tag:blogger.com,1999:blog-49600837089753211592024-03-13T13:40:27.554+00:00Ghostwatch: Behind the CurtainsThe official 'GHOSTWATCH: BEHIND THE CURTAINS' retrospective documentary blog.GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.comBlogger196125tag:blogger.com,1999:blog-4960083708975321159.post-57210723152686414402023-10-31T21:00:00.034+00:002023-11-02T22:53:19.830+00:00National Séance 2023<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibIhOpVAd5hMECaxeWsGgztAqmth_lBH_2vNOP3NR93nHzh2lZ206QB2d9_jz9saZt7EddoKJOV97JeArIQ1b-xAPaf7Y1O70uLK6o2nT7oPs1iyHipu_-mW6_buYwW4pGJSnmGb50wkLY_IXuBebGhgrfAb8GbwuDBVkLbjVHjJButyE08i8CSk4A04Ex/s1550/BtC_Broom.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1550" data-original-width="1420" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibIhOpVAd5hMECaxeWsGgztAqmth_lBH_2vNOP3NR93nHzh2lZ206QB2d9_jz9saZt7EddoKJOV97JeArIQ1b-xAPaf7Y1O70uLK6o2nT7oPs1iyHipu_-mW6_buYwW4pGJSnmGb50wkLY_IXuBebGhgrfAb8GbwuDBVkLbjVHjJButyE08i8CSk4A04Ex/s320/BtC_Broom.jpg" width="293" /></a></div>Greetings, Ghostwatchers!<p></p><p>Happy Hallowe'en, and here's hoping you all enjoy <i>National Séance</i> later on this evening at 21:25 sharp. Or, should I say <b>21:28?</b></p><p>Yes, for the first time in thirteen years, our annual live event shall commence a full three minutes later than expected following a truly remarkable discovery made by Ceefax Sleuth, <a href="http://www.twitter.com/grim_fandango" target="_blank">Jason Robertson</a> (better known as <a href="https://teletextarchaeologist.org/" target="_blank">The Teletext Archeologist</a>) who, from two off-air recordings kindly donated for the upcoming 'On The Night' Blu-ray from Lawman Productions, has deftly extracted the precise time-code that marks exactly when <i>Ghostwatch</i> aired. Within micro moments of posting this news online, verification came via <a href="https://x.com/the_questmaster/status/1718958593410519321?s=20" target="_blank">Paul Hayes</a> on X, care of <a href="https://www.bbc.co.uk/blogs/bbchistoryresearch/entries/70ab6d11-e181-4ca2-926b-404e9f94e11a" target="_blank">the programme's PasB.</a></p><p>It seems as though, despite being listed for broadcast at 21:25, and its runtime being one hour, 30 minutes and 55 seconds long, apoximately 3 minutes each side were taken up by a combination of <a href="https://genome.ch.bbc.co.uk/schedules/service_bbc_one_london/1992-10-31#at-21.25" target="_blank"><i>News and Sport</i> beforehand, or bumpers leading up to <i>Match of the Day</i> straight after.</a> <br /></p><p>For the record, I would just like to say how consistently amazed I am that some fascinating factoid so often manages to rear its head in time for each event. It's truly awe-inspiring just how much is still to be gleaned about this programme, and I feel so privileged to have the opportunity to share unknown minutae with fellow Pipes-Phobes.</p><p style="text-align: center;"> <a href="https://x.com/the_questmaster/status/1718958593410519321?s=20" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="92" data-original-width="844" height="70" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiov61GtZwzRfsF8m6SF0sBWqBw8DTJtJ-ZI_w-Q1d_DkV1uchDD5jMn93DU500TLLeNlngm3kqeJu87FaCqdwRHChtcoH_o9KX4BOKrW9d_FsMoxT4ylwv7DqTuttbxi5Nh3MVV06haeOLwf7qFTHa9mCsAXXCGsSaKcGTsU6jgh65QPNGi0-0je-BGbjP/w640-h70/Ghostwatch_PasB.png" width="640" /></a> </p><p style="text-align: left;">Speaking of which, boy, did I have plans for this year's event, but what with this being the Thirteenth and all... <i>Foxhill, we have a problem.</i></p><p>Short version: thus far, I haven't been able to shift my fourth insidious, self-replicating, submicroscopic infectious agent of the month, and consequently, have no choice but to jettison my plans for a special live commentary. In an effort to save you from ninety full minutes of effusive coughing, I shall instead stick to keyboard duties, as per usual, on the newly-rechristened X.</p><p>But before we begin...<br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw2pJtstC_z8TDJt6Ia2jj8bQlKhSesAl1K1N-s0sLSCGe1ImAoMEuqoQ87ejI2lJcW_Vz1ipPIIPcdLTJftqVseFmVSXEj5Iv_W3a2AatDEf1koNcjMeef5uqTPkUU2-Ar_GQ8hheysV0xcTyY25COjC_lnh0_j-OvN_q3Du0MPB_EPotWotCsAVGH7UN/s3648/GhostwatchBtC_SirMichaelParkinson.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2432" data-original-width="3648" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw2pJtstC_z8TDJt6Ia2jj8bQlKhSesAl1K1N-s0sLSCGe1ImAoMEuqoQ87ejI2lJcW_Vz1ipPIIPcdLTJftqVseFmVSXEj5Iv_W3a2AatDEf1koNcjMeef5uqTPkUU2-Ar_GQ8hheysV0xcTyY25COjC_lnh0_j-OvN_q3Du0MPB_EPotWotCsAVGH7UN/w640-h426/GhostwatchBtC_SirMichaelParkinson.jpg" width="640" /></a></div> <p></p><p>On Wednesday the 16th of August, word reached us <a href="https://www.bbc.co.uk/news/entertainment-arts-66411604" target="_blank">care of BBC News</a> that legendary broadcaster, <b>Sir Michael Parkinson</b> had passed away at the age of 88 following a brief illness. I, like so many of his fellow admirers, was deeply saddened by this announcement. So, with only the greatest respect and admiration in mind, I felt it important to dedicate this year's event to his lasting memory.<br /></p><p>I think it is fair to say, the casting of <i>Ghostwatch</i> was paramount to its lasting success. I firmly believe there were no better choices than Craig Charles, Sarah Greene, Mike Smith - also sadly no longer with us, 1955-2014 - and Gillian Bevan, et al.<br /></p><p>In simple terms, the actor required to portray the show's 'Presenter' required somebody with every hallmark that Sir Michael possessed. By then, a familiar face to millions of viewers, Parkinson had established himself as a singular and superior voice in television, cultivating an adaptive, convivial interviewing style that could only be ambitiously emulated by his contemporaries.</p><p>I had the distinct pleasure of meeting Sir Michael on just a small number of occasions. The first, I recall, came about thanks largely to his son Mike - likewise a straight-talker, and always a pleasure to speak with. We were invited to his office at Parkinson Productions; a tall, elegant space, with classic Art Deco styling. A writing desk to the right of the door was home to a manual typewriter - perhaps reminding those who visited that the old ways are still the best...</p><p></p><p>As we proceeded to set up the shot, at last the door opened with a confident swoosh. There was undeniably a buzz in the air, and polite introductions were made about the crew. I vividly recall the steady approach Sir Michael made to greet me personally. I think I squeaked, "Hello, Sir Michael" or something to that effect. Very assuredly, he shook my hand, raised those quintessential eyebrows, and with a smile asked where we would like him to sit.</p><p>Writer, Stephen Volk accompanied us that day - we all put forward a wide array of questions which were professionally answered, many in good humour. I recall asking Sir Michael whether he was surprised by the effectiveness of his performance in <i>Ghostwatch,</i> despite moments earlier claiming not to be an actor. His modest and unassuming response will be included in an upcoming compilation, available this evening on YouTube.</p><p>The second and final time I found myself in the company of Sir Michael was during the unforgettable BFI reunion screening at Southbank in late 2013. For one reason or another, I very nearly appeared alongside the panel on stage that night, but ultimately settled for camp-firing my personal <i>Ghostwatch</i> Story to him and others gathered from the cast & crew, in the green room. A rare opportunity, indeed. </p><p>These are just two tiny moments amongst the iconic legacy of an extraordinary gentlemen, to be sure, but it was an honour to have known him, even very briefly. Sir Michael's work continues to inspire, and sets a high standard worth striving for. I remain eternally grateful for his generosity and time.<br /></p><p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/8sgSuEGil8U?si=q9qaHLbz7JQMQMGA" title="YouTube video player" width="560"></iframe></p><p><span style="font-size: large;"><b><i> </i></b></span></p><p><span style="font-size: large;"><b><i>GHOSTWATCH: On The Night</i> - Still Coming Soon<br /></b></span></p><p>It has been a while since the last update regarding Lawman Production's upcoming Blu-ray release of <i>Ghostwatch.</i> Fortunately, much of the design, and even planning, for the upcoming release (TBA) has been in motion for a fair while now, to say the least. All things being equal, it shouldn't be too long until the first few discs start rolling off the replicators.<br /></p><p>First off, the running order for the release is currently expected to be the following:<b><i><br /></i></b></p><ul style="text-align: left;"><li><b><i>GHOSTWATCH: ON THE NIGHT</i></b></li></ul><p>In striving to deliver the best possible presentation of GHOSTWATCH to date, the master file is being handled by restoration & authoring experts, <b><a href="https://www.maniacfilms.com/" target="_blank">Maniac Films,</a></b> to ensure that it appears as uniform as possible, television-to-television. As Blu-ray has very strict requirements when it comes to mixing resolutions, we have settled on 1280x720 50p for the main presentation, which retains the ubiquitous smooth-motion from the era, and also squeezes out as much data from the master as possible. The stereo sound mix remains unchanged from what went out in 1992.</p><p>We are also proud to announce that both the opening and closing BBC continuity as spoken by Mark Waddington have been sourced and incorporated also!</p><p>A brand-new exclusive audio commentary, compiled from two separate recordings, is currently in the process of being mixed, with just a few moments remaining to integrate. The track features candid observations and recollections from Lesley Manning (director), Ruth Baumgarten (producer), Sarah Greene ('Reporter'), and Gillian Bevan ('Dr. Lin Pascoe').<br /></p><ul style="text-align: left;"><li><b><i>GHOSTWATCH: ON THE NIGHT</i> - WITH CEEFAX SUBTITLES</b></li></ul><p>Why have one copy of GHOSTWATCH on disc, when you can have two?</p><p>Since 2022, Teletext expert Jason Robertson has been painstakingly restoring the original Ceefax subtitle track from GHOSTWATCH line-by-line, using off-air VHS recordings from the night of transmission. So far, the process has involved somewhere in the region of 3.3 million lines of code tying together 2183 individual subtitles.</p><p>... Twice over, as not only did Jason run Jim Lynn's VHS copy through his custom set-up, but also the very cassette my father made the night we watched as a family, October 31st 1992. Having access to two copies has helped ensure that any errors or breaks in text can be cross-checked - thereby making for the most accurate recreation possible. We understand that this important historical artefact has remained unseen for 31 years, and cannot wait for you to check it out in all its glory (nope, not saying it).<br /></p><p>The reason we're going with a completely separate video title in this particular instance is due to the specific formatting requirements for Blu-ray subtitles, which can restrict even the number of colours used to denote each speaker (just wait until you see how Pipes's dialogue looked). This standalone track will not be 'selectable' as with the more conventional subtitle track on the main feature, but rather baked-in to ensure a unique and aesthetically-correct means of viewing GHOSTWATCH on the night of broadcast - especially for Ghostwatchers hard-of-hearing!</p><p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/uitEguXDedA?si=_bRRvMD8_K_C73bQ" title="YouTube video player" width="560"></iframe></p><ul style="text-align: left;"><li><b><i>GHOSTWATCH</i> ADVANCE TRAILS</b></li></ul><p>By now, we all know the classic GHOSTWATCH trailer that played between shows in the run-up to transmission. Directed by Dr. Iain Macdonald, the special shoot starred Sarah Greene speaking to camera on approach to an unrelated haunted house. But did you know there were three slightly different versions which played at different times? Well, thanks to the hard work undertaken by those manning the archives, the terrifying trio has now been located!</p><ul style="text-align: left;"><li><i><b>31/10</b></i></li></ul><p>Stephen Volk's terrifying sequel short to GHOSTWATCH will be accessible as a Teletext-style story spanning dozens of authentically-formatted pages, also compiled by Jason.</p><ul style="text-align: left;"><li><i><b>GHOSTWATCH: BEHIND THE CURTAINS<br /></b></i></li></ul><p>Truly a labour of love - the documentary twenty years in the making - this 90 min feature-length exploration into one of the most extraordinary pieces of British Television will be available looking its best, following a superb picture grade by our fine friends at CODA studios, Soho.</p><ul style="text-align: left;"><li><i><b>RETURN TO FOXHILL</b></i></li></ul><p>Rich & Lesley are kindly invited back to 41 Foxhill Drive to meet the Sapkota Family now residing, who share their thoughts on GHOSTWATCH and how they came to discover their now-remodeled London home was once considered to be 'the most haunted house in Britain'.</p><ul style="text-align: left;"><li><b>THE BROOM CUPBOARD<br /></b></li></ul><p>We've found it! Not seen in over thirty years, Sarah Greene's brief post-broadcast interview with Andi Peters in the iconic Children's BBC Broom Cupboard has at long last been uncovered.</p><p></p><ul style="text-align: left;"><li><i><b>EASTER EGG</b></i></li></ul><p>Said to be lurking somewhere within the disc's secure Grade-1 Archival System, be sure to keep your eyes peeled (not literally) for a special revelation concerning the dark origins of GHOSTWATCH, and the professional rivalry which engendered its creation...</p><ul style="text-align: left;"><li><b>COLLECTOR'S BOOKLET</b></li></ul><p>The final page count has yet to be confirmed, but rest assured there will be some exclusive, unseen material expanding on the history of the Foxhill Drive case that Ghostwatchers will be <i>very</i> interested to see... </p><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi55lni0xxe3g8J32D9DRG6HvgmPgjAwijwU771Ns7Hurezcn7joXRgSUmoDxbdoR2X-E2xIRQCYHW1SQ54OvmQboSj89KkoxTVbHPiYfGBkPqvC3WFRQUvvib_aRe-fYoNKwnsrAuCorOZhvuOf9U9QTSJ_fPqr51MaR9nzsMw6jX1Yus6MLJDlQ3zBHZF/s1600/NationalSeance2023-poster.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1131" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi55lni0xxe3g8J32D9DRG6HvgmPgjAwijwU771Ns7Hurezcn7joXRgSUmoDxbdoR2X-E2xIRQCYHW1SQ54OvmQboSj89KkoxTVbHPiYfGBkPqvC3WFRQUvvib_aRe-fYoNKwnsrAuCorOZhvuOf9U9QTSJ_fPqr51MaR9nzsMw6jX1Yus6MLJDlQ3zBHZF/w283-h400/NationalSeance2023-poster.jpg" width="283" /></a></div>Once all of the above has passed QC, a test disc will be produced and this will then be sent over to the Australian Classification Board to be assigned a certificate. Then, we will begin the process of replication and distribution.<p></p><p>Having produced the last <i>Behind the Curtains</i> DVD for 2013, Lawman Productions is pleased to report that this new release is progressing extremely well. Certain aspects are taking a little longer to complete as, by their nature, they are each an individual process. In many instances, edits are being paired down to the frame in order to ensure the absolute best result reaches Antipodean shores, likely some time early next year. Though, we shall do our utmost to release as soon as possible.</p><p>Here's hoping you all enjoy <i>National Séance</i> later this evening, Ghostwatchers. I doubt I'll be at my best, but fortunately, you guys always are. As always, I look forward to your photos, creations, gags, and formidable insights into one of the greatest television productions of all time. The event is a celebration, and without you, it would just be me wafting my overplayed, gold-leaf thin DVD into the player whilst crocheting a Bubby.</p><p>Thanks, guys. Just try not to have sleepless nights...</p><br /><br />GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-9009144036162693672023-06-01T21:25:00.070+01:002023-06-01T21:25:00.147+01:00Look at these, you've got a lot of coverage.<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUgaA6FoiT5XdYjQ6O1cQNzp1RpiDIi0pdvOFZtLUUrTpmd9OeS1bkBSvM1iZx0_1mT6UCfwcsI5aP_Fot5U0kYd2cq-mm-M81iSJKq2QdJEWqFG32JQtelk4zfnz8ERxep-XPDj3DnSi_MZPfjLUaFXecxIGpfjys2h3d9BUB29RObZBE3SLBa1lq5g/s1440/BtC_NewspaperPipes.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1440" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUgaA6FoiT5XdYjQ6O1cQNzp1RpiDIi0pdvOFZtLUUrTpmd9OeS1bkBSvM1iZx0_1mT6UCfwcsI5aP_Fot5U0kYd2cq-mm-M81iSJKq2QdJEWqFG32JQtelk4zfnz8ERxep-XPDj3DnSi_MZPfjLUaFXecxIGpfjys2h3d9BUB29RObZBE3SLBa1lq5g/s320/BtC_NewspaperPipes.jpg" width="320" /></a></div>Greetings, Ghostwatchers!<p></p><p>On the 28th of May of this year, fellow Pipes-Phobe Adam Hickey dropped us a line to report a potential new Pipes sighting. The section of the programme in question occurs approximately 25 minutes and 39 seconds in, and purports to show a dark, shadowy figure in the background of a newspaper clipping featuring Pam, Suzanne, and Kim, in the children's bedroom.</p><p>Now, as we all know, there have been nine confirmed sightings of Pipes so far (though, admittedly, I did bish on <a href="https://twitter.com/Ghostwatch/status/1662893108177117185?s=20" target="_blank">the Tweet</a> announcing this and forgot #9). During <i>Behind the Curtains,</i> director Lesley Manning is heard to say she believes there are more - potentially 13 in total, ostensibly leaving four left to find.</p><p>To be a <i>Ghostwatch</i> fan is to know what it is like to scour the DVD for clues, decades on from transmission. Over the years, false positives have come and gone, with <a href="http://www.ghostwatchbtc.com/2016/12/were-still-getting-calls-about-that.html" target="_blank">the most recent find</a> confirmed care of cross-referencing with production call sheets. Despite this sighting very much falling under the category of Faces In The Fire, it nevertheless remains eerily compelling...</p><p>As you can see, in the photograph that accompanies the clipping headed <i>Power Of Evil,</i> to the right of Kim, we can clearly see an outline of something, or someone, staring back at us. Whether this is actor Keith Ferrari in costume is inconclusive.</p><p>So, we put it to the fans on Twitter with <a href="https://twitter.com/Ghostwatch/status/1662893259486535684?s=20" target="_blank">a three-day poll.</a> Eighty-two votes were cast, with a slim win for this being the next confirmed sighting at <b>52% to 48%.</b> Comments on the images range from:</p><p><a href="https://twitter.com/williamaneale/status/1662894489998970882?s=20" target="_blank"><b>"It's got two eyes and a nightie.... Too much coincidence surely?"</b></a><b> </b><b>// @williamaneale</b></p><p><b><a href="https://twitter.com/Alcoholocaustic/status/1662898429117313024?s=20" target="_blank">"I don't know about the figure you've highlighted, but this face in the same area is staring right into my soul!"</a> // @Alcoholocaustic<br /></b></p><p><a href="https://twitter.com/flacflacflac/status/1662897427290943488?s=20" target="_blank"><b>"True or not, this is awesome."</b></a><b> // @flacflacflac<br /></b></p><p><b><a href="https://twitter.com/cats_cucumbers/status/1662918493388275713?s=20" target="_blank">"Not seeing this one myself and see an appearance in print / photo doesn't feel in keeping to me. all others were in real time weren't they. This does indeed feel like a face in the fire as our friendly Doctor would say. Ask Emilio and he'll agree!"</a> // @cats_cucumbers<br /></b></p><p>If memory serves, the saying "Faces In The Fire" stems from <a href="https://www.bbc.co.uk/shropshire/features/halloween/halloween_wem.shtml" target="_blank">The Wem Ghost,</a> itself rooted in a snapshot taken by Tony O'Rahilly on the 19th of November 1995, in which the amateur photographer purportedly captured a shot of a ghostly figure in the blaze that engulfed Wem Town Hall. Upon developing the photo, O'Rahilly claimed to notice what appeared to be a young girl standing in the flames, thought by locals to be the spirit of Jane Churm, who was accused of arson in the same town in 1677. The photographic negative was investigated for authenticity, but no evidence was found that it had been tampered with. This was later contested when <a href="https://www.shropshirestar.com/news/2010/05/17/does-postcard-solve-ghost-riddle/" target="_blank">a postcard was discovered</a> that strongly resembled the 'girl' in the photograph. Perhaps, Silvestri was right all along. Now, <i>there's</i> a scary thought.<br /></p><p>This unsettling effect is sometimes attributed to <a href="https://en.wikipedia.org/wiki/Pareidolia" target="_blank">pareidolia</a> - a fairly common phenomena in which the human brain ascribes a preset visual notion to something that is in fact unrelated or inanimate - <a href="https://en.wikipedia.org/wiki/Simulacrum" target="_blank">a simulacrum.</a> The image that is currently being used on the former term's Wiki page as an example is that of a plug socket that resembles eyes and a mouth. With faces being of particular importance in our day-to-day lives, common features of physiognomy consequently take priority in our attempts to recognise something. Or someone.<br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6IAROl6kLQDFk75FpPRLClFlAEPWmo1JgPdRhKHYoxyWhQtFrIY2dtOH2091Mosx87YGNt_0uFYMhg20nkp7rLiJhpFGS4wEkXEkOAF3Hhv0V-AmLSr_UwSnuSsYHxBCHSMrVMvwuVix4IFxgf5t31KJRTFx0YFTiDvB81nnFxrqz8SA8UdPN46Jeng/s1440/BtC_SealPipes.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1080" data-original-width="1440" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6IAROl6kLQDFk75FpPRLClFlAEPWmo1JgPdRhKHYoxyWhQtFrIY2dtOH2091Mosx87YGNt_0uFYMhg20nkp7rLiJhpFGS4wEkXEkOAF3Hhv0V-AmLSr_UwSnuSsYHxBCHSMrVMvwuVix4IFxgf5t31KJRTFx0YFTiDvB81nnFxrqz8SA8UdPN46Jeng/s320/BtC_SealPipes.jpg" width="320" /></a></div>When I first saw <i>Ghostwatch,</i> and only having a VHS copy to later hunt and search for Pipes, I distinctly recall my earliest mental image of the spook was very much influenced by this poster of a seal in the Early Sisters' bedroom. Don't ask me how or why, but from a very young age, I always assumed this piece of set dressing had been intentionally placed to provide a visual clue to Pipes' true appearance.<p></p><p>Whether Adam's sighting is actually Pipes the Poltergeist remains unknown. The fact remains, the character's dark presence continues to pervade decades on. In our ongoing efforts to search for him, we continue to find him everywhere.</p><p>Until next time, try not to have sleepless nights...<br /></p>GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-84420063922767867282023-05-18T22:11:00.000+01:002023-05-18T22:11:33.607+01:00"Happy Hour" - Upstairs At The Gatehouse until 28th May!<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr4hQt68p-xa0_RUNPO09KIwEaPwLnF-QKNdmx7lulE7Nq5gA5UbqRGR6qNkdYWxEa3sMK7RTbFlD_eLIXj4yVrFaq9fDhAyq3CBzQprAK9Cbv0gfECToPjHZqbf887eS5a00QWvcjFIHOB_UVB24UflLxEDhhcPu-KDIpWfiNVSHFnAthZsajiGo5lw/s1169/GhostwatchBtC_HappyHour_Poster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="856" data-original-width="1169" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr4hQt68p-xa0_RUNPO09KIwEaPwLnF-QKNdmx7lulE7Nq5gA5UbqRGR6qNkdYWxEa3sMK7RTbFlD_eLIXj4yVrFaq9fDhAyq3CBzQprAK9Cbv0gfECToPjHZqbf887eS5a00QWvcjFIHOB_UVB24UflLxEDhhcPu-KDIpWfiNVSHFnAthZsajiGo5lw/s320/GhostwatchBtC_HappyHour_Poster.jpg" width="320" /></a></div>Greetings, Ghostwatchers!<p></p><p>Rather excitingly, news has reached us that <i>Ghostwatch</i> Director, <a href="https://www.twitter.com/lesleyamanning" target="_blank">Lesley Manning</a> is helming a bold new production, <i>Happy Hour.</i> The comedy-drama, written by Andy Walker <a href="https://upstairsatthegatehouse.ticketsolve.com/ticketbooth/shows/1173638908/events/428564562" target="_blank">will run Upstairs At The Gatehouse, Highgate Village, until the 28th of May.</a></p><p>Press Night was just last evening and tickets are now available at the award-winning London Fringe Theatre, well-known for its varied programme of drama, musicals and... well, fringe theatre.<br /></p><p>Enticing blurb incoming!</p><a name='more'></a><p></p><p><b></b></p><div class="separator" style="clear: both; text-align: center;"></div><p></p><p><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpP4Rk9YWq2l3-Eq6-NbSvZgyD2flLAaylQD0h2qh5sPWGawxFAgBgoFMHqoSMqvtypfTzneMldabcc4-P7dBNs71pM-QcL_W5TeP6jYhx5TkrV-LoSFKgK5e6HHhIrcfQZPAAEru8k0f7atkX_3-hky12oG7qXqf-MkOS3Nf2K2xGh0mgiWh8ouOHdw/s4104/GhostwatchBtC_HappyHour_Lesley.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="4104" data-original-width="3283" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpP4Rk9YWq2l3-Eq6-NbSvZgyD2flLAaylQD0h2qh5sPWGawxFAgBgoFMHqoSMqvtypfTzneMldabcc4-P7dBNs71pM-QcL_W5TeP6jYhx5TkrV-LoSFKgK5e6HHhIrcfQZPAAEru8k0f7atkX_3-hky12oG7qXqf-MkOS3Nf2K2xGh0mgiWh8ouOHdw/s320/GhostwatchBtC_HappyHour_Lesley.jpg" width="256" /></a></b><span style="font-size: medium;"><b>HAPPY HOUR tackles a truly universal subject – alcohol addiction.</b></span></p><p><span style="font-size: medium;"><b>It’s a problem that knows no borders, affecting people of all classes, ethnicities and ages.</b></span></p><p></p><p><span style="font-size: medium;"><b>Writer Andy Walker mines his own personal experience of battling drink to create an imaginative blend of comedy and drama.</b></span></p><p><span style="font-size: medium;"><b>The play shines a light of hope into some dark corners of human pain, suffering and dysfunction.</b></span></p><p><span style="font-size: medium;"><b>The narrative explores the life of drinker JACQUI with warmth and humour. She’s a mother and grandmother, but increasingly her main motivation in life is poured from a wine bottle.</b></span></p><p><span style="font-size: medium;"><b>This is a situation that is becoming more and more common in the real world. Alcohol abuse amongst women is increasing at an unprecedented rate.</b></span></p><p><span style="font-size: medium;"><b>It’s a blight on many lives, destroying individuals, relationships and families. Yet the excess drinking of alcohol is often seen not only as socially acceptable, but also as a source of amusement.</b></span></p><p><span style="font-size: medium;"><b> </b></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJYm4b0a-_TG0WYRiWk-xM1uL3Yo4WhYVEbypDjtg8afxPP6Al4hcoVehXj2CaDYrudjnHV6q8-o48Lgxgd3ylzm04PrpGua_WKu-FjupJCUUPP5blr7M423rFdxtSIWQefBgpQpjO9XetzKMKKVb5VU65XLYcOEu00S2Zc-cVmTQDakUlt73mKyEoxQ/s6285/GhostwatchBtC_HappyHour_Cast.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="4190" data-original-width="6285" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJYm4b0a-_TG0WYRiWk-xM1uL3Yo4WhYVEbypDjtg8afxPP6Al4hcoVehXj2CaDYrudjnHV6q8-o48Lgxgd3ylzm04PrpGua_WKu-FjupJCUUPP5blr7M423rFdxtSIWQefBgpQpjO9XetzKMKKVb5VU65XLYcOEu00S2Zc-cVmTQDakUlt73mKyEoxQ/s320/GhostwatchBtC_HappyHour_Cast.jpg" width="320" /></a></div><p></p><p>As we all know, <i>Ghostwatch</i> was very carefully and intentionally
