? No, but that was the last time I worked.

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I'm so grateful for this tonight. Here we go, the next question for Edward. What was

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it like playing the mysterious special agent Mark Corey and being hero of the show for

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a week? Well, I never thought that I was the hero of the show for a week. I thought you

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were the hero of the show for a week. Oh, stop it. You were the hero. Or Jeremy. No,

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I wasn't. No, I like being, I don't think I was all that mysterious, but I suppose as

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the episode drew on, it became clear that I wasn't exactly what I seemed to be at the

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beginning. And then I became frightfully grumpy and cross with everybody and killed most of

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you. In fact, I did. I killed you all. You shot me. I killed you all. You were trained

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to kill, weren't you? Oh, yes, I was trained to kill, yes, exactly. You were a sort of

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CIA undercover man. I was. I was Dick Barton, the reverse side of Dick Barton, really. Dick

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Barton's special agent. So I was Snowy then. Not a pretty side. Fairly Northern. Yeah,

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I put a bit of Northern in. But I was certainly the most efficient killer of the lot, apart

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from the Daleks, who of course killed me, but then I did actually slip a tape recorder.

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So I was very pleased with myself about that. What was it, sort of 1906, say, you know that

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tape recorder from Dixon's? I didn't think Dixon's existed. It was Curry's, wasn't it?

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Yeah, but I love the line in it, it said, this looks like an ordinary tape recorder,

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really, if you know what I mean. And that was the thing about the wrench, you know,

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they gave us to repair the spaceship, I was banging away with this hammer and chisel and

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a wrench, you know. And I said, come on, we should have some sort of... At least some

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kind of surgical influence. Laser gun or something. I'd forgotten that, because that big shot

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of that wrench. Unbelievable. But we did have quite nifty guns, didn't we? I mean, we were

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quite up to date. Oh, well that was quite up to date. Yeah, that was. It was. It was

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just, I couldn't believe it, you know, these old Model T Ford repair kit. Anyway, that's

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that one. Next, to you, Edward. Oh, yes, me. This is a biscuit tin, by the way. Question

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of a berry. Oh, right, right. You only really appeared in several... What? You only really

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appeared in several scenes of Mission to the Unknown. Do you have any memories from your

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brief appearance? Yes. Oh, gosh. Well, it seemed to be endless in this, because to grow into

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a plant requires a bit of fluff on a hand. Then it requires a bit more fluff. You go

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back into the make-up room, a bit more fluff on the feet, and it seemed to be endlessly

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going backwards and forwards, getting a different bit of fluff on. It seemed to take a long

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time. Fluffing your lines a bit. Yes, that's right. I hardly had any, did I? But I... I

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must, I must appeal. Yes, appeal. Watching that, which is extraordinary, because the

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face was taken from another thing. But I remember, and I hope this isn't... I'm sure this is

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right. I remember in a make-up room, because they put me in, because I was in and out,

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I was constantly going in and having this fluff put everywhere, and costumes. And I

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remember Susan Hanchard being in a chair, being made up. Not too pleased, I don't think,

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that this fluffy individual was next door doing a one-line part. She was doing something

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else, was she? I think so. She was a lovely lady. Yes, lovely lady. Oh, she was smashing

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it. But I doubt she would have been doing Forsyth. Why we were watching that, I don't

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know. Was it Forsyth? But why would I be in the same room? But there you are. Maybe you

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asked for it. Yes, that's right. Yes, that's my, that's all I have to, that I can remember.

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Right, Jeremy, it's your turn to do it. I'm sorry, we first met, I think, wasn't it, on

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that? That's right. I was watching you, actually. Shall I read you a question for everyone?

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Yes. Any recollections of the director, Derek Martinus, or of the producer, Verity Lambert?

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Yes. Go on, then. Of course, Verity. Yes, because I remember when I was first approached

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for the, because I did the first, very first adventure of Doctor Who, when we were, we

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went back to caveman times. That was the very start of the whole thing. And I remember her

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and Boris Hussain, who was the young director. And it was his first, his first telly. And

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they took me out to lunch and sort of said, you know, we've got this new thing called

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Doctor Who. And I thought, Doctor what? Doctor Who? Doctor No, because that was obviously

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the, they said, no, no, no, this is new, it's Doctor Who. That's the James Bond thing, Doctor

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No. And, you know, would you, because I like being in it, etc. And then they broke it gently,

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and wanted me in the caveman outfit, all dressed in, you know, in skins and gum as well. And

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also, did I know of any other actor that would, because they had fights of the death right

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there between myself. I was a leader of one faction. We were trying to find fire. And

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he who finds, rediscovers fire. It was like this. It was great performance. Desperate.

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We'll lead the tribe, you see. And so, Derek, he went and did as a national theatre player

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in the end. But we had this fight. No, Derek Newark. Derek Newark, thank you. Derek Ware.

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No, Derek Newark. No, Derek Ware arranged the fight. Derek Newark, yeah. It's because

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Derek and I were about the same size, and we were so literate with each other. So we

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played rival leaders of the, and they filmed this fight to the death. And we tried to make

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this animal. I said, look, these are animals. We have this script. And these scripts used

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to be so long in those days. I said, the most erudite cavemen you've ever. So we cut a lot

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of this, and sort of just, you know, use grunts. Let's be careful of frightening the children.

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Oh, is that what it is? That's right, yeah. First of all, he obviously kills me. He sort

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of gets this great stone and bashes my head in. Charming. Yeah, first of all. And then

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Garrotts made a house, and I was thinking, oh great, and I screamed. And I cut the screams

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of frightening the children. They're already behind the sofa with Doctor Who anyway. And

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then we had these skins, and we were just wearing, and underneath, because we were tossing

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and turning all over the place in this animal fight we were having. And so for modesty's

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sake, we had these sort of little fur bikini pants on, you see. And junior points of view

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used to actually ring up and sort of ask for it to be shown, just that that bit of the

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fight. And they used to stop the action to see what the well-dressed cavemen are wearing,

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you know. These little white front shorts with a bit of fur on them. So that was quite

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fun. But I don't know what the question was. It was about Verity. Oh, Verity, of course.

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Yeah, Verity. Well, that was her first. It was Verity's first show as a producer, because

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she'd been working over on the other side for ITV as a production assistant to one of

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the leading directors over there. And so it was all new people actually. She was great.

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But you could sense she, because she's now one of the most powerful people in television,

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you could sense even then as a young woman, she knew where she was going. She had a mind,

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quite a strong mind. And she started, even though it was her first job, she started to

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guide the thing, you know. Because I mean, nobody knew it was going to sort of turn out

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the way it did. And the success was in it. But that's my first memory of Verity. Did

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you work with Derek again? Derek Martin was no. No, I didn't. No, no, I don't think any

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of us did, did we? That was it. Oh, God. No, I didn't. But I did work with the late, lamented

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Derek Newark. Oh, yes, yes, because you see, he's not with us now, Derek. No, he's gone.

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He's gone. Yes. Oh, yeah. Because he actually went on to be a leading national theatre player.

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Oh, he did. But Verity produced a thing, and I had two names at that time, Jack Barry and

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Barry Jackson. Jack Barry was a fighter engine, and I did the fights, which he was the producer

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on Adam Adamant. Oh, I did one of those. Do you remember? Yeah, I did one of those, yeah.

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And that's where we would have met again. Ah. Yeah, she was a producer on that, which

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was Gerald Harper. Yeah, that's right. I did a fencing fight with her. I shall draw a veil

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over that. Right, let's do another. Oh, God, I haven't drawn one. Okay. Question for everyone.

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What is it like doing virtually live TV? Were there any retakes? Have you ever done live

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TV? Oh, the answer is yes, and it was pretty frightening. But I mean, I don't know, somehow

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or other, you squeeze the lines out of your brain and go on with it. But I mean, but Doctor

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Who wasn't live, but it might just as well have been, because there was very little capability

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of editing, or it was very expensive. That's right. And so you really had to do it in one.

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Yes. They could go back on a block of sort of half an hour, but they hadn't learned,

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because the sound was so far away from the vision at that time. I think there couldn't,

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there's something about editing, they couldn't do it for quite a long time. No, so you might

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just as well have been. Yeah, absolutely. And if you weren't reliable and kept on decoupling,

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you wouldn't be asking. Some people like that live effect, in fact they use that in Zepcars

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and softly, deliberately to try and, but I remember doing Henry V at, before White City,

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before the Television Centre was made, things were shot down here in Hammersmith, in Riverside

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Studios. Oh, that's right, yes. And I remember we were doing Henry V where he arrives back

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at Southampton. The director was displeased in rehearsal because we were all a bit floppy.

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And he said, come on, this has affected history for four or five hundred years. Grandfathers

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talked about it, great-grandfathers talked about it, whole families remember this extraordinary

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battle of Agincourt. For Christ's sake, somebody really think of a line, think of a line to

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say when Harry comes back and he arrives in Southampton. Everyone must think of something

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to shout at Harry. So we were all thinking, no, Harry, and all this sort of thing went

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on, it was live, and it was Robert Hardy playing Henry V. And he came off the boat and we were

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all shouting, and all this sort of thing went on with our special lines that we thought.

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And then there was the inevitable little silence in a little space, and this action said,

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lovely fight, Prince. Oh, yes. You know, we were all shouting, but it was just that little

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time. Oh, wonderful. And the other memory of live television is we were skating battlements

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in some one of the battle sequences. It was in Coonleyville, Agincourt. And we were climbing

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up these ladders up to this tower, and they were throwing these boulders down, which of

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course were made of polystyrene. And I was going up with a spear, like this, a bit like

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the character in this. I was going up with a spear, and this huge polystyrene, about

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300 pounds in weight, went on top of my spear, like a great big lollipop. So I looked so

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stupid at the top of this ladder. So I whispered, rather like in that thing in the Scottish

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play, the boots boys in Kick Me, Kick Me, you know, in that story. I said to the guy,

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it s like I m at the top of the ladder, struggling with it. I was going, Oh! Making it look heavy.

