#also we watched a lot of the bbc 1995 and I really enjoyed that one too

[saskiamcc]

On-set production - week 5

(monday 2nd october)

This week's class was really exciting, especially for me who wants to specialise in Production Design. The lecture this morning was conducted by Production Designer Mark Leese, known for This is England, The Wife, and more recently, the new season of BBC's Vigil.

He started by explaining the different departments within production design, which I didn't realise was so extensive. Some roles that i had never heard of before or have heard but don't know exactly what they do, I noted down:

stand-by: crew members who are on set at all times

petty cash buyer: responsible for buying/maintaining disposable props (milk, fruit etc.)

chargehand: one below the HODs, runs the team

We then watched the first 10 minutes of David Fincher's 1995 thriller Seven. I have watched this film before, however it was long before I knew I wanted to pursue a career in film and watching this section now allowed me to take a different stance. Additionally, I was taking note of some particularly interesting choices in production design. After watching it through once, we watched it again with little to no sound playing. This meant that we could take a lot more notice to the visuals and I found it so much easier. We discussed these design choices in great detail, for example; the chessboard cleverly placed at the foreground of the frame, foreshadowing the game that is yet to come in the film and the connection to the characters and their costumes. I found this exercise really exciting and beneficial for my projects.

After lunch, we carried out an exercise in our production groups using a script that was provided to us before class; Anna Weiss by Mike Cullen. During the week before this class, the other production designers in my group (Cara, India, Abbie) and I created a list of props we needed for this project and collected what we had access to. Anything we didn't have we asked our group to bring and it was a huge success!

Prop list:

tea chests (we used cardboard boxes)

wooden chairs

suitcases x4

books

wine glasses x3

We had everything we needed when we got to class and we got into our groups to discuss roles. For this project I took on the role of sound recordist. Despite me wanting to specialise in production design, there weren't enough roles to fill in that department so I volunteered to record sound as I have experience and I also quite enjoy it. Additionally, when camera and lights were being set up I was able to help out the production design team. Mark gave us lots of advice and helped us create depth and texture to the scene. Because we had three different set ups around the room, we only had a corner to dress, which I am glad we did because it made it easier to fill the space. There were a few things we had to cover up, such as the sanitiser dispenser, so we improvised and it payed off. We used the sanitiser dispenser as a coat hook and used the actual coat hook to prop it up and make it look more realistic.

our set up (and vanessa our script supervisor/actor)

For sound, I wanted to try out using the LAV mics as due to availability and equipment faults last year, I was not able to use them on my project (big regret). I am a lot more comfortable using them now as I have had a bit of practice during class and I am confident that the sound will come out great. Unfortunately for this project we only had one radio mic and two actors. I made the decision to mic up the actor that had the most lines, especially because her character is a speedy talker and I wanted to make sure everything was captured clearly. I mic'ed up Vanessa and did a few tests to make sure there was no rustling when she moved around. I then set up the boom and reread the script so that I knew when to turn the boom according to who was talking and action in the frame. Because this is such a heated scene, I wanted to capture the anger in the characters' footsteps additionally the clinking of the glasses and the doors opening and closing since during the tests they were so crisp. Before shooting I discussed edge of frame and shadows with the camera department and found that it was better for me to hold the boom under the frame rather than above, as to not create any shadows.

Between takes, India, Cara and I were able to talk to Mark about his work, how he got involved in the industry and how he decides to take on certain projects. Additionally we got to talk to him about his most recent project, Vigil. I loved the first season which came out in 2021, so I got really excited when he showed us photos of the sets that he designed.

I think the final shoot was really successful! On a production design point of view, I thought the team were able to create a really interesting scene in the small space we had, which made the scene itself believable to audiences. With sound, I was so happy with the success of the radio mics - especially since I had never used them before, and I could only mic up one of the actors. The boom audio was clear and the footsteps were crisp and not too overpowering to the audio - this was because we timed it so that the person talking during the footsteps was the one mic'ed up. I think this worked really well and I know from experience, having a radio mic makes distinguishing the different types of sounds so much easier in the mix.

The crew having fun setting up the scene :)

setting up camera and lights

[phantomnostalgist]

Ethan Freeman Phantom interview

An interview with Ethan Freeman from about 1994 or 1995, printed in “Beneath the Mask” #8 (which I haven’t found my print copy of yet, but the interview was reproduced on our old POTO fan site). 

Also of note about Ethan: at the time he was one of the two youngest actors to have played the Phantom - he and Anthony Warlow were both 28 or 29 when first cast in the role.

Are there any differences between London and Vienna - if so, what are they? The general tone of the production in Vienna was slightly more Operetta-like, probably due to the language, the sound of the translation and style of acting of some of the players. The tempo was also at some points quite different depending on who was conducting, and would undoubtedly feel strange to me now. The audience tended to be less tuned in to the humorous moments in the show in general, and some scenes like "Managers I & II" for example, simply run better and are more clever in English.

How did you get the role? I got the role of the Phantom after auditioning for Hal Prince and Gillian Lynne and the Viennese producer and musical staff. They appeared very excited about the audition. I'd sung "Music of the Night" which they praised in a friendly manner (Hal is always positive and encouraging), and they sent me off to learn the segment from the Final Lair "Order your fine horses... This is the choice. This is the point of no return!" When I came back the next day to do it (the Phantom candidates appeared by then to have been reduced to three) Hal said "OK Ethan I want you to scare me!" So I did the section with as much power and venom as I could muster (Id never seen the show - I think Id heard the record once or twice...) and after it was done, Hal just said "Great. You scared me!" and that was that really. Later that day they explained to Alexander Goebel and me what they would like and would we be willing to share, obviously with Alex, who was very well known, being the dominant of the two. So we split 5/2 which frequently ended up being 4/3 as the run went along.

How did you research the character? I read the novel finally, all the way through. Ruth Hale, my partner in "Cats" at the time, later to premiere as Mme Giry in the Hamburg production, gave me a copy as a present. I'd seen several of the films over the years so I knew there wasn't much to be mined from those - although Lon Chaney Snr did display some magnificent body language, and I've nicked at least one dramatic gesture from him. Principally though, I had several long meetings with Hal in New York to talk about the role and show. He instructed me to go watch Michael a few times then come back and talk some more. Crawford was magnificent, at the peak of his vocal power and still fairly fresh in the role and I was moved and impressed as I have not been since by a Phantom. (Though Dave Willetts, I must say, also made a huge impression the first time I saw him, for his power and well-delineated psychotic behaviour.) At first I thought boy, you've got your work cut out for you on all fronts. So, I would say my "research" of the role was principally based on my own discussions with Hal and also largely on my own thoughts and feelings. Obviously most of the physical manifestations of the role, make-up, costume, blocking, etc were predetermined so there wasn't much scope for change. To be honest, I feel some of the Phantoms I've seen tend, in an effort to be different, to stray from the basic line of the drama and weaken themselves as a result. Michael's acting was extreme, yet very clear and economical at the same time, and I also try to offer the audience a complicated and ambiguous character going through clear, unambiguous moments of his life - otherwise it's so easy for the audience not to "get" everything that's there - or to "get" things that aren't intended to be there at all.

How do you feel on stage? So varied in thought and feeling that I can't really give a concise answer. I feel quite differently now to how I felt 600 odd shows ago. I used to have to concentrate on staying concentrated - now it just happens. I know what to achieve and just try to let it happen. I'd say I'm both in and out of Erik at the same time and he in me.

Do you think it's based on a true story ie. did the Phantom exist? I doubt it - I haven't read this newer novel "Phantom" yet and don't intend to until I finish playing the part. However I've been to the Palais Garnier and in all senses of the word it is a 'phantastic' theatre, one which easily conjures up many stirring images - beautifully represented in the Phantom designs, I'd say!

What do you think of Erik? I wish he'd let me have a little more time to myself! Oh, I don't know. He's a sad, bitter, brilliant man. He has a great brain and can be a real bastard. I find him easy to understand - he's motivated by a terrible profound loneliness and has been forced to create his own universe which has its own laws. Anyone who has known some kind of loneliness or feeling of apartness when they were children or growing up can tune in to this crucial aspect of the Man, which is his great mythical attraction. He is so powerful, awesome, in control and yet so hurt and vulnerable. He must epitomise great beauty and great ugliness at war with each other, reason and insanity, God/Satan, Id/Ego battling it out. In the end, he learns about sacrifice, shows mercy and is redeemed by love - a great, archetypal Romantic drama - another reason why the story has always been so popular. I can't stand it when I see Erik played as a "nutter". Yes, he goes "crazy" a few times, but in general he is not insane in the pathological sense. I feel if he is played as a schizophrenic or a psychopath, the romantic ideal of the story is dashed, because both of those conditions would indicate a "determination" that makes any hope of redemption impossible, and would break with the "Romantic" style. He is very melancholy, angry, egocentric, neurotic perhaps, and goes off into rages of frustrated sexuality, but he is not insane. And I'll kill anyone who thinks otherwise!