staged. From a directing standpoint, the degree of ego-less precision
that gave it both life and longevity is a rare gift of Lesley's that has
transposed inexorably to the boards. I cannot recommend enough
that you take the opportunity to check out hers and Andy's latest personal exploration of the complexities of contemporary life. And if
you can, do report back here to share your thoughts!</p><p>Also, if you rock up and happen to bump into Lesley by the stage door (crucially, <u>not</u> between 19th-22nd as she won't be there), quietly mention
that Rich has sent you, and she might just even sign your DVD or
Blu-ray copies of you-know-what. Actually, the chances are she'll do that in any event. Possibly, a smidgen even more likely if you simply present said copy alongside a shiny silver marker in total silence. Until next time... try not to have sleepless nights.</p><p>Photos: <a href="https://www.instagram.com/rosskphoto" target="_blank">@rosskphoto</a> <a href="https://www.twitter.com/RossKernahan" target="_blank">@RossKernahan</a> <br /></p>GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-88147000870293836692023-04-07T16:36:00.004+01:002023-04-07T20:27:28.671+01:00"Filling The Void" - Interview with Production Designer, Richard Drew<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://wtm.uk/events/filling-the-void/" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="750" data-original-width="1000" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkkphwbGFayog88ZQWyojegoC_gYAH23SzANNGTrZwHQU41vrpXSdV4QTcdo4_udyETZkkd9V7lrTFklc4816soRCowxyn_repD9YYa2YFGBJyxYRJyhTYO_DaE9v0TP-vYZmXPU3hh3sIpbfsWp77Nl7zkhxSh2XDjk3X7rQVWguKR7ehmHcMX_ztig/s320/GhostwatchBtC_FillingTheVoid.jpg" width="320" /></a></div>Greetings, Ghostwatchers!<p></p><p>As development continues on our upcoming <i>GHOSTWATCH: 'On The Night'</i> Blu-ray, this seems the perfect opportunity to relax, unwind, and take in a brand-new exhibition at Worthing Museum, now open until 16th July 2023.</p><p>Recently, I was fortunate enough to speak with the man in the show's spotlight, the exceptional <b>Richard Drew, Production Designer, </b>who, we all know, worked with Ken Starkey in 1992 to bring the sets to life on everyone's favourite Hallowe'en Hoax.</p><p>Richard's experience in television production is now so extensive, his work has been made the focus of an exciting new show entitled, <a href="https://wtm.uk/events/filling-the-void/" target="_blank"><i>Filling The Void - 35 years of TV production design.</i></a> I was fortunate enough to speak with Richard and find out more about the event...<br /></p><p>RICH: Hi Richard, how did this exhibition come about, and could you tell us a little about your connection to the venue?</p><p><span style="color: #6fa8dc;">RICHARD: I approached the museum nearly a year ago about the idea of doing it. I’d fancied doing something like this for a little while, and I just took a punt in asking. They said 'yes', and it was just about finding a time… and then the stars aligned, and in November, they asked if I could have something ready for April. Worthing holds a place in my heart as I was a student studying TV and Stage Design down here in the mid 80s, the museum is barely 200 metres from the site of my old college. I moved here in 2019, from Brighton. Did I imagine I’d be living here in my 50s when I was a student down here in my teens? Probably not. Did I ever imagine I’d put an exhibition on? Definitely not.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9yLFz8v2tGMagxWzuBMO2LoHikF5qTV-AqpK5d4zMuSk1ObYl8ZDHPSFfXauUac5SMbhOV_EWm-KgJuE53ZE4o2-_ZqQOHlVWfOrOVOqcMPGNDAp4ltbdrKl20FU1dEBfShnEIpr2WlnCPQGQ-Mqco1nZOPW4Xhbz9Iv-DgoJ0rLtWSyX10An9s_7fA/s1280/GhostwatchBtC_FillingTheVoid_02.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="960" data-original-width="1280" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9yLFz8v2tGMagxWzuBMO2LoHikF5qTV-AqpK5d4zMuSk1ObYl8ZDHPSFfXauUac5SMbhOV_EWm-KgJuE53ZE4o2-_ZqQOHlVWfOrOVOqcMPGNDAp4ltbdrKl20FU1dEBfShnEIpr2WlnCPQGQ-Mqco1nZOPW4Xhbz9Iv-DgoJ0rLtWSyX10An9s_7fA/s320/GhostwatchBtC_FillingTheVoid_02.jpg" width="320" /></a></div>What are your thoughts on your career becoming the subject of a full-blown exhibition, and what do you hope people take away from their visit?<p></p><p><span style="color: #6fa8dc;">Well, the main drive of the exhibition is to promote what the Art Dept. does, but also to show what is possible when you start out from somewhere like Worthing. My old college (West Sussex College of Design) is now called 'Northbrook' and based out of town. It has a good rep for producing Costume Designers, Wig Makers, Model Makers, Prop Makers … But I do think </span><span style="color: #6fa8dc;">life in the big bad world beyond the confines of a campus </span><span style="color: #6fa8dc;">is daunting to students. <i>How do I make my mark in the world? Where do I start?</i> The exhibition just shows there is a way, if you are bloody-minded and determined, like I was. I’m not very good at taking 'no' for an answer.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgleyR4iJlpRvU8Q72M95LVxUbhglnEbt5ld7MsAn-0xLSRAehSjRgBJHbOXpFKTBVfJ_ank1_Vms-AslQ8SKJitd_a_YFtSjDja5G1jP4yXvUbFMPRUJDjJL5vmFVSTlkGhM16EU10H5WfeOKmuQCwHesQr5Dse3GpfZuEGSYSWLM4E2x8JNiTwSooTQ/s1280/GhostwatchBtC_FillingTheVoid_03.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1280" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgleyR4iJlpRvU8Q72M95LVxUbhglnEbt5ld7MsAn-0xLSRAehSjRgBJHbOXpFKTBVfJ_ank1_Vms-AslQ8SKJitd_a_YFtSjDja5G1jP4yXvUbFMPRUJDjJL5vmFVSTlkGhM16EU10H5WfeOKmuQCwHesQr5Dse3GpfZuEGSYSWLM4E2x8JNiTwSooTQ/s320/GhostwatchBtC_FillingTheVoid_03.jpg" width="320" /></a></div>How were the pieces curated, and what input did you have? How would you describe the exhibition to anybody looking to visit?<p></p><p style="text-align: left;"></p><p style="text-align: left;"><span style="color: #6fa8dc;">It’s curated just by me. A lot of designers have their own private archive; collectively, if we pooled our talents, we’d put on an amazing exhibition of TV History, but it’s just the bits I’ve decided to hang onto. So, arguably, I’ve been curating for the last 35 years. It starts chronologically about my early days (see above) and then focuses on specific shows. I think it would be dull just to go '… and then I did this, and then I did this', so I’ve taken a handful of shows and done a case study on how the design came out; these include working drawings, sketches, pitches, concepts; as well as specifics, like how we rolled the yellow car on <i>Inbetweeners </i>into a lake - in the script, just two lines, but it took weeks of planning. </span></p><p>On seeing so much of your work on display, collated in one space, did this shine a new light on your chosen field, or did you find yourself surprised by any particular aspect?</p><p><span style="color: #6fa8dc;">I think what comes across is how much I still love my profession and chosen line of work, and that I can’t imagine doing anything else. And also how much I love colour. I’ve always felt it, but it’s apparent I’m a BIG FAN of colour.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAHAxm8ee-3jxjzAhAUBXZ9r8TsG94Kw7NSDukQKe0v3ySDdN-RMpXhtenC94LBnSmfGIyyPrMEx3sX0E8sVDqmGI8DRTgTbGk1GLU1EssMNKmUUr_cVGOzDNGpiUfAgcawSZ-II9n9Wzf5NYKVBmLLBdET9CqkVkqpURQbg_Gz3j-wb7AfXEIOB_fEg/s1280/GhostwatchBtC_FillingTheVoid_04.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="960" data-original-width="1280" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAHAxm8ee-3jxjzAhAUBXZ9r8TsG94Kw7NSDukQKe0v3ySDdN-RMpXhtenC94LBnSmfGIyyPrMEx3sX0E8sVDqmGI8DRTgTbGk1GLU1EssMNKmUUr_cVGOzDNGpiUfAgcawSZ-II9n9Wzf5NYKVBmLLBdET9CqkVkqpURQbg_Gz3j-wb7AfXEIOB_fEg/s320/GhostwatchBtC_FillingTheVoid_04.jpg" width="320" /></a></div>How much has set design changed in your experience, and has your approach remained constant? Are there tried and tested methods that still apply today, or do methods continue to evolve?<br /><p></p><p><span style="color: #6fa8dc;">It’s something I do highlight in the exhibition, that when I started out, the fax machine was as cutting-edge as it got. I still draw by hand, but what’s apparent is as I’ve got older my drawing has got lazier as I’ve given over to getting "young people" - as I genuinely and lovingly call them (brilliant Art Directors and Assistants) - to turn my drawings into SketchUp/Vector works plans and models. There is definitely a transition from physical model to digital model that you can see in the exhibition. There are also sets I’ve designed that would not have been possible without technology. At its heart, all of what I’ve just said, it’s just about spatial awareness. I think in 3D, that just comes with experience, so if the idea is fundamentally solid, the technology allows for speed, choice, changes to facilitate that. Just having the tech on its own isn’t enough.</span></p><p>I have to ask, does <i>Ghostwatch</i> factor into the exhibition, and if so, how?</p><p><span style="color: #6fa8dc;"><i>Ghostwatch</i> does feature, it’s definitely a highlight of my assisting days. It’s staggering more people don’t know about it though. I’ve got prints of the original graphic panels and house plan on show (too scared to have the originals on display), I have unearthed two old newspaper cuttings about the aftermath which I didn’t know I had, they are displayed in a glass cabinet. They feel like holy relics.</span></p><p>How long is the exhibition expected to run?<br /></p><p><span style="color: #6fa8dc;">Exhibition runs till mid-July, so it’s a good whack of time. Details can be found on the Worthing Museum website.</span></p><p>What have you got lined-up next, project-wise?<br /></p><p><span style="color: #6fa8dc;">I’m off to Bristol and Bath next to do the fourth series of <i>McDonald & Dodds</i> for ITV, I’ve recently just finished shooting <i>The Chelsea Detective</i> for Acorn TV and <i>The Kemps 2</i> for BBC Comedy. <i>M&D</i> takes me through till October.</span></p><p>With huge thanks to Richard for another fascinating interview - he truly is one of the good ones, and a real gent. If you have the good fortune of visiting his exhibition in Worthing, <a href="http://www.twitter.com/ghostwatch" target="_blank">drop us a line on Twitter,</a> as we'd love to hear from you! Richard can be reached directly <a href="http://www.twitter.com/dickydrew" target="_blank">@dickydrew</a> and I highly recommend you give him a follow for more behind the scenes news and ruminations on contemporary and classic TV.<br /></p><p>Until next time... try not to have sleepless nights.<br /></p>GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-34633100129230116502022-11-21T12:00:00.004+00:002022-11-28T11:52:47.601+00:00These things we're talking about are very, very rare, indeed...<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6FrJQnrBYOA9agvzOFFSyYOxdu98YZpGuFV68qILWKsIojAdb-d8zs3x9GLmAFl4BGB_84--b1Qh0TaXZ_E8rOxbCszXv1woqpgES2dT1gh6kFWqtpDBjLem3H1PKvSRCQwm1BSTM-1wLPMIO_7RYAcs_ikbvGOwvMsejD2nCb1Vyj2QJdExVXjbI9g/s1920/GHOSTWATCH-Behind-The-Curtains_OnTheNight_Menu.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6FrJQnrBYOA9agvzOFFSyYOxdu98YZpGuFV68qILWKsIojAdb-d8zs3x9GLmAFl4BGB_84--b1Qh0TaXZ_E8rOxbCszXv1woqpgES2dT1gh6kFWqtpDBjLem3H1PKvSRCQwm1BSTM-1wLPMIO_7RYAcs_ikbvGOwvMsejD2nCb1Vyj2QJdExVXjbI9g/w400-h225/GHOSTWATCH-Behind-The-Curtains_OnTheNight_Menu.jpg" width="400" /></a></div>Greetings, Ghostwatchers!<p></p><p></p><p>Ever so imperceptibly infinitesimally belated news, but I am happy to report that, once again, this year's annual <b>National Séance</b> went tremendously well. Thanks so much to everybody for joining in on Hallowe'en Night and making the event so special. I gather, #NationalSeance2022 was trending at #13 on the Most Tweeted in 24hrs leader-board. Not bad going!</p><p>This year, I tried out the Twitter Space option, which, when deluged with lots of messages coming through all at once, proved a bit tricky to operate single-handed, but thankfully, it all seemed to coalesce on the night. Such fun!<br /></p><a name='more'></a>Huge thanks must go to our regular commentators (is it too mushy to say, 'Family?'), even those who couldn't attend, and especially those who kindly took the trouble to let me know ahead of time. Late Monday evening can be a tricky slot to partake in some ghost-watching<i>,</i> to be sure... But fear ye not, Hallowe'en Night next falls on a Saturday as soon as 2026AD, so get those calendar notifications primed and ready to fire-up in just under four years' time, right after, soon-to-be daily reminders, 'Put personal hovercraft back on charge', 'Sit down for delicious three-course meal in pill form', and last but by no means least, 'Quiet three-seashells time'.<br /><p></p><p>If you had the fortune of tuning-in to our live <a href="https://twitter.com/i/spaces/1MnxnpAdkMyGO?s=20" target="_blank">Twitter Space,</a> you might recall there was a tiny little announcement made partway through...</p><p><b>And that announcement concerns GHOSTWATCH being released on Blu-ray in Australia, next year!</b></p><p>Despite the fact this release (set to be the programme's seventh standalone outing, for those counting) shall only be available to purchase in the territories of Australia & New Zealand, the UK of course shares the same region code (B), so if you're reading this in Blighty, and expect to pay a visit Down Under for a sunny holiday in 2023, be sure to pack your trusty Blu-ray player(!)</p><p>So, what is expected to feature on this upcoming disc? One of the chief aims of <i>Behind the Curtains</i> since its inception was to one day bring both the documentary and main feature together in a complimenting package. As a whole, this project has been in development since at least 2008, and it means such a great deal to see the finish line in sight, at last. Subject to change, the following is now very much in process, with a number of elements virtually ready to go:</p><ul style="text-align: left;"><li><i>GHOSTWATCH</i>, unedited, with optional 'On The Night' continuity mode. This basically means there will be an option to play the iconic BBC1 Lambie-Nairn <i>Virtual Globe</i> ident prior to the Screen One 'boulder' animation. If the original Outro cannot be sourced, a specially-recreated version will also play following the end credits. </li><li>BRAND-NEW CAST/CREW AUDIO COMMENTARY featuring Ruth Baumgarten, Gillian Bevan, Sarah Greene, and Lesley Manning.</li><li>ORIGINAL BROADCAST TRAILER featuring Sarah Greene (with special thanks to <a href="https://www.facebook.com/thetvmuseum" target="_blank">Ed Stradling at The TV Museum).</a><br /></li><li>1992 SUBTITLES sourced from an original off-air broadcast recording of GHOSTWATCH preserved in the original Ceefax style (with special thanks to <a href="https://twitter.com/grim_fandango" target="_blank">Jason Robertson (The Teletext Archaeologist)</a> and <a href="https://twitter.com/jimlynn" target="_blank">Jim Lynn (VHiStory).</a></li><li><i>GHOSTWATCH: BEHIND THE CURTAINS </i>the feature-length retrospective documentary (Possibly with a commentary. We'll see). </li><li><i>RETURN TO FOXHILL</i> in which we boldly venture back to the original filming location and meet the new homeowners.<br /></li><li>40-PAGE BOOKLET featuring <i>31/10</i> by Stephen Volk, and brand-new, never-before seen material expanding on the legend of Foxhill. </li><li>INTERACTIVE MENUS in which Ghostwatchers must navigate the GRD-1 Archive to uncover long-lost footage.<br /></li><li>REVERSIBLE SLEEVE</li><li>COLLECTIBLE ART CARD(S) (expected to be the first 50 orders)<br /></li></ul><p>Regrettably, despite our very best efforts, it is currently not possible to include the much-requested <i>Points of View</i>, <i>BiteBack</i>, and <i>12 Again: Spooky Special</i> segments.<br /></p><p>Suffice it to say, it has been my dream, goal, and mission to make this happen for over fifteen years now, and I couldn't have got this far without your generosity and support. There's still a fair bit of box-ticking to do before carrier pigeoning the master files over to the disc replicators, but we shall keep you informed as to any further news. Fortunately, development for a great deal of the supplementary material commenced from 2008-onwards, in mind to accompany the fabled 2-disc DVD release which never materialised.<br /></p><p>The basic story behind this upcoming disc stretches back to the days of the documentary, when we first reached out to the then-rights owners in mind to package the two together. After 101 Films ultimately picked up the UK/North America distribution rights for DVD, fresh discussions resumed, which lasted as far as the recent 'special edition' Blu-ray. However, after much soul-searching, it felt most appropriate for the two releases to remain separate (paranormal) entities. To me, the 101 Blu-ray release has always felt very much their rodeo, at least as much as <i>Behind the Curtains</i> does mine. I hope that explains things.<br /></p><p>Another interesting aspect concerns the nature of authoring the discs themselves. It seems as though, despite boasting a far greater storage capacity than DVD, Blu-rays prefer to support a single resolution, frame rate, and refresh rate for all content. As GHOSTWATCH is a 50i presentation, that means all other content may need to be at the same settings. I take it, there are no objections? This is being made for fellow Ghostwatchers, after all. Please share your thoughts on this, as we would be very grateful to hear your individual takes. I have been reliably informed an alternative is to increase to 50fps and go progressive scan, but to be honest, that sounds like a <strike>bit</strike> lot of a ball ache.<br /></p><p>It is incredibly important to me that GHOSTWATCH, being the main feature, takes precedence in this release, and remains as close to the original broadcast as possible. This is not only the mantra for the set, but also designed to aid future <i>National Séance</i> events, as the added continuity will already be lined-up and ready to go! However, it shall mean that, despite being shot and mastered in 1080p, the documentary could have to be interlaced. The main feature shall, of course, remain as close to its original picture and sound mix, as possible.</p><p>I, for one, cannot wait for the tentatively-titled <b>GHOSTWATCH: 'On The Night' Edition</b> to reach Australian shores. I certainly hope you enjoy it when it does. Estimated release is 2023.</p><p>Boy, what a year. Speaking of which, Daddy loves you, mate.<br /></p><p>Until next time... try not to have sleepless nights.<br /></p>GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-52453495063325799152022-10-29T09:25:00.004+01:002022-10-29T11:53:18.419+01:00Landline, fax machine, pager, carrier pigeon.<div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYFwJJYQUpWOiX90FDDuusKRE9fZ_apPVbNTTDWyDNpbMVbyHd5Vb0-0ukCXj4EX8LsfdKeucsIrdtLzzGcCmMRxJmopqQfR9FFiZLTzxgMOmVPCcurc_OdMSJnFpdC-I19CPOyfw2EVsD7xY69AnQOhWs9xqXtD4ONT-G8655xu1zoMdd-1F1hPErpQ/s2048/GhostwatchBtC_SheffieldStage.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYFwJJYQUpWOiX90FDDuusKRE9fZ_apPVbNTTDWyDNpbMVbyHd5Vb0-0ukCXj4EX8LsfdKeucsIrdtLzzGcCmMRxJmopqQfR9FFiZLTzxgMOmVPCcurc_OdMSJnFpdC-I19CPOyfw2EVsD7xY69AnQOhWs9xqXtD4ONT-G8655xu1zoMdd-1F1hPErpQ/s320/GhostwatchBtC_SheffieldStage.jpg" width="320" /></a></div><p></p>Greetings, Ghostwatchers!<p></p><p>It never ceases to amaze just how well GHOSTWATCH plays on the big screen. By its creators' own admission, the programme was specifically designed to squeeze the most of our boxy television sets, circa 1992. The speculative technology, as peppered throughout the narrative, (remote cameras, thermographic readouts, light pencils, and the like) was almost parodic in its clairvoyant spin on where the medium was heading in the never-ending quest for modernisation. The programme remains as perceptive today as it was then and, thanks to its fidelity in transcribing the language of Light Entertainment television of the time, remains an immensely useful yardstick in understanding the nature and evolution of the medium.</p><p>Depending on your viewpoint, thirty years is either a long time or momentary flash in history, be it collective or personal. I was just seven-years-old on the night of transmission and, whilst sitting in on one of the recent screenings in Sheffield, felt just as intrigued, enthralled, and disturbed as I did back when I had size 'S' <i>Batman </i>pyjamas. The Michael Keaton type, that is. Not my new 'XL' Robert Pattinson ones.<span></span></p><a name='more'></a>In July of this year, I was contacted by <b>Live Cinema UK</b> and <b>Sheffield Horror Festival</b> who asked if I might be willing to taking part in an immersive live experience combined with a special 30th Anniversary screening of GHOSTWATCH. To cut a long story short, I said, yes.<p></p><p>The screenings took place on 21st and 22nd October at <b>Peddler Warehouse,</b> before the event moved on to <b>BFI Southbank</b> for one night only on Friday the 28th.</p><p>What really caught my attention to the proposal was both the idea of recreating the sets from GHOSTWATCH with a focus on making the event as immersive and authentic to the night of transmission as possible. At one point there was even talk of creating both the studio set and Early Sisters' bedroom, which, to me, sounded tremendously exciting.<br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZxVti4hxCTDNrVwydi7m7XGCYyyssj2jzK0lePpidavpqiHnkFRk787_V7tkcFRghraOyMWj5EMPm_syWxaSdyU2jrXn0CIZUk2WbCCmspU5h4V0ZIqLo5am9sutmhSFDERRwE1naOAd8BxAuV0ZtEWRAGCad8pe0x9MHhGARDceJQkTf9HlEDle1rA/s2048/GhostwatchBtC_SetPhotographs.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZxVti4hxCTDNrVwydi7m7XGCYyyssj2jzK0lePpidavpqiHnkFRk787_V7tkcFRghraOyMWj5EMPm_syWxaSdyU2jrXn0CIZUk2WbCCmspU5h4V0ZIqLo5am9sutmhSFDERRwE1naOAd8BxAuV0ZtEWRAGCad8pe0x9MHhGARDceJQkTf9HlEDle1rA/s320/GhostwatchBtC_SetPhotographs.jpg" width="320" /></a></div>A mini museum/exhibition space was also broached, for which I offered the following from my own scavenged collection: a screen-accurate ReVox A77 reel, a vintage jigsaw shaped like an ancient packet of Golden Wonder crisps, Bubby III from the doc, Waddington's <i>Sorry!</i> boardgame (Disney edition), replica ID badge, and Lego diorama<i>.</i> I also designed and ordered an A4-sized visitors' book in the form of Lin Pascoe's <i>Angels of The Odd, </i>which of course, nobody signed(!) Should've put a notice next to it.<p></p><p>Lesley also brought along a number of paper props and production documents, including a screen-used jumper bearing the show's iconic monochrome logo. Earlier in the process, I had introduced Richard Drew to the organisers, and a number of his personal relics were transposed onto museum panels with accompanying, explanatory text. I was keen to see him involved, and also highly recommended Gillian Bevan, Mike Aiton