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And I said, Push it, push it. He pushed the ladder, and I went, Oh! But it was very funny.

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I d love to have seen it. I d love to have seen it. Anyway, that s my memory of Coonleyville.

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When we first entered, it was live telly anyway, black and white type folks. But it was, and

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we were used to just appearing on stage, and they used to shoot stuff, as if it was a stage

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play anyway, used to rehearse it like a stage play, and then used to go on, and they used

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to, most of the time, shoot it from A to Z, just like a stage, instead of coming and going

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to bits. In an act. Three acts. That s three acts, yeah. And I remember one guy died on

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television, live. Oh Lord, in that, in the underground. It was a sort of post Third World

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War, wasn t it? In the underground. But he, I mean, he actually died, but he actually

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physically. And this is macabre, but luckily, it was for ITV. And they had, obviously, the

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adverts. And so there was a break. Oh my goodness. And the director, the guy slipped out of that,

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just, you know, died. And so they raced down, you know, went and took a two and a half minute

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break, and sort of said, Right, I ll, okay, okay, right, shift him out of the way. I ll

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do it from the floor. I ll call the shots from the floor. And actors, you say this,

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you say that, you say that, you say this, and cover for him. Right, we re on studio.

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And studio, three, two, one. Amazing. And the actors did it. Now it happened with Charlie

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Drake, in a sequence, I happened to know there were two stuntmen. There was a huge man. The

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bigger they are, it seems they got, the higher their voice. But he used to talk like that.

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He used to talk, you know, he used to talk, Hello, Jack, he said. And he was a huge man.

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They had this fight with Charlie Drake, which ended up with Charlie Drake going out of the

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window, doing one of his dives. And Charlie Drake got knocked out on the corner of a bookshelf

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during this. Oh, that s right. And he was completely knocked out. Yeah. And so these

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stuntmen were slightly different now. They re now ex-Marines, and they re very sharp

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SAS men. But in those days, it was like, we were a bit like that, you know. And they looked

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at the count, they looked at the count, these guys were in the middle of this fight, but

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suddenly there s nobody, no protagonist. But he s on the floor, knocked out. And they look

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at one another, and the cameras are on them, it s all live. And the guy thinks the camera

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might be cutting here, they had monitors around, you see. And he was going down, like that,

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pointing down, like that, pointing for the director, whoever it was, Charlie, on the

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floor. And then, presence of mind, after a few minutes of this sort of boring, he picked

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him up, and he thought, well, the end of the scene was seeing him going out the window,

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so I ll throw him out the window. So he picked him up like this, and because Charlie was

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small, and Stan was a huge man, he picked him up like that. And as he got him right

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to his ear, so he could whisper to him, he said, You re going out the window, Charlie.

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You re going out the window. And threw him out the window. Of course, Charlie was hospitalised

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because of that. Yeah, he tells that story. Oh dear, oh dear. But in those days, if you

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did, like an armchair theatre, on a Sunday, or Sunday night theatre, as it used to be

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called as well, if it was repeated on a Thursday, they didn t film it, because it was live,

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you came back and just repeated it again. You did the show again. But you re used to

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doing that, because we were theatre actors. The floor manager had a button, you know,

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it looked like a, yeah, and it cut out, the whole station cut out. So you d all be talking,

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and then it would be absolutely dead silent, you could hear, it was a palpable silence.

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And the station was dead, and she d say, You re lying, and then click, and on it, and on

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it again. But in the Z cars, they had Brian Blessed, and they had half a car in the studio,

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and people were sort of shaking it a bit, you know, the stagehands, and he was in the

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car with Jock, with Joe Brady, and there d be back projection going on, you see, and

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they d drive along. And then, it was supposed to come to an end, and the scene came to an

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end, and Jock s supposed to say, Well, get out, and Brian noticed that the back projection

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was still going. Oh, I wouldn t get out, just get the jock out. We re still going 40 miles

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from here. Oh, yeah, that s right. The thing about those boys is that nobody, I think one

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of them, or one or two of the four, had a driving license. So the guy who, I can t remember

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his name now, he was a smashing chap, who rented the cars to the BBC, he used to lie

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down, used to lie down and do the gear change. That s it, yeah. When they were shooting down

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the road, he actually used to do it all underneath their knees. I remember shooting, because

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my first take was Deadline Midnight, and that was live, and then we filmed it later, but,

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and Peter Vaughan, and we were supposed to be in Treadwick reporting it, and he was playing

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the editor, and I was phoning in my story, and then it s supposed to come to the part

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where he answers me, and I noticed, I looked across the studio, and his camera was sort

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of like this, you see, the cameraman, I don t have thought, well, I ve got nothing to

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shoot at the moment. So you just had to keep talking, you just kept talking and talking

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and talking until somebody found the cameraman and, grrr, and started to get me. Totally

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was on. And the other thing was, unless they wanted you, it was the other thing, wasn t

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it, where you, you come to a scene, and they wanted you to maybe appear the next day in

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something, in a different clothes and things, and so you d be having a two-hander, and the

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camera would come past you, and onto that person s face as a close-up, and as soon as

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the camera went past, you rushed, belt changed, like hell, across the studio, people dragging

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sort of stuff off you, putting a raincoat on you, you know, and a hat, and then you

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d be on the phone and stuff. And sometimes doing a scene with the wardrobe person just

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doing up the, you know, the flies. That s right, yes, yes. Anyway. In Tale of Two Cities,

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there was the story with the Bastille, there was a fighter ranger, it might have been you,

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no, I don t think it was. No, I didn t think it was. He had a white shirt on, and he was,

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he was frankly good at the sword game. I d hear he died about seven times, you know,

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and then later he d be up, fighting, and then he d be up, killing somebody else, and then

20:39.900 --> 20:47.900
he d be up, and then up he d get, and then there was lots of explosions and smoke and

20:47.900 --> 20:55.900
stuff, and then they cut from Storming Bastille to some cosy little tea party in Sussex. And

20:55.900 --> 21:07.900
there we all were. Because the Bastille was just next door. Oh, the smoke was, what, oh,

21:07.900 --> 21:15.900
really, really. Oh, dear, that was live television. But then it went into semi-live, didn t it?

21:15.900 --> 21:21.900
I remember, because I was in the street, in Coronation Street for a bit, and I remember

21:21.900 --> 21:26.900
it was still scary. And there was very, very little time, they had time for one retake,

21:26.900 --> 21:30.900
that s all, because you d just do two shows a week. And I always remember Graham Hotherfield,

21:30.900 --> 21:35.900
who s gone now, but as we were counting down, and he was feeling, Right, gotta get it right,

21:35.900 --> 21:40.900
gotta get it right, please, gotta get it right. Suddenly you hear this voice, suddenly going,

21:40.900 --> 21:48.900
Goodbye, the real world. I d be all, Graham, yes. Isn t it time we Yeah, another question,

21:48.900 --> 21:56.900
please. Oh, question for Barry and myself. Edward recalled watching Mission to the Unknown

21:56.900 --> 22:02.900
with his son on his knee. Did the rest of you watch the episode sitting on No, no, can

22:02.900 --> 22:06.900
t be sitting on Edward s knee now. Did the rest of you watch the episode when it was

22:06.900 --> 22:10.900
originally transmitted? I didn t, so I go, That s my answer, I m afraid. That s a quick

22:10.900 --> 22:13.900
answer. Let s have another question. Right, another question, please. Right, okay, somebody

22:13.900 --> 22:19.900
else, please. Right, I ll do one. No, I m afraid I didn t, that s the first time I ve

22:19.900 --> 22:26.900
seen that one. Question for Edward and Jeremy. What was it like working with the Daleks,

22:26.900 --> 22:34.900
scary or silly? Ah, yeah, originally, like you said in your preamble to this reconstruction,

22:34.900 --> 22:41.900
you looked and you saw the in rehearsal, they used to actually take the top off the Dalek

22:41.900 --> 22:47.900
and they used to sort of, but there is a Father Christmas children out there, there is a Father

22:47.900 --> 22:51.900
Christmas, but they used to sort of, and sit and sit. No, they didn t even have that. Oh,

22:51.900 --> 22:55.900
well, I remember that. They were just squat. I remember that. So, okay. Not in our episode.

22:55.900 --> 23:00.900
Well, anyway, and they sat and trundled around with their feet, they used to, because they

23:00.900 --> 23:04.900
were on casters, the actual bottom half, and they used to trundle around with their feet

23:04.900 --> 23:10.900
with their arm out while Peter Hawkins or whoever s doing the voices, you know, from

23:10.900 --> 23:15.900
the sidelines. And I thought, wow, you know, I ve never thought the Daleks particularly

23:15.900 --> 23:20.900
scary. And honestly, truly, when I was lying there, I don t think it s shown in here, but

23:20.900 --> 23:25.900
I was lying there dead after you sort of zapped me, I don t know, half into a bargain plant,

23:25.900 --> 23:32.900
suddenly the Daleks appeared, just trundling, but obviously all done up, made up when they

23:32.900 --> 23:40.900
were shooting it. And I really felt, uh-uh, spooky, uh-uh, I can see what it is, yes,

23:40.900 --> 23:46.900
just like that. I can t quite, I just think of the jungle floor with those casters, thinking

23:46.900 --> 23:51.900
how difficult it would be. Yeah, oh yeah. Okay, another? Yeah, yeah, yeah, because I

23:51.900 --> 23:55.900
said what I wanted to say. That s right, on the, yeah. Okay, question for everyone, did

23:55.900 --> 24:02.900
you see much filming of the alien delegate scenes in the studio or rehearsals? I saw

24:02.900 --> 24:07.900
none. No. We didn t. I think that was all complete disappearance. Yes, you see, if you

24:07.900 --> 24:12.900
re not in a, if you re not in a particular scene, you wouldn t be called for that day.

