The Daily Woman TX Card

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This TX card is from the 1986, BBC1 drama, The Daily Woman.

Below is the entry from the Radio Times, courtesy of the BBC Genome project.

Thanks to Ann Chancellor-Davies, widow of designer, Gavin Davies, for sharing the card.

“Liz O’Prey, daily woman and mother of two, gets some cash – and uses it to fulfill a dream.

by BERNARD MAC LAVERTY
Music NIGEL HESS
Film editor OLIVER WHITE
Photography MIKE WILLIAMS, Designer GAVIN DAVIES, Producer CHRIS PARR
Director MARTYN FRIEND

Contributors
Writer: Bernard Mac Laverty
Music: Nigel Hess
Editor: Oliver White
Unknown: Mike Williams
Designer: Gavin Davies
Producer: Chris Parr
Director: Martyn Friend
Liz O’Prey: Brid Brennan
Mr Henderson: Denys Hawthorne
Max Callisher: Christopher Malcolm
Eamonn O’Prey: Colum Convey
Mrs Henderson: Doreen Hepburn
Liz’s mother: Trudy Kelly
Dinner guests: Oliver Maguire
Dinner guests: John Keyes
Dinner guests: Linda Wray
Dinner guests: Olivia Nash
First security woman: Carole Scanlan
Second security woman: Sarah Jones
Taxi driver: Dick Holland
Receptionist: Eleanor Methven
Housemaid: Brigid Erin Bates
Barman: David Coyle
Babysitter: Tracey Lynch
Ciaran O’Prey: Claran Fenton
Susan O’Prey: Susan Dorothy”

http://genome.ch.bbc.co.uk/36f28753fb7c4f5a80c0bf5850446e07

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Martin Chuzzlewit script front page

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This is the script front page for the 1994, BBC2, drama serial: Martin Chuzzlewit, adapted by David Lodge from Dickens’ original. Chris Parr was the producer, and Pedr James the director. This must be an early version of the script, because not all the crew are named. The rehearsal period was about ten days, in Acton, with filming taking four months.

Thanks to Ann Chancellor-Davies, the widow of production designer, Gavin Davies, for making the page available.

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Martin Chuzzlewit TX card

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This is the transmission card for the 1994, BBC2 drama serial Martin Chuzzlewit. The adaptation was written by David Lodge, produced by Chris Parr and directed by Pedr James, with Gavin Davies as the production designer.

Thanks to Ann Chancellor-Davies for sharing the TX card.

The following comments were left on the Pebble Mill Facebook page:

Ian Barber: ‘That was on location in Kings Lynn, we had an amazing time there.’

Gary Williams: ‘I believe Tony Fisher did all the graphics and I loaded up all the opening/closing credits!’

Sue Haslam: ‘Looks rather like some of Tony Fisher’s wonderful calligraphy on the title too…’

Terry Barker: ‘I had just started working for Chris Parr as the show was being edited and I well remember the difference of opinion between him and Pedr over the number of cockroaches on the opening titles. Chris won, and it was less than 12.’

Camilla Fisher: ‘If you are interested in seeing more of the artwork for Martin Chuzzlewit check out the Tony Fisher archive at the library of Birmingham.’

 

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Walking On My Hands – Fighting Back, excerpt

Fighting Back. Copyright resides with the original holder, no reproduction without permission

 

 

 

 

 

 

 

 

 

 

 

 

(excerpt) from Walking On My Hands – Beth Porter Chapter 12, My Life in Comedy: Comedy in My Life

Fighting Back

“It wasn’t long after that that I was given the chance to train as a BBC TV Drama script editor, with a view to becoming a producer. I’ve already told you about the disastrous effect the gig had on my relationship with Kerry, but in career terms, it proved to be an amazing opportunity.

My first assignment was to take over on a mini-series starring rock star Hazel O’Connor called Fighting Back by Gareth Jones [who later became an ITV producer]. The previous script editor had departed back to London after a couple of years up in Birmingham away from her partner. In retrospect, I sure wasn’t paying attention to what similar fate might befall me.