and Ruth Baumgarten be contacted too.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdbP_hrf--wVP1oJH34rq5xZ50qj0j5MEAz5ikDvamy4c-Ecg4OE075u__RjymJZhiCY-Ph2sKmEDg4SFgKiY0J2dMxMEZp-Pvk2ryxmz5dwiC7qH7DNUaZbk8oVF-BzcF1yWMdGsLuRmGKm-_qWe15oyHvTcqARGlLxx8zG91ieUus-YYQ9b7UfX2zA/s2048/GhostwatchBtC_ReVox.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdbP_hrf--wVP1oJH34rq5xZ50qj0j5MEAz5ikDvamy4c-Ecg4OE075u__RjymJZhiCY-Ph2sKmEDg4SFgKiY0J2dMxMEZp-Pvk2ryxmz5dwiC7qH7DNUaZbk8oVF-BzcF1yWMdGsLuRmGKm-_qWe15oyHvTcqARGlLxx8zG91ieUus-YYQ9b7UfX2zA/s320/GhostwatchBtC_ReVox.jpg" width="240" /></a></div>The event already deep into production by this point, the correct reel-to-reel tape player as seen in the drama had yet to be sourced. As I already had the reels, I figured it was worth reaching out to enthusiasts for any assistance in tracking one down. Within 24 hours, that help certainly came, care of Iain Betson of Reel Resilience, a professional restoration company based in Derby.<p></p><p>As luck would have it, Iain had recently restored a ReVox A77 Mk III, virtually identical to that seen in GHOSTWATCH, and very kindly made it available for display in Sheffield. Not only that, but he also took the time to record an hour's loop of the actual audio from the show, as sampled by yours truly, bookmarked by the main theme and Ash Lamont's legendary <i>Welcome To Fright Night</i> track, a staple of many a Hallowe'en Night on Twitter around these here parts. All this, of course, was recorded onto a matching AGFA reel that had been personally selected by Iain for added authenticity. Sadly, I couldn't take the old girl home with me, but it was such a privilege and a pleasure to take care of a real ReVox, even for just a few days. Another box on the GW wish-list ticked-off!</p><p>Collecting the machine on the way up to Sheffield also provided an opportunity to record Iain putting the machine together and detailing its intricate construction and restoration. Expect his full interview to hit the <i>Behind the Curtains</i> YouTube page in the coming weeks.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSCnfgv9L3pRbLG364CexWKYfLYJCjRwIdlBrZg1Thfh0S6fHqTKBlHM-5-zA7spXVr7VDk18CtnWYDkQLJRDw9acXoA09cM57q0U3Bo0XSfvxp5XV2TFjV10kp99h68PAnmZbmdbDqVP3HpYAGP9Y6dH8DFkHV-x_Jrr5oebc1Bdx1PN1Hap0hmxDpQ/s2048/GhostwatchBtC_SheffieldVan.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSCnfgv9L3pRbLG364CexWKYfLYJCjRwIdlBrZg1Thfh0S6fHqTKBlHM-5-zA7spXVr7VDk18CtnWYDkQLJRDw9acXoA09cM57q0U3Bo0XSfvxp5XV2TFjV10kp99h68PAnmZbmdbDqVP3HpYAGP9Y6dH8DFkHV-x_Jrr5oebc1Bdx1PN1Hap0hmxDpQ/w320-h240/GhostwatchBtC_SheffieldVan.jpg" width="320" /></a></div>On finally arriving at the venue, through equally heavy amounts of rain, traffic, and anticipation, my first surprise was the sight of a strategically parked white transit van outside the main doors bearing both the classic BBC and GHOSTWATCH logos. A fine start, particularly given the sheer number of likes that first tweet of mine generated.<br /><p></p><p>Shortly after being welcomed inside, I was struck by the vast physical scale of the venue. At the head of countless rows of vacant seating, a giant projection screen was pillar boxed by long vertical banners reminiscent of those designed by Ken Starkey & Richard Drew some three decades previously. Beneath were two brown leather sofas.<br /></p><p>Ushered into the exhibition space, my collectibles soon found protective places in large acrylic display boxes. Across the way, the trusty ReVox was seated behind a protective barrier; later hooked up to Rob (the organiser)'s personal domestic amp and speakers; as carefully instructed by Iain, who even provided additional technical support on the night.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihbZYIGql2KMZseUky13gWCYi8-Xduu5xuFKZW51QlwQCgASAL6nJajwytGCcQSGLkmTAvy29VXJwHRyVnvilg-IXHa9oq8uOkncHSARNpQpre_q_vosyczJ6P-loaQMz_pDqve-na0Hq2m0Vcfz9SQXtOmXEjisCeqwZV64PK-_RfvARbnSgypWnIxw/s2048/GhostwatchBtC_SheffieldScreening.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihbZYIGql2KMZseUky13gWCYi8-Xduu5xuFKZW51QlwQCgASAL6nJajwytGCcQSGLkmTAvy29VXJwHRyVnvilg-IXHa9oq8uOkncHSARNpQpre_q_vosyczJ6P-loaQMz_pDqve-na0Hq2m0Vcfz9SQXtOmXEjisCeqwZV64PK-_RfvARbnSgypWnIxw/s320/GhostwatchBtC_SheffieldScreening.jpg" width="320" /></a></div>When Stephen, Lesley, and Gillian arrived, we were at last briefed in greater detail on the secrets surrounding the screening and Q&A... Surround sound speakers would augment the show's soundtrack, adding additional SFX and even music during Sarah's ghost story. Strobe lights were also set to fire-off at opportune points during the story. These immersive elements would extend all the way through the Q&A, with 'technical problems' experienced throughout, until a certain crucial point where all hell would break loose, and we would be 'evacuated' from the stage, leaving attendees to face-off against Pipes once more. Well, that was the plan...<p></p><p>The audiences for each evening were practically chalk & cheese. On Friday Night, the crowd was loud and boisterous. On Saturday, they were notably more reserved. Both congregations even reacted to different aspects of the presentation. It was fascinating.<br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH0uG6SF5hz21KhORB-BoUAXL6wdH5ypoLz-9MTxgYkjOplJNesLlntEFeyH9dzWxGGHxxzO8QVSpOkqDg8NNrq3JHHMO2Aw24mCPjZLSTZ4VNH8fdOH1H3Et6WxEzJm_r26f6IGyKyFkX-YayAfXnRwwI-QC3nNfWy7ULLJ0npLLLr-a4EmWfm8aUjQ/s2048/GhostwatchBtC_LesleyStephenGillian.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH0uG6SF5hz21KhORB-BoUAXL6wdH5ypoLz-9MTxgYkjOplJNesLlntEFeyH9dzWxGGHxxzO8QVSpOkqDg8NNrq3JHHMO2Aw24mCPjZLSTZ4VNH8fdOH1H3Et6WxEzJm_r26f6IGyKyFkX-YayAfXnRwwI-QC3nNfWy7ULLJ0npLLLr-a4EmWfm8aUjQ/s320/GhostwatchBtC_LesleyStephenGillian.jpg" width="320" /></a></div>Before the screenings began, Stephen and Lesley introduced GHOSTWATCH in the traditional way ("Just to explain, 'g**** h***' meant something different in 1992...") Ninety minutes later, after each screening concluded and the applause had finally died down, the four of us were ushered from backstage and each handed a wireless microphone. Our host for both evenings then proceeded to ask a single tailored question before inviting the audience to continue grilling us at their leisure. <p></p><p>On both nights, Lesley read aloud from the tranche of school letters she received
from young students who saw the show go out live - which, in one instance, bore so little resemblance to GHOSTWATCH that veritable fleets of eyebrows could not help but be raised.<br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8TAyUlnSgRhfOmPs4UCPMziKbhUiEnTZV5cVhVgSbCNpyJ_hEEYs4x4dneiVhDvrb_LB9r9TTv7QWdADlUeDKWZWjqFSfavoimabz1PYUdu73K4uZo9Jop_LZs940KjLXZHhvDC-PX385vxL0BcmOuW2p3BxJOdjSZlxpb9Ku8-OC8ed7SDyJ04DLrA/s2046/GhostwatchBtC_Lanyard.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2046" data-original-width="1538" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8TAyUlnSgRhfOmPs4UCPMziKbhUiEnTZV5cVhVgSbCNpyJ_hEEYs4x4dneiVhDvrb_LB9r9TTv7QWdADlUeDKWZWjqFSfavoimabz1PYUdu73K4uZo9Jop_LZs940KjLXZHhvDC-PX385vxL0BcmOuW2p3BxJOdjSZlxpb9Ku8-OC8ed7SDyJ04DLrA/s320/GhostwatchBtC_Lanyard.jpg" width="241" /></a></div>For some extraordinary reason (despite later assurances this was very much <u><b>not</b></u> a part of the plan), whenever I was handed the microphone, massive bursts of static interference came close to blowing out the surround sound speakers. Of course, nothing was fooling this crowd of clued-up Ghostwatchers on the night, and so, the titters began, bolstered by my best efforts to express 'outrage' at the shoddy slew of sloppy showmanship - all the while, thinking it was part of the show. To give the crew their due, they kept up with my copious ad libbing throughout, at one point even 'apologising profusely' when I shouted back to the audience, "This is supposed to be my big break - I made my own ID badge for this!" to a predictably pitiable response, and secretly my own delight.<br /><p></p><p>Speaking of which, that was something I had hoped to bring along on the night and gift for all to wear, but thanks to a combination of Royal Mail strike action, and being mistakenly sent a clutch of hedge trimmer serial plaques by mistake, only the prototype made it all the way to the venue. Ah well, never mind.<br /></p><p>When the paranormal activity hit fever pitch, we were all hurried off-stage, behind the (stage) curtain, where through a narrow break in the thick heavy fabric, a specially-edited finale sequence could just about be seen in which Pipes returned to haunt the crowd, thirty years later. On the Friday night, we were invited back on stage after the house lights returned, where I was able to take somewhat of an amateur dramatics bow - thereby reassuring those present that I'm not a <i>complete </i>arse (as some would be forgiven for thinking) given my exponential impromptu <i>outrage at the pervading incompetence of the organisers.</i></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgno9rPHVpnxZOY8s5VSkW4yzLOsG1qgrBUP0JJlgk9Cb2jZoUlbBkMP55Ymy5NCodggRMZsRyXoQ5csJVj9NI8wHbY4yQ21ieY9eg1sLIi2frO5TOBCJg1k9nmSSIf2t6XtgEj0mGCZbq2X98kfwREgpdjtZXqhPf7--4erJ1gxi30PGeiHnJubT6bCg/s793/Jim_GhostwatchPrint.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="544" data-original-width="793" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgno9rPHVpnxZOY8s5VSkW4yzLOsG1qgrBUP0JJlgk9Cb2jZoUlbBkMP55Ymy5NCodggRMZsRyXoQ5csJVj9NI8wHbY4yQ21ieY9eg1sLIi2frO5TOBCJg1k9nmSSIf2t6XtgEj0mGCZbq2X98kfwREgpdjtZXqhPf7--4erJ1gxi30PGeiHnJubT6bCg/s320/Jim_GhostwatchPrint.jpg" width="320" /></a></div>A further brief backstage encounter centred on an individual of Banksy-like anonymity who presented Stephen, Lesley, and Gillian a single cardboard tube on their way out. Now, it didn't take long to deduce this person must be the wonderfully-subversive pop artist Jim, of <i>Jim'll...</i> fame, and you can imagine my heart sinking on assuming that I had missed my chance to meet them, let alone take home my very own cardboard tube to add to my collection of assorted cylindrical packaging. Fortunately, Jim then turned back providing me just enough time to admit how fortunate I had been to pre-order one of their wonderful Ceefax Christmas jumpers (which seemed to sell out faster than it used to take to tap '888' into an oak-veneered television remote). "Would you like a print, too?" Jim asked. "I'd love one." was my genuine reply, and moments later I was handed a roll of my very own - <a href="https://jimll.co.uk/products/ghostwatch-art-print" target="_blank">the contents of which</a> are now lovingly framed and proudly displayed for evermore until I need to make a mortgage payment.<br /><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRvftIWHfWJfsrm9kYRRR-99FjFYmA9K216g_XlT1UVqR4kZQmvU-K41PnAPq0tKh6dq4ONSuefZBLIFECsd5sYfLvXbxbjlXkkI5YauxE0865UwTuil6JHrQ2mlzddatjuwQlSluB-nn-K1k-KVXFQGZD8gkyT51av3BY3Z-a6-9LPTzmYzklgm6GKQ/s2048/GhostwatchBtC_JumperCloseUp.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRvftIWHfWJfsrm9kYRRR-99FjFYmA9K216g_XlT1UVqR4kZQmvU-K41PnAPq0tKh6dq4ONSuefZBLIFECsd5sYfLvXbxbjlXkkI5YauxE0865UwTuil6JHrQ2mlzddatjuwQlSluB-nn-K1k-KVXFQGZD8gkyT51av3BY3Z-a6-9LPTzmYzklgm6GKQ/s320/GhostwatchBtC_JumperCloseUp.jpg" width="320" /></a></div>On the Saturday night encore, the reaction from the crowd was more subdued and, personally speaking, the Q&A evoked a more laid-back vibe. Shortly beforehand, a theory came our way concerning my custom GHOSTWATCH ID lanyard (being printed onto aluminium) potentially interfering with the microphones' transmitters. However, despite unclasping it from around my collar, the exact same clamour happened on the second night, and again the organisers were adamant they were not responsible for the deafening static pops. How strange...<p></p><p>As we didn't return to the stage on this night, the atmosphere post-screening was a bit less formal, and we were able to mingle with the crowd. I was fortunate enough to meet/catch up with fans Rob, and Mike, who were both real pleasures to speak with. I even signed a couple of autographs. All in, a memorable experience. Regrettably, I couldn't make the screening at BFI Southbank, which at one point was hoped to feature an exclusive screening of the main trailer for <i>Behind the Curtains,</i> although despite my very best efforts this didn't happen.<br /></p><p>Almost as quickly as the screenings had begun, they were over. On the horizon, thirty years are about to be over. One of the questions in the Q&A asked how the audience response to the show in 1992 compares to today. I replied by saying how attitudes towards the programme are at least as positive today as they were negative back then. Perhaps as it was so difficult to find any measure of shared solace or reassuring rapport in instant fact-checking prior to social networking. Bad news travels faster, especially with no world wide web with which to cushion the sudden, icy blow of reality. Comparatively, we also lacked the one-click capability to cruelly 'cancel' somebody en masse, like poor, lonely, misguided Suzanne Early. At every single screening I have attended I can recall the exact moment audiences align at the sight of Suzie being berated in front of millions - in front of <i>us</i> - having expected to be lightly entertained, no matter the cost. The more things change, the more, well, they don't.<br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2M588nF6eLFfsuS6KgZcEM0X7Pm-TNo6uNkPvGRVtYg9sBmDX8MGBPmHpeVXe-6SJQzLO0NxYWUatziPcif969_XCyBDgIrN9AsDPVXh1_mHmIci6_8LfQgIC89FlOY4dsge4yFwV7MAf5Kpiq-k6BrYL5sDBZHs8Gry1wU6cb0AKucZ3Dfsv7R8uSA/s2048/GhostwatchBtC_GloryholesSheffield.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2M588nF6eLFfsuS6KgZcEM0X7Pm-TNo6uNkPvGRVtYg9sBmDX8MGBPmHpeVXe-6SJQzLO0NxYWUatziPcif969_XCyBDgIrN9AsDPVXh1_mHmIci6_8LfQgIC89FlOY4dsge4yFwV7MAf5Kpiq-k6BrYL5sDBZHs8Gry1wU6cb0AKucZ3Dfsv7R8uSA/s320/GhostwatchBtC_GloryholesSheffield.jpg" width="320" /></a></div>If you hoped to connect with somebody on the night that GHOSTWATCH aired to gauge their opinion, your choices were essentially limited to the title of this article. Dramatic effectiveness aside, perhaps the greatest touchstone the programme continues to offer is connecting us with the past. To remind us just how far things have come. Or, at least, seem to have.<p></p><p>Oh, and, on the way home, we quite randomly happened upon the following <a href="https://www.gloryholesgolfsheffield.co.uk/" target="_blank">crazy golf-themed bar.</a> I mean, of course, we did.<br /></p><p>Special mention to the organisers of the event for inviting me to Sheffield, a lovely place to visit, and their welcoming & hard-working crew, especially Josh for all the heavy lifting. What a gent!<br /></p><p>Until next time... try not to have sleepless nights.</p>GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-38800426907604145352022-10-18T21:25:00.021+01:002022-10-18T21:38:14.730+01:00"Ghostwatch: Behind the Curtains" coming to BFI Player on 27th October 2022<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS72u_XOHoOSBtQk-aJ-oE4VrpYaBrz4ho0qM6ppeu1Qw4c8ShdGuOR65nA7qBAXPnYOOguYvQZoT2MuCHnQ0tV4w5qAJ8PdJ6Fg08qEfA3vBqBtuGoAQyFI85eMY66vJ3PkLZk4-uJIX5mv6RTPjE5HMR9Ae2hrNunXl64CE5qxbuAhMgpE9DNrJJSA/s960/Ghostwatch-Behind-the-Curtains_BFI-Southbank-bookshop.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="720" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS72u_XOHoOSBtQk-aJ-oE4VrpYaBrz4ho0qM6ppeu1Qw4c8ShdGuOR65nA7qBAXPnYOOguYvQZoT2MuCHnQ0tV4w5qAJ8PdJ6Fg08qEfA3vBqBtuGoAQyFI85eMY66vJ3PkLZk4-uJIX5mv6RTPjE5HMR9Ae2hrNunXl64CE5qxbuAhMgpE9DNrJJSA/s320/Ghostwatch-Behind-the-Curtains_BFI-Southbank-bookshop.jpg" width="240" /></a></div>Greetings, Ghostwatchers!<p></p><p>Our retrospective documentary, <i>Ghostwatch: Behind the Curtains</i> held its first screening at BAFTA Piccadilly in late 2012. It was released on DVD in 2013, and during that year the BFI became the first streaming service to include the film on its Mediatheque servers, amongst some 95,000 carefully selected titles.</p><p>Also around that time, the bookshop at BFI Southbank very kindly made available a number of DVD copies (now sold-out), which led to this somewhat meta snapshot, taken by Stephen Volk, of staff watching the doc before recognising him and eagerly confessing their proud #PipesPhobes status!</p><p>The British Film Institute has been a supporter of both this project and GHOSTWATCH since the early days; first spearheading a truly awesome DVD release in 2002 in time for the programme's Tenth Anniversary. Now, with great pride, we can officially announce that they have done it again, in being the first to bring the documentary <span face=""Calibri",sans-serif" style="font-size: 11pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">–</span> now 30 years in the making <span face=""Calibri",sans-serif" style="font-size: 11pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">–</span> to your digital displays care of <a href="https://player.bfi.org.uk/subscription/film/watch-ghostwatch-behind-the-curtains-2012-online" target="_blank">BFI Player.</a></p><a name='more'></a><p></p><p>Yes, <i>Ghostwatch: Behind the Curtains</i> at long last returns on 27th October of this year, and subscribers to the service can add the film to their watchlists now. <a href="https://player.bfi.org.uk/sign-up?destination=subscribe" target="_blank">New subscribers can also enjoy a 14 day free trial </a>(then £4.99/month or £49/year) with which to discover a dizzying range of classic and cult films, some featuring exclusive introductions by Mark Kermode (hey, if we ask kindly/repeatedly enough, I wonder if he might record one for us..?)</p><p style="text-align: right;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDBmrsJ-7Ui72FTwbAJLh5s7lSRzgMPseJs2D-1OygsOqhCkdaExg6mTwrQ2SKe22ja6fDvmiuOePrEfLFQa1xYWRYRI107Zmuxwzj3nRv97WcXVJHmm5BnCX6vJTU93FO8TKOKCVRWv59Z5pLuO0PbFBj3sIMjkmm-J6bLs4sjX6InGRd0EAhcYpT3g/s2048/Ghostwatch-Behind-the-Curtains_CODA.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDBmrsJ-7Ui72FTwbAJLh5s7lSRzgMPseJs2D-1OygsOqhCkdaExg6mTwrQ2SKe22ja6fDvmiuOePrEfLFQa1xYWRYRI107Zmuxwzj3nRv97WcXVJHmm5BnCX6vJTU93FO8TKOKCVRWv59Z5pLuO0PbFBj3sIMjkmm-J6bLs4sjX6InGRd0EAhcYpT3g/s320/Ghostwatch-Behind-the-Curtains_CODA.jpg" width="320" /></a><span style="color: #6fa8dc;">“I am so thrilled to see BFI are making this in-depth document on the making of GHOSTWATCH available for the 30th Anniversary!”<br /><br /> <span face=""Calibri",sans-serif" style="font-size: 11pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">–</span> LESLEY MANNING</span></p><p>Bringing back the documentary has been in consideration since we sold out on DVD sometime around 2018. Being a self-funded Independent production, this has taken longer than expected, but for all good reasons.<br /></p><p></p><p>Even more long-term friends to the production, the technically proficient team at CODA post-production studio in Soho, recently supervised and implemented a beautiful picture grade for the entire film, which means it shall reach you in glorious full HD, too. As always, I cannot say thank-you enough to well-wishers of the project for their support, for which I shall remain eternally grateful. #TeamEffort</p><p></p><p style="text-align: right;"><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Mention"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Smart Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hashtag"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Unresolved Mention"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<![endif]--></p><p style="text-align: left;">We continue to be asked whether the doc shall be returning on physical media, too. The short answer is certainly not before the 31st October, and possibly not even before the end of the year. Virtually every aspect of such a release has been prepared, but the exact form this proposed reissue shall take remains in the offing. I wish I could say more but, as tends to be the way, another extremely exciting opportunity has recently presented itself... more on that later, though <span face=""Calibri",sans-serif" style="font-size: 11pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">–</span> not least as we shall be asking to hear your thoughts on just what you'll be seeing. Ooh.<br /></p><p>Look forward to seeing you at <a href="https://livecinema.org.uk/ghostwatch-a-30th-anniversary-immersive-experience/?utm_source=rss&utm_medium=rss&utm_campaign=ghostwatch-a-30th-anniversary-immersive-experience" target="_blank">Sheffield,</a> <a href="https://whatson.bfi.org.uk/Online/default.asp?BOparam::WScontent::loadArticle::permalink=ghostwatchqanda" target="_blank">BFI Southbank,</a> and <a href="http://www.ghostwatchbtc.com/p/national-seance.html" target="_blank">National Séance,</a> shortly. Incidentally, very limited numbers of tickets are still available and, again, if you count yourself a fellow Foxhillian, you certainly won't want to miss these. I cannot stress that enough!<br /></p><p>Until next time... try not to have sleepless nights.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi797xyZDnd40glombOugHLoD6TSV4mQQdf9k_P6BPEjn1glOGOAaYjAFzel6RDZCNx1raCJf9Z51m2UEwSM7kj2FXgOJA2tNKW9xDbTqG6C6HZ6CUY6CKGCU0_KWN6geh244OsNWHOveTir0EH5W2XkByVIGPookAgFksG3VUkCn_NWqnKW-Yd3sVTuA/s3000/CheeseNoPickle.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="3000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi797xyZDnd40glombOugHLoD6TSV4mQQdf9k_P6BPEjn1glOGOAaYjAFzel6RDZCNx1raCJf9Z51m2UEwSM7kj2FXgOJA2tNKW9xDbTqG6C6HZ6CUY6CKGCU0_KWN6geh244OsNWHOveTir0EH5W2XkByVIGPookAgFksG3VUkCn_NWqnKW-Yd3sVTuA/w640-h214/CheeseNoPickle.jpg" width="800" /></a></div><br /> <p></p><p></p><p></p>GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-15638134480738937592022-10-05T23:09:00.002+01:002022-10-18T20:23:21.519+01:00GHOSTWATCH: A 30th Anniversary Immersive Experience<p style="text-align: left;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXa4U0ZS8t1eRZTziBSatrM15mBGy86j8NxAwLACEmKgZAU5IitCMZKe6XNND4KGrRlm1IStRH1dVIRq-vHWmNG-zU60x8u20T10D4rjjcl2-J_bQKdxE-VYMBLsQZbrFkd_7E4owoMPd3vfj3yoMTIxwZDmgFRehUCQV3T3KGoKaaG8Uk3K8McE5EwQ/s2048/Ghostwatch%20-%20A%2030th%20Anniversary%20Immersive%20Experience.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1534" data-original-width="2048" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXa4U0ZS8t1eRZTziBSatrM15mBGy86j8NxAwLACEmKgZAU5IitCMZKe6XNND4KGrRlm1IStRH1dVIRq-vHWmNG-zU60x8u20T10D4rjjcl2-J_bQKdxE-VYMBLsQZbrFkd_7E4owoMPd3vfj3yoMTIxwZDmgFRehUCQV3T3KGoKaaG8Uk3K8McE5EwQ/s320/Ghostwatch%20-%20A%2030th%20Anniversary%20Immersive%20Experience.jpg" width="320" /></a></div>Greetings, Ghostwatchers!<p style="text-align: left;"></p><p style="text-align: left;">Well, we're less than a month away from the twelfth annual <i><a href="http://www.ghostwatchbtc.com/p/national-seance.html" target="_blank">National Séance,</a></i> and all things Foxhillian are already in full swing. And rightly so. After all, this month marks thirty years since the broadcast of everyone's favourite Hallowe'en Hoax...<br /></p><p style="text-align: left;">But first things first. On October 21st (sold out) and <a href="https://www.showroomworkstation.org.uk/ghostwatch-saturday" target="_blank">October 22nd,</a> the fine folks over at <a href="https://twitter.com/sheffhorrorfest" target="_blank">Celluloid Screams</a> and <a href="https://twitter.com/livecinemauk" target="_blank">Live Cinema UK</a> shall be hosting a unique live investigation of the Supernatural at <b>Peddler Warehouse, Sheffield.</b> On October 28th, the event shall then move to BFI Southbank for just one night only, as part of the <a href="https://indreamsaremonsters.co.uk/synopsis/" target="_blank"><b><i>In Dreams are Monsters</i></b></a> festival...</p><p style="text-align: left;"><span></span></p><a name='more'></a><div style="text-align: center;"> </div><div style="text-align: center;"> </div><div style="text-align: center;"> <iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/EMzrXvfb8jo" title="YouTube video player" width="560"></iframe><br /></div> <p style="text-align: left;"><b><span style="color: #6fa8dc;"><i>Ghostwatch superfans @celluloidscreams and immersive cinema pioneers @livecinemauk present a special 30th anniversary live cinema experience, resurrecting the original spirit of the broadcast for a hauntingly-good immersive celebration of the paranormal, Parky, and Pipes. With a Q&A with director Lesley Manning and writer Stephen Volk, peek behind the curtains, and re-enter the glory hole.</i></span></b> </p><p style="text-align: left;">And don't forget this full-blown <b>Content Warning</b> for those thinking of attending with a nervous disposition, or perhaps hoping to acquire one in due course...</p><p style="text-align: left;"><span style="color: #6fa8dc;"><i><b>Content Warning: This is a live immersive event. Please be prepared for loud and sudden sounds, lighting, smoke, and jump scares throughout.</b></i></span> </p><p style="text-align: left;">Ooh... And with that, I think it is fair to say this marks a trio of evenings that Ghostwatchers shall certainly not want to miss. Seriously.</p><p style="text-align: left;">... No, really. If at all possible, <u>please be there.</u> Trust me on this.<br /></p><p style="text-align: left;">Alongside each of these thrice-in-a-lifetime screenings, there shall also be a very special Q&A featuring one or more of the following special guest speakers: <b>Stephen Volk</b> (writer), <b>Lesley Manning</b> (director), <b>Gillian Bevan</b> (Dr. Lin Pascoe), and <b>Rich Lawden</b> (online celebrity influencer type).</p><p style="text-align: left;">Grab your tickets now, selling fast, at <a href="http://showroomworkstation.org.uk/ghostwatch">showroomworkstation.org.uk/ghostwatch</a></p><p style="text-align: left;">And just for us, here's a tantalising quote regarding the event from organiser, Rob Nevitt...</p><p style="text-align: left;"><span style="color: #6fa8dc;"><b>"We're thrilled to be bringing <i>Ghostwatch </i>to the big screen for its 30th anniversary. The original broadcast was such a pivotal moment in UK TV history, and certainly left its mark on thirteen-year old me when I watched it as it went out. Our immersive events in Sheffield and London will offer a rare peek behind the curtains of the legendary film, with special guests and lots of other surprises!"</b></span></p><p style="text-align: right;"><!--[if gte mso 9]><xml>