What do you think happens to him at the end? That's our little secret! I think the different fan magazines have probably spent pages on that so I don't see I need to contribute. He goes!

Why do you think the show is so appealing? Some lovely songs, great orchestrations, a nice mixture of melodrama and light comedy, some stunning sets and a lot of good theatrical magic: and on the thematic side, many of the things I've mentioned before, which I suppose you could define as the archetypal Beauty and the Beast scenario which, if honestly portrayed, can tug the heartstrings of even the most urbane Japanese businessman.

What is your favourite role of those you've played? Obviously Phantom is the supreme role in my repertoire to date. I did however, really enjoy my stints in other Lloyd Webber shows as well. Che in "Evita" was very cool to play and Gus/Growltiger, while exceedingly 'uncool' thanks to the heavy knitted costumes, was a joy to play, despite being totally knackering, and one that I was surely born to do. I really enjoyed doing Hajj, the Poet in "Kismet" with the BBC Radio 2 last year, working with the composers, and would love to have the chance to do that again on stage someday.

What role would you like to play? I'd quite hope to have a go at Sweeney Todd somewhere down the line and would still like to play the Celebrant in "Bernstein's Mass" at some point. (I've nearly done that a couple of times.) Add to that a heap of great operatic roles I'd love to do but probably never will and whatever new, unknown roles lie lurking up ahead. We'll wait and see!

End note from me - Ethan’s wrong about schizophrenia, but hey, this interview was 25 years ago and actors can’t be expected to be experts on mental illness. But I really love this interview, the depth he goes into, and how his sense of humour comes through too.

[halictus-writer]

Welcome to Seattle (Ch. 5 of 5)

They spent the entirety of the next day together. They had exchanged a few texts last night before Sirius asked Remus if he would like to get coffee with him (as a date, Sirius had written in a second message before Remus could respond to the first). Remus instantly responded affirmatively, and asked if Sirius was free in the morning.

Remus left his apartment a little earlier than he had to, and eventually found himself walking up towards the Starbucks in Pike Place Market that Sirius had insisted on meeting at (it’s not basic because this store is the original Starbucks. It’s very hipster actually) a whole ten minutes early. Surprisingly, Sirius was already there to meet him, occupying a spot in the line that extended down the sidewalk. Evidently, being the original Starbucks meant it attracted a lot of customers.

Sirius’s dark hair was pulled away from his face in an elaborate half-up half-down style, with small braids that reminded Remus of majestic elves. He wore black Doc Martens and a matching leather jacket. His face lit into a bright smile when he spotted Remus.

“Good morning!” Sirius said, and opened his arms for a hug. Remus let the embrace last an extra second as he tried to will his face to stop blushing.

“Good morning,” he finally returned, pulling away. “How was the rest of your shift last night?”

“Pretty easy, actually! It quieted down a bit after you left, and I was extra-motivated to close quickly, because the most adorable diner gave me his phone number and an absolutely ridiculous note.”

“Oh really?”

“Mm hm.”

They both laughed softly. Remus felt light. With his hands tucked into his pockets, he turned to nudge Sirius’s shoulder with his own. Sirius returned the nudge, but stayed close afterwards, their arms barely touching.

The line moved quickly, and eventually they were leaving the store with their drinks in hand, Remus with a simple iced drip coffee, and Sirius with an elaborate pumpkin-spice sugar bomb cold brew concoction. The barista had actually shuddered when Sirius had asked for an extra shot of “pumpkin-spice syrup,” something which Remus was horrified to learn existed at all.

They walked through Pike Place Market and into Victor Steinbruick park, while sipping their drinks. The city was offering a rare clear morning sky, so they kept walking outdoors to enjoy it. Small talk flowed easily, and soon they were learning all about each other’s lives and hobbies.

“Okay, you have two seconds,” Sirius began suddenly, “favorite movie. Go.”

“Pride and Prejudice,” Remus replied instantly, “but not the 2005 one, the 1995 mini-series from BBC.”

“Oh my god,” Sirius emphasized. “Of course you would say something like that.”

“It’s good!” Remus defended. “The drama, the pining, young Colin Firth, did I mention the drama?”

Sirius laughed. “Maybe once or twice.”

“What’s yours?” Remus asked.

“Easy. Shrek 2.”

Remus dissolved into laughter, and eventually gained enough air to ask why it was specifically the second Shrek movie.

“Simple answer. The soundtrack. Counting Crows? Funkytown? The finale where Jennifer Saunders as the Fairy Godmother sings Holding Out For a Hero? Remus, it is simply the greatest film to exist.”

Remus continued to laugh, “of course you know her name, oh my god.”

“Okay, our second date should be a movie night, we can watch both of our favorites together,” Sirius said, looking at Remus and pausing, “and decide which is superior,” he finished, eyes narrowed playfully.

Remus felt a small excited feeling in his stomach at Sirius already talking about a second date. “I would love that.” He said sincerely, looking directly into Sirius’s eyes.

“Although,” Remus began with a very matter-of-fact tone, turning to the horizon, “Pride and Prejudice is five and a half hours long.”

“What?!” Sirius said incredulously.

“But it’s so worth it!” Remus reassured. “We can make coffee, it’ll be fine.”

“You,” Sirius said, eyebrows raised, “are ridiculous. But I love it.”

Remus felt that little rush of excitement again. He wondered if he would ever get used to Sirius, and not feel those butterflies anymore. He hoped not.

Their conversation topics included deeper things as well. Remus learned about Sirius’s troubles with his family, and how he was abruptly cut-off financially from them in the middle of his second year of college.

“I had been working part-time at the restaurant, but then I just couldn’t afford the full tuition and the stress so I ended up withdrawing from school,” Sirius explained. “Once I took care of myself mentally and had a more stable life, I started enrolling in the occasional online community college class. I’ll actually be able to graduate with a full Bachelor’s degree in a year, which, I’m already twenty-six, so I know it’s super late, but…” his voice trailed off at the end.

“What, no, Sirius.” Remus reassured him. “That’s amazing, that must have been so hard to accomplish, but you’ve managed to stick with it anyway, I’m, well, you should be proud of yourself,” he finished lamely.

Sirius looked at Remus for a beat before responding. “Thank you, that means a lot.”

“What do you want to do after graduating?” Remus asked, hoping to steer the conversation back to more familiar ground. He was more than willing to talk about something hard if Sirius needed it, but he didn’t want to give patronizing advice on how Sirius should be feeling about his problems if Sirius wasn’t asking for it.

Sirius’s face lit up. “Actually, and this may sound kind of stupid, but I really want to be a Kindergarten teacher.”

“Oh my god,” Remus laughed, “you would be absolutely perfect for that.”

Eventually, Sirius asked Remus about his visit to the restaurant last night. Remus remembered his own emotional state, and that Sirius had definitely seen some of it.

“Um, yeah, last night didn’t really go well for me before you saw me.” Remus began somewhat awkwardly. He explained in vague terms the fact that he had been on a first date with someone who he was not planning on seeing ever again. “But I also deleted my Tinder account last night, so, don’t worry.”

“The steakhouse man was bad enough to make you give up on online dating forever?” Sirius asked incredulously.

“Oh, no, actually.” Remus answered. “I only officially deactivated it after you texted me.”

***

Sirius was ridiculous. He was absolutely determined to make Remus laugh, even if it was by doing something stupid himself. After Remus accidentally stumbled on a protruding sidewalk curb, Sirius dramatically flung himself against a telephone pole. As they walked past the Space Needle, Sirius insisted on photobombing every tourist he could, and then made Remus take photos of himself copying their poses, either pinching the top of the Space Needle or kicking it.

There was a youthful energy in Sirius’s everyday motions, it seemed to Remus, and it successfully brought out Remus’s own youthful side. Their morning coffee turned into lunch, where they ordered sandwiches and one gigantic brownie to share. After Sirius told a joke that left Remus almost crying in laughter, Remus decided it was time.

“So, I feel like I have to say this.” He began, then gave a sheepish smile. “I kind of hate tiramisu.”

Sirius cackled, “I knew it!”

“What?!”

“I realized you didn’t like it after the first time I brought it to you. But I didn’t know what else to do to get your attention, because for some reason that’s the only dessert we sell!”

“So you brought me green beans instead?”

Sirius waved his arms defensively. “I was smitten, Remus. I didn’t know what to do.”

