Robert Hardy dies aged 91

All Creatures Great and Small 1989. Copyright resides with the original holder, no reproduction without permission.

 

 

 

 

 

 

 

 

 

 

 

 

Actor, Robert Hardy, who played Siegfried (centre in the photo above) in All Creatures Great and Small’ died 3rd August 2017, he was 91. Hardy was born in Cheltenham in October 1925. He gained a BA from Oxford in English Literature, after being conscripted into the RAF during the war. He became an actor who could play a wide range of parts. Below is an excerpt from his obituary on the BBC website:

‘In 1978, Hardy took the part of the irascible but good-natured Siegfried Farnon in All Creatures Great and Small, the long-running BBC series based on James Herriot’s best-selling books.

As the senior vet of the small Yorkshire Dales practice, Robert Hardy became one of the best-known faces on British television.

Full of animals, nostalgia and rural scenery, the show became a massive hit, attracting audiences of up to 20 million.

The original run ended in 1978 but the series was revived 10 years later after the BBC obtained permission to write new storylines, having exhausted the original James Herriot books.

But the new scripts failed to meet with Hardy’s approval and he rewrote large parts of his dialogue. “All they did was make Siegfried explode and be bad-tempered. I kept changing things.”‘

http://www.bbc.co.uk/news/entertainment-arts-13783739

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

Keith Brook (Scouse): ‘What a bloody brilliant actor. Never forgot a line, could always find his light or see when he was shadowing someone, and could hit a mark in the middle of nowhere, every time. Occasionally, he’d even hold a line until the camera was ready! His rhythm and pacing were wonderful and repeatable. A true delight to work with.’

John Evans: ‘You suspect he was playing himself in All Creatures Great and Small.What a great part he played with such presence and humour.I always liked to watch him.’

Steve Weddle: ‘One of the greats of British acting, and a great advocate for Pebble Mill. He always approved of All Creatures being made at PM. He was one of us.’

Robin Sunderland: ‘You always knew when Robert was in a scene…. consummate professional!’

Andy Tylee: ‘ I recall him in Age of Kings playing prince hall opposite Sean Connery as hotspur. Also he was a leading authority on the English longbow.

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All Memories Great and Small – part 5 John Williams

John Williams, cameraman

 

 

 

 

 

 

 

 

 

 

 

Excerpt from “All Memories Great & Small” by Oliver Crocker

Memories from John Williams (Film Cameraman):

‘For the lambing scenes, Wardrobe came up with the wonderful idea of mobile hand warmers, bags of something or other that stayed warm for long periods. Wardrobe never let the cast down, hence Peter Davison’s scarf wrapped around his head in the opening scenes. Christopher Barry was a good director who knew and understood the scripts, so he would work out the structure of what we had to get in the can and we had a relationship where he trusted me to get on with it. We couldn’t expect the animals to perform as directed, so I had to be aware of what specific shots were needed and just get them. Robert Hardy was very good, he had his work cut out working with these live wild animals, which could be difficult as they weren’t very predictable, so he didn’t have an easy time.’

60 cast and crew have shared their memories for this new book, which is available to preorder now from Miwk – http://bit.ly/2d7p5ts

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Copyright resides with the original holder, no reproduction without permission

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John Williams has also published his own memoirs, Shoot First, No Ordinary Life, which is A4, 216 pages full colour, 96,500 words; it is being sold at cost £14, plus postage or can be collected.If you would like a copy please contact John on john@willbriar.myzen.co

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All Memories Great and Small

all-memories-great-and-smallOliver Crocker’s  All Creatures book is now available to Pre-order.

BREAKING NEWS! NEW ALL CREATURES BOOK COMING SOON!

Released as part of the 100th birthday celebrations for James Herriot, a new book “All Memories Great & Small” is being released by Miwk Publishing as an ideal companion to the classic BBC series. Every episode is accompanied by exclusive memories, thanks to 60 new interviews with cast and crew.