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<![endif]--><span style="color: #6fa8dc;"><b><span face=""Calibri",sans-serif" style="font-size: 11pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">–</span> Rob Nevitt, Festival founder and co-director, <i>Celluloid Screams Horror Film Festival.</i><br /></b></span></p><p style="text-align: left;">With all things being equal, we expect some long-awaited news regarding <i>Behind the Curtains</i> to be dropping shortly (famous last words, I know). You very possibly might not believe this year's twists and turns (alone) in our long-progressing journey, but as always, our sincere and grateful thanks remain extended to you all for your continued support, well-wishes, and boundless patience. #TeamEffort</p><p style="text-align: left;">Also, thanks to whomever sent me the parcel addressed to 'Behind the Curtains' recently. Haven't opened yet, but I shall check it out when I get the chance. Cheers! Now, if you'll excuse me, I have one-thousand-nine-hundred-and-ninety-two tweets with which to bombard <a href="http://www.twitter.com/BBCPoV" target="_blank"><i>Points of View</i></a> concerning my renewed befuddlement at the lack of a single repeat broadcast, in full, of
this remarkable piece of British drama in no less than three decades...</p><p style="text-align: left;">Until next time... try not to have sleepless nights.<br /></p>GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-61944246969462369442022-04-02T21:25:00.006+01:002022-10-18T20:21:30.470+01:00"Screenshot" with Mark Kermode, Ellen E Jones, and Mark Gatiss - 1st April 2022<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1f2CrgMTNVTjqxI01ajl3U7XdYFGJ-L_0L8T-cZ8AgGzFEugvbONqwWemOAESRCy7Dtemcz7_HTtqdnnzmBp8qgMk6VCluoSichbsWmJgq7H1S_djszPdDjD_sfqJhQjPe4RWYJBLcfw8n7sIVxugOUIwp-fdJn040vq0xc7w9bJisNk0vm7TYAp3Ww/s1200/Screenshot_Kermode_Jones.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1f2CrgMTNVTjqxI01ajl3U7XdYFGJ-L_0L8T-cZ8AgGzFEugvbONqwWemOAESRCy7Dtemcz7_HTtqdnnzmBp8qgMk6VCluoSichbsWmJgq7H1S_djszPdDjD_sfqJhQjPe4RWYJBLcfw8n7sIVxugOUIwp-fdJn040vq0xc7w9bJisNk0vm7TYAp3Ww/s320/Screenshot_Kermode_Jones.jpg" width="320" /></a></div>Greetings, Ghostwatchers!<p></p><p>It was a complete fluke yesterday when somebody presented me a copy of the <i>Weekend</i> TV listings magazine that just happened to feature an interesting spotlight mentioning a hoax-centric episode of <a href="https://www.bbc.co.uk/sounds/play/m0015vmc" target="_blank"><b><i>Screenshot,</i></b></a> a BBC Radio 4 series hosted by Mark Kermode and Ellen E Jones, which aired April 1st (harumph, harumph) at 19:15.</p><p>It must be said, I have been a fan of Kermode's astute analysis and reviews since my Film Studies college years, around which time I gleefullly discovered, <i>Alien Evolution</i> (dir. Andrew Abbott, Russell Leven, 2001), <i>Shawshank: The Redeeming Feature</i> (dir. Andrew Abbott, 2001), <i>On the Edge of 'Blade Runner'</i> (dir. Andrew Abbott, 2000), and of course, <i>The Fear of God: 25 Years of ''The Exorcist'</i>' (dir. Nick Freand Jones, 1998).</p><p>I can freely admit that <i>Alien Evolution</i> made such a big impact on me personally, that I count it among the more significant inspirations in making <i>Behind the Curtains.</i> I aspired to the standard of that documentary, and still do for so many reasons; aesthetic, astute, and articulate. I remember discovering the radically different cut lurking in the masterful DVD menus of the outstanding <i>Alien Quadrilogy</i> boxset, and a near-broadcast cut on the <i>Alien Anthology</i> follow-up Blu-ray set from 2010. Fortunately, I still have my own unedited VHS copy from the very first night of broadcast on Channel 4, complete with just one or two ex(or)cised moments, and original music cues as I recall.</p><p style="text-align: left;">So, you can imagine my ever-so-slightly <i><u><b>crushing</b></u></i> disappointment in 2009 when, during an episode of <i>Road Movies,</i> Mark appeared to, well, not entirely appreciate yours and mine favourite Hallowe'en Hoax*... Hence, this. Ahem.</p><p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/X5ndfWgyKjY" title="YouTube video player" width="560"></iframe> <br /></p><p>Thirteen years on, and a brand-new <i>Ghostwatch</i> mention from the man himself has now very recently surfaced, which I'm happy to report was really lovely to see (or in this case, hear).</p><p>The particular portion of prominence to any prying Pipes-phobes kicks-off at approximately the 31-minute mark of yesterday's <i>Screenshot;</i> during which, writer/actor/director/producer ("one of those is not true") <b>Mark Gatiss</b> was invited to discuss his lasting appreciation of <i>Alternative 3, Ghostwatch, Noel's House Party,</i> and <i>Beadle's About.</i></p><p>Now. Before we begin. Let me just say that I have a considerable amount of time for each of those aforementioned programmes. The latter three also constitute some of my fondest childhood memories, sat parked in front of the telly. For obvious reasons,<i> Alternative 3</i> found its way into my rotation a little while later, yet still packs a punch today; with a similarly invested audience reception back in 1977 to <i>Ghostwatch</i> in 1992. Good company to say the least.<br /></p><p>Although I am always thrilled to see it being discussed, my only gripe with <i>Ghostwatch</i> featuring alongside this line-up can best be exemplified by considering this given episode's title: <i>"Hoaxes, fakes and pranks".</i></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMETrUj2nBx8CP8UJt0o-aEeFxHUfK7w-DCplR8B9XFFEAvWpR4DC4ppYq0qc7De0l2jF7ObWCOTO8pa-inn17ZTkBvAdjGwcXA-NQmmELp7qs0ddKb9d7yLAfWgboLJweGSsucxl15G-fs0xvW9W6cHqnncGCGQwVydiejb4l-B0mf0pI50vNhjVe2g/s2048/BtC_Weekend_Screenshot.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMETrUj2nBx8CP8UJt0o-aEeFxHUfK7w-DCplR8B9XFFEAvWpR4DC4ppYq0qc7De0l2jF7ObWCOTO8pa-inn17ZTkBvAdjGwcXA-NQmmELp7qs0ddKb9d7yLAfWgboLJweGSsucxl15G-fs0xvW9W6cHqnncGCGQwVydiejb4l-B0mf0pI50vNhjVe2g/s320/BtC_Weekend_Screenshot.jpg" width="240" /></a></div><p>The very notion that <i>Ghostwatch</i> can still, to this day, be described in such simplistic terms remains more than a tad frustrating to me. The production and all that it achieved remains so much more than those particular drop-in-the-ocean-designators, and ironically far less when accurately and fairly describing it on its own terms; simply, a <i>Special Drama</i>. Irregardless, the fact the acustomed, or face-value, format that encompasses <i>Ghostwatch</i> helps blur the line between fact & fiction is immaterial to its core identity.</p><p>According to <i>Hoax: A History of Deception: 5,000 Years of Fakes, Forgeries, and Fallacies,</i> care of Wikipedia:<br /></p><p></p><p><span style="color: #6fa8dc;"><i>"A <b>hoax</b> is a widely publicized falsehood so fashioned as to invite
reflexive, unthinking acceptance by the greatest number of persons of
the most varied social identities and of the highest possible social
pretensions to gull its victims into putting up the highest possible
social currency in support of the hoax."</i></span></p><p>As we all know, <i>Ghostwatch</i> was <u>not</u> publicised as being a live event. As a drama, it succinctly tapped into audiences' perceived expectations of Light Entertainment and Outside Broadcast programming in order to most effectively deliver a narrative; in this case, a good old-fashioned ghost story. The most substantial aspect that differentiates it from most conventional drama is in its presentation.<br /></p><p>Despite <i>Ghostwatch </i>utilising an unconventional style, I feel this is not enough to constitute a true definition of 'hoax', let alone, 'prank', and certainly not, 'spoof'. There are admittedly a number of fictitious hoaxes within the plot (not really applicable here, short of referencing), with even Parkinson at one point rhetorically asking, <i>"Is all of this, <u>all</u> of this a hoax, or as Doctor Pascoe believes, are things just about beginning to happen..?"</i><br /></p><p>This is a relatively minor bugbear of mine, but one that I maintain is
important to note where applicable. Arguably, one of the principle
reasons that <i>Ghostwatch</i> has not yet been repeated is due to the unconcious perpetuation of sensationalised assumptions harking back to its inaugural broadcast. The finer examples of television programming rightly push (if not all the way <i>over</i>) all manner of preconceived boundaries. Theoretically, it is only when these revolutions occur that said restrictions can be objectively evaluated, and better frontiers be forged.</p><p>At the end of the day, what we're discussing here was, in simple terms, a bloody good drama. I only regret, thirty years on, <i>Ghostwatch </i>is still rarely described as such.</p><p>Another way of putting it; has anybody ever green-inked to <i>Points of View</i>, <span style="color: #93c47d;"><i>"I feel compelled to write to you in the strongest possible terms. During your most recent episode of </i>Bergerac,<i> I clearly saw a man shot and killed, leading to a disquieting murder investigation on the fair island of Jersey. I am appalled that your camera crew seemingly allowed this to happen, and that as a trusted broadcaster, you later used the footage of this tragic event for the purposes of crass entertainment. I frankly expected better from Auntie, and sincerely hope that Mr. Bergerac apprehends the culprit in Part Two, next week."</i></span></p><p>... Actually, yes, they probably have. Nevertheless, I remain curious, at what point does drama cross the line into becoming too believable? How can a programme be rationally attacked for sheer plausibility? And, why have I just noticed three tiny parallel scratch marks on my arm as I sit here writing this? *gulp*<br /></p><p>Anyhoo, back to <i>Screenshot.</i> This isn't the first time that guest, Mark Gatiss has expressed his admiration for <i>Ghostwatch.</i> In 2009, also care of Radio 4, fellow Leaguer Reece Shearsmith hosted his <a href="http://www.ghostwatchbtc.com/2009/10/reece-shearsmiths-haunted-house.html" target="_blank"><i>Haunted House</i></a> for Hallowe'en, with a panel that also included Vic Reeves and Yvette Fielding. It was during this radio show that I believe Mark coined the exquisite and honoured rallying cry, <b>"Copper-bottom genius"</b> in describing Pipes' evocative moniker.<br /></p><p>I remain a great admirer of Gatiss' work, particularly with The League. I sleep with the lights on now. It's in the dark I see Pipes' face. One eye protruding, the other ripped out. Black. It remains wonderful to hear those you respect professionally express their appreciation of <i>Ghostwatch</i> in some fashion. I so hoped to include the Royston quartet in the <i>Behind the Curtains</i> documentary, but sadly this never came to pass. If you're listening, gents, this year <i>is</i> the Thirtieth Anniversary you know... *fingers crossed*<br /></p><p>In this interview with <span style="color: #6fa8dc;">Ellen,</span> <span style="color: #11f2cd;">Mark</span> begins by explaining how he had not before seen <i>Alternative 3:</i></p><p><span style="color: #11f2cd;">GATISS: No, I hadn't. No, I had never heard of it, which is very unusual - except that, the wonderful thing about anything vaguely connected to the Supernatural or the 70s, is that there is never an end to them. You think you know every HTV children's serial, and then someone will say, 'Do you remember that one about the child whose foot grew too big?' and you go, 'What?' There's always something!</span></p><p><span style="color: #11f2cd;">I've never heard of this. I thought it was delightful. Also, and I'm not just saying this, I know that if I'd watched this in 1976--7, I would not have fallen for it. Because, although it beautifully mimics the whole style of... all those gritty, 70s, <i>Panorama</i>-type things very, very well, it is full of character actors, whose names I would have known. I remember having the same -- this is a weird thing to say -- I remember having the same problem with <i>Beadle's About,</i> which is that they used, as a recurring actor, John Leeson, who was the voice of K9, in <i>Doctor Who.</i> And, I used to think, if John Leeson turned up at my drive, trying to convince me that something was happening, I'd just go, 'You're K9!' and that would have been the end of the skit.</span></p><p><span style="color: #6fa8dc;">JONES: Do you think people enjoy being hoaxed?</span></p><p><span style="color: #11f2cd;">They tell you, 'not', don't they, because you get massive complaints, and then <i>Ghostwatch</i> is never allowed to be shown again, and it's put into the Black Archive, and... despite the fact it's <b>manifestly excellent.</b> I think, maybe people don't like to think they're being fooled. And you think, 'Well, it's just as valid as any other form.' Why should you not sit down and watch something which is presenting itself as fact, and then, at the end, says, 'Ah, ha-ha..!'. Why not? I mean, that's a valid form of fiction, isn't it?</span></p><p><span style="color: #6fa8dc;">Did you watch <i>Ghostwatch </i>when it was first broadcast?</span></p><p><span style="color: #11f2cd;">I certainly did. I watched anything Supernatural throughout my entire life. So, obviously I was aware. It was on the cover of the <i>Radio Times, </i>that this was a sort-of <i>War of The Worlds</i>-type thing. What I loved about it, and I still absolutely adore, is the genuinely great performances from presenters -- particularly, Michael Parkinson and Sarah Greene.</span></p><p><span style="color: #6fa8dc;">So naturalistic.</span></p><p><span style="color: #11f2cd;">It's so good. Even down to, sort-of--</span></p><p><span style="color: #6fa8dc;">Craig Charles is great.</span></p><p><span style="color: #11f2cd;">Craig Charles is great. And even the, sort-of, longueurs when things go slightly wrong. There's a slightly embarrassing link between VT and Studio, whatever.</span></p><p><span style="color: #11f2cd;">And obviously, the actual backstory; and of course, <b>the single scariest name ever conceived for a ghost, 'Pipes'...</b> The bit I never forget -- I literally shrieked -- the camera pans down to see the kiddies' drawings, and briefly comes back up, and you see him reflected in the French windows. Oh, my god -- it's brilliant.</span></p><p>There's also a fine appraisal from Mr. Gatiss of <a href="http://www.ghostwatchbtc.com/2018/11/good-luck-studio.html" target="_blank"><i>Inside No. 9's</i> Hallowe'en special<i> Dead Line</i></a> from 2018, and later, ghost story adaptations.</p><p>And lastly, a kind word or two from the co-host of <i>Screenshot:</i><br /></p><p><span style="color: #3d85c6;"><span>KERMODE: All these threads, you know, lead through all the programmes and films we've been talking about. It is worth pointing out, on the subject of <i>Ghostwatch,</i> which I saw when it first went out in 1992, and I did find very, very creepy, because it's very <i>Exorcist.</i> In the aftermath of it, people were genuinely outraged. There were record numbers of complaints</span><span>, people really did think that it had gone too far -- that they should have been warned in advance. The fact that there were presenters like Sarah Greene who would be, sort-of, familiar to Children's TV audiences taking part -- I mean, this taps into what you were saying about the Television is in your house. It's in your living room. It's one thing, going out to a movie, but it's a different thing when it's kind-of, lying to you, in the corner of your front room. [...] I'm a Horror film fan and a Science-Fiction fan, so most of the time, what I feel annoyed about is <i>not</i> being taken in -- is <i>not</i> being convinced. And so, I love it when anything works. <br /></span></span></p><p>Again, despite being positively thrilled to learn that Mark was 'there with us' on the night of tx, '92, I do feel compelled to highlight his assertation that there were, "record numbers of complaints" <a href="http://www.ghostwatchbtc.com/2021/04/i-dont-know-how-many-of-these-to-take.html" target="_blank">for the reasons previously stated</a>.</p><p>And While I'm At It, I wonder if (or why) the quote "[people felt] they should have been warned in advance" applies any more to <i>Ghostwatch</i> than it does to, say... <i>The Exorcist.</i> Not least of which as, I understand, contemporary live screenings for the latter do not currently require an advance spoken warning that anybody of a nervous disposition should leave the room, prior to it starting. No, really.<br /></p><p>Until next time, Ghostwatchers... try not to have sleepless nights.</p><p style="text-align: right;"><span style="font-size: x-small;">*Ironic. Obz.</span><br /></p>GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-8363150208464999962022-02-27T21:25:00.007+00:002022-02-27T21:25:00.180+00:00Paul Sinha's TV Showdown - 26th February 2022<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgKtdSPvvvKThsjSFNFUz1_h7SPt_9X_Be0oHTkkMoIrIxV4Zf8yWkTk6DxNPYDS1SomvEChV-kS5h2WaD7tDjmwbnKjK0H4raZjGc0UOsMSaVtMHHsJnTKyBZa1SWUUqHiDSTbC3a-42_ck4lQki3rmgEUBsiNJ1DB4n1XODqvLT9w1tyALKFp8cQ6DA=s1920" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEgKtdSPvvvKThsjSFNFUz1_h7SPt_9X_Be0oHTkkMoIrIxV4Zf8yWkTk6DxNPYDS1SomvEChV-kS5h2WaD7tDjmwbnKjK0H4raZjGc0UOsMSaVtMHHsJnTKyBZa1SWUUqHiDSTbC3a-42_ck4lQki3rmgEUBsiNJ1DB4n1XODqvLT9w1tyALKFp8cQ6DA=s320" width="320" /></a></div>Greetings, Ghostwatchers! <p></p><p>Yes, it's that time of the year again - welcome to the 2022 edition of, <i>Did You Know That GHOSTWATCH Was Mentioned On The Telly Again, Last Night?!™</i></p><p>You might recall, <a href="https://www.ghostwatchbtc.com/2019/03/weve-got-some-lights-in-studio.html" target="_blank">back in March 2019,</a> Jenny "The Vixen" Ryan, and Bradley "Bradders" Walsh taxed <i>The Chase</i> contestant, Jon's knowledge of everyone's favourite Hallowe'en Hoax. Now, less than three years later, fellow Chaser, Paul "Sinnerman" Sinha, has now joined the pantheon of quiz show hosts destined to gauge the popularity, longevity, and lasting appreciation of everyone's favourite Hallowe'en... oh sorry, already said that.<span></span></p><a name='more'></a>Last evening at approximately 21 mins in, not counting the ad break, during the second episode of the second series of <a href="https://www.itv.com/hub/paul-sinhas-tv-showdown/10a0875a0013" target="_blank"><i>Paul Sinha's TV Showdown,</i></a> the socially-distanced bastard child of <i>Noel Edmond's Telly Addicts</i>, and <i>Harry Hill's Alien Burp TV Capsule,</i>
featuring a not-half-bad opening title sequence, Team Captains Fay
Ripley and Rob Beckett, panellists/contestants/available celebrity-types, Georgia
Toffolo, Sindhu Vee, Chris McCausland, and Jonathan Ross [whom, to my
knowledge, <a href="https://www.ghostwatchbtc.com/2010/03/and-craig-fergeson-i-believe-as-roving.html" target="_blank">last discussed</a> <i>GHOSTWATCH</i> on-air around twelve years ago] were presented with a spoilerific clip of you-know-what.<p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiMG9waz-qWyKZ3RpauCeGbgbSEteoffbTI6-narrpfbUXjnKyKGvSp3F5ohNrOyv8ENmx3qBmDqFylA3fFJJ4Qwjdderbh9VLtraBpOHCGdkesw4jn3Mhp_diPenhMkSyyIQhpI6iMWA9__vXwbGMXS_EiIHWWXnR2ZV5w14I_XBB9k1Qz3Kwei8JYSw=s1920" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEiMG9waz-qWyKZ3RpauCeGbgbSEteoffbTI6-narrpfbUXjnKyKGvSp3F5ohNrOyv8ENmx3qBmDqFylA3fFJJ4Qwjdderbh9VLtraBpOHCGdkesw4jn3Mhp_diPenhMkSyyIQhpI6iMWA9__vXwbGMXS_EiIHWWXnR2ZV5w14I_XBB9k1Qz3Kwei8JYSw=s320" width="320" /></a></div>Having gallantly waded through a number of time-grinding clips including 'Jedward' on <i>The X-Factor</i>, <i>Outnumbered,</i> <i>Grampian's A Touch of Music,</i> and <i>I'm a Celebrity Get Me Out Of Here,</i> Sindhu is next-up to choose one of four remaining categories on the video wall; in this case she goes for, 'CHILLS'.<p></p><p>At very long last, we finally get to a clip, albeit masked by a stock overlay graphic, of Dr. Lin Pascoe, as ably portrayed by Gillian Bevan, pointing out to Michael Parkinson, as ably portrayed by Michael Parkinson, how The Picture On The Wall is inexplicably back up where it belongs DESPITE ALL OF US CLEARLY SEEING IT FALL OFF, EARLIER ON.</p><p>"We've created a séance... a massive séance!" warns Lin amidst a gathering storm of genuine paranormal activity in the BBC studio.</p><p>[Now, something that I cannot for the life of me understand, is why it sounds as though Lin's preceding line, "Jesus, Michael..." has been trimmed in the edit, particularly given this show's post-Watershed airing of 22:10. But I digress.]<br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg8GSVEXW7HD-X1sK70XaZshg73YB-DBZr3cJNafFaskkEJCAoJUGEo3mLH7BShXNXqneg7iDjAqk87FcO5LCmNSE864HkjB18jEpnAL6cfKWX0ciAVMxZZEuty9sV9RMkMCKNYpLr60j7M5sSq9P7JP9Cogut0hRF6btGzgVpyRtguCdeqQDwYTeY54Q=s1920" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEg8GSVEXW7HD-X1sK70XaZshg73YB-DBZr3cJNafFaskkEJCAoJUGEo3mLH7BShXNXqneg7iDjAqk87FcO5LCmNSE864HkjB18jEpnAL6cfKWX0ciAVMxZZEuty9sV9RMkMCKNYpLr60j7M5sSq9P7JP9Cogut0hRF6btGzgVpyRtguCdeqQDwYTeY54Q=s320" width="320" /></a></div>"You haven't created a séance, you've opened a window." side-splits stand-up comedian and host, Paul.<br /><p></p><p>His question to the team then follows, "That was a spooky moment from <i>GHOSTWATCH,</i> but on which day of the year was it broadcast?"</p><p>Now, in my view, this actually isn't half-bad a question considering, well, the show as a whole, thus far.</p><p>Of course, to any died-in-the-gloryhole Ghostwatcher, this simple quandary would feature in the first chapter, nay preface, of any prospective <i>GHOSTWATCH</i> quiz book [... actually, there's an idea]. When put to Fay's team, however, this proves a mite taxing to say the least, with two-thirds of its roster visibly bewildered in response. Wossy suggests to his team that they, "Take a stab", even though I can't help but suspect he knew the correct answer all along, before following-up with, "When would you have a spooky thing, what's the spooky night of the year?"</p><p>"... Hallowe'en?" tentatively offers Sindhu.</p><p>"Yes. I would say that, if I were you." suggests Ross.</p><p>When she does say that, however, Paul snaps back, "You didn't listen to the question properly. I said, what <i>day</i>... it was a <i>Saturday.</i> No, only joking. It was Hallowe'en. It was Hallowe'en."</p><p>Now, props must be given to Sinha for getting the actual day of the week right for transmission. Props also to the 'hoax' nature of his witty repaste, as it's about the same level and quality of gag that I might have attempted in such a scenario, and I'm really funny. Come to think of it, I wonder if he's a fellow Ghostwatcher..? That would be nice to find out.<br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjJCWyyXSEG5t0MaBDKnTqXpfQW2ooHPG7crugxhlL9n2tQGIPK0BZbltZT_OJ3NkYW7VN1Jcwk_SQ57HzbaHW_1JnHPRKufAHl9gD1f6HHBpfm5ZBXCfM09-9n9wOWZVuG5OvfHDczES99gHtMdOqm6sAkh4J86tqBCILBxUJ7GlKfhWVKeQFJVizT1g=s1920" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEjJCWyyXSEG5t0MaBDKnTqXpfQW2ooHPG7crugxhlL9n2tQGIPK0BZbltZT_OJ3NkYW7VN1Jcwk_SQ57HzbaHW_1JnHPRKufAHl9gD1f6HHBpfm5ZBXCfM09-9n9wOWZVuG5OvfHDczES99gHtMdOqm6sAkh4J86tqBCILBxUJ7GlKfhWVKeQFJVizT1g=s320" width="320" /></a></div>In closing, having never before had the chance or ambition to watch <i>PSTVS</i>, I feel compelled to report an ever-so-slightly eerie vibe to the proceedings. Very possibly in line with COVID guidelines/restrictions, the audience appears to be positioned above the contestants, staring down as in a Roman amphitheatre from yester-millenium, in some kind of Kubrickian horseshoe loop. All appear to be sporting feature-obscuring facemasks and, like Pipes, I only really noticed them towards the end of the recording. What, to me, sounded like canned laughter, no doubt helped contribute to this perceived pervading sensory detachment. But what do I know? Anyway, Rob's team won.<p></p><p>The episode is currently available <a href="https://www.itv.com/hub/paul-sinhas-tv-showdown/10a0875a0013" target="_blank">to view on ITV Hub care of just a simple click here.</a><br /></p><p>Until next time... try not to have sleepless nights.</p>GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-19207388889237220532021-11-23T16:11:00.000+00:002021-11-23T16:11:22.560+00:00"Love Dance" at Chiswick Playhouse - Extended until 4th December 2021!<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-rXKFca1a4F8/YZ0O-ZW4xRI/AAAAAAAAEBM/PrBKA3Lqr6gXMXBN5Q_gzOIOeWzTSeWMwCLcBGAsYHQ/s1080/BtC_LoveDance_Poster.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="200" src="https://1.bp.blogspot.com/-rXKFca1a4F8/YZ0O-ZW4xRI/AAAAAAAAEBM/PrBKA3Lqr6gXMXBN5Q_gzOIOeWzTSeWMwCLcBGAsYHQ/w200-h200/BtC_LoveDance_Poster.png" width="200" /></a></div>Greetings, Ghostwatchers!<p></p><p>If you're on the search for a fresh and enlightening theatre production in the Chiswick area during these reliably-dreary November and December months, then look no further - as <i>Ghostwatch</i> director, Lesley Manning is currently helming an exciting new production at the Playhouse entitled, <i>Love Dance.</i> And what's more, it's already earning rave reviews.<i><br /></i></p><p>Written by Andy Walker, its story goes a little something like this...<span></span></p><a name='more'></a><p></p><p style="text-align: left;"></p><p style="text-align: left;"><span style="color: #9fc5e8;"><b><i>LOVE DANCE</i> is a heart-warming romantic comedy driven by two mismatched characters. Rose is a high-flying surgeon, with a determined take-no-prisoners approach to life. She’s carved out a successful career for herself based on innate ability driven by a lifetime of hard work.<br /><br />Now her biological clock is ringing - loudly.<br /><br />She wants a baby - but not a long-term partner. Her past relationships have ranged from the forgettable to the disastrous. She needs a man to make her pregnant and then disappear from her life. Enter Adam. He’s the last person she’d ever think of having a baby with. He’s immature, disorganized