24:12.900 --> 24:17.900
I mean, that s, that s if it was filmed, that s how it would, obviously if it was done with,

24:17.900 --> 24:22.900
in live television, on a block, you re all there. You re all there. Rather like a play,

24:22.900 --> 24:28.900
you know, performances are very separated, aren t they? Or were they? Yes, yes, yes,

24:28.900 --> 24:32.900
even in those days they started, they started, if you re talking about them, they probably

24:32.900 --> 24:36.900
started to separate them. Yes. Rather than, or what do you call them? Possibly. Yeah.

24:36.900 --> 24:42.900
But it was as much like a film, making a film. Yes. Well, we used to pre, they used to call

24:42.900 --> 24:50.900
it pre-filming, then, after that, they pre-filmed everything and then shot in the studio, didn

24:50.900 --> 24:54.900
t they? Yeah. That s right. So then they put it all together. That s right. Yeah, we filmed

24:54.900 --> 24:59.900
the fight at Ealing. Yeah. I remember, but I knew Bob Cartland, the actor who played

24:59.900 --> 25:06.900
Mr Big in, but I never, the first time seeing it tonight, because we ve just seen the show,

25:06.900 --> 25:10.900
your reconstruction of it, and it s the first time I thought, my God, I didn t realise that

25:10.900 --> 25:15.900
Bob had actually done that part. Yeah. I mean, you can be in a film nowadays and you re all

25:15.900 --> 25:26.900
in the same film, but you never meet anybody. Okay. Oh, right, right. Weeks apart. Barry.

25:26.900 --> 25:31.900
Question for everyone. Was it explained to you in advance that the episode was a prequel

25:31.900 --> 25:39.900
to the epic 12-part Dalek master plan? And the answer is certainly not, as far as I was

25:39.900 --> 25:46.900
concerned. No. Well, I knew it was a, yeah. I tend not to do that. I mean, were you told

25:46.900 --> 25:51.900
it? No, I just told it was actually a link. Oh, you were told it. I was told this is a

25:51.900 --> 26:00.900
link between one episode and the others, and that s why Dr Who, who was William Harden,

26:00.900 --> 26:04.900
Bill Harden, wasn t in it, because I thought, Oh, I ll see Bill again, because, and that

26:04.900 --> 26:09.900
obviously is the other adventurer. So you were privy to that kind of information because

26:09.900 --> 26:13.900
you were a bit of a star when you were in it, having done the first one. I mean, what?

26:13.900 --> 26:18.900
It s his. It s his. You haven t changed, have you, Barry? In 35 years. That s a bit of a

26:18.900 --> 26:24.900
bitch. Question for Barry. Hello, Barry. You appeared in two other Dr Who stories. Firstly,

26:24.900 --> 26:31.900
alongside William Hartnell in The Romans. Secondly, alongside Tom Baker in The Armageddon

26:31.900 --> 26:36.900
and The Last Jedi. Tell us about these two actors and any recollections you may have.

26:36.900 --> 26:40.900
I ve got a recollection. Tell us about these two actors. I do. I ve got a recollection

26:40.900 --> 26:48.900
of William Hartnell because he sort of got, if he tried, he would go, What? What? What?

26:48.900 --> 26:54.900
for the other actors. So, if you were on with him, you had to cover all the time. And I

26:54.900 --> 26:59.900
remember doing a scene with him, because I d had my tongue cut out and was an assassin.

26:59.900 --> 27:05.900
So, I just remember, because I was like, That character there. And I remember him going

27:05.900 --> 27:11.900
to me, we were on a road scene, and I remember him going, What? What? What? to me. He dried.

27:11.900 --> 27:20.900
And I went, And I loved doing that. Well, you ve built your world up. Much, much longer.

27:20.900 --> 27:29.900
Much longer. I ve seen him every hour. I mean, he was, he was, sorry, go on. No, no. I was

27:29.900 --> 27:31.900
just, I ll just flash through the question. Yeah, sure. Because the other thing was The

27:31.900 --> 27:36.900
Armageddon factor. Yes, with Tom. And I read this script, the script came through and I

27:36.900 --> 27:43.900
thought, and there s this description, was that Tom Baker is in this cave, I think he

27:43.900 --> 27:48.900
s sort of in a cave, and there s a sort of scrabbling, and through a hole in this cave

27:48.900 --> 27:54.900
appears this great shock of red hair. And I thought, Yeah, I ll do it. Because I wanted

27:54.900 --> 28:00.900
a great big shock of red hair. A great big wig of red hair. Because if you re going like

28:00.900 --> 28:05.900
us, you know, you tend to, you want to be like him. Not like him. You want to have really

28:05.900 --> 28:12.900
nice hair. So, that s why I accepted the role. I mean, I have to say, it was a nice part

28:12.900 --> 28:18.900
of the script. I was a time lord. But this thing really, I was so excited. I went to

28:18.900 --> 28:21.900
the read through. And there was nothing said to me at all. And at the end of the read through,

28:21.900 --> 28:28.900
we read four episodes, I think, I said to the director, I m trying to remember his name,

28:28.900 --> 28:34.900
I can t remember his name. But I said to him, Mike, you know, what about the wig? I had

28:34.900 --> 28:39.900
nobody in make-up talk to me. He said, Oh, you re right, love as you are. And I was stuck.

28:39.900 --> 28:46.900
I was so disappointed. And that s my story of Drax, the Armageddon fighter. Yeah, Bill,

28:46.900 --> 28:50.900
I mean, he was, that s the first time I met him. But he was quite an experienced actor.

28:50.900 --> 28:57.900
Oh, he ve been in many, many films. Tons of films. And I think it s to his credit that

28:57.900 --> 29:04.900
he took it very seriously. He was a bit irascible. Who, Bill? Bill, yeah. But he took the actual

29:04.900 --> 29:09.900
part of Doctor Who, Bill Hartnell, very seriously, I thought, indeed. I mean, he was almost like

29:09.900 --> 29:14.900
the guardian of the series. Yes, he was very serious about it, wasn t he? Oh, yes, especially

29:14.900 --> 29:18.900
so. No, there wasn t like Patrick Chan, who had a sort of twinkle about him. Yeah, that

29:18.900 --> 29:23.900
s right. No, Bill was sort of, he thought, you know, that was Andy. A lot of people think

29:23.900 --> 29:31.900
of William Hartnell only as Doctor Who. But in fact, I mean, there are so many like William

29:31.900 --> 29:38.900
Hartnell, who had great screen careers, film screen careers, a long career. Enormous. All

29:38.900 --> 29:45.900
war films. All war films. Even pages. Yeah, yeah. But, and they think that Sporting Life

29:45.900 --> 29:51.900
suddenly came only when Doctor Who came along. That s right. In fact, it was towards the

29:51.900 --> 29:57.900
end of his career. Yeah. Bit like John Limousiere in the West. Yeah. I mean, he s the grandfather

29:57.900 --> 30:01.900
of my agent. Anyway, so I ve got to say nice things about him. Oh, right. So I guess. No,

30:01.900 --> 30:05.900
he was. He was nice. The question for everyone, when you come Doctor Who in the 60s, did you

30:05.900 --> 30:11.900
expect to still be alive? Oh, no, indeed you said, still be of interest 35 years later.

30:11.900 --> 30:16.900
Absolutely not. I mean, that s one of the great phenomena, isn t it? Isn t it? Yeah.

30:16.900 --> 30:20.900
It s absolutely amazing. I think I m colour-blind. And generations and generations, I mean, there

30:20.900 --> 30:27.900
s three generations who have taken an interest. But it s like anything like that. I mean,

30:27.900 --> 30:31.900
what, Coronation Street. It started off as six episodes or something, didn t it? Florizel

30:31.900 --> 30:36.900
Street, they were going to call it one day. But you don t really know if it s going to

30:36.900 --> 30:42.900
really take off until suddenly, obviously the ratings start to come in and it builds

30:42.900 --> 30:47.900
upon itself, you know. Well, the company that we did this, the Age of Kings, Violet Carson

30:47.900 --> 30:52.900
was playing various parts in that. And Sean Conlon too, was the other one. Violet Carson

30:52.900 --> 30:57.900
said to me, I don t, she used to play the piano for children. That s right, yes. And

30:57.900 --> 31:04.900
for Wilfred Pickle, go on. I think I m going to stop now. But I do have an interview in

31:04.900 --> 31:11.900
Manchester next week for a new series. A new series, it ll just be very interesting to

31:11.900 --> 31:17.900
see. I don t know what ll happen. That s what I know. Yeah. Coronation Street. So yes, you

31:17.900 --> 31:21.900
know, there was no idea. And I don t think the BBC did. No. Again, started off. But I

31:21.900 --> 31:27.900
said, as I was saying earlier, I was in Birmingham on tour and a play last year and some guys

31:27.900 --> 31:34.900
in a pub were enthralled because they ran, they had a Doctor Who club. So it s so popular.