Remus just smiled.

***

Sirius didn’t have to be back at the restaurant until his shift started at 5, so on their way back from lunch they took the scenic route. They were walking in comfortable silence when a clap of thunder sounded overhead. Suddenly, sheets of rain began dumping from the sky.

Remus’s first reaction was to look for a taxi, or duck into a storefront, or hide from the weather somehow. But, Sirius let out a whoop of pure excitement.

“YES, it’s raining!” Sirius said, turning to grin at Remus.

“This is Seattle, it does that a lot–” Remus started, but was cut off when Sirius grabbed his hand, and pulled him, running through the rain.

Remus looked at him in astonishment, before he laced their fingers together and ran faster. If he felt light before, at the start of their date, now he felt weightless. Pure joy flowed through him as the sky continued its downpour and Sirius spun him in a sloppy ballroom dance twirl, their hands still linked.

On the middle of a small pedestrian bridge spanning a roaring creek, they stopped running. Panting from the run, cheeks flushed from the adventure, and completely soaked in water, time stopped as Sirius turned to face Remus.

“I really want to kiss you right now,” Sirius breathed.

“Good,” Remus said, and closed the gap.

***

One month later, Remus found himself in a successful LTR.

[muffin-n-waffle]

Random and out of the blue ask, but I'm looking for some Period Dramas to get into; do you have any good recommendations?

I would be more than happy to give you some recommendations! Since I’m not sure if you want films or just tv series, I’ll give you a bit of both.

Films:

Pride and Prejudice 2005: No surprise to anyone who has followed me for a long period of time here, but this movie was probably one of the first period dramas I ever watched. It’s a film that got me into the genre, and it remains one of my favorites to this day. I can rewatch it several times within a year, and every single time I’m taken aback by just how beautiful it is. Considering the title, I don’t think it needs much of an explanation. This is simply an adaption of Jane Austen’s Pride and Prejudice. 

Sense and Sensibility 1995: Another Jane Austen adaptation. I believe there’s a 2008 version of this as well, but so far I’ve only ever seen the 1995 one. 

The Duchess: This follow the life of the !8th century Duchess of Devonshire. Really it’s got everything you need; drama, costumes, and Keira Knightley. 

Belle: This film was inspired by the portrait of Dido Elizabeth Belle, and follows her life as a mixed race woman living in 1761 England after her father’s family has taken her in. The acting is wonderful, the costumes are pretty, and it’s got everything you could need in a period drama. 

Maria Antoinette: A period drama about, well, Marie Antoinette. The aesthetics in this one is amazing, though I know it throws some people off due to the american actors, as well as the director’s choice to use some pop music in the soundtrack, but this is ultimately the story about a teenage girl suddenly given the power of a queen, so what’s more fitting an anthem than boppin pop? 

Bright Star:  A period film about poet John Keats, and Fanny Brawne, the woman he fell in love with in 1818. This one wasn’t my favorite, but it was romantic, and pretty to look at. 

The Scandalous Lady W: Based on the life of Seymour, Lady Worsley, who was a scandalous and wealthy heiress in 1781. The costumes in this are killer, and I remember having a lot of fun watching it. 

Jane Eyre 2011: An adaption of the novel by Charlotte Brontë. This one is super gothic, and perfect for the upcoming spoopy season. Can’t say it’s really a favorite of mine, but I don’t regret watching it. 

Becoming Jane: Partly based on the book, Becoming Jane Austen, by Jon Hunter Spence. This film follows the early life of Jane Austen, and we watch as she writes, but also falls in love. It was a sweet movie, and there’s this scene that happens in a library that I just adored. 

Tv Series: 

Harlots: One of my favorites on this list, and can be found if you have an account on hulu. This takes place in 1786 London, and is inspired by The Covent Garden Ladies by Hallie Rubenhold. Obviously this features the lives of Harlots, and shows how sex workers were kicking ass and taking names at the time. There’s a lot of drama in this one, and it’s so easy to binge. 

The Marvelous Mrs. Maisel: An Amazon Prime series, and another favorite of mine. This one takes place in late 1950′s New York, and follows a housewife in the middle of a divorce who decides to take up stand up comedy. 

Miss Fisher’s Murder Mysterious: It’s 1920′s Melbourne, Australia and Phyrne Fisher is solving all the mysteries while also having an incredible sex life. This is one that I haven’t gotten around to finishing yet, but I did enjoy what I saw. 

Call The Midwife: Adapted from Heidi Thomas’ memoirs of Jennifer Worth, and takes place in 1950′s of London’s East End. I’m not up to date with the newest season on Netflix, but this is just a nice, feel good kind of show, at least when it’s not breaking your heart. 

The Paradise: This one was only given two seasons before it was canceled by the BBC, though so far I’ve only seen season 1. This takes place in 1875 London, and shows the ins and outs of one of the first department stores, and all the people who work there. 

The Young Victoria: Follows the life of Queen Victoria, and so far only has two seasons I think, but once again I’m not caught up with it. This one is pretty and well acted, but I found it kind of slow in my opinion. 

North and South: A miniseries by the BBC, based on the novel by Elizabeth Gaskell, and is the love story of two very different people that takes place in the middle of London’s booming Industrial period. 

Pride and Prejudice 1995: Another miniseries by the bbc, and a lot of people’s favorite adaption of Austen’s novel. I enjoyed this version too, but the 2005 version still remains my favorite. 

Okay, so this list became more extensive than I might originally have intended, but I think this is a good starting off point. There’s definitely still a ton of period dramas that are on my ‘to watch’ list, and I know there are probably a few more I’ve seen that I’m forgetting to mention here. 

[austenmarriage]

New Post has been published on Austen Marriage

New Post has been published on http://austenmarriage.com/get-out-the-popcorn-its-time-for-movies/

Get out the Popcorn. It's Time for Movies!

Enough people had commented on the two new Jane Austen adaptations earlier this year that at first I decided not to. However, lots of people are binge-watching shows during these plague weeks. The movie Emma has moved directly online, where it’s available for a fee; and the Sanditon series is still available on demand. Seems like now’s a good time to provide a critique.

Emma. It’s fun. It features a lot of Austen’s dialogue, which is usually better than what is substituted in many scripts. It plays the comedic scenes really well. In the novel, Emma’s self-importance and matchmaking mistakes are balanced by her personal warmth, her care for her ailing father, and her general good works. No room for the warm side in the movie, leaving Emma, played by Anya Taylor-Joy, as a person who is sharper and cooler and funnier than in the book.

Mr. Knightley is an interesting casting choice. He’s supposed to be tall. Played by Johnny Flynn, he’s not, but he otherwise fills the role admirably. Enough humor to balance the gravitas. He’s not as remote as the original can seem. Flynn also looks too young, but he’s thirty-seven, the same age as Austen’s Mr. Knightley. Taylor-Joy is just twenty-three, compared to the book’s twenty-one. It’s nice when the ages of the actors match the ages in the book.

Bill Nighy is too spry for the father in the novel but good for his role here, a couple of brief comedic turns. Miranda Hart as Miss Bates is terrific as a prattler with the build of a football player. The other players check the boxes for their roles.

My one problem with Emma casting continues. Harriet Smith is supposed to be drop-dead gorgeous and have “soft blue eyes.” Harriet’s beauty and good nature offset her dim wit and questionable birth, making it possible for her to move up socially. So Emma thinks. But in movies, no director wants another actress to compete with Emma’s glow. Consequently, Harriet is usually dressed down and drab. So it is with Mia Goth, who is “pretty” in Austen terms, but no beauty. She also has brown eyes.

According to experts, the costuming is the best to date of any Austen film. In addition to being beautifully done, the styles are correct for the time. Often, the dresses will be a generation or two out of date or premature. Worth watching for the costumes alone. Even my wife, who’s not a fan of the Empire style, praised the looks.

The only thing at odds with the novel is the portrayal of the marriage between Knightley’s brother and Emma’s sister. In the book, they’re just busy with a bunch of kids, and the brother doesn’t cater to the whims of Emma’s father the way Knightley does. In the movie, the couple squabbles constantly. They don’t occupy much screen time, but it’s unclear why the change was made. Perhaps because they didn’t have much else to do. Their role is minor in the book and even less in the film.

The only other non-canonical element is that Emma gets a nosebleed at a certain point. Some people complain. It didn’t bother me. It’s a physical manifestation of her emotional state.

If you generally like period films, you’ll enjoy it. If you’re an Austen fan, it’ll be a hoot.