and allergic to hard work.</b></span></p><p style="text-align: left;"><span style="color: #9fc5e8;"><b>And even worse – he’s a musician. How unsuitable could one man be?
However, in exchange for a sofa to sleep on, he agrees to help her find a suitable father
for her child while unaware that he’s falling in love with her...</b></span></p><p>Affectionately known as the 'Ego-less Director', as we all know, Lesley is no stranger to great and varied drama. With a veritable stack of credits spanning from <i>Casualty</i> to <i>Leila, Ghostwatch</i> to <i>Tracy Beaker,</i> it comes as no surprise that this latest endeavour has already been met by a strong response.</p><p>I spoke with her to find out more about the project, and learn what she and Andy hope to achieve...</p><p class="MsoNormal" style="text-align: center;"><strike> </strike><br /></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-5vJcZoxQS-s/YZwIoJE4O6I/AAAAAAAAEBA/Par7p6FwP084f27D7jzwGSC_iV0Kt-t5wCLcBGAsYHQ/s2048/BtC_LoveDance.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="213" src="https://1.bp.blogspot.com/-5vJcZoxQS-s/YZwIoJE4O6I/AAAAAAAAEBA/Par7p6FwP084f27D7jzwGSC_iV0Kt-t5wCLcBGAsYHQ/s320/BtC_LoveDance.jpg" width="320" /></a></div><!--[if gte mso 9]><xml>
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<![endif]--><span style="mso-fareast-font-family: "Times New Roman";">RICH:
Your name is very much synonymous with TV & Film, so I'm curious how the
process of directing for the stage differs - particularly given your past
remarks concerning 'getting in the head' of the kind of producer that would be
responsible for such a notional programme as <i>Ghostwatch.</i></span><p></p><p class="MsoNormal"><span style="color: #9fc5e8;"><span style="mso-fareast-font-family: "Times New Roman";">LESLEY:
It's the same approach as I took with the
<i>Ghostwatch </i>script, from inside-out. I did feel that Parky definitely gives
that, "This isn't real - this is Light Entertainment". I spent a lot
of time with that, as it was a programme which is a completely different animal
to this, which isn't posing as something else. With <i>Ghostwatch,</i> there was a 'double-think' going on, but with <i>Love Dance, </i>it's
a single 'think’. <i>Ghostwatch </i>was completely
unique in that way for me, but for other productions, the thinking process is
how to realise the script as one process. So, you're thinking about the heart
of that script, and how to bring it across to one audience.<span style="caret-color: rgb(0,0,0);"> </span></span></span></p><p class="MsoNormal"><span style="color: #9fc5e8;"><span style="mso-fareast-font-family: "Times New Roman";"><span style="caret-color: rgb(0,0,0);">I had to think about Stephen</span><span style="caret-color: rgb(0,0,0);">’</span><span style="caret-color: rgb(0,0,0);">s work</span><span style="caret-color: rgb(0,0,0);">
in an emotional sense, and on <span style="caret-color: rgb(0,0,0);">another</span><span style="caret-color: rgb(0,0,0);"> level</span></span> <span style="caret-color: rgb(0,0,0);">as a
producer of Light Entertainment, so it was two approaches - the other element
being Saturday Night live TV, in which something may or not happen. So, it's
dressed as something completely different.</span> </span></span></p><p class="MsoNormal"><span style="mso-fareast-font-family: "Times New Roman";">RICH:
Is there any single aspect that has so strongly drawn you to the world of the
stage, of late?</span></p><p class="MsoNormal"><span style="color: #9fc5e8;"><span style="mso-fareast-font-family: "Times New Roman";">LESLEY:
I haven't moved to theatre entirely, but the
opportunity arose, and I love working with actors and realising scripts. Those
two elements are common to both theatre & film.</span></span></p><p class="MsoNormal"><span style="mso-fareast-font-family: "Times New Roman";">RICH:
The term, 'partners' has slightly different connotations in this instance.
Fellow Ghostwatchers often enthusiastically refer to the lasting professional
partnership between yourself and Stephen Volk. With yourself and Andy being
partners in your own right, how has that working relationship differed from
others in your career, if at all?</span></p><p class="MsoNormal"><span style="color: #9fc5e8;"><span style="mso-fareast-font-family: "Times New Roman";">LESLEY:
I do think that Andy is a very good writer. If you have great material, it's great to
work with, and we're thrilled that <i>Love Dance</i> been extended due to popular
demand.</span></span></p><p class="MsoNormal"><span style="mso-fareast-font-family: "Times New Roman";">RICH:
I'm tempted to say, the small stage lends itself to big stories. The open air
of the proscenium seems to laser-focus attention on details not always
detectable behind the gloss of the big or small screen. In terms of
preparation, critique, and revision, you've spoken previously regarding doing
your utmost to make <i>Ghostwatch </i>even scarier prior to tx, and thus making
necessary adjustments in the edit. How has that process differed, for this
production?</span></p><p class="MsoNormal"><span style="color: #9fc5e8;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-YVdJjidYyXQ/YZwIlJNzKZI/AAAAAAAAEBE/1D1Q0ufU9T8NwbS_H_SvZrQykAvZ6UiKQCPcBGAYYCw/s2048/BtC_LoveDance_Lesley.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1219" data-original-width="2048" height="190" src="https://1.bp.blogspot.com/-YVdJjidYyXQ/YZwIlJNzKZI/AAAAAAAAEBE/1D1Q0ufU9T8NwbS_H_SvZrQykAvZ6UiKQCPcBGAYYCw/s320/BtC_LoveDance_Lesley.jpg" width="320" /></a></div><span style="color: #9fc5e8;">LESLEY: What I will say is that it's a massively different genre - romcom - for me. That's a really interesting question, because after the preview, we did refine it. We weren't getting into it quickly enough. We were really hard on ourselves. If it isn't working, cut it out. Once it's written down, you're slightly more reverential to the writer because of the theatre medium. We went into it, and made small but quite good adjustments. We were in total agreement over it.<br /><br />It has been a fascinati<span style="mso-fareast-font-family: "Times New Roman";">ng journey from film to theatre. A learning curve in some
aspects, but at the end of the day, it's working with actors and reaching out
to an audience the best way possible. Both Andy and my skills are completely
complimentary, we play to each other’s strengths.</span></span><p></p><p class="MsoNormal"><span style="color: #9fc5e8;"><span style="mso-fareast-font-family: "Times New Roman";">I do
like the work, any work, to be accessible. It shouldn't be necessarily easy,
but accessible. Andy and I like stories not to be boring - boring an audience is the ultimate sin to be
honest. Doesn't matter what genre or vehicle.</span></span></p><p class="MsoNormal"><span style="mso-fareast-font-family: "Times New Roman";">RICH:
The making of Ghostwatch was undoubtedly an extraordinary feat of technical
engineering. Did your experience in that world and era carry over here?</span></p><p class="MsoNormal"><span style="color: #9fc5e8;"><span style="mso-fareast-font-family: "Times New Roman";">LESLEY:
It is tempting to go, "Shall we zhuzh it up, and show off?" but you
definitely can't with this. Front projection, fireworks, or whatever. It's a
love story, and I think, all that stuff would hang-off rather awkwardly.</span></span></p><p class="MsoNormal"><span style="mso-fareast-font-family: "Times New Roman";">RICH:
And to close, I have to ask if you have anything else in the pipeline...</span></p><p class="MsoNormal"><span style="color: #9fc5e8;"><span style="mso-fareast-font-family: "Times New Roman";">LESLEY:
Stephen and I are still planning the next film. I'm always happy to direct scripts I like, i.e. good stories.
(But I would prefer COVID to be over, for all sorts of reasons.) Talks remain
ongoing, and in our sights.</span><span style="mso-fareast-font-family: "Times New Roman";"> </span></span></p><p class="MsoNormal"><span style="mso-fareast-font-family: "Times New Roman";">With
huge thanks to Lesley for such a fascinating interview. If that wasn't enough
to whet your appetite, here are some early reviews for what is sure to be a
fantastic evening's entertainment if you're fortunate enough to pick up a
ticket or twelve.</span></p><p class="MsoNormal"><span style="mso-fareast-font-family: "Times New Roman";">Until
next time, Ghostwatchers... do try not to have sleepless nights.</span></p><p></p><p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="background: white none repeat scroll 0% 0%; text-align: center;"><i><span style="color: black; mso-color-alt: windowtext;">Just
flawless </span></i><span face=""Segoe UI Symbol",sans-serif" style="color: black; mso-bidi-font-family: "Segoe UI Symbol"; mso-color-alt: windowtext;">★</span><span style="color: black; font-family: "Times New Roman",serif; mso-color-alt: windowtext;">
</span><span face=""Segoe UI Symbol",sans-serif" style="color: black; mso-bidi-font-family: "Segoe UI Symbol"; mso-color-alt: windowtext;">★</span><span style="color: black; font-family: "Times New Roman",serif; mso-color-alt: windowtext;">
</span><span face=""Segoe UI Symbol",sans-serif" style="color: black; mso-bidi-font-family: "Segoe UI Symbol"; mso-color-alt: windowtext;">★</span><span style="color: black; font-family: "Times New Roman",serif; mso-color-alt: windowtext;">
</span><span face=""Segoe UI Symbol",sans-serif" style="color: black; mso-bidi-font-family: "Segoe UI Symbol"; mso-color-alt: windowtext;">★</span><span style="color: black; font-family: "Times New Roman",serif; mso-color-alt: windowtext;">
</span><span face=""Segoe UI Symbol",sans-serif" style="color: black; mso-bidi-font-family: "Segoe UI Symbol"; mso-color-alt: windowtext;">★</span><span style="color: black; font-family: "Times New Roman",serif; mso-color-alt: windowtext;">
</span><span style="color: black; mso-color-alt: windowtext;">– Get The Chance</span></p>
<p class="MsoNormal" style="background: white none repeat scroll 0% 0%; text-align: center;"><i><span style="color: black; mso-color-alt: windowtext;">Leaves
you feeling like you’re flying </span></i><span face=""Segoe UI Symbol",sans-serif" style="color: black; mso-color-alt: windowtext;">★</span><span style="color: black; font-family: "Times New Roman",serif; mso-color-alt: windowtext;"> </span><span face=""Segoe UI Symbol",sans-serif" style="color: black; mso-color-alt: windowtext;">★</span><span style="color: black; font-family: "Times New Roman",serif; mso-color-alt: windowtext;"> </span><span face=""Segoe UI Symbol",sans-serif" style="color: black; mso-color-alt: windowtext;">★</span><span style="color: black; font-family: "Times New Roman",serif; mso-color-alt: windowtext;"> </span><span face=""Segoe UI Symbol",sans-serif" style="color: black; mso-color-alt: windowtext;">★</span><span style="color: black; font-family: "Times New Roman",serif; mso-color-alt: windowtext;"> </span><span style="color: black; mso-color-alt: windowtext;">– London Pub Theatres </span></p>
<p class="MsoNormal" style="background: white none repeat scroll 0% 0%; text-align: center;"><i><span style="color: black; mso-color-alt: windowtext;">This
production will delight audiences </span></i><span style="color: black; mso-color-alt: windowtext;">– Frost Magazine </span></p>GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-28030040530504810072021-10-01T00:00:00.008+01:002021-10-01T00:00:00.255+01:00National Séance 2021 - 29 Years Later...<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-N4PzHDehJiI/YVCFDFBMv2I/AAAAAAAAEAI/Cl5Tvw-8wSAkeDFLGMI7f21uQLz_VXz8ACLcBGAsYHQ/s2048/ReturnToFoxhill_Poster.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1448" height="320" src="https://1.bp.blogspot.com/-N4PzHDehJiI/YVCFDFBMv2I/AAAAAAAAEAI/Cl5Tvw-8wSAkeDFLGMI7f21uQLz_VXz8ACLcBGAsYHQ/s320/ReturnToFoxhill_Poster.jpg" width="226" /></a></div>Greetings, Ghostwatchers!<p></p><p></p><p><span style="color: #9fc5e8;"><b>Firstly, Happy Thirty Day Countdown to Hallowe'en Day!</b></span></p><p>I hope that you're all staying safe, having great fun already, and enjoying this wonderfully unique time of year.</p><p><span style="color: #9fc5e8;"><b>Secondly, Happy Thirty Day Countdown to <i>National Séance</i> Day!</b></span></p><p>Surely, the second most wonderful annual event [if you're a Ghostwatcher]. I'm not sure if it's these authentic [circa 1992] Golden Wonder crisps I'm digging into, but I've recently started catching tiny glimpses of familiar faces who seem to be priming themselves to make one or two
dimly-lit appearances on Twitter and Facebook in the run-up to the
event. Can you identify them all..? Probably.<br /></p><p><b><span style="color: #9fc5e8;">Thirdly, some news...</span><span></span></b></p><a name='more'></a>In honour of the 29th Anniversary of <i>Ghostwatch,</i> on Hallowe'en, a brand-new mini-documentary shall go live on YouTube, entitled, <b><i>Return to Foxhill.</i></b> It's something that I very much hoped to include in <i>Behind the Curtains</i> itself, and sincerely hope you enjoy checking it out, at long last. I'm very proud of the piece, and had a blast making it. Please find attached the announcement poster, featuring some rather spiffing, and not to mention chilling central artwork as kindly expunged from the darkest synaptic recesses of artist and friend of the project, <a href="https://twitter.com/paul_pdraper77" target="_blank">Paul Draper.</a><br /><p></p><p><span style="color: #9fc5e8;"><b>Fourthly, some <i>almost </i>news.</b></span></p><p>Behind the scenes here at <i>Behind the Curtains,</i> and very much in response to your comments still coming-in, considerable efforts have been made to help bring the documentary back in some form. Whilst nothing is set in stone, 2022 [the Thirtieth Anniversary for the drama] is currently looking promising, for one reason or another. I cannot be more specific at the moment, but as you probably know, I've been doing my utmost to make this happen since the last DVD copy was eBayed, in 2018. Whatever happens, I cannot express just how grateful I am for your continued good wishes.<br /></p><p><span style="color: #9fc5e8;"><b>Fifthly, Pipes wants to see everybody. Look, everybody wants to see him.</b> </span></p><p>So, for anybody not in the know, us Ghostwatchers like to watch our favourite Hallowe'en Hoax each and every year to simulate the fabled repeat screening that has still yet to materialise. We call this evening, <a href="http://www.ghostwatchbtc.com/2010/10/its-halloween-night-homebrew-time.html" target="_blank"><i>National Séance,</i></a> and this year marks the 11th event.<br /></p><p>... What <i>is </i>materialising on Hallowe'en Night this year, however, is a live Hallowe'en 'special' episode of <a href="https://www.bbc.co.uk/mediacentre/2021/mrs-browns-boys-halloween-live-special" target="_blank"><i>Mrs Brown's Boys.</i></a> Now, other than thoroughly expecting the evening to be genuinely enjoyed by the show's fans, cast & crew, it is important to note that, given the nature of this recent announcement, this is essentially how the BBC is following-up <i>Ghostwatch</i>, three decades-on.</p><p>If discounting BBC Two's <a href="http://www.ghostwatchbtc.com/2018/11/good-luck-studio.html" target="_blank"><i>Inside No. 9 </i>special</a> [for little more than airing three days short, on the 28th October 2018], I cannot recall the broadcaster openly developing a 'live', dramatic, Hallowe'en Night special for their flagship channel since 1992... Actually, let's take a look.</p><p>Care of <a href="https://genome.ch.bbc.co.uk/issues" target="_blank">Genome</a>, BBC1 [and/or BBC One London] transmitted the following programmes on subsequent Hallowe'en Nights post-1992, during the <i>Ghostwatch</i> time-slot, between 1993-2009:<br /><br /><a href="https://genome.ch.bbc.co.uk/schedules/service_bbc_one_london/1993-10-31" target="_blank">1993</a> - <i>Scarlet and Black</i> (Drama, 21:05)<br /><a href="https://genome.ch.bbc.co.uk/schedules/service_bbc_one_london/1994-10-31" target="_blank">1994</a> - <i>Panorama</i> (Current Affairs, 21:30)<br /><a href="https://genome.ch.bbc.co.uk/schedules/service_bbc_one_london/1995-10-31" target="_blank">1995</a> - <i>Sportsnight: Liverpool v Brondby</i> (Sports, 20:00)<br /><a href="https://genome.ch.bbc.co.uk/schedules/service_bbc_one_london/1996-10-31" target="_blank">1996</a> - <i>The X-Files: 731</i> (Science Fiction, 21:30)<br /><a href="https://genome.ch.bbc.co.uk/schedules/service_bbc_one_london/1997-10-31" target="_blank">1997</a> - <i>Dangerfield </i>(Drama, 21:30)<br /><a href="https://genome.ch.bbc.co.uk/schedules/service_bbc_one_london/1998-10-31" target="_blank">1998</a> - <i>The X-Files: Emily</i> (Science Fiction, 21:25)<br /><a href="https://genome.ch.bbc.co.uk/schedules/service_bbc_one_london/1999-10-31" target="_blank">1999</a> - <i>Michael Palin's Hemingway Adventure</i> (Travel Documentary, 21:05)<br /><a href="https://genome.ch.bbc.co.uk/schedules/service_bbc_one_london/2000-10-31" target="_blank">2000</a> - <i>The Sins</i> (Drama, 21:10)<br /><a href="https://genome.ch.bbc.co.uk/schedules/service_bbc_one_london/2001-10-31" target="_blank">2001</a> - <i>The Blue Planet</i> (Nature Documentary, 21:00)<br /><a href="https://genome.ch.bbc.co.uk/schedules/service_bbc_one_london/2002-10-31" target="_blank">2002</a> - <i>Match of the Day Live</i> (Sports, 20:00)<br /><a href="https://genome.ch.bbc.co.uk/schedules/service_bbc_one_london/2003-10-31" target="_blank">2003</a> - <i>Have I Got News For You</i> (Comedy Quiz, 21:30)<br /><a href="https://genome.ch.bbc.co.uk/schedules/service_bbc_one_london/2004-10-31" target="_blank">2004</a> - <i>Himalaya with Michael Palin</i> (Travel Documentary, 21:00)<br /><a href="https://genome.ch.bbc.co.uk/schedules/service_bbc_one_london/2005-10-31" target="_blank">2005</a> - <i>ONE life</i> (Documentary, 21:00)<br /><a href="https://genome.ch.bbc.co.uk/schedules/service_bbc_one_london/2006-10-31" target="_blank">2006</a> - <i>The Amazing Mrs Pritchard</i> (Drama, 21:00)<br /><a href="https://genome.ch.bbc.co.uk/schedules/service_bbc_one_london/2007-10-31" target="_blank">2007</a> - <i>The Nature of Britain</i> (Nature Documentary, 21:00)<br /><a href="https://genome.ch.bbc.co.uk/schedules/service_bbc_one_london/2008-10-31" target="_blank">2008</a> - <i>Little Britain USA</i> (Comedy, 21:30)<br /><a href="https://genome.ch.bbc.co.uk/schedules/service_bbc_one_london/2009-10-31" target="_blank">2009</a> - <i>The Impressions Show with Culshaw and Stephenson</i> (Comedy, 21:45)</p><p>With that carefully-inputted data (... ooh) we can see four dramas, one current affairs, two sports, two sci-fi, five docos, and three comedies during the next seventeen years (at which point, the wellspring of Genome info runs dry).<br /></p><p>So, in going the comedic route to celebrate the sacred, centuries-old, overly-commercialised, annual tradition otherwise known as All Hallow's Eve, I cannot help but feel this marks a rather safe choice when you consider the innumerable opportunities otherwise available to develop something... well, even <i>scarier</i> than that detailed above. But actual, funny, amusing, real joking aside, there's every chance that O'Carroll and Co. may successfully pull one of Tunstall's cats out of the bag. Trouble is, it's likely to clash with #NS21, so catch-up is looking to be the most likely option here at GW Central.<br /></p><p>In a roundabout way, this news barely stokes the ever-smouldering embers of hope that <i>Ghostwatch </i>itself may someday be afforded the recognition in broadcasting it sorely deserves. Last month, the entirely-engrossing <a href="https://www.bbc.co.uk/programmes/m000z8jy" target="_blank"><i>Parkinson at 50</i></a> documentary aired on BBC One. In 2020, Mark Kermode's exemplary-<i>Exorcist</i>-exploration, <a href="https://www.bbc.co.uk/iplayer/episodes/p07r5pwq/the-fear-of-god-25-years-of-the-exorcist" target="_blank"><i>The Fear of God,</i></a> rightly landed on BBC iPlayer [and it is reported, soon-to-be BBC Four, also]. Surely, there's ninety-minutes spare for our film, too, somewhere?<br /></p><p>In all fairness, I cannot imagine why this <i>cannot</i> happen given that <i>Behind the Curtains </i>did feature and, crucially, rank well on BBC Store. Both productions' persistent absence from the aforementioned listings pages of the Radio Times remain something of a mystery, so if you'd like them to return, do get tapping on your keyboards [be they spongy grey rubber, clickity-clackety polycarbonate, or newfangled capacitive silicate], and keep registering your keen interest with those who have the power to make things happen. As always, any/all help in getting the word out will be greatly appreciated.</p><p>Looking forward to seeing you on the 31st, Pipes Phobes. Remember, start your copies at 21:25 sharp, share your thoughts, creations, photographs, and/or infra-red interfaces, and let's get that all-important hashtag, <b><i>#Ghostwatch</i></b> up on that leaderboard, where it so enjoys [even briefly] residing!</p><p>Until then... do try not to have sleepless nights.<br /></p>GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-22884565927828898632021-07-24T19:39:00.000+01:002021-07-24T19:39:56.848+01:00BBC Themed Nights - with Jon Riley & Gerard Barry<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-1cCuaqoqH9o/YN4jt-qBGMI/AAAAAAAAD-s/O_IQKv0tZmULMpG5JcVOiqbFJt28e7YPQCLcBGAsYHQ/s800/BtC_Ghostwatch_HeatVision_BBC2_Ident.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="601" data-original-width="800" height="240" src="https://1.bp.blogspot.com/-1cCuaqoqH9o/YN4jt-qBGMI/AAAAAAAAD-s/O_IQKv0tZmULMpG5JcVOiqbFJt28e7YPQCLcBGAsYHQ/w320-h240/BtC_Ghostwatch_HeatVision_BBC2_Ident.jpg" width="320" /></a></div>Greetings, Ghostwatchers!