THE REGULAR CAST

Christopher Timothy (James Herriot), Robert Hardy Esq, CBE, FSA (Siegfried Farnon), Peter Davison (Tristan Farnon), Carol Drinkwater (Helen Herriot), Andrea Gibb (Deirdre McEwan), Jean Heywood (Mrs Alton) and Ali Lewis (Rosie Herriot).

GUEST CAST

Peter Alexander (St. John), Lois Baxter (Margery Egerton), Paul Clayton (Brian Weeting), Fine Time Fontayne (George Forsyth/Joe Bentley), Gillian Hanna (Betty Sanders), Derek Hicks (Willie Bannister), Pete Ivatts (Mr. Blackburn/Tom Maxwell), Vivien Keene (Mary Trenholm), Ray Mangion (Franco Pedretti), Norman Mann (Richard Edmundson), Nicholas McArdle (Mr. Worley), Joanna McCallum (Lady Hulton), Elizabeth Millbank (Alice McTavish), Suzanne Neve (Joan Clifford), Jonathan Owen (Peter Gillard), David Quilter (Andrew Bruce), Pamela Salem (Zoe Bennett), Jessica Sewell (Mary Clarke), Madeline Smith (Angela Farmer/Anne Grantley), Amanda Waring (Elizabeth Rayner) and Susan Wooldridge (Daughter of Margaretta Scott).

PRODUCTION TEAM

Bob Blagden (Director), Sandy Byrne (Widow of Writer Johnny Byrne), Alex Christison (Film Sound), Carol Churchill (Make-up Designer), David Crozier (Designer), Nigel Curzon (Designer), Roger Davenport (Writer), Rowena Dean (Make-up Artist), Mike Duxbury (Film Editor), Paul Finch (Son of Writer Brian Finch), Graham Frake (Lighting Cameraman), Roderick Graham (Director), Joyce Hawkins (Costume Designer), Terry Hodgkinson (Writer), June Hudson (Costume Designer), David Hughes (Sound), William Humble (Writer), Brian Jones (Gaffer), Peter Loring (Film Cameraman), Richard Martin (Director), Christopher Penfold (Script Editor/Writer), Les Podraza (Scene Hand), Janice Rider (Costume Designer), Tony Redston (Production Associate), Michael Russell (Writer), Helen Scarsbrook (Wardrobe), Bill Sellars (Producer), Pip Short (Grip/AFM/Location Manager), Sam Snape (Writer), Maggie Thomas (Make-up Artist), David Tilley (Assistant Floor Manager), Tony Virgo (Director) and John Williams (Film Cameraman).

PRE-ORDER NOW http://bit.ly/2d7p5ts

EMI 2001 Camera (Part 2) – Keith Brook (Scouse)


EMI 2001, Bob Langley, Keith Brook

 

 

 

 

 

 

 

 

 

 

 

Copyright resides with the original holder, no reproduction without permission. (Keith Brook on camera, with Pebble Mill at One presenter, Bob Langley)

EMI 2001 Part 2

In Part 1 I gave a little background to how the Emmy became the size it was by having the Angénieux lens inside the camera.

Here, I’ll show how the compact design had implications that went much further than just the technology and positively affected the quality of programmes, especially drama.

With the early colour cameras, one of the major problems of having a large lens hanging out the front was that as you panned there was a pronounced side-to-side tracking effect from the front element swinging through a large arc. This was most unnatural on drama and some cameramen compensated by tracking the ped in the opposite direction. Not an easy feat with such a cumbersome camera.

On the Emmy, the front of the lens was much closer to the pivot point, as was the cameraman at the other end, and with the steering ring back to its original size, the whole beast became far more compact and manoeuvrable. There are probably loads of other benefits that my colleagues will remind me of, but for me, with the cameraman closer to the drama, the most important of all was that the cameramen became actors in the scenes.

You may find this a strange concept but it was Tim Hardy, ‘Siegfried’ in ‘All Creatures Great and Small’ (yes, that’s his real name), who told me this. He also said the crew gave the cast reassurance, often simply by the body language we were giving off as scenes progressed. Other actors had said the same. I vision-mixed ‘All Creatures’ and I was also surprised when he told me that occasionally the cue lights helped him pace a scene.