But, having lost one script editor, Gareth was keen to keep me and we had some really excellent script conferences. My experiences with Barbara were proving invaluable in keeping an overview of the whole project, but I’d never before felt so intimately connected with a series of scripts which told a complete story over several episodes, and which had a major broadcaster’s commitment for production. I found Gareth dedicated, intelligent, and full of ideas that complemented my own. I tried to interfere as little as possible, making sure such elements as fact-checking were well under control, which were appreciated both by director Paul Seed and producer Chris Parr.

It was so interesting to return to Pebble Mill as part of a production rather than the actress I’d been some years before in The Deep Concern. For one thing, there’s a level of respect shared among a production team which is just not afforded to the actors, unless they’re starry names and that’s more out of irrational fear or awe. In any case I really liked it; it reminded me of the happiest stage experiences when everyone is working toward the same end.

As the BBC collectively knew, the more one spends making a success of a position, the greater the confidence. Soon I had no hesitation in having frank and open discussions with writers without scaring them off. I also learned that my own background, as varied within the industry, engendered a feeling from them of trust and a kind of camaraderie.

I’ve also talked about my part in helping to launch the Birmingham Film and Television Festival, getting to meet some industry professionals from spheres other than the Beeb. One particularly kind, knowledgeable and dedicated chap was Roger Shannon, whom I’m pleased to report I recently re-found on FaceBook. Together we gritted our teeth in the face of the provincial attitudes we met from various jobs-worths on the City Council.

I don’t know what it is, but, even though I’ve now called the UK home for nearly 50 years, the default position of the Brits when confronted by a challenge tends to be Let’s wait and see. Let’s write a report. Let’s figure how to get out of it. While Americans almost knock you over with their enthusiastic Can Do! I just wish they’d each borrow a bit from the other.

In any case, those Birmingham burghers, try as they might, couldn’t stop the Festival from being hailed as a huge success……….”

 

Thanks to the script editor of the drama, Beth Porter, for sharing this excerpt.

Beth Porter’s (long and amusing) autobiography Walking on my Hands, is available for a couple of pounds on Kindle, on the link below. Chapter 12 includes Beth’s adventures with the BBC.

https://www.amazon.co.uk/Walking-My-Hands-responsibility-Streisand-ebook/dp/B01DUWNSRQ/ref=sr_1_3?ie=UTF8&qid=1460027101&sr=8-3&keywords=kindle+Beth+Porter

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Dalziel and Pascoe TX card

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Thanks to Ann Chancellor-Davies for sharing this TX card for the 1996 drama series: Dalziel and Pascoe.

Below is the Radio Times entry for the first episode in the series, courtesy of the BBC Genome project:

Synopsis:

A Clubbable Woman
First of three films adapted from Reginald Hill’s crime novels about an old fashioned detective teamed with a graduate police officer. Starring
Warren Clarke , Colin Buchanan
After the wife of a rugby star is found murdered at her Yorkshire home, hard-nosed Detective Superintendent Dalziel and soft-spoken Detective Sergeant Pascoe delve into the murky world of Wetherton RFC. See today’s choices.
Adapted by Alan Plater
Producers Eric Abraham and Chris Parr : Director
Ross Devenish
Contributors
Adapted By: Alan Plater
Producers: Eric Abraham
Producers: Chris Parr
DetSupt Andrew Dalziel: Warren Clarke
DetSgt Peter Pascoe: Colin Buchanan
Ellie Soper: Susannah Corbett
DetSgt Wield: David Royle
Sam Connon: Ralph Brown
Jenny Connon: Kate Farrah
Marcus Felstead: Mark Lambert
Arthur Evans: Steven Speirs
Gwen Ewans: Andree Bernard
Sid Hope: Bernard Latham
Ted Morgan: Robert Hudson
Willie Noolan: Ian Thompson
Jacko Roberts: Peter Martin
Wallis: Danny McGrath
Anthony Wilkes: Patrick Baladi
Dave Femie: Jeremy Swift
Alice Femie: Ingrid Wells
Stanley Curtis: Darren Tighe
Maisie Curtis: Maggie Lane
Sheila: Jane Cameron
Ross Canning, duty sergeant: Claude Close
Mrs Williams: Dorothy Vernon

http://genome.ch.bbc.co.uk/a0367d7c6d1f48988b3c112b3e369f70

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