<br /><br />Recently, I was recommended to reach out to <b>Jon Riley</b> & <b>Gerard Barry,</b> two Industry stalwarts who contributed in notable capacities to a number of fondly-recalled BBC themed evenings, including, <a href="https://vhistory.wordpress.com/2015/06/18/weird-night-tape-1879/" target="_blank">Weird Night [1994],</a> <a href="https://genome.ch.bbc.co.uk/1524cf3212a54c5a86cf02f06c17fe72" target="_blank">the first [Craig Charles-hosted]<i> Star Trek</i> Night [1996],</a> <a href="https://genome.ch.bbc.co.uk/3b44ae7c0d4f41b2965f9b4ce7477432" target="_blank">Kung Fu Night [1997],</a> <a href="https://genome.ch.bbc.co.uk/92b0364341c847ffaab395dc9973443f" target="_blank">Monster Night [1998],</a> and <a href="https://genome.ch.bbc.co.uk/7bf81728cbb2436c9dea94e748511f4a" target="_blank">Politically Incorrect Night [1998].</a> <span><a name='more'></a></span><p></p><p>Regardless of the particular era typeface utilised in its tried-and-tested, boxed-in, triptych logo, I personally find it hard to think of the initials 'BBC' without also thinking of the word, 'Documentary'. Even when producing dramatic pieces, the corporation's completist content remains very much an unconscious, yet salient, time capsule; a fortuitous method of literally travelling backwards through uncountable hours spent wandering through the listings, and reassess the lost subtleties of our all-too-fleeting daily grinds. Arguably, this sense of preserving/archiving/encapsulating reality helped give our favourite Hallowe'en Hoax such a powerful impact.</p><p>The BBC themed nights were always of particular interest to me, growing up; with the Patrick Stewart-hosted, <i>Red Dwarf</i> Night in 1998, being a memorable stand-out. Usually, the evenings were hosted by a well-known personality synonymous with that particular evening's overarching subject [virtually, if not actual experts themselves], who would begin by introducing the line-up; including any combination of an exploratory documentary, one-off quiz show, vox pops, mini docs, a feature film, and/or a special episode from a related TV show.<br /></p><p>As someone once said, the voice of the BBC is the voice of the nation speaking to itself, and I remain curious as to why these unique events seem to have faded somewhat into obscurity. Granted, it is far easier to pick and choose specific, nay niche, content in the modern, liquid crystal era, but the communal experience of immersing ourselves into the sweeping scope of any given particular topic, fielding questions and notions from all sorts of angles, is one I think should be celebrated and sustained.</p><p>This particular era of the Beeb's voice was an important one, both in its high standards, considerate approach, and wide-reaching fulness of opinions. In anticipation of this interview, on rewatching a number of the <i>Star Trek</i> documentaries, I found myself presented with a number of takes on the series; some of which didn't entirely stand the test of time, some of which aligned with what I was already aware, and some which ably challenged my established take on things, now decades into my Trekdom. Even when certain lines of questioning felt somewhat outmoded, this seemed to add only to a more rounded sense of retrospection.<br /></p><p>All in, these were important productions, and worthy of note. I'm sure, at the time, they were considered throwaway, as they tended only to air just the once. Nevertheless, I, for one, miss the opportunity of excitedly, expectedly, and more often than not exhaustedly, tuning-in for an elucidating all-nighter. I only hope that Auntie might take it upon herself to reevaluate the current line-ups, and see about delivering broader, more nuanced takes such as these in the future.<br /></p><p>As all us cool types know, <i>Ghostwatch</i> aired as a 'special drama' at the tail-end of <a href="https://en.wikipedia.org/wiki/Screen_One#Series_4_(1992)" target="_blank">Series 4</a> of BBC 1's Screen One drama strand. This may have <i>seemed </i>like a Themed Night to many millions of us on transmission, but the programme itself was very much a standalone endeavour, destined never to be repeated.</p><p>... Or, was it?<br /></p><p style="text-align: left;">The answer to this tantalising titbit can be found in this exclusive interview recorded using Zoom, so I didn't have to spend years transcribing. Hope you enjoy! With massive thanks again to Jon and Gerard for a fascinating insight into an era of the BBC now largely consigned to the ages. And YouTube.</p><p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/-q3aulJJNLc" title="YouTube video player" width="560"></iframe></p><p><br />Until next time, Pipes-phobes, try not to have sleepless nights.</p>GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-50514651836992949172021-04-29T22:45:00.000+01:002021-04-29T22:45:20.291+01:00I don't know how many of these to take with a pinch of salt...<p>Greetings, Ghostwatchers.<br /><br />Fandom naturally engenders a protective atmosphere. Even fair-minded criticism can be instinctively resisted, and often-times repelled by fans of their particular, chosen following. Far too often, opinions are misconstrued as personal attacks, testing the cotton-swaddled bonds of joy & emotional connectivity through uncaring logic. In my experience, topics often ripe for heartless joy-shredding include spaghetti hoop continuity, blisteringly outdated political commentary, or the media in question otherwise not standing-up to the test of time [i.e. the crushing realisation that your favourite show was actually always a bit shit].<span></span></p><a name='more'></a>Where <i>Ghostwatch </i>varies is that, for the most part, its internal dramatic logic remains remarkably sound. As a fan, there's not much for me to defend, story-wise. Where everyone's favourite Hallowe'en Hoax overwhelmingly differs, is in the public reception to the programme, now just one year shy of three decades ago.<br /><br />Very specifically, this surrounds the so-called 'slew' of complaints that followed in the wake of transmission. The Wikipedia page may still proudly state how 30,000 calls came into the BBC Switchboard, but in reality, according to producer, Ruth Baumgarten, at least <b>1,000,000</b> calls attempted to get through in the peak five minutes of phone activity.<p></p><p>Had the majority of these enquiries somehow been individually logged on the night, it would be fairly straightforward to deduce how many constituted complaints, as such. Even today, this remains to be seen entirely. However, given the three main modes of telecommunication in those days being snail-mail, belt-clipped pager, or loyal, speckled carrier pigeon, it is reasonable to assume that a sizeable number of calls were, at best, inquisitive as to the programme's authenticity. Likewise, given the accounts of BBC switchboards jamming on the night, it would also be reasonable to assume that a number of unanswered callers would persist in making their displeasure heard loud-and-clear in response to the BBC having the temerity to produce [and advertise] a special Horror-Drama in time for Hallowe'en Night.</p><p>In November 1992, Anne Robinson stated on <i>Points of View</i> that there had been <b>835</b>
calls to the Duty Office in which 382 people said the show had been an
"insult to their intelligence," 275 found it to be in "poor taste," 62
just had a "general moan," and 116 "thoroughly enjoyed it." During the
edition of <i>BiteBack</i> that discussed the show, host Sue Lawley claimed there had been <b>20,000</b> calls made to the BBC Switchboard following transmission. According to the E4 clip show, <i>X Rated: Top 20 Controversial TV Moments</i>, <i>Ghostwatch</i> garnered <b>2215</b> official complaints following transmission; though this figure is given as being an 'estimate'.</p><p>A recent, very helpful and informative communication with OFCOM regarding this apparent confusion was, it seems, all that was required to at least start making sense of this persistent palava.</p><p>In <i>BSC Complaints Bulletin 53,</i> dated 27th June 1995, a figure of <b>35</b> complaints is noted as having been received, "in the days immediately after the broadcast about the deception which they claimed had been practised on the audience by the BBC." These are complaints that were addressed directly to and by the Broadcasting Standards Council, which had yet to be absorbed by OFCOM, around 2003.<br /></p><p>So, assuming the total number of formal Duty Office complaints to the BBC wasn't much more than 657 - when combined with those acknowledged by the BSC, a slightly rounder number of <b>692</b> complaints can be reliably afforded to <i>Ghostwatch</i>, certainly before the end of 1992.</p><p>To put this into broader perspective, some 57,000 formal complaints came in for <i>Good Morning Britain's</i> coverage of Harry, Duke of Sussex, & Meghan Markle's interview with Oprah Winfrey, within mere weeks of airing, this year. Granted, this wasn't a single drama, but nevertheless it remains one of a number of television events that have racked-up a far greater tally of disgruntled viewers than poor old <i>Ghostwatch.</i><br /></p><p>To be fair, it is somewhat easier to make a complaint regarding a television broadcast these days. That being said, in the early nineties the ability to make a complaint via telephone was very much available to viewers. As were letters by post. In reality, 11.07 million people tuned-in to watch <i>Ghostwatch.</i> Even going by the <i>X Rated...</i> figures, that still means less than 0.1% of all viewers, not necessarily counting journalists, took the time to share their outrage through official channels. Surely, not all of us who tuned-in that night outright hated the thing?<br /></p><p>At this late stage of the game, I must confess to being a little tired of seeing <i>Ghostwatch</i> either hauled over the coals, or otherwise dissected in, shall we say, less-than accurate <a href="https://www.thetimes.co.uk/article/caitlin-morans-celebrity-watch-when-parky-saw-a-ghost-2q7rc8fqp" target="_blank">contemporary commentary</a> that it seems has difficulty even in correctly stating the name of the antagonist in the Drama it is attempting to detail. </p><p>Once again, and for the record, as far as I am concerned, the programme was <b>not</b> controversial. Usage of the term in this circumstance is not subjective. It is objective, based on facts. Personal taste notwithstanding, the production was admittedly daring for its time; but when you see complainants from that era also banging-on about how much they were offended by <i>Blue Peter, The Return of Mr Bean, </i>and/or<i> A Bit of Fry and Laurie</i>, then people's fervent, stalwart opinions, albeit relevant to some undeniable extent, seem just that smidgen-less worthy of yours, or even my time.</p><p>By all means, if anybody out there can add to this open debate in terms of additional or revised figures, please drop us a line. It would be good to get as accurate a take on the oft-misreported backlash to <i>Ghostwatch,</i> as possible.<br /></p><p>Until next time, my glorious, gleaming group of gentile Ghostwatchers... soupy-twist.</p>GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-45838999643612319862021-04-27T18:37:00.003+01:002021-04-28T15:48:10.260+01:00"Horsehair" [Duncan Nicoll, 1998]<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-CtWs_vOKp6Y/YIgVeEKKdLI/AAAAAAAAD9E/gPdz3kIJ9MASpuWg_gBgedERJY3oZxygQCPcBGAYYCw/s2048/8_JOE%2528L%2529%2526DUNCAN%2528R%2529%2Bcopy.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1628" data-original-width="2048" src="https://1.bp.blogspot.com/-CtWs_vOKp6Y/YIgVeEKKdLI/AAAAAAAAD9E/gPdz3kIJ9MASpuWg_gBgedERJY3oZxygQCPcBGAYYCw/s320/8_JOE%2528L%2529%2526DUNCAN%2528R%2529%2Bcopy.jpg" width="320" /></a></div>Greetings, Ghostwatchers!<p></p><p>In 1999, it was hard not to be excited by the oncoming arrival of instant, Indie classic, <i>The Blair Witch Project; </i>least of all given its groundbreaking marketing campaign. As a production, it was daring, it was creative, and it was bloody scary. For those reasons and more, it has long-remained a firm favourite of mine.<br /></p><p>Ironically, I didn't get the chance to see the film in cinemas. Nevertheless, I was determined to finally check it out on VHS as soon as it landed at the now long-lost <i>321 Video</i> rental store, up the road.<span></span></p><a name='more'></a><p></p><p>When I slotted the fresh cassette into my trusty old Sanyo VHR-779E VCR [still-going, btw], I was very surprised to find an entirely-unrelated short film preceding the main feature, itself. Directed by Duncan Nicoll, <b><a href="https://vimeo.com/31932452" target="_blank"><i>Horsehair</i></a> </b>tells the story of a young man literally consumed by his slovenly ways. Unsettled by its creepy take on modern-day life, it is a film that has never left me; ably doing to comfy armchairs what <i>Jaws</i> so effortlessly did for the beach.<br /></p><p>Recently, I reached-out to Duncan to learn more about how the film came to be made, and also accompany rental copies of the first, unforgettable instalment of the <i>Blair Witch</i> legend...</p><p> </p><p></p><p style="text-align: right;"><span style="color: #6fa8dc;"><b>Hi Duncan - so, your history as a filmmaker; how and why did you get into the world of film?</b></span></p><p>I’ve always loved watching films. Formative experiences would be sitting at my dad’s feet aged about five watching the original <i>King Kong</i> on TV. Later, seeing the BBC2 Saturday night Horror double bills, then the illicit thrill of video nasties during the home video boom of the early eighties. I grew up in Broughty Ferry - which is near Dundee - and at that time, any prospect of getting in to filmmaking seemed pretty much impossible.</p><p>None of my friends or family had any Super8 kit, and affordable home video was still a while away, so, inspired by <i>Fangoria</i> magazine, I started to do Horror make-ups on friends and photographed them; werewolves and zombies, that kind of thing. After leaving school, I did a year at college where a lecturer encouraged me to look up <i>Creative Review</i> and send photos of stuff I’d done to potential employers. That led to me getting work in an SFX and model-making company in London, which was a great experience, but only lasted about a year. A while after that I returned to Dundee to do a degree in Sculpture, then moved to Edinburgh after graduating.<br /></p><p>In the ‘90s, in Edinburgh there were several places that ran short courses covering various aspects of filmmaking for very little cost, so over a couple of years, while doing bar work and that sort-of-thing, I did courses in screenwriting, video production, editing and animation, as well as helping out on various short films. After doing a couple of group projects at Edinburgh Film Workshop, I applied to a scheme called <i>First Reels</i> for funding to make, <i>Block</i> - a 16mm stop motion animation - which was made for the princely sum of £1000. <i>Block</i> had a few decent festival screenings, won a prize at Bradford Animation Festival and got sold to a Dutch TV channel, but by then I was totally skint and went back into full-time bar work while trying to develop my next project. <br /></p><p style="text-align: right;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://1.bp.blogspot.com/-AwRNzXV9VEs/YIgV6jSLjxI/AAAAAAAAD9M/GHIxJQdmIc85goc67oL7ogog0RZpWPhpwCLcBGAsYHQ/s2048/7_GUARDIAN_AD.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://1.bp.blogspot.com/-AwRNzXV9VEs/YIgV6jSLjxI/AAAAAAAAD9M/GHIxJQdmIc85goc67oL7ogog0RZpWPhpwCLcBGAsYHQ/s320/7_GUARDIAN_AD.jpg" /></a></b></div><div style="text-align: right;"><span style="color: #6fa8dc;"><b>How did <i>Horsehair </i>come about, conceptually? </b></span></div><p></p><p style="text-align: left;">The idea just sprang into my mind one evening when I was cooking in the kitchen. I imagined accidentally cutting a finger when slicing carrots and all this hair spilling out - it never made the final script, but was the first seed of the idea - I have a doodle of it in a sketchbook somewhere. There had been an old horsehair-stuffed chair in a London flat I lived in, which had worn-out patches in it, so that was probably an influence too. </p><p style="text-align: left;">The drudgery of life on the dole or working dead-end jobs, watching shit TV in the daytime and a lack of direction in life generally led to the idea of a couch potato paying the ultimate price for his laziness. </p><p style="text-align: right;"><span style="color: #6fa8dc;"><b>How long was the film in production, from script to release? </b></span></p><p style="text-align: left;"><i>Horsehair</i> was originally written (in pen, on paper!) as part of a screenwriting workshop in 1995. I met producer, Joe White a couple of years later while I was working on another animated short, and told him the story. He liked it, so we did a re-write and applied to Scottish Screen’s Prime Cuts funding scheme in late 1997. I think we were shortlisted in early ’98, then did a bit more development on the script and were one of five films chosen to go into production. We shot in May ’98 in Edinburgh on a set we built in an old church building called, The Palladium which was used as a festival venue, and out on location. The film premiered at Edinburgh International Film Festival, that August. </p><p style="text-align: right;"><span style="color: #6fa8dc;"><b>Were there any inspirations for the piece? Would you describe yourself as a Horror fan? What did you hope the reaction to the film would be?</b> </span></p><p style="text-align: left;">I’ve always liked Horror films, and though it’s more of a black comedy, there is definitely a big Horror influence to <i>Horsehair.</i> I like that interjection of the surreal into normality, also I guess there’s that ironic morality tale aspect to it which you get in quite a lot of short Horror stories. I can’t think of specific inspirations, but I always liked lo-fi practical effects in films like, <i>The Evil Dead,</i> so was keen to get some of that into the climactic scene, and the Spanish short, <i>‘La Cabina’</i> <i>(The Telephone Box)</i> was a massive influence in storytelling terms, it totally blew me away when I saw it in the middle of a BBC2 Horror double-bill, aged about 12. It was probably the first thing I saw with such a downbeat ending, where the protagonist is damned to his fate. <br /><br />As with any short, you hope the audience will engage with it, and we got a pretty good response whenever it played. I think people like that kind of joke style structure of set-up, delivery and punchline in a short film. Even if it’s quite dark, there is humour in it, and it has a definite beginning, middle, and end. </p><p style="text-align: right;"><span style="color: #6fa8dc;"><b>Regarding the release of <i>Horsehair,</i> how did it come to feature on rental copies of <i>The Blair Witch Project,</i> and what did you think of its inclusion on the tape? </b></span><br /></p><p style="text-align: left;"><i>Horsehair</i> had quite a good festival run following the Edinburgh premiere, one of the biggest festivals we got into was London, and it was spotted there by (I think) a PR company that were doing a campaign to help launch BT’s new talent website <i>‘Getoutthere.com’.</i> They were looking for a short film for the launch, we were one of several shortlisted and were eventually selected as the winner, which was great exposure for the film. There was a cash prize too, and the subsequent VHS release on BWP was an added bonus.</p><p style="text-align: right;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://1.bp.blogspot.com/-23NGysVjyrM/YIgWY76uvLI/AAAAAAAAD9U/M3fLwxY8ptwR3bSLMKpgbYqbJC7q3jH7wCLcBGAsYHQ/s2048/2_END_STORYBOARD.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1459" data-original-width="2048" src="https://1.bp.blogspot.com/-23NGysVjyrM/YIgWY76uvLI/AAAAAAAAD9U/M3fLwxY8ptwR3bSLMKpgbYqbJC7q3jH7wCLcBGAsYHQ/s320/2_END_STORYBOARD.jpg" width="320" /></a></b></div><div style="text-align: right;"><b><span style="color: #6fa8dc;">What did you first think of, <i>The Blair Witch Project?</i> </span></b><br /></div><div><p></p><p style="text-align: left;">I liked it a lot. I remember seeing it at the <i>Cameo</i> cinema in Edinburgh around Hallowe’en in 1999 - or it might’ve been at the film festival, a bit earlier that year. I seem to remember the staff had decorated the foyer with stick figures they’d made which was cool - it really helped set up the creepy atmosphere.</p><p style="text-align: left;">I’d seen <i>Cannibal Holocaust</i> on video years before, so there was some precedent with found footage films, but <i>Blair Witch</i> took it to a new level with the then-current video technology combined with the brilliant marketing campaign. It’s been a while since I’ve seen it, but last time I watched it I think it still stood up well, despite the proliferation of inferior Found Footage films since (though, there have been some good ones, too!) <br /></p><p style="text-align: right;"><span style="color: #6fa8dc;"><b>What was the response to <i>Horsehair,</i> and where did the film lead for yourself, your cast, and crew? </b></span><br /></p><p style="text-align: left;"><i>Horsehair</i> had a good festival run with screenings across the world from late ’98, through 1999 and into 2000. As well as winning the <i>getoutthere.com</i> prize, it was also picked up by an international sales agent. To be honest, I’m not sure if that sort of thing still happens, but back then, with The Internet still in its infancy, relatively speaking, we had quite a lot of sales to foreign TV territories, which made us a few quid - enough to buy myself my first computer. <br /><br />Despite my best efforts, it took a few years to get another project funded and into production - even now, I’ve still never had a budget that size to work with. I worked with some of the crew again a few years later on another short called <a href="https://www.imdb.com/title/tt5930502/" target="_blank"><i>feetsteps,</i></a> and several have progressed in the industry and work regularly on feature films. Al Mackenzie went on to do, <i>Monarch of the Glen</i> soon after, and I’ve seen him in various films and TV programmes since.</p><p style="text-align: right;"><span style="color: #6fa8dc;"><b>What are you working on, now?</b></span><br /></p><p style="text-align: left;">A few years after <i>Horsehair,</i> I wrote and directed another couple of short films which did okay, but weren’t quite as successful. I had become a father by then, and took a fairly lengthy hiatus from trying to make dramatic films. I worked a lot in the education sector, facilitating animation and video workshops with children and adults of all ages, did a bit of lecturing, then got a job creating video content for a local authority. I continue to work as a freelance filmmaker, and more recently wrote and directed <a href="https://www.imdb.com/title/tt6183556/" target="_blank"><i>Crowman,</i></a> a dark, dystopian short which I’m currently developing as a feature project and a micro short<i>, <a href="https://vimeo.com/310083512" target="_blank">TVOD</a></i> which was a finalist in Frightfest’s 90-second Horror film challenge a couple of years ago.</p><p style="text-align: right;"><span style="color: #6fa8dc;"><b>Thanks, Duncan — one more question if that’s okay — I’ve heard back from some fans who have ex-rental copies of <i>The Blair Witch Project</i> which don’t feature, <i>Horsehair.</i> I definitely remember it being on my copy, as I didn’t catch it in theatres, so was wondering if you might know why?</b></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-VAl6PfJEwSY/YIl0anZ5a6I/AAAAAAAAD9c/mXa5bO3OSXceTBW00OilZyHJh0MXmHEtACLcBGAsYHQ/s757/BtC_Horsehair_ComplaintsReport.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="757" data-original-width="620" height="320" src="https://1.bp.blogspot.com/-VAl6PfJEwSY/YIl0anZ5a6I/AAAAAAAAD9c/mXa5bO3OSXceTBW00OilZyHJh0MXmHEtACLcBGAsYHQ/s320/BtC_Horsehair_ComplaintsReport.jpg" /></a></div>I’m afraid I don’t know why some copies have it and some don’t, it could be that it was just on an initial release - maybe another company took over distribution? Having seen <i>Blair Witch</i> at the cinema, I never actually rented it out on VHS for home viewing, but I did eventually pick up a copy from the bargain bin in my local <i>Ritz</i> video on Ferry Road in Edinburgh, so finally got to see the rather cheesy trailer they put on it. <p></p><p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
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<![endif]--></span></span>Though I know of <i>Ghostwatch</i> by reputation, I never actually saw it at the time, so will have to remedy that too! <span style="mso-fareast-font-family: "Times New Roman";">Part
of <i>Horsehair's</i> funding award included a broadcast on Scottish Television.