31:34.900 --> 31:40.900
When you go to these conventions, sci-fi conventions, well, I don t. But some actors do. And sit

31:40.900 --> 31:44.900
there signing and make it, and they actually make it. They have them in America as well,

31:44.900 --> 31:48.900
you know, in the States. Oh, do they? So yeah. Because I was out in the States. I was out

31:48.900 --> 31:54.900
in San Francisco and I was working out there and I had some time off. So I decided to do

31:54.900 --> 32:00.900
the tourist thing and I went to this like cowboy ghost town thing they set up. And I

32:00.900 --> 32:04.900
went in and I had a look somewhere, all the memorabilia, and suddenly the guy looked at

32:04.900 --> 32:10.900
me, and this is a few years later, you know, and he s looked at me and said, Hey, hey,

32:10.900 --> 32:16.900
hey, Mark just standing sideways, you know, with the old profile. And he took me into

32:16.900 --> 32:20.900
the back and there were pictures of Doctor Who and, you know, and the first episode of

32:20.900 --> 32:24.900
course. He said, You were in the first episode of Doctor Who. And he got pictures of himself

32:24.900 --> 32:28.900
dressed up as Doctor Who or whatever, you know. And that was in the States. And you

32:28.900 --> 32:34.900
re talking about 20 years later. So, you know, all my hair had gone and everything. It s amazing.

32:34.900 --> 32:44.900
Yeah. Okay. Right. Question for Edward. If you d been asked by the BBC to reprise your

32:44.900 --> 32:51.900
role of Mark Horry, would you have done so? Oh, absolutely, yes. The best thing that any

32:51.900 --> 32:57.900
actor can do is to be asked and do a part that he s already played. Because you can

32:57.900 --> 33:05.900
always do it better. I mean, the first time round is, well, hopefully, alright. But you

33:05.900 --> 33:12.900
could have done it better. Yes, of course you could. Well, you shot me. But you always

33:12.900 --> 33:18.900
learn from that experience to go back to it. And I have been able to reprise one or two

33:18.900 --> 33:25.900
roles over a long period. And it s always wonderful to go back to a role because you

33:25.900 --> 33:34.900
just, you can t in time scale preparing the episode, for instance, of Mission Impossible

33:34.900 --> 33:38.900
or what was it called? Yeah, Mission to the Unknown. Mission to the Unknown. In that time

33:38.900 --> 33:49.900
scale, you can only do what you can do. But afterwards, long after the thing, all that

33:49.900 --> 33:56.900
brief but very concentrated piece of experience and rehearsal and work just sort of filters

33:56.900 --> 34:03.900
down into you. And so when you come back to it, not that I was ever asked to, but if I

34:03.900 --> 34:10.900
were to be asked to do it a couple of years later, all that would have been a basis upon

34:10.900 --> 34:19.900
which to do it. And certainly when I played Demetrius at Stratford with Charles Laubner

34:19.900 --> 34:26.900
and Albert Finney, and then I did it again on a recording. And it was like a holiday

34:26.900 --> 34:33.900
because you knew so much more about it. The basic work had been done. You had your four

34:33.900 --> 34:39.900
weeks rehearsal and you had the experience of playing it. But next time round, provided

34:39.900 --> 34:45.900
that you're still young enough to play it, all that is still there, plus what you still

34:45.900 --> 34:50.900
know, or what you rather have learnt since as an actor generally, not thinking about

34:50.900 --> 34:56.900
that part. So it's always better to go and have another go. Provided that you're young

34:56.900 --> 35:03.900
enough. I'd have to be asked to do it now. Yes, the John Gilbert played Hamlet many years

35:03.900 --> 35:10.900
ago. Yes, yes he did. But I don't think he ever was too old to play Hamlet because he

35:10.900 --> 35:16.900
stopped doing it early enough. But apparently his Richard of Bordeaux was something which

35:16.900 --> 35:23.900
he reprised in South Africa and he was terribly, terribly disappointed in it because he was

35:23.900 --> 35:29.900
simply too old for it. But there's that story of John Gilbert actually. I worked with him,

35:29.900 --> 35:35.900
a lovely guy, a lovely man. He was playing Hamlet, that's right. He was sort of talking

35:35.900 --> 35:43.900
to Harry Andrews and saying, oh, it's lovely, you'll make a lovely Horatio. He said, but

35:43.900 --> 35:47.900
the man who played it before, oh God, he was not very good. Harry Andrews said, well, it's

35:47.900 --> 35:53.900
a John. I played it. Oh, but John, you've improved so much, he said. He's improved so

35:53.900 --> 36:00.900
much. He's so indiscreet. He used to say, I'm so indiscreet. And he knew he was indiscreet.

36:00.900 --> 36:08.900
I played, I was in Heartbreak House and he was in it. Well, he was it, he was in Heartbreak

36:08.900 --> 36:12.900
House. And he said, the only thing he ever said to me was, I love what you're doing but

36:12.900 --> 36:20.900
speak up. It was a wonderful brick he dropped when he was in a film, isn't it? And there

36:20.900 --> 36:27.900
was a social occasion and some young lady sat next to him and said, oh, oh, I thought

36:27.900 --> 36:34.900
you were that terrible actress, Mercedes McCambridge. And she said, well, I am Mercedes McCambridge.

36:34.900 --> 36:42.900
He says, no, no, no, not that Mercedes. Another Mercedes McCambridge. Yeah, no, he's lovely.

36:42.900 --> 36:45.900
He was a great wonder. He was wonderful.

36:45.900 --> 36:51.900
Yeah, a question for everyone. Did any of you retain any keepsakes from Doctor Who or

36:51.900 --> 36:55.900
any other acting work you have been involved with?

36:55.900 --> 37:04.900
I'm not a memorabilia person at all. I don't think I have anything. I certainly haven't

37:04.900 --> 37:11.900
got anything from that or indeed anything else. The only things that I keep are good

37:11.900 --> 37:16.900
clothes and I didn't have any particularly good clothes, I seem to remember.

37:16.900 --> 37:18.900
They don't do it now, do they?

37:18.900 --> 37:25.900
No, they don't. I mean, no, you can buy them for sometimes a quarter or a third the price.

37:25.900 --> 37:30.900
I have got a pair of shoes and a suit, but not from that.

37:30.900 --> 37:40.900
I kept my, because I, I've only got one photograph from Doctor Who, as I came in, in my, in

37:40.900 --> 37:49.900
my, in my skin. But from, I used to play in the Musketeers, we did three Musketeers on

37:49.900 --> 37:56.900
the box years ago. Brian Blessed was Portos and Jeremy Brett was Battalion and I played

37:56.900 --> 38:04.900
Atos. Gary Watson played Animes. And I kept my hat, I've still got the two Musketeer hats

38:04.900 --> 38:07.900
with all the, and a couple of swords.

38:07.900 --> 38:08.900
When do you model them?

38:08.900 --> 38:10.900
They're stuck up there.

38:10.900 --> 38:12.900
Good.

38:12.900 --> 38:21.900
And yeah, I kept one or two things like when I played Maccas, the orb, you know. It was

38:21.900 --> 38:27.900
actually, it's sad now, because it was actually a ball with a bit of polystyrene around it

38:27.900 --> 38:31.900
and painted gold and everything. Of course the ball has sort of actually deflated, rather

38:31.900 --> 38:33.900
sadly, the orb now.

38:33.900 --> 38:38.900
A few scripts. Funny enough, no Doctor Who scripts, except the one we've got now, which

38:38.900 --> 38:45.900
is very nice. One or two scripts from the time. That's all I can think of. But nothing

38:45.900 --> 38:50.900
from Doctor Who, I'm afraid. Because in a way, it was just another job, you see. You

38:50.900 --> 38:53.900
thought, well, okay, good, got four weeks work or five weeks, whatever the, however

38:53.900 --> 38:55.900
long it took to shoot the first film.

38:55.900 --> 38:58.900
Yes, have we known, I mean, there are many things, have we known about those cigarette

38:58.900 --> 39:00.900
cards or when we were children, whatever.

39:00.900 --> 39:07.900
Yes, I worked on Hard Day's Night, the first Beatles film. And if I'd have known, because

39:07.900 --> 39:11.900
I went to school with two of the Beatles, and so we were chatting, I was on it quite

39:11.900 --> 39:15.900
a bit, and we were chatting about the old school days. If I'd have known, I'd have

39:15.900 --> 39:17.900
taken my tape recorder.

39:17.900 --> 39:18.900
What?

39:18.900 --> 39:21.900
Yeah. Because I was there when they were plonking out, because they used to, between takes,

39:21.900 --> 39:23.900
they used to sort of plonk out a few.

39:23.900 --> 39:24.900
Francis?

39:24.900 --> 39:26.900
No, they used to sort of start composing.

39:26.900 --> 39:30.900
They're composing, they're really.

39:30.900 --> 39:32.900
I think, I'm not sure, but it was one of them, maybe this is apocryphal, maybe it wasn't

39:32.900 --> 39:37.900
this one, but I'm sure it was. I wanna hold your hand. What do you think about this then?

39:37.900 --> 39:42.900
I wanna, yeah, that'll work, won't it, like, you know. And so they said, yeah, I thought,

39:42.900 --> 39:45.900
God, now, you know. With a few quips.

39:45.900 --> 39:47.900
That's a nice one.

39:47.900 --> 39:48.900
Yeah.

39:48.900 --> 39:49.900
I'm reading these.

39:49.900 --> 39:53.900
All right, question for everyone. What inspired each of you to become actors, and did you

39:53.900 --> 39:57.900
have a little, a role model or a childhood hero?

39:57.900 --> 40:00.900
Yeah. Sir Lawrence Olivier.

40:00.900 --> 40:01.900
Was that, yeah.

40:01.900 --> 40:02.900
Yeah.

40:02.900 --> 40:03.900
Yeah.