Sanditon. This is Andrew Davies’ effort to flesh out Austen’s barely begun novel of that name. Davies is highly regarded for his 1995 Pride and Prejudice BBC adaptation starring Jennifer Ehle and Colin Firth. It’s probably the most popular video presentation of any Austen novel. He’s done dozens of other period movies in his long career, and his Sanditon series was awaited with great anticipation.

Consensus to date is that it was a nice Regency miniseries (eight shows) but it wasn’t a Jane Austen-like continuation. Too modern. Too much bodice-ripping. Several scenes contain overt sexuality, and one major taboo seemed to have been broken. These things didn’t bother me. Austen has naughty bits, they’re just always offstage.

I just don’t think Davies did much with Austen. The story is of the Parker family, which is trying to create a hot new beach resort from a sleepy old village. Austen got no further than laying out the setup and introducing the main characters. We can probably guess that Charlotte Heywood, played by Rose Williams, and Sidney Parker, played by Theo James, will be the happily-ever-after pair, but we don’t know.

Rose Williams, as Charlotte Heywood, has the busiest and most nuanced role, but she can’t overcome the tepid script. (ITV)

Charlotte is in many scenes, and Williams has the most varied set of emotional reactions and responses to work with. She’s plucky like Elizabeth Bennet in Pride and Prejudice but has some of the softness and trusting nature of Lizzie’s older sister Jane. Williams carries off the country day dresses with confidence and the ballroom gowns with bewitching innocence.

As I’ve written before, the wildcard is that we don’t know what Austen intended for Miss Lambe, a wealthy “half-mulatto” teenage girl who begins as the target of the avaricious Lady Denham and her nephew Edward. Would Miss Lambe be an exotic piece of the background? Would she become a Harriet to Charlotte’s Emma, a secondary character any sympathetic reader would care about? Or—surprise—is she the actual heroine? Unknown. Davies gives her the sidekick role, though her situation is so constrained that the character, played by Crystal Clarke, often has nothing to do but look or speak unhappily.

Davies also introduces another young swain who isn’t in the book. Is he the real hero and Sidney Parker a feint? Enough other male characters exist, and enough is unknown about the direction of the novel, that any of them could have been converted into the role taken by Young Stringer, played by Leo Suter. He’s the most likable man and the most compatible with Charlotte, it seems. But adding still another character is unnecessary.

Davies repeats motifs from other novels. Early on, Charlotte takes charge after an accident, very much like Anne in Persuasion. It seems as though there’s an incident in every installment based on another book. Davies’ intent was to pay homage to Austen, but it feels like repetition. Davies seems to want to out-Darcy Darcy in his presentation of Sidney Parker. Despite James’s efforts, Parker is more unlikeable than unreadable, which was ultimately the case with Darcy.

I’ll leave it to viewers to point out the many other similarities to Austen’s other works. Too often, the characters seem to know they’re reenacting rather than acting, with lackadaisical results.

Dialogue is part of the problem. Charlotte and Parker have some wicked exchanges, the first one at a ball. But other times, Parker is just rude rather than witty. Each episode is followed by comments by the actors and by Davies about the series. In one, Davies talks about how easy it was to write the dialogue. I thought, yeah, that’s because it’s easy to write bad dialogue. Very little of it had anything resembling Austen’s sparkle.

One couple that did work was Esther Denham and Lord Babington. Esther is (we assume) a minor character in the novel. Lord Babington is a new creation. Their back-and-forth is interesting because Esther, played by Charlotte Spencer, is not as cold and heartless as she seems, and Babington, played by Mark Stanley, is smarter, more thoughtful, and more determined than he seems. Their story being original, Davies comes up with original material. Where other couples lack energy, Esther and Babington breathe fire. Well, Esther does. Lord Babington proves worthy in his battle with the dragon.

Finally, Davies left a few matters to be tidied up. However, the British broadcaster, ITV, said it did not plan to renew the franchise. It seems unlikely that the U.S. partner, PBS, might find someone else to carry on. The series got mixed reviews. Like the novel, and like the town of Sanditon itself, the miniseries ends up feeling unfinished too.

—

The Marriage of Miss Jane Austen, which traces love from a charming courtship through the richness and complexity of marriage and concludes with a test of the heroine’s courage and moral convictions, is now complete and available from Amazon and Jane Austen Books.

[shg11]

Image caption Ghostwatch's creators wanted to break television boundaries - but they did not predict its impact on viewers

It was billed as a drama, but many of Ghostwatch's 11 million viewers were taken in by the BBC's fake investigation, which in one tragic case led to a teenager taking his own life. On its 25th anniversary, his parents and the creator of the show talk about its impact.

It's Halloween night in 1992, and families across the UK are excitedly huddled around the television.

Saturday night TV is at its peak - Gladiators has just premiered on ITV, Casualty is enjoying its seventh series and Noel's House Party is pulling in 15 million viewers a week.

But tonight's big draw is the BBC's heavily-promoted Ghostwatch, a supposedly "live" investigation into paranormal activity being recorded at a family home in Northolt, north-west London.

The programme was the brainchild of horror writer Stephen Volk, who had originally conceived it as a spooky six-part drama, but who was instead asked by producer Ruth Baumgarten to create a 90-minute ghost story for the broadcaster's Screen One series.

"I said to her, 'why don't we do it instead as an investigation, a mystery story - pretending it's a live transmission from a haunted house?'," Volk recalls.

"I remember that moment very clearly, when she was really excited by that."

Image copyright Denham family

Image caption Martin Denham, pictured on his 18th birthday, "became entranced with talk of ghosts"

Volk's idea was arguably visionary, years ahead of today's scripted reality TV shows, where the likes of The Only Way Is Essex routinely blur fact and fiction.

The script went through numerous rewrites as TV executives continued to be confused by the concept.

"There was a lot of head-scratching and puzzlement when Baumgarten had meetings with people trying to explain what we were trying to do," he remembers.

"They didn't get it when they read it, why it was written in this peculiar way. They didn't understand how it was going to work."

Image caption Michael Parkinson was among a host of familiar, trusted faces on the programme

The team wanted to push the boundaries of reality even further. They didn't want it fronted by conventional actors - they wanted familiar and friendly TV personalities to bring the story to life.

Michael Parkinson, one of the BBC's most trusted faces, was asked to present it. Alongside him was popular children's television presenter Sarah Greene, together with her husband, TV and radio host Mike Smith - a fact Volk calls a "happy accident".

"It was offered to Sarah [initially] and Mike - I think - happened to read it over her shoulder and said "can I be in it [too]?'

"I quickly thought, 'this is a real bonus'," says Volk.

It was groundbreaking television in many ways - from the infra-red, heat-seeking camera used to "spot" ghostly activity to the pixellation of an interviewee's face.

They also used videotape, instead of the typical 16mm film, to make it look more homemade.

Though the production team wanted it to look realistic, shortly before its transmission the programme featured on the cover of the Radio Times, inside which it was explained it was a drama.

But not everyone read the Radio Times. And when Ghostwatch aired at 21:25 GMT, there were consequences the corporation had not foreseen.

Image caption The show centred on the fictional Early family, of Northolt, Greater London

In Nottingham, April and Percy Denham were sitting down to watch the programme together with their sons, Martin 18, and Gavin, 14.

The pair recalled how their elder son became more and more agitated throughout the broadcast.

"He sort of curled up while watching it. We asked if he was alright, but he seemed hypnotised by it," says Mrs Denham.

Ghostwatch's viewers were invited into "the most haunted house in Britain", where Pamela Early and her two daughters were being spooked by a poltergeist.

The nation was told a team of researchers had spent the last 10 months investigating the mysterious movements of a ghost named Pipes - so-called because it kept banging on the water pipes.

In the studio, Parkinson urged viewers to phone in with their own ghost stories on 081 811 8181 - the standard number for BBC phone-ins at the time, used on shows including Crimewatch and Going Live!

As Greene followed the paranormal activity around the house, the tension mounted and the Early family were subjected to increasingly terrifying experiences as the spirit of a dead man apparently entered the children.

Image caption "Pipes" the ghost was filmed causing havoc in the suburban family home

By the end of the show the ghost had "seized control" of the TV cameras. At the Early's house, paramedics and police were seen arriving, and Greene, who was trying to locate one of the possessed girls, disappeared into the blackness.

Back in the studio, the floor was deserted apart from a dumbfounded Parkinson.

But behind the scenes, the Ghostwatch production team were enjoying celebratory drinks as the programme aired.

"Ruth [Baumgarten] arrived with a white face and said the switchboard had been jammed at the BBC," Volk says.

"I kind of laughed lightly and she said very seriously, 'no, they really are jammed with people very irate'.

"That was a bit of a 'gulp' moment."

Image caption Viewers were used to seeing Sarah Greene fronting children's television shows

More than 20,000 people had tried to get through to Parkinson at one point during the programme.