The fabulous US anti-terrorist series ’24’ stars Kiefer Sutherland. He has often said that Guy Skinner, their excellent cameraman, was the third actor in the scene.

And it was with us as we danced around the sets, with our ‘short’ Emmys on Vinten peds, matching the actors moves.

Malcolm Carr, ex-BBC Manchester, did an wonderful piece here about the Emmy and mentioned the ‘shot box’. It’s impossible to underestimate just how important that magical device was, especially on drama.

Earlier I said that we often had only a few words, sometimes less than a second, to change the shot size. Zooming manually, you couldn’t guarantee matching the other camera, so EMI kindly added the ‘shot box’ to Monsieur Angénieux’s lens which allowed us to pre-set the lens angles and reproduce them every time. It had 6 memories; 1 and 6 were set to the tight and wide ends and the middle 4, using a chart, were set to match the angles of the old turret lenses 9, 18, 24 and 36 degrees. This wasn’t some attempt at keeping the ‘old tradition’ but rather a nod to the artistic reason why the fixed lenses were the size they were.

A quick word on ‘lens angles’. If you imagine lines coming from the lens and going out to the objects that you see on the left and right of the frame, that’ll give you the lens angle. It’s more intuitive than talking focal length because you can visualise it as you look over the top of the camera.

Ah, I digressed again.

These four lens angles gave us a number of ‘natural’ frame sizes, when related to actors, and they are, CU (close up, 9deg), MCU (medium close up, 18), MS (mid-shot, 24) and MLS (medium long shot, 36). The reason they’re natural is that they enable the actors eyes or centre of interest, as the shot gets wider, to stay on the golden third. The ‘thirds’ split a frame into three equally horizontal and vertical parts and are found in all aspects of art.

So, from one position, we could quickly select the CU, MCU, MS and MLS sizes. That’s not to say we didn’t move the cameras, but keeping things simple enabled a drama to play out inside the ‘natural’ frames with no distractions.

As a result, such dramas as ‘Poldark’, a 50 minute costume drama, were recorded in 50 minutes. Yes, real time!!

Knowing that a mis-frame, wrong lens, wrong position from a camera and a mis-move, wrong line, wrong position from an actor would mean that the whole caravan would have to stop certainly concentrated our minds and cheeks. Keeping that up for 50 minutes was so exciting and, I believe, produced the highest quality drama.

There are many people nowadays who say that those programmes are boring but they forget that the essence of a good drama is that the viewer is immersed in, and not distracted by, the system that they’re watching. If you analyse cinema films, they generally let the actors move inside a static frame. This represents what you would see if you were in the same room. Your head would stay level and you’d watch the actors killing each other. Sure, action films shake the camera quite violently, but you must first know the rules before you can break them.

As this is about the camera itself, I haven’t mentioned physically moving them around the studio on peds, that may be another missive!!

Anyway, back to the plot. The Emmy wasn’t just an innovative engineering design, it also enabled cameraman to produce fluid moves very quickly allowing the crew to be significantly involved in the intimate world of drama.

The EMI 2001, what a wonderful camera.

Keith Brook (Scouse)

 

All Creatures Great and Small

Photos by Janice Rider and others, no reproduction without permission.

The black and white group shot dates from the 1989 series of ‘All Creatures Great and Small’.  The other photos were taken by Janice Rider in her role  as costume designer, as records of what the actors were wearing in particular scenes, for continuity reasons, so that interiors recorded in Studio A at Pebble Mill, would match with exteriors recorded in Askrigg, North Yorkshire.

‘All Creatures Great and Small’ was hosted at Pebble Mill.

The photos include Lynda Bellingham, Peter Davison, Robert Hardy, Christopher Timothy, John McGlynn (young actor in group shot), Andrea Gibb (played Deirdre) amongst others.

 

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