40:03.900 --> 40:08.900
So I went to see those films, Hamlet and Henry V, and I thought, oh. But really, I mean,

40:08.900 --> 40:15.900
in Nativity Play. And I could read before I went to school, and so if you're good at

40:15.900 --> 40:21.900
something and you get praise for it as a kid, then of course you do. And we went to school,

40:21.900 --> 40:26.900
what, about four, four and a half in those days. No, it was three and a half when I could

40:26.900 --> 40:32.900
read. And so obviously, the teacher, if there was any reading to be done, you know, in syllabus,

40:32.900 --> 40:37.900
they'd think, oh, this is the easy bit, just give it to him, you know. And I used to, and

40:37.900 --> 40:41.900
from that, and I used to, I'm frightened of water. I used to hate swimming, and I, they

40:41.900 --> 40:47.900
used to go swimming. And I got out of it as many times as I could, sick notes and God

40:47.900 --> 40:53.900
forbid. And, because I found out that those that stayed behind actually did little playwrights.

40:53.900 --> 40:58.900
And because I could read, I got sort of, I played the greening, you know. Coming to tease

40:58.900 --> 41:04.900
the toys at night. And so that was really, and I thought, I like this. And anyway, that's

41:04.900 --> 41:08.900
why I really started. So it was either going to be a professional football. In Liverpool,

41:08.900 --> 41:15.900
yeah. In Liverpool, yeah. My first part was as a wise man in the Nativity Play. I had

41:15.900 --> 41:20.900
these pointed hats, I must have been about four, five, maybe four or five, these pointed

41:20.900 --> 41:25.900
hats. A cloak, of course I didn't know how to take a cloak off, you know. Here's my cloak

41:25.900 --> 41:30.900
to keep you warm, right up the top of that. I brought the house down. I can't remember

41:30.900 --> 41:35.900
that. A bit of red face. Your mum's told you that. Yes, probably. But that's, I remember,

41:35.900 --> 41:39.900
that's the earliest memory I've got of it. What about your earliest memory? I haven't

41:39.900 --> 41:45.900
got an earliest memory, but I couldn't have done anything else. Why do you say that? Well,

41:45.900 --> 41:51.900
not that I was a very good actor, I was very bad at everything else. But my mother did

41:51.900 --> 41:56.900
say, she said, you know, she had bells pulsing towards the end of How I Wished You Were Dead

41:56.900 --> 42:01.900
all day. She said, you know, one of the reasons why you're an actor, I suppose, she said,

42:01.900 --> 42:10.900
when I was a little girl, we used to do, we used to have to perform, and when I was, when

42:10.900 --> 42:17.900
she was a little girl, we're talking about 1898, and all the lads used to chayak, you

42:17.900 --> 42:23.900
know, they used to, she was born in Howe, they used to rib us, you know, and I had to

42:23.900 --> 42:32.900
stand up and I had to do this poem, and the poem went, There was a bee sat on the wall

42:32.900 --> 42:46.900
and it went buzz, and that was all. And you? Well, I remember, I wrote an essay when I

42:46.900 --> 42:52.900
was nine, it exists somewhere, why I want to be an actor. So I obviously, I came from

42:52.900 --> 42:56.900
a family of actors, and I was a little bit of a drama teacher in the home, really, and

42:56.900 --> 42:57.900
I spoke a lot of that. So my parents wanted me to be a bit more middle class, so I was

42:57.900 --> 43:02.900
sent to a drama teacher and that s really, and I think it s for her inspiration that

43:02.900 --> 43:11.900
I did that. And then I became a, I did some radio in 51 as a, you know, children s zone

43:11.900 --> 43:19.900
and stuff like that, and that s how it all started really. For me. Right. Question for

43:19.900 --> 43:26.900
you. What was your first film or TV appearance? Edward. There s a wonderful story. Now, who

43:26.900 --> 43:33.900
s that very camp person who used to be in all the Carry On films? Kenneth Rhodes? No,

43:33.900 --> 43:44.900
no, no. Oh, yes. But it doesn t really matter because he was quite a senior gentleman, and

43:44.900 --> 43:50.900
he was being interviewed. Haltry. Charles Haltry. Charles, well, remember, Charles Haltry

43:50.900 --> 43:57.900
was being interviewed, and he was being very charming to the interviewer, and in the end

43:57.900 --> 44:07.900
the interviewer said, No, Mr. Haltry, would you tell me when you did your first movie?

44:07.900 --> 44:12.900
He said, Oh, now that s a very outrageous question, and that s very personal. I m not

44:12.900 --> 44:18.900
going to tell you that, but I can tell you that my first talkie was in 1932. Oh, wow.

44:18.900 --> 44:24.900
Yes. What was the question? You were saying, What was your first film or TV appearance?

44:24.900 --> 44:29.900
Oh, yes, well, I can remember that. That was, that was the Romans. 1898. No, no, it was

44:29.900 --> 44:38.900
your mum. The Romans bring a Mrs. Stone, and my son had just been born, and I had one day

44:38.900 --> 44:47.900
on this film, Vivien Leigh, with Vivien Leigh and Robert Beatty, and I had to have a monkey,

44:47.900 --> 44:54.900
and I had to cuddle and befriend this monkey. It was a Humboldt s wooly monkey from a pet

44:54.900 --> 45:00.900
shop. It wasn t trained or anything. Oh, my. And so it was a bit peed all over, and it

45:00.900 --> 45:11.900
was nipped by a maraschino cherry, and it was a lady monkey. And I was the gigolo of

45:11.900 --> 45:17.900
Mabors Villas, and this monkey was absolutely, it was so possessive and so jealous and bit

45:17.900 --> 45:22.900
everybody inside. And all the ladies. Who came near the. Oh, yes, everybody was rushing

45:22.900 --> 45:28.900
off to the nurse, and having derris dust or whatever it was on their still bites. But

45:28.900 --> 45:36.900
this monkey thought the world of me. My first TV was Deadline Midnight, where we had a

45:36.900 --> 45:42.900
series about newspaper. I ve spoken about this before. The series about newspaper people,

45:42.900 --> 45:51.900
which ITV started, ATV, out at Highbury Barn with the ATV studios. In fact, I opened ATV

45:51.900 --> 45:56.900
studios, because we moved from Highbury Barn to the new ATV studios out at Elstree. And

45:56.900 --> 46:01.900
about twenty odd years later, I closed ATV studios with another desperate, awful series.

46:01.900 --> 46:08.900
But Deadline Midnight. Funny enough, I went round on the Mirror, I went round the Mirror

46:08.900 --> 46:13.900
with a young Desmond Wilcox, because he was a reporter on the Mirror at that time, and

46:13.900 --> 46:20.900
to get some experience, work experience before Stanislavski stuff, you know. I went round

46:20.900 --> 46:24.900
with him on some stories. He was quite a tough cookie. I mean, I based, he was like a foot

46:24.900 --> 46:30.900
in the door, tough reporter actually. And I based the character on Desmond Wilcox. And

46:30.900 --> 46:34.900
then of course he went into television and was married to Esther Haxel. But that was

46:34.900 --> 46:43.900
my first TV. The Insect play, and I played an ant. Patrick Troughton played another ant.

46:43.900 --> 46:55.900
Richard Wordsworth played another ant. Anna Cropper played the mayfly. It was full of

46:55.900 --> 46:59.900
extraordinary, it was an amazing play. We did that at Riverside. She managed to build

46:59.900 --> 47:06.900
a road. She was. It was about 110 degrees inside the studio. Oh, I remember it. It was

47:06.900 --> 47:11.900
so hot, it was extraordinary. We were in, in those days they didn t have, when you were

47:11.900 --> 47:16.900
in costume, we were in ant costumes. You know what it s like, and it s felt in those days.

47:16.900 --> 47:22.900
It s not, you don t have a built in fan like you would now. And we were all dying, really

47:22.900 --> 47:28.900
nearly dying, passing out. That s what I remember. Anyway, that was my first, my first. Filming,

47:28.900 --> 47:34.900
I can t remember. Big grown up films, big films. Commonly, Rotten to the Corpse, John

47:34.900 --> 47:38.900
Belding. You must have done those, the B films and stuff like that. No, I didn t do any of

47:38.900 --> 47:43.900
those. No, I never cast Ronnie Curtis. He used to come in casting me. I d just sort

47:43.900 --> 47:49.900
of, er, squint and he d say, You, and you, and you, and the rest of you can go, bugger

47:49.900 --> 47:54.900
off. Er, yeah, because Mike Kane used to be around at that time as well. Sort of looking

47:54.900 --> 48:01.900
for work, you know. But, er, yeah, I used to do some of those movies. Er, but, I don

48:01.900 --> 48:07.900
t know, it s mostly television really. I, I actually, I m, my living, I m theatre of

48:07.900 --> 48:12.900
course, you know. You talk, yes, you, you ve got to be talking. When was the, when was

48:12.900 --> 48:17.900
2001 made? It s only been. Oh, that s, that s, that s some time ago. I went with Pitchcock.

48:17.900 --> 48:22.900
I went up for that. I went up for one of the monkeys in that. Oh, did you? And it was because

48:22.900 --> 48:27.900
I would, my mum had said to me, Why don t you buy a cine camera? I said, I d love one.