Many of the viewers were children, who had been left traumatised by what they thought they had witnessed.

"I think three women who were pregnant went into labour that evening," says Volk.

"A vicar phoned in to complain that even though he realised it wasn't real he thought the BBC had raised demonic forces.

"It was partly that it scared people, but the complaints were actually more that the BBC had made them feel like mugs.

"People felt the BBC was something they could trust, and the programme had destroyed that trust."

In its wake, a tide of anger rose against the BBC, which received thousands of complaints.

Image copyright Lesley Manning

Image caption The Ghostwatch team were together as the programme aired, unaware of the reaction building around the country

Meanwhile, in the days that followed the broadcast, the Denhams noticed a change in Martin.

The radiators in their house had a habit of being noisy when warming up and Martin suddenly asked to move bedrooms, though he never explained why.

"He seemed entranced with the talk of ghosts," Mrs Denham remembers.

"He seemed a bit upset because things were happening at that time in the house that had been happening [on Ghostwatch]. The pipes were banging," his stepfather adds.

Five days after the broadcast, Martin killed himself. A note in his pocket, addressed to his mother, read: "If there is ghosts I will now be one and I will always be with you as one".

The Denhams learned of his death when police came to their places of work.

"I went crackers," Mr Denham says. "I started swearing. When I heard about the [contents of] the note, I knew it was that programme."

Image caption Martin Denham had everything to live for, his parents say

A judicial review the Denhams fought for led to an investigation by the Broadcasting Standards Commission, which concluded the corporation had "a duty to do more than simply hint at the deception it was practising on the audience".

There had been a "deliberate attempt to cultivate a sense of menace", it added, and the BBC issued an apology.

The passage of time has seen the Denhams's anger cool a little, although they do not watch BBC channels, or anything that features Michael Parkinson.

"There's nothing you can do. I've just let it go now, but it's still there," Martin's stepfather adds.

"It's still just one big mystery and he isn't here so I'm not able to ask him," Mrs Denham says.

"Martin was happy. He had never had any problems - he had got a girlfriend and a job and had got everything to live for.

"Even though he was a slow learner he had done well for himself. He had everything going for him and then it changed just like that."

Image copyright Radio Times

Image caption Ghostwatch was heavily promoted in the run-up to its broadcast

Volk declined to comment on Martin's death out of respect for the family.

But he says he had expected a very different reaction from viewers.

"I think it was 11 million that saw it and you can't think of all those people as individuals," he says.

"I was, I guess, writing for myself - aged between 12 and 14 - and I thought of myself watching and thinking, 'well this is interesting, I don't believe it, but I get that this is a drama done in a certain way'.

"That's the basis on which I thought most people would [see] it.

"There was a vast span of different reactions to it, from people who didn't believe it for a second and people who believed it all the way through, and everything in between."

Image copyright Tom Parker

Image caption Stephen Volk was awarded a BAFTA for his work in horror

The aftermath meant the BBC distanced itself from Ghostwatch.

Volk says he would have liked to have explained his intentions as a writer with the broadcaster far sooner than the anniversary DVD a decade later allowed.

"I think if the BBC had maybe not shut it down so completely, there might have been an attempt to have a conversation about it," he says.

However, when 12-year-old viewers who saw it the first time revisited it 10 years later - in conjunction with the emergence of the internet - people openly started to discuss the programme.

"Suddenly we found a whole pile of people who did like it, they enjoyed it, thought it was challenging and all the things we wanted it to be," Volk says.

He remains proud of Ghostwatch, the first project he did for television.

Volk went on to write an episode of Ghosts for the BBC in 1995, created ITV series Afterlife starring Andrew Lincoln and Lesley Sharp, and was also behind the 2011 film The Awakening.

"The best result [was] people coming up and saying 'I had to sleep with the light on for three weeks but it got me into film-making' and some have said 'it got me into horror'," he says.

However, he tends to agree with acclaimed author Ramsay Campbell on pushing the genre's boundaries.

"I'm a great believer in what he said about horror, and that is that horror is sometimes the business that goes too far."

Additional reporting by Lisa Wright

Read more: http://www.bbc.co.uk/news/uk-england-41740176

[paharvey99]

No Waitrose October 4

Day 14

Saturday today, everyone’s favourite day of the week. Unless another one is your favourite.

I got up this morning with my daughter and put the telly on as I got her dressed. Our telly takes an age to come on because of some eco-setting we have it on, so you have to put it on about five minutes before you actually want to watch something. I was putting the telly on because my daughter needed her fingernails cutting, and research has shown that it’s easier to cut her nails if you distract her with the telly.

I put Netflix on, which is always a mistake, as there’s never anything I want to watch on Netflix. I put it on the children’s setting, assuming that I’d be able to find something I could tolerate for half an hour or so. It looked like my search was going to prove fruitless, until I happened to notice, hidden among endless programmes about mermaids and pirates and dinosaurs, the 1995 BBC adaptation of Pride and Prejudice. Obviously, I stuck it on. My daughter was well into it, sitting rapt for a good half hour. The only thing was, she seemed to be enjoying it so much I decided not to spoil her appreciation of Colin Firth smouldering all over the place by attempting to deweaponise her talons.

The person I live with got up and was also excited to see Colin Firth, and then we had some breakfast. We then spent a few hours tidying the flat, as we are having a load of windows fitted next week and we have to make sure the window people are able to get to where the windows are.

We then had a BHS café sort of a lunch – fish fingers, potatoes and peas – before I took my daughter out for the afternoon while the person I live with got on with some work.

I knew my daughter would need a nap later on, so I decided that we’d go to the park first and go on the swings. She loves the swings, so we did the swings for about half an hour. There’s not much else in the park that she’s really big enough for yet, so I put her back in the sling and headed off to town. I walked into town past our old flat, just to have a nosey, and bumped into our old neighbour and stopped to have a chat. Immediately it became clear this was a mistake, as we never had anything to talk about when we lived in the same building, so why would we have anything to talk about two years after I moved out? We had an awkward chat for as short a time as politeness would allow, and then went our separate ways.

Walking down the hill from the old flat, I noticed the Londis had closed. That Londis was the closest shop to the flat, and therefore a source of emergency bread, milk and toilet roll. I used to chat to the woman in there; we became friends after I rented a parking space from her daughter when we first moved to Brighton. I only used the parking space for about two months, but the woman in Londis asked if the parking space was okay every time I saw her for the next three years.

I’ve probably written about that Londis in previous No Waitrose Octobers, but I can’t be bothered to go and check. Anyway, I am sad to see it is no longer there; not a good shop, but a close one. Until we moved.

Further down the hill I went into the expensive organic deli for a cup of coffee. Everything in the expensive organic deli is expensive, apart from the coffee. I got a mocha, but the woman who made it didn’t stir the chocolate in properly so it was just a milky coffee for the most part until I got to the bottom and there was a rich seam of pure chocolate. I thought it would be a nice treat, but it was a bit much.

I then went to the bookshop and bought the person I live with a copy of The Duchess of Malfi, as she had asked me to buy her a copy of The Duchess of Malfi. I found a copy of The Classic Food of Northern Italy by Anna Del Conte in the same bookshop, so I bought that too.

Feeling in a purchase-happy sort of a mood, I then went to the record shop, which was a dangerous thing to do. I bought the new St Vincent album and the new Courtney Barnett and Kurt Vile album, as I wanted to listen to them. While I was in the shop they were playing some music that sounded good, and I heard about three songs and they were all good, so I looked at the “Now Playing” sign and it said it was the new Beck album and I bought it. Just like that. I even managed to overlook the fact that I hated the only Beck album I have ever bought. Like I say, I was in a positive, buying things kind of a mood.  

My next stop was the bank, where I checked my balance and immediately came out of my positive, buying things kind of a mood.

Leaving the bank, I could tell my daughter was about to go to sleep at any point, and I knew when that happened I’d be stuck wandering around for at least 45 minutes unable to go in any shops. So I decided to get a snack to sustain me during my sleep-enabling wandering.

I went to a place called BeFries, which is a newish place that specialises in Belgian fries. That’s all they sell: Belgian fries and dips. And beer, I think. The reason I mention it is because it is really good. You know how when you get a bag of chips there’s usually only one or two that are absolutely perfect? Well at BeFries all of the chips are perfect, every single one. It’s crazy. They have big diagrams explaining how they do it on the walls of the restaurant, but I didn’t look at them as I don’t like to shine light on magic. I had my delicious chips with German curry ketchup dip and walked along the front and my daughter fell asleep.

