Photograph by Ian Collins, no reproduction without permission.
The photo shows film editor Henry Fowler at his Steenbeck, editing. Henry Fowler edited a variety of dramas and documentaries at BBC Pebble Mill including:
‘Death of a Miner’ 1968, ‘Before the Mast’ 1971, ‘That Quiet Earth’ 1972 (30 Min Theatre),’The Shoals of Herring’ 1972, ‘Land of Green Ginger’ 1973 (Play for Today), ‘Steps Back’ 1973 (Play for Today), ‘Penda’s Fen’ 1974 (Play for Today), ‘Gangsters’ 1975 (Play for Today), ‘Breath’ 1975 (Play for Today), ‘The Other Woman’ 1976 (Play for Today),’ The Muscle Market’ 1981 (Play for Today).
Photos from director Clive Wager (shown here in the lower picture), no reproduction without permission,
‘The Clothes Show’ was produced at Pebble Mill from 1986-2000, it was originally a spin off of fashion items from ‘Pebble Mill at One’. The executive producer was Roger Casstles. The fashion magazine show had very high production values, and became well known for its use of new video editing effects. Eventually the post production team were awarded a BAFTA for their work.
The first photo shows the production office at ‘Clothes Show Live’, the annual exhibition at the NEC which is still running. Shown in the photo are Nicky Barfoot in the stripy top, Caroline Hawkins, Tim Langford, and presenter Caryn Franklin seated.
The lower photo is of a location shoot at the Imperial War Museum, and shows director Clive Wagner.
Copyright resides with the original holder, no reproduction without permission.
This photo is from the title shoot of ‘Good Morning with Anne Nick’ in 1992. Clive Wagner (on the left with the bald head) was the director on the shoot. He was a director on ‘The Clothes Show’, and very well thought of. The cameraman is almost certainly Tim Johnson, and the assistant, Sue Cane. The titles were shot on 35mm film, which was a real luxury.
‘Good Morning with Anne and Nick’ began on 12 Oct 1992, and was on air until 1996. Their first guest on the sofa was Joan Collins. The popular morning magazine show was presented by Anne Diamond and Nick Owen. Anne’s husband, Mike Hollingsworth, was the series editor.
‘Good Morning’ was set in Studio C, the Pebble Mill foyer, where ‘Pebble Mill at One’ was set, but the instantly recognisable windows and view out on to Pebble Mill road were blocked out by the living room type set.
Photo by Gail Herbert, no reproduction without permission.
The ‘Good Food Show’ was a magazine show about food, produced at Pebble Mill by Mary Clyne. The series went out in 1995. Ben Warwick was the series director, Juliet Morris and Will Hanrahan the presenters.
The photo shows a wild boar location shoot. The director (with the flowing locks) is Derek Hallsworth, the crew is probably Noel Paley on camera and John Parker on sound. Gail Herbert was the production assistant.
Photos by Vanessa Jackson, no reproduction without permission.
‘Sunday Home and Garden’ was a 90 minute compilation programme presented by Laurence Llewelyn-Bowen made at Pebble Mill. The series was transmitted in the early 2000’s, probably around 2003, and went out on Sunday mornings before ‘Countryfile’. I was the series producer. We used to chose clips from other BBC programmes about homes or gardens e.g. ‘Home Front’, ‘Real Rooms’ etc. We would group programmes around themes e.g. ‘Georgian’, ‘Gustavianism’, ‘Arts and Crafts’, and then choose clips that fitted with the theme. Laurence would link the clips together and add some new content e.g. making something himself or demonstrating how to dress a room in a particular style. I used to really enjoy writing Laurence’s scripts. I found it easy to hear his voice in my head when I wrote them – especially when being sardonic or ironic!
We’d record two scripts a day, so finding locations which would fit two different programmes could be a challenge. We did go to some great locations, some in London, but we also recorded two shows in Cornwall near a holiday home Laurence has there.
I remember on one shoot Laurence had insisted on wearing his rather large sunglasses all day. When we’d edited the show our exec producer objected to the sunglasses, because you couldn’t see his eyes properly, and made us re-shoot the whole thing! None of us were best pleased, but Laurence never insisted on wearing his sunglasses again!