48:27.900 --> 48:33.900
Anyway, I had another agent, er, I had an agent for a cabaret actor in those days, for

48:33.900 --> 48:38.900
this Jack Barry character. He used to tumble, I used to teach tumbling and stuff. And, er,

48:38.900 --> 48:43.900
they said, there s a day s shooting down by Cliffordship Pitcher down at, at, not at Pinewood,

48:43.900 --> 48:49.900
it would have been at MGM Studios. So I went down to be hanging from a, a roof and dropping

48:49.900 --> 48:54.900
into a tub of, whatever it was. The boys were going by on their bikes in Greece or wherever

48:54.900 --> 48:59.900
they were and knocked this chap who s, knocked his ladder and I fell into this thing, Robert

48:59.900 --> 49:05.900
Moore, he was there, I remember. But, er, this booker who was a circus agent said, While

49:05.900 --> 49:10.900
you re there, go and see, I want you to come and see the, er, 2001 set which I m doing

49:10.900 --> 49:15.900
all the harnesses for. And I saw the, that extraordinary scene where the man is walking

49:15.900 --> 49:21.900
around the spaceship and it s mark, like mile, a mile, a long walk, isn t it? Yeah, there

49:21.900 --> 49:28.900
we are. Coast, coaster. Kubrick was the first to have monitors, to use monitors, er, and

49:28.900 --> 49:32.900
he was in a box somewhere else. I won t see you. And through this gap, there were these

49:32.900 --> 49:37.900
drums, they were about two, I think about two hundred feet across. They might have been

49:37.900 --> 49:41.900
more, but in the big bonds, one of the big stages, not, it wouldn t be the bonds, this

49:41.900 --> 49:46.900
is Pinewood, but there were huge, two huge drums and they would, they were, there was

49:46.900 --> 49:54.900
a gap like that, a very thin gap and an extraordinary piece of steel through it, titanium, you know,

49:54.900 --> 49:59.900
something really strong, er, on the, and the camera was on the other side of that, so the

49:59.900 --> 50:04.900
two drums were moving. And the guy was able to walk towards the camera and the drum moved

50:04.900 --> 50:09.900
and then this guy, this circus agent who d harnessed all these people, were working and

50:09.900 --> 50:14.900
harnessed and going upside down. Amazing scene. But then we went up, I went up for this, er,

50:14.900 --> 50:20.900
one of these monkeys and Kubrick went along the road and, em, and then we were recalled.

50:20.900 --> 50:27.900
Er, and then they, they came through, this agent, said, er, do you want to do this? And

50:27.900 --> 50:33.900
I said, I, no, I don t think I do. Cause, er, and anyway, I m really glad I didn t,

50:33.900 --> 50:37.900
although it would have been really nice in retrospect to maybe have played it, but apparently

50:37.900 --> 50:44.900
that, or two, was in costumes, in monkey costumes in Wales and in, in a, in a heat wave. So

50:44.900 --> 50:47.900
they had people passing out and Kubrick was a, you know, I don t know whether you d ever

50:47.900 --> 50:51.900
know. I wasn t there, no. Well, he, he wasn t so much a martian, he just would say, you

50:51.900 --> 50:56.900
know, if he was very quiet he would say, sack that guy, he was a proper, you know, he was

50:56.900 --> 51:02.900
just a, he was an amazing director. Cause I worked on another, another, another airplane.

51:02.900 --> 51:08.900
Yes, he d say, Kubrick actually said this on, er, one of the films. Er, it was Lin,

51:08.900 --> 51:12.900
it was Dale, like a Barry Lyndon, and he says it in the first assistant, and we were filming

51:12.900 --> 51:17.900
in Glastonbury, and it was very near Yelverton where Chris Charles learnt to fly a helicopter

51:17.900 --> 51:22.900
and all that. It was a very important, er, er, airplane, er, what is it, not marines,

51:22.900 --> 51:28.900
what do they call it? The, er, the navy flying. Royal Marines? Royal, well, something else.

51:28.900 --> 51:32.900
No, it was the Fleet Air Arm. Fleet Air Arm, whatever it is, anyway, they trained there.

51:32.900 --> 51:38.900
And, er, planes going constantly, and Kubrick said, er, well, what s that plane? And the

51:38.900 --> 51:42.900
first assistant said, well, you know, we re near, you know, he said, Kubrick. And, er,

51:42.900 --> 51:47.900
he, the guy, the first assistant had to go and ask them to fly in some other area, that

51:47.900 --> 51:51.900
s how powerful he was. Sorry, we ve digressed. No, no, yeah. Let s have another. Yeah, that

51:51.900 --> 51:57.900
was, that was fine. Another question, another question. Yeah, okay. Erm, question for everyone.

51:57.900 --> 52:03.900
Apart from Mission to the Unknown, which piece of your own acting work are you most proud

52:03.900 --> 52:09.900
of? I m not particularly proud of Mission Unknown. Oops, shouldn t say that. Erm, I was

52:09.900 --> 52:15.900
rather stiff in Mission Unknown. I don t know. Find something else, do you? Erm, yeah. Find

52:15.900 --> 52:20.900
something for you. This is for everyone though. I know, you find yours. Oh, I see another,

52:20.900 --> 52:26.900
oh, I see, sorry. Something you re really proud of. Oh, I know, Maccas, I suppose. Er, you

52:26.900 --> 52:33.900
know, Scottish Gentleman, erm, and, erm, where did you do that? Sergeant Musgrave. Erm, up

52:33.900 --> 52:39.900
in, erm, that was Dundee, I did that. I played Macduff in the festival and then I, six weeks

52:39.900 --> 52:44.900
later, they came along and said, We saw you playing Macduff, thinking you d make a good

52:44.900 --> 52:52.900
man, er, Macbeth. We d like to die. That s right, yes, yes, yes. So we, er, yeah, I did

52:52.900 --> 52:58.900
and Musgrave, I enjoyed playing Musgrave. And a lot of comedies and, I don t know, lots

52:58.900 --> 53:02.900
of stuff. Weekly Rep was great. I used to enjoy it. I enjoyed it. Get away. Yeah, get

53:02.900 --> 53:06.900
away. Well, looking back in retrospect probably, but, had some good times. Playing a week,

53:06.900 --> 53:12.900
hairy times. I used to love doing the comedies. Erm, cos I ve fairly seldom get to play comedy

53:12.900 --> 53:16.900
I m, er, looking where I did. Who was that? Well, I, Cross, wait. Villain, yeah, villain

53:16.900 --> 53:19.900
for that. Erm, could, could some good parts. I mean, you know, I used to sort of do the

53:19.900 --> 53:25.900
Avengers, er, villain for that week in the Avengers, so whatever. Erm, but, erm, very

53:25.900 --> 53:29.900
seldom. I played a comedy with, er, Roy Kinnear, which was quite funny. Oh, yeah. What a lovely

53:29.900 --> 53:33.900
man. Oh, God, he was, he s impossible. Oh, he s funny. He s wonderful. He s that twinkle.

53:33.900 --> 53:37.900
Cos, yeah, you, you sort of work with him and, and you d be, you know, trying to, so,

53:37.900 --> 53:41.900
and, er, suddenly he d start to twitch in the corner of his mouth and you, next minute

53:41.900 --> 53:45.900
the tears would be pouring down your face. We had to stop rehearsal and I said, I can

53:45.900 --> 53:49.900
t, I said, I m so sorry, like, you know. Said, the director said, no, it s all right, that

53:49.900 --> 53:52.900
s great, this looking girl, you know, we ll, we ll practice for the day, we ll come back

53:52.900 --> 53:56.900
tomorrow. Cos they re on the variety side, you know. You know how we re all reaching

53:56.900 --> 54:00.900
for our glasses to read these sort of things? Er, well, I remember, er, Mark and Roy Kinnear

54:00.900 --> 54:05.900
was in this, driving the car and, er, and, er, I remember reaching for the glass and

54:05.900 --> 54:10.900
he just went and produced this weird magnifying glass which he d obviously, he just went,

54:10.900 --> 54:15.900
you know, with the magnifying glass in that lovely way. Question for everyone, what have

54:15.900 --> 54:19.900
each of you, well, what was that last question? Well, it s something about, er. I think it

54:19.900 --> 54:23.900
was, we didn t have your favourite thing, or. Oh, sorry, pardon, actually, yeah. Apart

54:23.900 --> 54:27.900
from Mission to the Unknown, which piece of your own acting work are you most proud of?

54:27.900 --> 54:32.900
Er, well, I did a thing called Horace for, er, sort of sub-normal Yorkshire character

54:32.900 --> 54:37.900
in a series. That s right. Well, it was a BBC Two play first and then I did a series.

54:37.900 --> 54:44.900
I love, love doing that. Yeah. Erm, and, you know, er, strangely when you look back, there

54:44.900 --> 54:49.900
s, there s only, for me anyway, there s only a ha, ha, it s when I see something or when

54:49.900 --> 54:54.900
I s, I m hardly ever surprised. You know, you know, you re the trickster. Yeah. And

54:54.900 --> 54:58.900
when you are surprised, it s a lovely thing to see. Something, when you surprise, even

54:58.900 --> 55:03.900
when you ve done a take and it surprised you, it s a, it s a, it s a good moment. Mm-hm.

55:03.900 --> 55:10.900
And that s what we, erm, that sort of spontaneous, it s just a surprise and that s when you,

55:10.900 --> 55:15.900
normally, er, you just, when you re watching television, er, yeah, I ve seen it before,

55:15.900 --> 55:20.900
on tricks, yeah, I know that, mm, yeah, then occasionally you see something and for me

55:20.900 --> 55:26.900
it s about five, not many more than about, out of two hundred or so, but it s about five

55:26.900 --> 55:32.900
things that, that have surprised me. Erm, but generally we re not, we re like, like

55:32.900 --> 55:36.900
anybody, we re just trying to be better, like you said. Yeah. We re always trying to be

55:36.900 --> 55:40.900
better. Even when you re in a play, every night in a play, it s extraordinary how it

55:40.900 --> 55:46.900
wanders off the mark sometimes. Or you can go for almost six months and still be pursuing

55:46.900 --> 55:52.900
that, that perfect performance, can t you? Yeah. And that s what I find, it s fascinating

55:52.900 --> 55:57.900
and it s hard because you can never quite, you can never achieve it, but never quite

55:57.900 --> 56:02.900
get it. No, it s like, the great golfer will say, well, that was a sixty-three, but I could

56:02.900 --> 56:07.900
have, it could have been a sixty-two or a sixty-five. Yeah. Yeah. And there is, and,

56:07.900 --> 56:12.900
and, and, even less and even less and even less, and there is no perfect, perfect thing.