An hour of wandering around later she woke up and I went to the Tesco at the end of the street to buy things for tea. I’d already decided I was going to roast a chicken, but having had a load of potato for lunch and for an afternoon snack, I couldn’t face a third helping of potatoes, even though roast potatoes is the obvious thing to have with roast chicken. Instead I roasted some peppers and spring onion with the chicken and put them in some cous cous along with some dried apricots and cumin and cinnamon and peas and lemon. It was nice. We had a cup of tea and a Choco Leibniz for afters and watched two episodes of dreary Kiefer Sutherland vehicle Designated Survivor.

I’ve got to the end of the blog now, but I also meant to mention that I gave my daughter a bath and I put Boyzone on during her bath and I discovered that I find it very easy to sing along with Ronan Keating. We must have a similar range. I was singing along to Boyzone’s version of Words with some gusto, and it must have been a particularly inspirational rendition, as my daughter chose that moment to stand up unaided in the bath for a few seconds. It’s not the first time she’s done it, but it is still enough of a rarity for it to be of note when she does stand up, so I have noted it.

Incidentally, how many covers did Boyzone do? Love Me For A Reason, Words, Father & Son, Baby Can I Hold You… they’re all covers. They’re all good though. I even quite like Picture of You, which is literally a song about being friends with Mr Bean. I know Boyzone aren’t as good as Take That really, but they are a lot more likeable, aren’t they? Purely because they don’t have Gary Barlow in the band.

Gary Barlow is awful.

Didn’t go to Waitrose.

[chaoticpolicecollective]

On touring Europe, making a new show each time, and learning their craft all the time. check the body language, how Dean touches J (her breast, knees, how they’re sitting).

JT: CHris is the more creative one with with a show in their own style

I would be scared to try anything new because I was afraid of hurting him.

CD: we had the blade though the hand, we had the blade through the head

4:40 on the question of the relationship off the ice CD says taking JT’s hand: we were going to make the announcement tonight but just before the programme we had a steaming row so we decided to put it off. <Audience laughs>

6:30 TW : how many more years can you go on?

7:17 song, TW: It’s a number one in Albania. Is that what you’re going ot do now?

JT <seriously>: This was his therapy after the car crash, he was very very bored, and he felt that the only thing he could do was to sing, and that’s what we did.

(Accident in ‘Dancing on ice”: https://www.youtube.com/watch?v=bKK6c_hd9Y8 )

10:12 CD: we wont take part in the olympics because everything we do in the routine is illegal

In dance you can’t touch this part of the body, you can’t spin, you can’t do this sort of lift. IT’s stricter, more contained, it’s ice dancing. And since then we’ve gone on to hold all those bits, and do all those buts and we enjoy doing it and we don’t want to let it go of it.

Interview 1995 (with Chris being late https://www.youtube.com/watch?v=_PIyV1xCyKs

They’ve written a book

Host: Chris is stuck in traffic. Mind you I think you’ll be able to dine out on that

JT: I am. I’m having such a hard time. He’s always the one who’s exactly on time: saying ‘you won’t be late, you won’t be late’. If anything it’s me who’s a little bit late’

When we received the MBE he actually told me the wrong time so that I could get the earlier, so i’d be actually on time.

H: Tell him to get his skates on.

1.13 - About the book:

H: It’s a wonderful insight to .. How does it feel that, you know(raises the book) here’s my life, up till now.

JT: we often thought that, you know, this is it, we had to pout it down in writing, we tried ot be as acutrate with everyting, trying ot be as open...because you know this is an account of our lives to date. WE wanted to take time. It actually took as about a year to when we started talking about it. And w e had written a book previously but it was up until 84, and it felt like we’ve done an awful lot since then as professionals and we also wanted to talk about ourselves as people. Eveeyrone is always asking about our relationship, how that works and how we spend so much time together, what’s it like, is it like brother and sisiter or like a marriage (face). It was hard, we dont really know but we tried to speak about iti n the book to see if people can understand that a little bit more.

h: I mean the speculation about that was unbelievable at one time. You laugh about that now?

JT: Yes, at the time it was very frightening and overwhelming, we didnt understand why peopel wanted to know that, information about our private lives and we thought that people will be interested in the actual skating. At the time it was frightening but we learnt to handle it. IT woudl be like:

H: it’s this crossover between sport and show business at the end of the day.

about the book - to everyone who want to knwo truth not hte mysths.

3.30 - Chris arrives (body language)

CD: THe traffic is against us this mornign.

JT: Anyway, I’m doing fine, I’m ding fine (she sits on him to cover him up)

skating , roller blading, skiing, worried abut breaking anything

5.02 H: 1994 Winte Olympics, you put yourselves through it, you put us all thorugh it, I think the viewing fugures were as high as the royal wedding or somethign like that. HAve you ever thought, why, why are we doing this, why are we putting ourselves through this

JT: Well, I think when we stepped on for te final performance, that moment of waiting, the tension is awful

Going on competitions gives usa chance to choreograph something new. It’s nice to work on new pieces.

Late Late Show 1995 https://www.youtube.com/watch?v=BPkBMuXUUu4

2.00 H: I noticed you’ll be perfroming in Dublin on Friday 13th, Are you peolpe  s....

CD: It’s Jayne’s choice, she likes numbers like that

JT: I like 13. Like they say ‘unlucky for some’ so..I consider it lucky myself

Yo Yo MA: celoist: Bach Cello Suite #5: https://www.youtube.com/watch?v=lF5oY-_AT3s

Allemande: https://www.youtube.com/watch?v=lF5oY-_AT3sy

Bach wanted to meet Handel. Here’s T&D choreography to Bach.

Labour of love, not for competition, for the beauty of the movement:  https://www.youtube.com/watch?v=lF5oY-_AT3sy

BBC - Face The Music - The Return of Torville and Dean: https://www.youtube.com/watch?v=lF5oY-_AT3sy

Streets named after them, and Bolero Close

Honour Degrees from Nottingham University

1.15 - CD (saying a joke): What’s the definition of the intellectual’? Someone who can hear the William Tel Overture without thinking of the Lone Ranger. Well let’s try this one shall we (hums Bolero)

1.35 Since then anxious questions have been prompted by (the art): surely this isnt sport. Is that art? HOw can they re-enter the Olympics.

1.48 Enter the olympics in Norway next year (1994). Their return was made possible due to the change of rules about the competing styles

2.50 They hired the ice rink (in Milton Keyns) for 4 hour a day 6 days a week to work on the stepr for Rumba and their 3 min free dance on which their comback will be judged.

3.20 CD: Each day w’d work on a section and the next day we’d double it ...then break it up again

5.00 (comments during perfecting a move)

5:35 JT: ‘We’ve used the video in the past quite a bit but we probably never used it this early on

9:03 - JT: He’s very forceful, very dominant, and if i was the same character we’d have too many clashes. But in a partnership you need somebody to be the driving force.

CD: And i think it’s part of what i do, i keep pushing. ANd ok, if i see a mistake or feel the mistake umm and if it is Jaynes Mistake, i’ll tell her. And if it’s mine I’ll tell her that she’s made a mistake too. (laughs)

JT: I’m pretty sort of easy going person, I’m very, usually placid and I need someone to fire me up, to get me going sometimes and he’s always liked it

10.45 JT: Of course I have a different rapport with Phil, my husband, when oyu meet someone you fall in love with .. there’s a magic element that attracts you to each other (Phil is a soudn engeneer from CHicago ,working with Genesis, JT tripps over the leaves - ‘I thought you’re supposed to be well coordinated’)

CD: about being in love with Jill (partner) and previous marriage break up (both ice skaters)Will you get married

11:45 CD: We knew it wouldnt work to work and be partners in live

14:52 Reneissance of dancing put back into skating (hence ‘Face The Music and Dance’)

15.00 - COMMERCIAL ASPECT: Agent / costs/ making 1 million punds if they do win, merchanduse, endorsements,very marketable comodities, they need to come back to hog the headlines

19:45 About wearing lycra and friend disapproval. You can get away with wearing anythign these days 20:30 about measuring the costume for Chris

21:10 It’s about steps and what our bodies are doing, they’re not so twisted.. its about the firs time a man to hold of a woman and started dancing wiht her instead on hi own.

22:00 Costumes from Jayne. You need to have 3 outfits. 1 for practices in character, looking like oyu could wear it. One you’re there you’re on display, on the first day of practice you need to show the judges, have all the bits right. Have flattering shape of the costume and the less material - the colder it is

22:50 - 2 ment (Chris & Trainer) talk about Jayne’s expression - storng but where did the coyness go. (and later) I love her expression when she does it. Her eyes are so big.

23:30 (during practicing) JT: Too Fast Too Fast.