Apparently, no-one checked the content, so it was shown on a Saturday afternoon,
which led to the complaints being made. I always thought it was kind-of cool to
sneak an F-bomb onto daytime TV!</span></p><p> </p><p style="text-align: center;"><iframe allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="" frameborder="0" height="304" src="https://player.vimeo.com/video/31932452" width="540"></iframe> </p><p>With huge thanks again to Duncan for his time, words, photos, and for shedding even more light on this wonderful short film, which still packs a wonderful punch today. If you happen to have an ex-rental VHS copy of <i>The Blair Witch Project</i> that includes <i>Horsehair,</i> it would be great if you could please let us know!</p><p>Until next time, Ghostwatchers... try not to have sleepless nights.</p><p></p></div>GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-22908098348419005782021-02-01T21:25:00.005+00:002022-03-22T19:54:02.358+00:00"There's probably going to be some bastard dressed as Pipes the Ghost, behind me." - The Last Leg - 29/01/2021<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-AExax6sVEJo/YBgSyBbd-pI/AAAAAAAADtg/6mkgAGjViuciM1zjjEqgYxgRPUmgCzyLgCPcBGAYYCw/s1920/BtC_TheLastLeg.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://1.bp.blogspot.com/-AExax6sVEJo/YBgSyBbd-pI/AAAAAAAADtg/6mkgAGjViuciM1zjjEqgYxgRPUmgCzyLgCPcBGAYYCw/w400-h225/BtC_TheLastLeg.jpg" width="400" /></a></div>Greetings, Ghostwatchers!<p></p><p>During a previous episode of popular Channel 4 show, <i>The Last Leg,</i> co-host, Josh Widdicombe dared fellow co-host Adam Hills to find a copy of <i>Ghostwatch</i>.<i><br /></i></p><p>Given the nature of most topical satire magazine shows, you'd be forgiven for assuming the following week's instalment might - <i>just might</i> - feature a fairly insignificant follow-up to that altogether encouraging recommendation.</p><p>Well, who'd have thought the ectoplasm would well-and-truly hit the fan?</p><p><span></span></p><a name='more'></a>As close as we can legally get to a laugh down the pub these days, for those not in the know, <i>The Last Leg,</i> now in its much-deserved twentieth series, is a late night, weekly cultural review hosted by comedians, Adam Hills, Alex Brooker, and Josh Widdicombe; and last Friday's episode featured less of a hint, and more of a party political broadcast (<span class="ILfuVd"><span class="hgKElc">©</span></span> Rik Mayall, 1995) of everyone's favourite Hallowe'en Hoax, which in turn garnered quite the number of noteworthy, enjoyable mentions elsewhere and beyond. Which was nice. (<span class="ILfuVd"><span class="hgKElc">©</span></span> Mark Williams, 1994)<br /><p></p><p><b></b></p><p><span style="color: #9fc5e8;"><b></b></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-X1tagsqd2c0/YBgvYLFpTYI/AAAAAAAADug/Yv6Gpfk15cU3qx9wcMNcyDPhX3HlDcQngCLcBGAsYHQ/s1920/BtC_TheLastLeg_HillsDesk.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" src="https://1.bp.blogspot.com/-X1tagsqd2c0/YBgvYLFpTYI/AAAAAAAADug/Yv6Gpfk15cU3qx9wcMNcyDPhX3HlDcQngCLcBGAsYHQ/s320/BtC_TheLastLeg_HillsDesk.jpg" width="320" /></a><span style="color: #9fc5e8;"><b></b></span></div>It all began around three minutes into the show, where Hills, beaming with the kind of elated reverence that so often follows from being introduced to the programme, explained:<p></p><p><span style="color: #9fc5e8;"><b>HILLS: So, the Return Leg was, I had to watch <i>Ghostwatch.</i> Now, I didn't know what this was. It was broadcast on Hallow'een in 1992. It was hosted by Michael Parkinson. It looked like a documentary about a haunted house.</b></span></p><p><span style="color: #9fc5e8;"><b>BROOKER: Mate. Honestly, it scared me so much when I was a kid. I still, like, I haven't been able to watch it as an adult because it scared me...<span style="color: #9fc5e8;"></span> <br /></b></span></p><p><a href="https://1.bp.blogspot.com/-wG7EO7sf-7c/YBgJ-HCTN5I/AAAAAAAADs0/BJFekxWVid0UlYVMVqVkKsBkVXHhKMI3QCLcBGAsYHQ/s1920/BtC_TheLastLeg_GWSparks.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" src="https://1.bp.blogspot.com/-wG7EO7sf-7c/YBgJ-HCTN5I/AAAAAAAADs0/BJFekxWVid0UlYVMVqVkKsBkVXHhKMI3QCLcBGAsYHQ/s320/BtC_TheLastLeg_GWSparks.jpg" width="320" /></a><span style="color: #9fc5e8;"></span></p><p><span style="color: #9fc5e8;"><b><span style="color: #9fc5e8;"><b>HILLS: Seriously?</b><b> </b></span></b></span></p><p><span style="color: #9fc5e8;"><b>BROOKER: Genuinely, I much prefer the sequel, <i>Springwatch.</i></b><br /></span></p><p><span style="color: #9fc5e8;"><b>HILLS: I watched it, sitting up in bed before going to bed. I thought it was brilliant. So well made. There were little things that happened throughout the show that made you think this was real. I genuinely had goosebumps watching it.</b></span></p><p><span style="color: #9fc5e8;"><b>WIDDICOMBE: Genuinely, it terrifies me. Like, I rewatched it a couple of months ago, because I remembered it, and I watched it. It was so scary. Some bits are dated; for instance, the cellar in which Pipes the ghost hides is referred to throughout as, 'The Glory Hole'. But apart from that, it's a work of art, it's amazing, it's terrifying. It's so well considered. My friend went to watch the 25th Anniversary at the BFI. And, they screened it, and there were loads of people there, it was amazing. And, then afterwards, there was a Q&A with the director, Michael Parkinson and people, and they said, "Have you got any questions?" and the first person put their hand up, and said, "... Did you not know what a Glory Hole was?"</b></span></p><p><b><a href="https://1.bp.blogspot.com/-VilRA-TYku8/YBgKWagxvVI/AAAAAAAADtA/XUh5uXor43AXgggGHCYtKRzQpY2RA-MGACLcBGAsYHQ/s1920/BtC_TheLastLeg_Sparks.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" src="https://1.bp.blogspot.com/-VilRA-TYku8/YBgKWagxvVI/AAAAAAAADtA/XUh5uXor43AXgggGHCYtKRzQpY2RA-MGACLcBGAsYHQ/s320/BtC_TheLastLeg_Sparks.jpg" width="320" /></a></b>Following a brief, shudder-inducing compilation of scenes from the film's climax, Hills half-heartedly attempts a 'séance' during which his coffee cup seemingly moves of its own accord [in actual fact, by way of a magnet]. Good joke. Everybody laugh. Roll on snare drum. Curtains. [<span class="ILfuVd"><span class="hgKElc">© Alan Moore, 1986]</span></span></p><p>Then, just a few moments later, in an unprecedentedly obvious gag, presumably set-up by wily studio staff, a nearby lighting rig 'exploded' mid-line read from Hills, in a spectacular shower of sparks worthy of any Starfleet<span>™</span>-brand circuit breaker. This seemed to genuinely unnerve the panel, which, too, was a joy to behold.<br /></p><p><b></b></p><div class="separator" style="clear: both; text-align: center;"></div><p><a href="https://1.bp.blogspot.com/--YFvd1G4qiE/YBgK_O1PViI/AAAAAAAADtU/CuYWV_J6HeE2rg91RRq-AJkNnj9Hdu1aACLcBGAsYHQ/s1920/BtC_TheLastLeg_Brooker.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" src="https://1.bp.blogspot.com/--YFvd1G4qiE/YBgK_O1PViI/AAAAAAAADtU/CuYWV_J6HeE2rg91RRq-AJkNnj9Hdu1aACLcBGAsYHQ/s320/BtC_TheLastLeg_Brooker.jpg" width="320" /></a><span style="color: #9fc5e8;"><b>HILLS: "Jesus!</b><b> Fuck!"</b></span><b></b></p><p><span style="color: #9fc5e8;"><b>WIDDICOMBE: "Is that real?!" <br /></b></span></p><p><span style="color: #9fc5e8;"><b>HILLS: "Shi-i-i-i-i-t..! Shi-i-i-i-i-t..!"</b></span></p><p><span style="color: #9fc5e8;"><b>BROOKER: "Fuck."</b></span></p><p><span style="color: #9fc5e8;"><b>WIDDICOMBE: [...] Are you trying to take the piss out of us?<br /><br />HILLS: I think, no I mean, the piss has come out of something but... Okay, that séance may have worked a bit too well..!<br /><br />WIDDICOMBE: People at home that think that was a joke, but what I'm going to tell you now, is none of us are good-enough actors.<br /><br />HILLS: I don't know how to get back on with the show, to be perfectly honest, after that.</b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #9fc5e8;"></span></div><span style="color: #9fc5e8;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-qXMoa9Qawl8/YBgcHptmRtI/AAAAAAAADts/uaYaxpQsbbMFNbuiqn5ZgoUPNEuzClpuACLcBGAsYHQ/s1920/BtC_TheLastLeg_Sadako.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" src="https://1.bp.blogspot.com/-qXMoa9Qawl8/YBgcHptmRtI/AAAAAAAADts/uaYaxpQsbbMFNbuiqn5ZgoUPNEuzClpuACLcBGAsYHQ/s320/BtC_TheLastLeg_Sadako.jpg" width="320" /></a></div>BROOKER: Are you lot having me on, there?<br /><br />WIDDICOMBE: [...] No, I swear on my life, and that's a dangerous thing to do in a possessed studio. Can we get on with the show, 'cause I think, I'd feel more relaxed talking about COVID?</b></span> <br /><p></p><p>But that's not all as, at around the eighteen-minute mark, just as guests, Sara <i><u><b>Pascoe</b></u></i> [entirely and undeniably booked due to her fictional namesake] and Phil Wang were introduced, who do we see walking behind them, completely unnoticed of course, but <i>The Ring's</i> perpetually displeased, Sadako, shuffling spookily as ever, evoking a carefully-timed Pipes Sighting, of sorts.</p><p></p>Soon after, following a commercial break, Hills is heard to say he's been reliably informed, the blown lightbulb was just a blown lightbulb. Hmm.<p></p><p><a href="https://1.bp.blogspot.com/-Ord12s0Fo54/YBghrYdreAI/AAAAAAAADt4/FHgT1HNaKxI5BLOybYQ6iqEhgBCPesl-ACLcBGAsYHQ/s1920/BtC_TheLastLeg_SadakoTV.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" src="https://1.bp.blogspot.com/-Ord12s0Fo54/YBghrYdreAI/AAAAAAAADt4/FHgT1HNaKxI5BLOybYQ6iqEhgBCPesl-ACLcBGAsYHQ/s320/BtC_TheLastLeg_SadakoTV.jpg" width="320" /></a>Then, at around the 29-minute mark, Sadako is seen yet again, this time in what appears to be analogue white noise on the set-mounted TV set as Hills 'blows dust' off the lost viewers' letters box.</p><p>Around 41-minutes in, a cardboard cut-out of Josh suddenly drops behind him, causing both he and Alex to, well, react in sheer, pant-wetting terror - to which Josh shakily replies, "Oh, I'm not playing this shitty game..."<br /></p><div class="separator" style="clear: both; text-align: left;">Lastly, with moments to go before the show draws to a close, the studio lights suddenly cut-out, causing Hills to wander reminiscently about the darkened set before discovering a working autocue bearing the fateful line, <i>"Round and round the garden, like a teddy bear. Fe-fi-fo-thumb."</i> to which he recites with aplomb, in suitably dulcet, albeit modulated tones, and to a genuine round of applause.<br /></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-9auDx2IMsCQ/YBghwbdKBdI/AAAAAAAADt8/xsEzbhhG8_sk8bPj-0wjdbWIScCHJi4dwCLcBGAsYHQ/s1920/BtC_TheLastLeg_JoshGone.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" src="https://1.bp.blogspot.com/-9auDx2IMsCQ/YBghwbdKBdI/AAAAAAAADt8/xsEzbhhG8_sk8bPj-0wjdbWIScCHJi4dwCLcBGAsYHQ/s320/BtC_TheLastLeg_JoshGone.jpg" width="320" /></a></div><p>In addition to being a welcome lark, what is absolutely most encouraging about Friday evening's frivolities is just how positively <i>Ghostwatch</i> was referenced, throughout.</p><p>To be fair, despite being a considerable fan, to say the least, I'm rarely the sort to argue the toss over anybody else's conflicting viewpoint. We're all entitled to our opinions. If you happen to find the drama not to your particular taste, that's [well, sort-of] fine; particularly if you can convince me of your train of thought. In fact, the most critical voice of the evening, Widdicombe, merely posited how the show had 'dated'; least of all in its repeated utterance of the term, "Glory Hole". The rest was good vibes all the way.</p><p>Another point worth making centres around one of Josh's later lines, used for the title of this article; in and of itself a viewpoint shared by many fans; in that despite us being fully aware of the fictitious and/or dramatic nature of <i>Ghostwatch,</i> we nonetheless still find aspects, such as Pipes, as terrifying as any unsubstantiated urban legend, now decades on.<br /></p><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-kKMCi7yjMC4/YBgu_cutAvI/AAAAAAAADuc/n_3uB0aARPk2TTVzrmnWgTR_N8fgp5sbwCPcBGAYYCw/s1920/BtC_TheLastLeg_HillsDarkness.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" src="https://1.bp.blogspot.com/-kKMCi7yjMC4/YBgu_cutAvI/AAAAAAAADuc/n_3uB0aARPk2TTVzrmnWgTR_N8fgp5sbwCPcBGAYYCw/s320/BtC_TheLastLeg_HillsDarkness.jpg" width="320" /></a></div>With tiring overblown criticism too often being the easiest path to comedic effect these days, there was every chance this could have gone the way of any number of blissfully oft-repeated, <i>Telly's Weirdly Nostalgic Awful Moments Part IX</i> type-efforts, but here, the presenters and production as a whole thankfully took the opportunity to celebrate what they felt worked best about the show. As a result, it was a real pleasure to share in their own enjoyment, even for just a few brief moments. As far as my own critical voice is concerned, had Pipes himself made an appearance (or we are later able to find one, until now missed), I imagine the response would have been even greater.<br /><p></p><p style="text-align: left;">Speaking of which, following all that, promptly came a slew of fascinating Tweets on Facebook, etc. from Ghostwatchers, both established and otherwise, regaling their feeds with cautionary tales of watching you-know-what go out 'live' on Hallowe'en Night, 1992. Statistics suggest <b>#Ghostwatch</b> trended at thirty-third place on the night. Not bad going for January, I'm sure you'll agree. Kudos!</p><p style="text-align: left;"> </p><p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/lzzL1zj4A0o" width="560"></iframe></p><p style="text-align: center;"></p><p> </p><p>In other news, I'm currently busy tapping away at a recognisably unfamiliar keyboard, having now imported half a terabyte of decade-old .mov files in mind for a certain mooted re-release... One slight problem being, that the main project file was edited using an earlier version of Final Cut Pro, and who'd have thunk - it seems that one of the most profitable technology companies in human history hasn't yet taken the time to ensure seamless and efficient migration between updated versions of their own software. Harumph, harumph.<br /><br />Thankfully, the feelers have been put out to friends of the project, who are currently doing their utmost to help resolve the issue. If however, this remains unworkable, one potential outcome could mean that everything may need to be recompiled from scratch, which to me, is even scarier a prospect than the sight of an out-of-shot, venerable broadcaster deeply reciting a nursery rhyme. As always, more on this as and when it comes in. (<span class="ILfuVd"><span class="hgKElc">© BBC News, 1969)<br /></span></span></p><p>Until next time... try not to have sleepless nights.</p>GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-51851454714148157272020-11-03T15:27:00.003+00:002020-11-03T15:48:29.651+00:00National Séance Live - 31st October 2020<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Wf1D43uDo3k/X6A4p8Q1apI/AAAAAAAADrY/LtFhiSJnEQc32-UBuiZU8CwU1blyjfGggCLcBGAsYHQ/s1334/BtC_NationalSeanceLive.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="1334" src="https://1.bp.blogspot.com/-Wf1D43uDo3k/X6A4p8Q1apI/AAAAAAAADrY/LtFhiSJnEQc32-UBuiZU8CwU1blyjfGggCLcBGAsYHQ/s320/BtC_NationalSeanceLive.png" width="320" /></a></div>Greetings, Ghostwatchers!<br /><p></p><p>Thanks so much once again for joining us for <i>National Séance Live</i>. Such was the planning & build-up this year, not counting the deep sleeps that followed, that our usual next-day write-up has taken a little longer to put together.<br /></p><p>Well, 2020 has been a challenge for most of us, to be fair. It's heartening to know that with great obstacles can come extraordinary workarounds. <span></span></p><a name='more'></a><p></p><p>With this year also marking the tenth anniversary of the annual tweet-cast, a live event was in the early stages of being planned, as early as 2019. A live Zoom meeting was always the back-up plan, despite me not being exactly au fait with the burgeoning software...</p>Initially, I planned on simply using a laptop, but during initial tests, the camera didn't prove to be so reliable. Next to be attempted was a friend's trusty iPad, but following considerable headaches and a brief conversation with Zoom Support, I learned that for some reason, their iPad-specific app doesn't support live-streaming to YouTube. So, I resorted to purchasing a web-cam app for the iPad, in mind to stream <b>through</b> the laptop. I also dug out my old Zoom H1 microphone and hooked that up via a cradled shotgun mount. Initially, everything seemed to be working fine.<p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/--LJllWAo9C8/X6AQ4OYauSI/AAAAAAAADqo/i24tW0Wo38QYjHIV9j6nWF7owEKDWgBKACLcBGAsYHQ/s2048/BtC_NSL-Tool-kit.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://1.bp.blogspot.com/--LJllWAo9C8/X6AQ4OYauSI/AAAAAAAADqo/i24tW0Wo38QYjHIV9j6nWF7owEKDWgBKACLcBGAsYHQ/s320/BtC_NSL-Tool-kit.jpg" width="320" /></a></div>Then, just one day before the event, the paid iPad [iPaid?] web-cam app 'updated' and promptly stopped communicating with the laptop. A cold sweat began to drip from my sculpted brow down to my uncertain chin; not least of all, as by now, I'd already picked-up an aluminium iPad tripod bracket adapter, adjustable-clip iPhone cold shoe mount, universal triple cold shoe mount adapter, six aluminium cold shoes, a 52mm filter adapter holder ring which arrived without its corresponding clip, and two 5600k mini LED rechargeable mini lights. A further 2x 3.5mm spiral aux cables, which turned out not to be Triple Ring Set after all, had to be replaced at the last second by a third TRS spiral with next-day delivery, and accompanying 3.5mm [male] to dual [female] audio mic Y splitter adapter. As you do.<br /><p></p><p>Ultimately, the iPad was instead used as my teleprompter for the opening blurb [hence my oh-so amateur eye-line], but only <b>after</b> I happened to stumble upon the fact that the <b>iPhone</b> Zoom app <b>does</b> stream to YouTube, so almost all the above planning and expense was abandoned in favour of the more streamlined set-up. Always remember Montgomery Scott's useful motto, "The more they overthink the plumbing, the easier it is to stop up the drain".<br /></p><p>With less than 24 hours to test, to my additional horror, I found that when attempting to stream to YouTube on Zoom using an iPhone, my original idea to add each guest to the discussion via the Contacts menu promptly crashed the app, and ejected me from my own meeting - in turn, shifting the Host privileges to the next available participant. So, in the end, we had to go with the good old, send-me-a-link-with-passcode method, which worked far better, albeit with far less control.</p><p>It was at this moment when it dawned on me that I still required a device to keep track of Tweets, comments, and questions as they came in, live. All in, two laptops, one iPad, and two iPhones were required to make it all work just as well as it did - and despite the recent, kindly affirmations by many of my panel to the contrary, I consider it an absolute fluke that the live-stream went so smoothly, at all. Less than ten minutes in, my Zoom app did indeed crash, but thankfully, I was able to readmit myself. At the time, I also had no idea if the YouTube stream had also failed.</p><p>But enough of my techno-woes, let's discuss the event itself, which turned out to be something very special, indeed.</p><p>I truly had no idea that the incomparable, Sarah Greene herself would be joining us until just gone five o'clock on the 31st[!] Despite having been incredibly busy, even on the night, she kindly offered to spare as much time as she could to join us, for which I remain incredibly grateful.</p><p>I also cannot say enough for our next Guest of Honour, Gillian Bevan, who selflessly tested my various A/V set-ups in the run-up to the event, and was so unbelievably supportive. The awesome Mike Aiton too leant his master expertise in audio recording, to ensure his feed came though as clear as possible, despite an equally-hectic week, himself. He of course arrived on-screen, just as his character uttered the immortal line, "Right on!".</p><p>A further legend of note, Set Design Assistant for <i>Ghostwatch,</i> Richard Drew - who I'd interviewed for the 25th Anniversary book back in 2017, is somebody I was similarly determined be part of this year's celebrations. I was utterly thrilled when I heard that for this Hallowe'en, he had enough time in his crowded schedule to join in, as well.</p><p>Both Stephen & Lesley, I don't think I can praise much more, at this point. By now, you all know how highly I regard them, and appreciate their impossible support. Neither the event, nor this project, would have been, without them.<br /></p><p>Singular and kind, Producer, Ruth Baumgarten was also more than happy to take part, but sadly, it seems was unable to make it to the meeting room, on the night. I'm so sorry she couldn't be a part of the event, but I'd love to arrange a special interview with her, in the future.</p><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-J3aSM-IQygg/X6Acx1HLj4I/AAAAAAAADq0/HazPEM1U7vowssU-nn89jG1avdraQFI-wCLcBGAsYHQ/s2048/BtC_NeutronaThrower.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://1.bp.blogspot.com/-J3aSM-IQygg/X6Acx1HLj4I/AAAAAAAADq0/HazPEM1U7vowssU-nn89jG1avdraQFI-wCLcBGAsYHQ/s320/BtC_NeutronaThrower.jpg" width="320" /></a></div>Conceptually, it was quite interesting to pre-visualise the event. For one reason or another, I certainly knew that I wouldn't be doing cartwheels - so the sofa it was, for me. We dressed its textured grey fabric with some <strike>cheap</strike>-- sorry, <i>less expensive </i>Hallowe'en paraphernalia, I think originally purchased for our table at Edgbaston Cricket Ground, a while back.