56:12.900 --> 56:16.900
As you say, that was a hundred, a hundred and one and I might get it down to ninety-eight.

56:16.900 --> 56:20.900
Yes, well, yes, for sure. But it s very difficult in, in television and filming because there

56:20.900 --> 56:25.900
are, there are forty people out there who are all dealing with their own part of the

56:25.900 --> 56:31.900
game and there s you here and, and till you all gel together and it takes a while for

56:31.900 --> 56:35.900
the camera to, to get it right, the sound to get it right and everybody else to get

56:35.900 --> 56:40.900
it right, by then you may well have died in your performance, you know, after, and it

56:40.900 --> 56:45.900
s very difficult for them all to come up together. Yeah. And it s very, it s a very interesting

56:45.900 --> 56:49.900
industry, you know, the film and television industry. I can t take any pride in any of

56:49.900 --> 56:55.900
the, any of the stuff that I do on the screen. I m quite proud of some of the stuff I ve

56:55.900 --> 56:59.900
done on the radio because I m very self-conscious on the screen and in front of the camera.

56:59.900 --> 57:06.900
On the radio, the microphone, I, I have no self-consciousness at all and in the theatre

57:06.900 --> 57:10.900
I have very little self-consciousness. So I can t really say because I ve never seen

57:10.900 --> 57:15.900
it or heard. Well, some of the stuff I have heard and some of the stuff I ve been quite,

57:15.900 --> 57:24.900
quite happy with but the best work I ve done, the most work I ve done is on stage and I

57:24.900 --> 57:29.900
only have feedback from that. Yeah, that s right, there s no filming. Somehow, I think,

57:29.900 --> 57:33.900
thank God, you know, I was talking about those two parts. I d probably hate to see them actually.

57:33.900 --> 57:38.900
I know. On screen now, you think, oh no. When I did a film for a punk, er, which was the

57:38.900 --> 57:42.900
Skullcrest, which Warners took over, you know, with Mr Lull, and I mean it was a part of

57:42.900 --> 57:48.900
a lifetime in a way because Ian Holm was going to do it originally. And I, I mean I, I was

57:48.900 --> 57:55.900
committed to doing it, er, but I sort of didn t like the script really. And I was struggling

57:55.900 --> 58:02.900
because the character wasn t at all, erm, animated, you know, and I found it, it was

58:02.900 --> 58:09.900
a wonderful part of play and people liked it but I, I hated watching it. Mm. I just

58:09.900 --> 58:13.900
hated the character, the character was so boring. For me. Yeah. And so it s, it s very

58:13.900 --> 58:17.900
difficult to actually You re a very bad judge of your own work. One is a very bad judge

58:17.900 --> 58:22.900
of one s own work, too, I think. Yeah. Mm. Because you see so much of yourself and you

58:22.900 --> 58:30.900
don t see, er, yourself as others see you. Mm. Go on. Go on. Alright, I, I seem to be

58:30.900 --> 58:34.900
beating them out. Er, question for everyone. Tell us about any hobbies or interests that

58:34.900 --> 58:42.900
you have for publication. That one can talk about. Barry Jackson, er, er, is a tumbler.

58:42.900 --> 58:47.900
No, no, was a tumbler. Was a tumbler. He s an old man now. Transvestite. Transvestite.

58:47.900 --> 58:54.900
Have you stopped that now? No. I did play a transvestite. I did. I played a sort of

58:54.900 --> 59:02.900
transvestite. I ve, er, when this thing Horace came out, er, I knew that I would be uncastable

59:02.900 --> 59:07.900
because this character was like, he was going, Just got a joke. I ve got a joke for you.

59:07.900 --> 59:11.900
And he was just like that sort of character. So I thought, there s no way, because in this

59:11.900 --> 59:17.900
business, if they see you playing something and they like it, so if they cast you in other

59:17.900 --> 59:21.900
things that are similar, and I remember the only thing that I got off from the BBC Two

59:21.900 --> 59:27.900
Horace, which is the character that I created in Seventy, I was offered to do, er, sub,

59:27.900 --> 59:34.900
there aren t many sub-normals around, I was offered to do an insane character in an asylum.

59:34.900 --> 59:40.900
I was asked to do another deaf mute in something else. It s was, it s extraordinary how they

59:40.900 --> 59:45.900
relate to you. And so I knew when I had, I knew, I knew that when I d done that, when

59:45.900 --> 59:49.900
I d done Horace, that I had to be a trans, that I had, I took this job as a transvestite.

59:49.900 --> 59:54.900
What s that say? It s just a, it s just a little asterisk. I say yes, and the, the,

59:54.900 --> 59:58.900
the question is twisted round to when I was playing this. I m sorry. It s my fault that

59:58.900 --> 01:00:01.900
you re a transvestite. What do we do as a hobby? Tell us about any hobbies or interests

01:00:01.900 --> 01:00:05.900
that you ve had. Well, I, I, yeah, I like timber, wood. Yeah, do that s right. And I

01:00:05.900 --> 01:00:10.900
ve got two allotments. I grow my own vegetables. I ve done for years. So that s me really gardening

01:00:10.900 --> 01:00:14.900
and carpentry. I used to play footy for years and years and years, the Sunday football team.

01:00:14.900 --> 01:00:19.900
Thought I was George Best or something, but I was Dreadball. Er, I used to run our Sunday

01:00:19.900 --> 01:00:25.900
football team. Er, and that was, when you re on the pitch, you really thought it was

01:00:25.900 --> 01:00:30.900
Wembley, the way it was going. Er, and then it went to squash, er, which I enjoyed until

01:00:30.900 --> 01:00:38.900
I got a ball in the eye. Er, and then finally golf, which is, er, I, yeah, yeah, yeah, I

01:00:38.900 --> 01:00:41.900
mean it s all consuming I think, you know, and it s, it s ridiculous. I never used to,

01:00:41.900 --> 01:00:46.900
you know, used to, I think, oh, no, that s for old, I suppose, yes, I m an old man, but

01:00:46.900 --> 01:00:51.900
that s for old, old guys, you know. But it s the most difficult game I ve ever had to

01:00:51.900 --> 01:00:55.900
play. God, it s difficult. But it s a lovely game. Fascinating. It s great. Because you

01:00:55.900 --> 01:00:58.900
cannot think about anything else while you re playing it. Yeah. And so it does empty

01:00:58.900 --> 01:01:03.900
you. It s a wonderfully cathartic game. Yeah. And I can work with wood, so it s, it s, it

01:01:03.900 --> 01:01:08.900
s satisfying to actually, to make or build something out of, out of wood, whether you,

01:01:08.900 --> 01:01:13.900
whether it s a cupboard or a staircase or whatever, you know, or something, a garden.

01:01:13.900 --> 01:01:24.900
But yeah, there are, I suppose. I do, er, watercolours too. Ah, yes. So then the camera,

01:01:24.900 --> 01:01:31.900
camera pan round to his watercolours. An insect. No, no, no, no, and I play golf and I. Do

01:01:31.900 --> 01:01:37.900
you play, you play golf, do you, as well? Yeah. That s great. Also, also, I like working

01:01:37.900 --> 01:01:44.900
with wood too. What s your handicap golf age? Er, my youth efficiency. Eighteen. Oh, that

01:01:44.900 --> 01:01:49.900
s not bad. No, no, I don t play to it. Round a proper course, eighteen, that s not bad

01:01:49.900 --> 01:01:57.900
at all. No, no, no, I don t play to it. I don t play to it. Where, er, who s it? Er,

01:01:57.900 --> 01:02:04.900
before Moppen and Wise, was Ben Warris and Jimmy Jules. Jimmy Jules. Yeah. Great double

01:02:04.900 --> 01:02:11.900
act. Yeah. And I worked with Ben Warris. I play Archie Rice in a, in a, on tour. And,

01:02:11.900 --> 01:02:18.900
er, and Ben Warris was my dad. Yeah. Er, amazing presence, although I couldn t remember the

01:02:18.900 --> 01:02:23.900
lines, but he was an amazing presence on stage. It was a privilege to be with him. But he

01:02:23.900 --> 01:02:28.900
had, every theatre we were in, he had wonderful stories. And one of his just golf stories.

01:02:28.900 --> 01:02:34.900
They played golf of course. All comedians play golf. Yes, they do. And, and that s how

01:02:34.900 --> 01:02:39.900
Al Reed became Al Reed because he, Al Reed could afford, you know, to play golf. And

01:02:39.900 --> 01:02:44.900
he had a sausage factory, didn t he? So anyway. So he did. So he did. Tommy Cooper felt very

01:02:44.900 --> 01:02:51.900
left out. And, er, Ben Warris and, er, used to, Tommy, they used to get Tommy into the

01:02:51.900 --> 01:02:55.900
dressing room for a laugh. And they used to say, Come on, Tommy. Come on, Tommy. What

01:02:55.900 --> 01:03:00.900
s your, show us your tricks. What have you got, sir? And Tommy Cooper would do these

01:03:00.900 --> 01:03:06.900
tricks and, you know, and they would fail. So they said, You know, it s silly being a

01:03:06.900 --> 01:03:10.900
straight, you ve got to do this act. They were very good at picking people up and telling

01:03:10.900 --> 01:03:14.900
them what they should do for their act. In fact, Morcombe and Wise, they said to Morcombe

01:03:14.900 --> 01:03:19.900
and Wise, Er, sharpen up, buy your decent suits, your slovenly, you know, they were,

01:03:19.900 --> 01:03:25.900
they re on the bottom of the, the, the bill that they were top of. Er, and he, they were

01:03:25.900 --> 01:03:29.900
an amazing act, Ben Warris and, but, er, they said, so Tommy felt very left out because

01:03:29.900 --> 01:03:34.900
everyone was playing golf at the time. Tommy didn t get up too well in the morning. And,

01:03:34.900 --> 01:03:40.900
but, anyway, Tommy went off and got some plus fours in the clubs. You know, as you can imagine,

01:03:40.900 --> 01:03:47.900
he got, getting, you know, getting, and he, he knew where they were, the club. And, er,

01:03:47.900 --> 01:03:52.900
he got there and there s nobody there. And he s, er, with all his, all his stuff on,

01:03:52.900 --> 01:03:57.900
all his stuff looking silly. And people peak out on the top of his big head and his big

01:03:57.900 --> 01:04:03.900
feet and his big back clubs. And there s nobody there. Well, in the distance, they re all

01:04:03.900 --> 01:04:07.900
coming back because they ve been there since eight o clock. But it s eleven o clock and

01:04:07.900 --> 01:04:16.900
they re all finished. And it s another trick gone wrong. He said, I m not playing this

01:04:16.900 --> 01:04:23.900
game. And he went off. And that s their story of, er, Tommy Cooper. Tommy Cooper. Wonderful.