CD: Don’t resist me one I started

24:!7 it’s about the presentation now: ‘it’s awkward. When I see Jayne’s arm is so stiff, looks very static to me

25:00 talking about Jayne’s impressions and directing her - how she should behave/ perform aka similar to when M instructs Nicholas in the performance.

25: 58 CD: ‘there’s a girl her who wasn’t born when we won our first championship.

JT: Really? Oh Dear.

26:25 JD: We’re really hapy wit hteh draw we got because alle the skater are doing the same pattern in the compulsory dance. It get’s like tram lines out there. Whereas the ice looks smooth to the person watching, to the person skating, it’s like getting caught on lines and other peopel’s edges - you can catch them and get into the groove and it can really throw you off balance27:20 PRACTICE/ talking about the movements, drawing the movement trajectory with a finger in the air - MOVEMENT 28:15 They create the intensity and electricity between them (29:10 Chris’ partner: Jayne is calm and Chris is nervous. That’s how it works. Because I’m in love with Chris I can tell by looking in his eyes whether the smile is forced or genuine 29:50 Applying make up, helping each other with it, trying to stay calm 32:40 MOVEMENT - Post Performance ritual

[the-telegraph-sport-yahoopa-blog]

Football mourns Graham Taylor: Farewell to a gentleman

Graham Taylor, 1944-2017

English football bid farewell on Thursday to Graham Taylor, the manager whose promising career never quite recovered from his England team’s failure to qualify for the 1994 World Cup finals and yet survived the ultimate old-media excoriation with his sense of humour intact.

The death of Taylor was announced by his family, with the 72-year-old suffering a suspected heart attack. Having been held responsible for England’s one failure to reach a World Cup finals in nine editions of the tournament going back to 1978, Taylor’s was a unique position in English football but his love of the game and trenchant honesty won him many admirers.

The failed World Cup qualifying campaign, that came to a head in October 1993 when England lost their crucial penultimate qualifier 2-0 to Holland, was immortalised in the television documentary An Impossible Job, an engrossing fly-on-the-wall exposé of life as the England manager. It was the last time anyone in that position has granted unfiltered access to a high-profile role and preceded the high-stakes, high-income, PR-sensitive modern game.

It was also where Taylor coined some of the most enduring phrases in English football, “Do I not like that”, “Can we not knock it?” and “Hit Les!” His impotent fury as England went down to defeat stood as the template for the struggling, stressed-out football manager of the age and the sharply satirical Mike Bassett films borrowed heavily from it.

Yet for all the exhortations to Carlton Palmer and laments to the linesman about the standard of refereeing in the critical game in Rotterdam, An Impossible Job includes moments when Taylor’s humanity shines through. He admonishes a fan racially abusing John Barnes at Wembley with the withering line: “You’re talking about another human being so just watch your language.” 

Taylor, whose father Tommy was sports editor on the Scunthorpe Evening Telegraph, covering the early days of Kevin Keegan’s career, never held a grudge against the media, even when The Sun put a turnip on his head after England’s elimination from the 1992 European Championship at the hands of Sweden.

From 2003, Taylor worked as a summariser for BBC Radio Five Live covering England games, and travelling with the press pack, some of whom had once demanded his sacking, was courteous, good fun and helpful to reporters. He insisted that An Impossible Job fulfilled its purpose – to show the England manager’s role as well as that of the players, fans and media as it really was.

Credit: rex

Gary Lineker, who was substituted by Taylor during England’s defeat by Sweden that sealed their exit from Euro 92, said his former manager was “an outstanding manager, lover of football and thoroughly decent man”. Playing his last game for his country, Lineker was on 48 goals, one away from Sir Bobby Charlton’s then-record of 49, and was denied a chance to save England and claim his place in the record books.

There was an affectionate, grateful tribute from Elton John, the pop star chairman of Watford in the 1970s and 1980s who appointed Taylor in 1977 and saw him lead the club from the old fourth division to the top-flight in the space of five years, where they finished second in their first season, 1982-1983.

John described Taylor as “like a brother” to him.

“He took my beloved Watford from the depths of the lower leagues to uncharted territory and into Europe. We have become a leading English club because of his managerial wisdom and genius. This is a sad and dark day for Watford. The club and the town. 

Taylor never held a grudge against the the media, despite their treatment of him

“We will cherish Graham and drown our sorrows in the many brilliant memories he gave us. I love you Graham. I will miss you very much.” 

Taylor was 31 when he was appointed to his first management job, at Lincoln City, who he led to the fourth division title having finished a low-key 1960s playing career there. He won four promotions at Watford, and achieved that second place finish behind Liverpool in the first division in 1983.

His team reached the 1984 FA Cup final, losing to Everton.

Although history tends to remember Taylor as a long-ball merchant, his teams were notable for the hard-running, pressing style that is back in vogue. They would put opponents under extreme pressure and he was exacting about fitness levels and discipline. 

He brought through a generation of excellent young players from the Watford youth team overseen in those days by coach Tom Walley.

Among them were Kenny Jackett, Luther Blissett, Nigel Gibbs, Nigel Callaghan, Gary Porter, Steve Terry, Jimmy Gilligan, Ian Richardson and one of the greatest English players of all time, John Barnes. Barnes was discovered by the club in 1981, aged 18, playing at non-league Sudbury Court and was sold to Liverpool six years later as one of the most exciting talents in world football.

That same summer in 1987, Taylor was persuaded to drop down to the second division to take charge of the relegated Aston Villa, winning promotion at the first time of asking in 1988. They narrowly stayed up the following season and then, in 1989-1990, he again finished second in the first division, again behind Liverpool.

Taylor achieved some success as a club manager Credit: rex

Taking over England after they reached the 1990 World Cup semi-finals, he started strongly but an uninspiring performance at Euro 92 meant that the pressure grew. Defeat by Norway in World Cup qualification, and only two to progress from the group, meant it came to a climax in Rotterdam in October 1993 where England lost 2-0 in controversial circumstances.

Taylor’s complaint to the linesman, “The referee has got me the sack, thank him ever so much for that won’t you?” is the stuff of football legend and he was proved correct. He was sacked after the final qualifier against San Marino in November.

Taylor's decision to substitute Gary Lineker cost the striker his chance of matching or breaking an England goalscoring record Credit: rex

He had brief spells at Wolverhampton Wanderers and Aston Villa, with five years between 1996 and 2001 at Watford where he won two promotions to take the club from the third tier into the Premier League in 1998.

After that, Taylor was best known for his work with BBC Five Live where he analysed the struggles of his successors as England manager. Remembering his own travails in the job he was always fair, and he said he never regretted taking the job or the transparency with which he approached it.

He said that at least people could see how much he cared.

            3:09PM

Taylor's CV

PLAYER

1962–1968 Grimsby Town 1968–1972 Lincoln City

Taylor during his Grimsby playing days Credit: rex

MANAGER

1972–1977 Lincoln City 1977–1987 Watford 1987–1990 Aston Villa 1990–1993 England 1994–1995 Wolverhampton Wanderers 1996–2001 Watford 2002–2003 Aston Villa

3:02PM

Gazza on Taylor

Paul Gascoigne has paid tribute to Taylor, saying: "His enthusiasm for life and football was incredible."

Gascoigne was initially dropped by Taylor, which led critics of the manager to say he was unable to handle star players. A run of injuries - including the knee injury he suffered in the 1991 FA Cup final - meant he was unable to play a full part in Taylor's England reign.

Paul Gascoigne at England training with David Platt, Lee Dixon and Graham Taylor Credit: rex

The former Tottenham and Lazio star is trying to beat an addiction to alcohol but spoke fondly of Taylor when he heard the news of his death and passed on his condolences via A1 Sporting Speakers from rehab.

"I'm deeply sorry to hear about Graham Taylor. He will be a miss, and his enthusiasm for life and football was incredible. My thoughts go out to his family," he said in a statement.

2:53PM

'He got the best out of people'

Lawrie McMenemy, Taylor's England assistant manager, has paid tribute on BBC Radio Five Live: "I am really just trying to get over the shock. He was a good, solid fellow.

"He took Watford through all four divisions to second top in the top flight.

"He was ready and capable of doing the England job when he got it. He was a good man-manager, he got the best out of people."

Credit: reuters

2:43PM

Photo memories

There are so many cracking photos of Taylor that leave you smiling simply in response to the grin on his face.

Here he is when Watford manager with Luther Blissett in 1978:

Credit: rex

With Gazza in 1992:

Credit: rex

Leading his England players on a run in 1992:

Credit: getty images

And eyeballing a racing pigeon in 1990:

Credit: rex

2:33PM

More tributes...