01:04:23.900 --> 01:04:29.900
Gosh, we do, I do, I digress. No, it s, it d be interesting. It knows stories well enough.

01:04:29.900 --> 01:04:35.900
If you really were marooned on a jungle planet like Kemble in Mission to the Unknown. Kemble,

01:04:35.900 --> 01:04:42.900
is that the name? Erm, what luxury would each of you most desire? Gosh, I d love to say

01:04:42.900 --> 01:04:46.900
like Spike Milligan about your club. About Memphis. He said that and there s an island

01:04:46.900 --> 01:04:52.900
there s, I m not that, er, that s a, it s a tough one. Sudbrook Park. Is what? Sudbrook

01:04:52.900 --> 01:05:00.900
Park on a set of golf clubs. Oh, I see. And a jungle planet. If I wasn t allowed, wasn

01:05:00.900 --> 01:05:06.900
t allowed that, I d just take an eight iron and an endless supply of golf balls, you know.

01:05:06.900 --> 01:05:12.900
Oh, I don t know. I don t know. I don t know. I don t want to. I m a bit serious. I d probably

01:05:12.900 --> 01:05:20.900
take an axe. An axe. Oh, yeah. To make a canoe. To get off the island. Er, er, this is, this

01:05:20.900 --> 01:05:27.900
is the last one, I think. Not the bad one, the last one. Any unfulfilled ambitions? Oh,

01:05:27.900 --> 01:05:34.900
well, I m the last person to ask about ambitions because I have none and never have had any,

01:05:34.900 --> 01:05:40.900
and so I still don t. I m not, I, I, I think as an actor, it s very different when you

01:05:40.900 --> 01:05:48.900
say it, but, er, actors and, always want to work and the problem with acting is that you,

01:05:48.900 --> 01:05:54.900
you know, that you, we re largely unemployed or we don t work as much as we would like.

01:05:54.900 --> 01:05:57.900
Speak for yourself. Well, okay, I do speak for myself. No, no, that s all right. But

01:05:57.900 --> 01:06:01.900
it s true in a sense, isn t it? Yeah, yeah. And we would all have liked to have worked

01:06:01.900 --> 01:06:06.900
more, I would love to have worked more and it s all a little bit, er, it s all a bit

01:06:06.900 --> 01:06:14.900
of history now for me. So I, again, I don t think I have very much ambition in that,

01:06:14.900 --> 01:06:20.900
in that way because I ve seen so much of it. What about you, Simon? I d like to be an actor.

01:06:20.900 --> 01:06:24.900
You d like to be an actor. One day, one day I ll be an actor. No, I don t, I m not keen

01:06:24.900 --> 01:06:28.900
on acting. I haven t been for eight years actually. I like directing very, very much

01:06:28.900 --> 01:06:35.900
and teaching. I ve been doing a lot of drama teaching and it s nice to sort of see faces

01:06:35.900 --> 01:06:39.900
appearing, young faces appearing on the box that you think, Ah, that s one of my students

01:06:39.900 --> 01:06:42.900
or, you know, and so that s, that s good. I mean I have a terrible ambition now because

01:06:42.900 --> 01:06:48.900
I wanted to play, er, always wanted to play Hamlet and I was never chosen to play Hamlet.

01:06:48.900 --> 01:06:53.900
I ve been in three productions and Ian Richardson s Hamlet I was in, actually, at Birmingham

01:06:53.900 --> 01:06:58.900
when I directed his first Hamlet. And, er, I thought when I was a young actor, I was

01:06:58.900 --> 01:07:02.900
The old ref. This is Ian, Ian, er, The old ref. The old ref, that s right, yeah. And,

01:07:02.900 --> 01:07:07.900
er, I was a young actor who had gone up there and I was playing that terrible part at the

01:07:07.900 --> 01:07:11.900
end, er, 14 Broths, you know, waiting out the play to come out. It s 14 Broths. The

01:07:11.900 --> 01:07:16.900
young prince who comes out at the end. And I, and Ian was getting, er, there was a lot

01:07:16.900 --> 01:07:20.900
of colds going round again. He was getting more and more flu on his voice and I was thinking,

01:07:20.900 --> 01:07:26.900
so I started to learn Hamlet. You told me about it. I thought er, you were you were

01:07:26.900 --> 01:07:27.900
you were doing it. You were trying to understand. Oh no, no, no understanding, you see, and

01:07:27.900 --> 01:07:33.900
I thought there s no understudies. And, and, you know, I, I, I know the part and, er, you

01:07:33.900 --> 01:07:38.900
know, if Ian s off, they ll sort of say, Oh my God, and I ll say Oh, I know the part.

01:07:38.900 --> 01:07:44.900
No, never happened. It was never off. No. I played Claudius, which is not a bad second

01:07:44.900 --> 01:07:47.900
prize. You know, the king. Very good second prize. Yeah, I enjoyed it. But, er, obviously,

01:07:47.900 --> 01:07:52.780
So obviously, you know, but yeah, it's not sort of a burning ambition, but apart from

01:07:52.780 --> 01:07:55.860
that, I don't know, you're always looking ahead really, aren't you?

01:07:55.860 --> 01:07:57.780
I remember Sybil Thorndyke when she was about 90.

01:07:57.780 --> 01:07:58.780
You didn't understand it either.

01:07:58.780 --> 01:07:59.780
No, that's not good enough.

01:07:59.780 --> 01:08:05.220
But I always remember her giving a speech.

01:08:05.220 --> 01:08:09.900
She was opening Leatherhead Theatre, the Thorndyke Theatre at Leatherhead.

01:08:09.900 --> 01:08:13.640
And I don't know, she must have been about 80, 80 something then I suppose.

01:08:13.640 --> 01:08:17.140
But her speech was all about the future and looking forward.

01:08:17.140 --> 01:08:21.540
Not about the past, not what parts I've played, and you know, I'm glad this theatre's named

01:08:21.540 --> 01:08:23.860
after me because of the traditions of the theatre.

01:08:23.860 --> 01:08:27.780
It was all what she was going to play in the future.

01:08:27.780 --> 01:08:30.260
So therefore it's unfulfilled ambition all the time.

01:08:30.260 --> 01:08:33.260
You're always looking, I suppose, to direct.

01:08:33.260 --> 01:08:34.260
For me, it's to direct.

01:08:34.260 --> 01:08:39.260
She was a wonderful, she was wonderfully naive and she was always looking to the future.

01:08:39.260 --> 01:08:43.260
She studied Greek and Latin and write till the very end of her life.

01:08:43.260 --> 01:08:48.260
There was a wonderful story that somebody told me, they were sitting in the theatre,

01:08:48.260 --> 01:08:54.260
I don't know what theatre it was, somewhere, a stone theatre, in the Maffinay, and they

01:08:54.260 --> 01:09:01.260
were suddenly aware that it was Sybil Thorndyke and Lewis Casson sitting there in front of

01:09:01.260 --> 01:09:02.260
them.

01:09:02.260 --> 01:09:11.260
And the lights went down and Sybil said, Oh, I do love a play.

01:09:11.260 --> 01:09:21.700
And I said oh good Sir, sorry, I can't go on now, I've gone to too much and won't be

01:09:21.700 --> 01:09:23.660
moving on no more.

01:09:23.660 --> 01:09:32.920
So I picked up the aye theatre and rove over to Belgium, the way that language got along

01:09:32.920 --> 01:09:37.700
with audio in until now, so I'm not terribly hooked now, I'm not entirely that stuff, so

01:09:37.700 --> 01:09:38.700
but anyway.

01:09:38.700 --> 01:09:46.400
best, or that, yes. I'd love to see something really well, something I don't, a master or

01:09:46.400 --> 01:09:50.100
mistress or whatever you like to call it, of their craft, and to see it, even if it's

01:09:50.100 --> 01:09:56.700
woodwork or whatever, to see these. And painting, I'd love to be able to paint. I'd play a musical

01:09:56.700 --> 01:09:57.800
instrument. I can't.

01:09:57.800 --> 01:09:58.800
So would I.

01:09:58.800 --> 01:09:59.800
Yeah.

01:09:59.800 --> 01:10:00.800
Oh come on.

01:10:00.800 --> 01:10:04.700
But I'd love to play a musical instrument. I've never made any instruments. But yes,

01:10:04.700 --> 01:10:12.700
but yeah, woodwork I can. Good question.

01:10:12.700 --> 01:10:29.700
Oh all right, I'll come back to it.