Gordon Taylor, a playing contemporary and chief executive of the Professional Footballers' Association since 1981, told BBC Radio Five Live: "It's a real shock. He was a real gentleman. I've known him since we were both 15 at England schoolboy trials.

"It was sad the way that the England job turned out for him, but that's happened to a lot of England managers.

"He was a real quality human being. He cared about his fellow professionals and the good of the game. He should be remembered as a man who added to the game, who really showed his ability as a manager.

"He thought a lot about the game, was in his own mould. I'm proud and privileged to have been able to call him a friend."

Former England international Peter Shilton, who worked as goalkeeping coach in Taylor's backroom staff with the national team, said: "The way he came through from the grassroots at Lincoln all the way to the England job, mark him out as a real football man and I always liked and respected him.

"He had his own style, of course, but he really knew and loved the game and I enjoyed working with him. He was a true football man."

2:27PM

Look at that smile

There is no shortage of wonderful images being shared on social media and this short clip is up there with the best of them.

Look at that smile pic.twitter.com/iTWsAfBS1Z

— Ollie Trenchard (@OllieTrenchard) January 12, 2017

2:20PM

Lovely words from Sir Elton

I am deeply saddened and shocked to hear about Graham's passing. He was like a brother to me. We shared an unbreakable bond since we first met. We went on an incredible journey together and it will stay with me forever. He took my beloved Watford from the depths of the lower leagues to unchartered territory and into Europe. We have become a leading English club because of his managerial wisdom and genius. This is a sad and dark day for Watford. The club and the town. We will cherish Graham and drown our sorrows in the many brilliant memories he gave us. I love you Graham. I will miss you very much. My thoughts go out to Rita, Joanne, Karen and the whole Taylor family. @watfordfcofficial #GrahamTaylor #RIP

A photo posted by Elton John (@eltonjohn) on Jan 12, 2017 at 6:00am PST

2:15PM

More than just a football man

Beyond football, Graham Taylor worked very hard to get Paul McGrath and Elton John through alcoholism. 

Devestated to hear of Graham's sad passing, what a gentleman. In my darkest days himself and Rita were always there for me #RipGrahamAHero

— Paul McGrath (@Paulmcgrath5) January 12, 2017

2:09PM

Returning to his beloved Watford

After his England nightmare, and a brief period at Wolves, Graham Taylor returned for a second spell at Watford, where he recovered his old touch with back-to-back promotions to the Premier League.

This time, however, the Hornets could not avoid relegation and Taylor announced his decision to retire in 2001 - although not before becoming only the third manager to oversee 1,000 league games in England, following Brian Clough and Jim Smith.

Credit: ACTION IMAGES

In retirement, Taylor spent his time working as a television and radio pundit for the BBC while also helping Watford through a period of financial difficulty.

He served as the club's chairman from 2009 until 2012 and a stand at Vicarage Road was renamed the Graham Taylor Stand in his honour in 2014.

Taylor remained a cherished contributor to the town's charity and community events and he was made an Honorary Freeman of the borough in 2001. He leaves his wife Rita and two daughters, Joanne and Karen.

2:03PM

Tributes continue to flood in...

Completely shocked by news of Graham Taylor. Always held him in the very highest regard - the man who gave me my first @england cap. So sad.

— Alan Shearer (@alanshearer) January 12, 2017

A sad day for football Our thoughts are with the family and friends of Graham Taylor May he rest in peace. pic.twitter.com/T5HBd6fuxu

— Arsenal FC (@Arsenal) January 12, 2017

We are deeply saddened to learn of the passing of former @England manager Graham Taylor.

— The FA (@FA) January 12, 2017

We are deeply saddened today by news of the death of our former manager Graham Taylor. RIP Graham. #AVFCpic.twitter.com/QCU1cCzCxN

— Aston Villa FC (@AVFCOfficial) January 12, 2017

Sad news about Graham Taylor . Had so much respect for him . Gave me my premier league debut and I will always be thankful .

— Peter Crouch (@petercrouch) January 12, 2017

1:59PM

Humble beginnings

Taylor began his career in football as a player with Grimsby before having a spell with Lincoln and then moving into management with the latter club.

We are saddened to hear of the passing of former GTFC player & England manager, Graham Taylor. Our thoughts are with Graham's family. #GTFCpic.twitter.com/2ddDuMVtst

— Grimsby Town FC (@officialgtfc) January 12, 2017

1:57PM

Graham Taylor - England manager

It's safe to say Taylor's appointment as national team manager was not everyone's liking. However, early about his lack of major trophies eased when England lost just once in his first 21 games at the helm, but things quickly turned sour at Euro 92 when a surprise 2-1 defeat to Sweden ensured the team failed to make it out of their group.

Taylor was heavily criticised for his decision to substitute Gary Lineker with the score at 1-1.

Credit: GETTY IMAGES

An ageing and injury-afflicted England then failed to qualify for the 1994 World Cup following a miserable campaign that included crucial defeats to Norway and Holland.

Key absentees and unfortunate refereeing decisions certainly played their part but Taylor never extracted the maximum from his most talented players and later admitted the job came too soon in his coaching career. A television documentary, granted behind-the-scenes access to Taylor's final months in charge, revealed in graphic detail the strain he had endured.

1:46PM

The man who worked the Watford miracle

Graham Taylor had gained a reputation as one of the country's brightest young coaches and in 1977 was approached by Watford chairman Elton John, who had initially wanted Bobby Moore, but turned to Taylor on the glowing recommendation of England manager Don Revie.

Taylor was not immediately convinced. After all, Watford were languishing in the Fourth Division, from which he had just earned promotion, and when John stated his ambition for the Hornets to be playing in Europe, Taylor rolled his eyes.

Graham Taylor with Elton John

Hoping to dampen the pop star's lofty expectations, Taylor said it would cost the club almost a million pounds.

"Right, let's give it a go," John replied.

Five seasons and three promotions later, Watford had finished second in the First Division, ahead of Manchester United, and qualified for the Uefa Cup.

It was one of the most rapid and remarkable surges English football has ever seen. Inspired by the young winger John Barnes and a lethal striker in Luther Blissett, Watford beat Arsenal twice, Tottenham, Liverpool and Everton.

They finished runners-up, second only to Bob Paisley's Liverpool, while Blissett ended the campaign top scorer with 27 goals in the league, 33 overall.

Graham Taylor (right) with George Reilly and Les Taylor Credit: ALAN COZZI

Taylor forged a team that was not only successful on the pitch but engaging off it, a 'community club' in the true sense of the phrase in a way that would be unrecognisable today.

Players regularly visited supporters at work, free of charge or any marketing motive, and when Taylor first arrived he took to the streets of Watford to ask fans for their views. At a time when football was plagued by hooliganism, the club stood as a beacon of cohesion and local harmony.

Taylor steered Watford to the third round of the Uefa Cup the following season as well as the FA Cup final, where they lost to Everton, but despite establishing their status in the First Division, they could never match the heady heights of 1983 and he moved to Aston Villa.

1:37PM

Wolves v Aston Villa

Fittingly, this weekend two of Taylor's former clubs will play each other on Saturday in the Championship - Wolves v Aston Villa at 5.30pm. 

1:29PM

Tributes to Taylor

Devastated to hear the news Graham Taylor has passed away. Greatest influence on my career. My condolences to Rita and family

— Tony Daley MSc (@TonyDaley7) January 12, 2017

Graham Taylor: a charming man, and very kind. His time with England might have soured him. He refused to let that happen.

— Paul Hayward (@_PaulHayward) January 12, 2017

Absolutely gutted to hear the news about Graham Taylor - what an absolute gentleman

— Matt Law (@Matt_Law_DT) January 12, 2017

Met him many times - a true gent and entertaining company. RIP Graham Taylor. https://t.co/LyB9PcyWWk

— Brian Moore (@brianmoore666) January 12, 2017

Very sad to hear the news about Graham Taylor. A @WatfordFC legend and an absolute gentleman

— Ashley Young (@youngy18) January 12, 2017

Terrible news about Graham Taylor. My thoughts are with is family #RIP

— Ray Parlour (@RealRomfordPele) January 12, 2017

1:24PM

BREAKING NEWS - Graham Taylor has died

Former Aston Villa and England manager Graham Taylor has died, aged 72.

The Birmingham Mail announced the news earlier this afternoon.

Taylor was a defender for Grimsby and Lincoln City before becoming a manager when he took over the latter in 1972.

He also had two spells at both Watford and Aston Villa - leading both to the runners-up spots in the old First Division - as well as having a stint at Wolverhampton Wanderers.

Taylor was appointed England manager in 1990 and spent just over three years at the helm of the national team.

Graham Taylor life and times