<p></p><p>I put a box of props together, including Kim & Suzanne's Disney version of <i>Sorry!</i> that they are seen playing in the living room. I also made sure to dig out the prototype logo T-Shirt, replica ID Badge, Bubby III, and of course, my very own Neutrona Thrower as ably put together by Hasbro to promote Jason Reitman's upcoming <i>Afterlife</i> instalment, next year. I'm keeping my fingers well and truly crossed that the Proton Pack/Positron Collider isn't far behind, or that Mack's Factory's upcoming kit will be available in the UK at not too high a price point.<br /></p><p>Just above my shirt's logo was a Sarah Greene-inspired pin given to me by Jed Shepherd, whose name you may recognise from the credits of recent, and highly-effective, Zoom-based Horror, <i>Host.</i> Also in prominent vision, of course, was Rob from <a href="http://www.ghostwatchbtc.com/2020/10/theyre-just-sign-of-times.html" target="_blank"><b>Hidden Britain Sign Co's</b></a> outstanding Foxhill Drive street sign that made all the difference to the set. It's truly a wonderful piece of work, and one that is still up on our wall, as we speak. I understand, there are only a few left, and being a Limited Edition, I would advise that you do try to pick one up sooner rather than later, as I'm sure they will sell out, in no time.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-R4R_5WG1-yM/X6A090AqJ7I/AAAAAAAADrM/2syR01ePAgoyDkwaM1-o7qwuOgsPYqABwCLcBGAsYHQ/s1920/NSL_Map_LesleyManning.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" src="https://1.bp.blogspot.com/-R4R_5WG1-yM/X6A090AqJ7I/AAAAAAAADrM/2syR01ePAgoyDkwaM1-o7qwuOgsPYqABwCLcBGAsYHQ/s320/NSL_Map_LesleyManning.jpg" width="320" /></a></div><p>'Best laid plans' and all that jazz, but I had hoped to include graphics throughout, which on the iPad app, were so easy to select and implement. Ironically, I didn't need them particularly on the night, as the discussion came through so quick & easy. Fortunately, those few moments of dead air were compassionately filled by my guests - particularly Lesley, who came to my rescue on a number of occasions. Not much new there, then. Still, I don't think I did <b>too</b> bad for a first-time vlogger... if that's the word, young'uns.<br /></p><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-C25-ECh8QT0/X6BvArhLWsI/AAAAAAAADrk/hde8IPPskP8dUno9uwXRv1eS2V-9bLHbQCLcBGAsYHQ/s1994/BtC_BBC-Crest_Formula1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="778" data-original-width="1994" src="https://1.bp.blogspot.com/-C25-ECh8QT0/X6BvArhLWsI/AAAAAAAADrk/hde8IPPskP8dUno9uwXRv1eS2V-9bLHbQCLcBGAsYHQ/s320/BtC_BBC-Crest_Formula1.jpg" width="320" /></a></div>To pre-empt any critical observations from Anti-Foxhillians, what perhaps didn't shine through as much as previous events was the Commentary aspect. In all honesty, I hadn't banked on just how fascinating the panel would be without much in the way of pre-empting! Beforehand, I fully expected there to be far more instances where I could sneak in a Pipes Sighting, or some such trivial factoid. Fortunately, I was able to include my most recent observations of the <a href="https://en.wikipedia.org/wiki/Coat_of_arms_of_the_BBC" target="_blank">BBC Coat of Arms</a> on the side of one of the Kendal Avenue Scanner Trucks, and also the Formula 1 sticker on its inner door, hinting at past adventures. My guests did the remainder of the leg work, and very grateful I am that they did too. In retrospect, either an earlier or later start-time might have worked even better, but I'm certainly not complaining.<br /><p></p><p>I won't spoil much of the discussion, other than to say how glad I am that we were able to discuss the invaluable contributions made to <i>Ghostwatch</i> by Sir Michael Parkinson, Craig Charles, the much-missed Smithy, friend/mentor Richard Broke, and the late Keith Ferrari about whom we still know so little. It genuinely only dawned on me when Sarah asked me for an update on messages as they were coming in [such a coup for the CV], just how difficult Mike Smith's job was on <i>Ghostwatch,</i> and in other live TV and radio presenting. Suffice it to say, I've no intentions of giving up the day job, but it was fun to have a go.<br /></p><p>Having kept a keen eye on the atomic clock to my side for the past two hours, around the time I realised the main feature was about to end, a new plan began to formulate in my soggy, tuna-free, brain matter. With the unfathomably supportive, and unseen, Cat sitting next to me, I slipped her phone into my grasp and began texting out-of-shot, "Can you please turn the lights off when I say? xx" In a flash, she leapt up and over to the other side of the room, resting a primed single digit on the switch's white plastic fascia. As I delivered my impromptu outro, I signalled her in a downwards motion, and the lights fell, as planned only moments ago.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-f403rsLMXlw/X6Aw5XeRIeI/AAAAAAAADrE/9zgEpY2ChLoIWXOC0kXMGXwoDiiBDdJ-wCPcBGAYYCw/s1366/NSL_EndCard.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1366" src="https://1.bp.blogspot.com/-f403rsLMXlw/X6Aw5XeRIeI/AAAAAAAADrE/9zgEpY2ChLoIWXOC0kXMGXwoDiiBDdJ-wCPcBGAYYCw/s320/NSL_EndCard.jpg" width="320" /></a></div>Quickly reasoning that my attempts to match Sir Michael's acting abilities were about as strong as my earlier attempts to match Mike Smith's legendary presenting talents, I drew everything to a swift close, completely forgetting to thank everyone I had otherwise planned to, including enabling the planned end-plate, which hopefully will be [re-]instated as soon as YouTube finishes post-processing the video to shorten the advance place-holder logo.<p></p><p>Afterwards, somebody very dear to my heart referred to the evening as a fireside chat, which thrilled me, no end. So far, we have just shy of a thousand views, and around forty thumbs-up, which is fantastic. The comments from fellow Foxhillians on Twitter have been astronomically warming, and gratefully received. Huge thanks again to the Folks, and Cat, for helping me so much. Love you loads, and I couldn't have done it without you.</p><p>According to one source - over the last couple of days, <i>#NationalSeanceLive</i> has had 117,087 potential impressions, potentially reaching as many as 31,936 users. Meanwhile, <i>#Ghostwatch</i> itself made 138,806 potential impressions potentially reaching 96,164 users. Not bad! And that's not counting Hallowe'en Night itself, as that's as far back as the statistics reach.<br /></p><p>Hope you enjoyed Hallowe'en Night, Ghostwatchers. It was a pleasure to see you all there. Whatever shall we think of, next time? The Thirtieth Anniversary is just around the corner, after all. Perhaps, Auntie shall finally consider the true value of that needlessly pushed <i>behind</i> her china cabinet.<br /></p><p>... Until then, my good friends, do try not to have sleepless nights.</p><p> </p>
<div style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/BLJAYrcUV2M" width="560"></iframe></div>GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-21921761220851446602020-10-30T21:25:00.021+00:002020-10-31T20:19:45.595+00:00National Séance Live - YouTube Links<p>Greetings, Ghostwatchers!</p><p><span style="font-size: large;"><u><b><a href="https://youtu.be/BLJAYrcUV2M" target="_blank">NATIONAL SÉANCE LIVE // SATURDAY, OCTOBER 31st, 2020</a><br /></b></u></span></p><p>Right, now that <i>that's</i> taken care of, if you'd like to take part in this year's special 10th Anniversary, <i><b>National Séance Live</b></i> event, all you need is a DVD or VHS copy of <i>Ghostwatch,</i> and the following YouTube links...</p><ul style="text-align: left;"><li>The first is the <b>ORIGINAL CONTINUITY ANNOUNCEMENT</b> as recorded and shared by long-time supporter and friend of the project, Stephen Freestone. For 'added authenticity', play this approximately ONE MINUTE before we start (21:24). As soon as it's finished, HIT PLAY on your DVD or VHS copy of <i>Ghostwatch.</i></li></ul><p></p><ul style="text-align: left;"><li>The second video is/will be the EMBEDDED <i><b>NATIONAL SÉANCE</b> <b>LIVE</b></i><b> </b>YOUTUBE STREAM. We expect to start the proceedings at 21:00 with the main presentation commencing at 21:25, as always. Why? That's exactly the same time <i>Ghostwatch</i> aired 28 years ago - which also happened to be a Saturday.</li></ul><p>If you don't have a copy of <i>Ghostwatch</i> handy, don't worry. You're more than welcome to watch the live stream with the show's creators, and send in your questions for them to answer to <a href="https://www.twitter.com/Ghostwatch" target="_blank"><b>@Ghostwatch</b></a> on Twitter - though we will likely be referring to specific points in the film, throughout.<br /></p><p>For reasons beyond our control, there will be anywhere between a 10-20 SECONDS delay on the live stream. This shouldn't be a problem, and isn't a prelude to any hoax-like developments. Or, is it? No. We will count-down exactly when to start, live on-air, but as long as you start playing your copy at <b>21:25</b>, the chances are you'll be able to follow with us, just fine. The atomic clock remains your friend.<br /></p><p>Ten years. Crumbs. Look forward to seeing you, later! Just try not to have sleepless nights...<br /></p>
<div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"></div><p></p><p></p><p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/vDSZWpp_Rhw" width="560"></iframe></p><div style="text-align: center;"> </div><div style="text-align: center;"><b>YOUTUBE LIVE STREAM:</b><br /></div><div style="text-align: center;"><b><br /></b></div><div style="text-align: center;"><a href="https://youtu.be/BLJAYrcUV2M">https://youtu.be/BLJAYrcUV2M</a></div>GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-842094311882193672020-10-26T21:25:00.004+00:002022-03-07T15:31:33.757+00:00"Ghost Watch" - The Original Series Outline<a href="https://1.bp.blogspot.com/-32tNR9_SBpQ/X2dO_hPvMII/AAAAAAAADkQ/_71maykY1wQfwzk94OdwNaoOcf6318rdgCPcBGAYYCw/s878/BtC_TitlePage.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="878" data-original-width="638" height="320" src="https://1.bp.blogspot.com/-32tNR9_SBpQ/X2dO_hPvMII/AAAAAAAADkQ/_71maykY1wQfwzk94OdwNaoOcf6318rdgCPcBGAYYCw/s320/BtC_TitlePage.jpg" /></a><div style="text-align: left;">Greetings, Ghostwatchers!<p></p><p>To mark the upcoming, <a href="http://www.ghostwatchbtc.com/2020/10/national-seance-live-tenth-annual-event.html" target="_blank">special anniversary edition of </a><i><a href="http://www.ghostwatchbtc.com/2020/10/national-seance-live-tenth-annual-event.html" target="_blank">National Séance,</a> </i>writer-creator, Stephen Volk has very kindly shared his original Series Outline for <i>Ghostwatch</i> [sorry, better make that, <i>"Ghost Watch"</i>] to check out, and it's a fascinating, if inescapably eerie read.</p><p>Not only that, but Stephen has kindly written a few words to accompany the pages, below...</p><p>So this, arguably the distilled concept for the first iteration of the programme – then envisioned as a five-part serial – largely came about due to the then-soaring response to Martin Campbell & Troy Kennedy Martin's seminal 1985 eco-thriller, <i>Edge of Darkness.</i> Famously, Stephen's agent suggested to him at the time that the BBC might be receptive to a 'darker' mode of storytelling, and this is what he produced.</p><p><span></span></p><a name='more'></a><p></p><p>This is hard-hitting work from Stephen, as one would naturally expect. Many of the themes and visions as presented are cutting, unapologetic – and somehow both as prescient, as they were ahead-of-their-time. Of course, had this model of the narrative been produced, it would have made for a markedly different experience to the <i>Ghostwatch</i> we all know and love; though remaining genetically alike. This would be less of a short, sharp Hallowe'en Treat & Trick, and more a steadier-paced discussion piece on the power of belief.</p><p>In any and all respects, this is a truly fascinating insight into the creative process that engendered the Screen One classic, and huge thanks go to Stephen again, for kindly sharing this in time for <i>National Séance.</i> Indeed, the following contains material which some may find to be disturbing<i>. </i></p><p>Before we begin, [and bearing in mind I failed-out of college], in terms of fully appreciating this work – when taking a
postmodernist approach, Chaos Theory [well, let's be
honest, Ian Malcolm] whispers in our ear that it is entirely feasible for a seemingly
insignificant butterfly to flap its wings in Peking, and somehow, those present some eleven thousand kilometres away in Central Park, shall eventually experience rain instead of
sunshine, as a
direct, concurrent consequence.</p><p>I myself have a conflicting/complimentary theory concerning
the point at which something becomes, "Functionally Finite"; which is to
suggest that when faced with a perceptive reality layered with infinite variations, an equivalently-boundless number of
functional or 'useful' outcomes will simultaneously effect the mean, median, mode, and average of
all repeated attempts to replicate the same basic action. In other words, outside of molecular engineering, does the imperceptible but present difference between
say, 0.0000000000001 and 0.0000000000002 truly amount to anything resembling a functional difference, in day-to-day practice?<br /></p><p>With this in mind, I wonder, considering the undeniably obvious links between its various stages of development, at what point did <i>Ghostwatch</i> truly transcend from being a mere figment of Stephen's, to Lesley's completed film? Was <i>Ghostwatch</i> always <i>Ghostwatch</i> – merely waiting to be made physical? May the programme <i>ever </i>have become anything other than what it it <i>could </i>have been, more or less? What <u>is</u> <i>Ghostwatch,</i> and in a roundabout way, does this mean it was <i>destined </i>to be made? </p><p>... Don't ask me, mate. I only work here. But, I know who we <i>can</i> ask... and, that's Stephen himself; here figuratively offering some helpful script-notes to his younger self, circa 1988. Observations by myself are easy to differentiate, as they are right-justified, and likely not nearly as interesting.</p><p>Right, then, Pipes Phobes. Here we go...<br /></p><p style="text-align: center;"><span style="color: #6fa8dc;"><span style="font-size: medium;"><b> </b></span></span><strike> </strike></p><p><span style="font-size: large;"><i><span style="color: #6fa8dc;"><span><b>FIVE FINGER EXORCISE? </b></span></span></i><u><span style="color: #6fa8dc;"><br /></span></u></span></p><span style="color: #6fa8dc;"><span style="font-size: x-small;"><i>Ghostwatch,</i> the TV *series* that never was – but the past is never past... STEPHEN VOLK </span></span><span style="color: #6fa8dc;">–</span> <span style="color: #6fa8dc;"><span style="font-size: x-small;">23.9.2020 </span></span><br /><span style="color: #6fa8dc;"><br />It’s hard enough for me to cast my mind back to last year – pre-COVID – let alone back 30-plus years to a time pre-<i>Ghostwatch,</i> or, more particularly, to the time when <i>Ghostwatch </i>was no more than a nebulous glint in my writer’s eyeball. <br /><br />But the other day, rummaging in my store, I came across some pages that took me back there. I thought, for <i>BtC </i>fans, it might be fun to write up my reaction to reading those pages now, in 2020, almost thirty years after <i>Ghostwatch </i>was transmitted. <br /><br />The first shock I get from the document in my hands is that “GHOST WATCH” on the title page is two words! I thought it was always one! I see this “Series Outline” is dated October 1st, 1988. I probably did some work before this, but this is my proposed dramatic structure for 5 hrs of TV that never existed. <br /><br />I remember my first pitch to myself – one page: EDGE OF DARKNESS type “supernatural” thriller (I don’t know why I put that word in quotes; perhaps to avoid frightening the horses). <i>6 x one hour parts, on film. Atmospheric, shadowy. Bizarre, Mysterious. Weird. Scary. </i>Then: Quatermass<i>-style psi investigator? Alarm the audience’s imagination. Get them to stay home from the pub! </i>Too true! Then I go on to give my selling pitch in one paragraph: <br /><br /><i>What if during a TV documentary about a ghost, the audience starts to SEE SOMETHING? A trendy, sceptical TV broadcaster comes face to face with something baffling and creepy – her world is turned upside down. Her obsession with the haunting takes it back before the cameras, but on the final terrifying night of her “ghost watch” she realises that the involvement of her avid 12 million audience...<br /></i><br /> An ironical stab in the dark – the final audience for <i>Ghostwatch </i>was, I think, 11.07 million – the highest figure for a single drama in many years.<br /><i><br /> ... is contributing to create a massive nationwide “séance”, dredging up astonishing and frightening entities</i> [plural!] <i>from the past – including her own... <br /></i><br />Back to the 1988 outline.</span><br /><br /> <div style="text-align: right;"><b><span style="font-size: small;">All five initially-planned episodes are presented as batch documents below, accompanied by commentary from <span style="color: #6fa8dc;">Stephen </span>& Rich.</span></b><br /></div><p style="text-align: center;"> <span style="color: #6fa8dc;"><span style="font-size: medium;"><b> </b></span></span><strike> </strike></p><p><span style="font-size: medium;"><u><i><b>INTRODUCTION</b></i></u></span></p><div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-pkJY261P9jg/X2n3WHOclgI/AAAAAAAADl8/oGiFve2V47gead6BlSUbMg9fKtecPTIgwCLcBGAsYHQ/s1365/BtC-GW_Outline_02.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-pkJY261P9jg/X2n3WHOclgI/AAAAAAAADl8/oGiFve2V47gead6BlSUbMg9fKtecPTIgwCLcBGAsYHQ/w146-h200/BtC-GW_Outline_02.jpg" width="146" /></a><a href="https://1.bp.blogspot.com/-ZV00_LoyQeM/X2n3WEI4EzI/AAAAAAAADmE/IkeshEe8KKUB718by3QmWqFH_7xaFcaMQCPcBGAYYCw/s1365/BtC-GW_Outline_03.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-ZV00_LoyQeM/X2n3WEI4EzI/AAAAAAAADmE/IkeshEe8KKUB718by3QmWqFH_7xaFcaMQCPcBGAYYCw/w145-h200/BtC-GW_Outline_03.jpg" width="145" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-o7UiC0o6Chs/X2n3WB1jxuI/AAAAAAAADow/QE9xIXw3vMopgVjYPFI1KfTAiwnV4DPtQCPcBGAYYCw/s1365/BtC-GW_Outline_04.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-o7UiC0o6Chs/X2n3WB1jxuI/AAAAAAAADow/QE9xIXw3vMopgVjYPFI1KfTAiwnV4DPtQCPcBGAYYCw/w145-h200/BtC-GW_Outline_04.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-Cu8QO7UpBNU/X2n3WkvHJWI/AAAAAAAADoo/lV5rBht1hmwqcf5juWaNkg_pe6yUOAc7wCPcBGAYYCw/s1365/BtC-GW_Outline_05.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-Cu8QO7UpBNU/X2n3WkvHJWI/AAAAAAAADoo/lV5rBht1hmwqcf5juWaNkg_pe6yUOAc7wCPcBGAYYCw/w145-h200/BtC-GW_Outline_05.jpg" width="145" /></a></div><br /></div><span style="color: #6fa8dc;">VOLK: My agent’s old address, way back, before they moved into D’Arblay Street. Now Linda is retired and living in California. Her husband, John Goldstone, was the producer of many of the <i>Monty Python </i>feature films. Talk about <i>Ghostwatch </i>trivia. <br /><br />Next page: Two quotes. I’d forgotten about viewers phoning in to say they’d seen a “hooded monk” ghost during that Anglia TV programme. And Robson seeing nothing when he re-ran the films... that must have been where I got the idea for Parky. Spoonbending, of course, was a televisual landmark when it came to “paranormal activity” – so naturally it found its way into my script.</span></div><div style="text-align: left;"><span style="color: #6fa8dc;"> </span></div><div style="text-align: right;"><b>The Anglia TV programme was almost certainly, <a href="https://www.edp24.co.uk/features/weird-norfolk-tv-ghost-morley-old-hall-norfolk-1-5544699" target="_blank"><i>The Unknown,</i></a> presented by Michael Robson, for Anglia TV, 24th August, 1964, and featuring parapsychologist, Anthony Cornell.</b><span style="color: #6fa8dc;"> <br /></span></div><div style="text-align: left;"><span style="color: #6fa8dc;"> </span></div><div style="text-align: left;"><span style="color: #6fa8dc;">“A Thriller TV Series in Five Parts” – I have always told people six! Apologies! <br /><br />Next, a brisk one-page synopsis: “Tilda Callieu” is a name I have always liked and tried to use. “Tilda” was the name of a barmaid round the corner from where I live, and I liked the sound of it being a clipping of the old-fashioned Matilda. A house in an inner city estate – so, immediately getting way from “old gothic castles and creaking gates”, as Parky says in the final TX version. Seeing nothing on the film. Calls flooding in... My eyes go to all the things I use later in the shooting script. The “cynical” Tilda of course eventually becomes the “Cassandra/believer” Dr Pascoe – the cynic is Parkinson. But I announce the promise of the climax of the series.... a return to said haunted house – “in an unparalleled parapsychological experiment” live on prime-time TV. Tilda’s “final, terrifying night” when the viewers come into contact with “astonishing evil”... <br /><br />Next page, some more selling points: The “communicative powers of TV become caught up in the real world of the paranormal...” EXACTLY! And I see, in setting up the premise of a 5-part serial – if not an ongoing drama series – I’m trying to sell the idea of a chalk and cheese double act, documentary film maker and psychical researcher. All this seems a bit redundant now, given the final product we broadcast in October 1992.</span></div><div style="text-align: left;"><span style="color: #6fa8dc;"> </span><br /></div><div style="text-align: center;"><span style="color: #6fa8dc;"><span style="font-size: medium;"><b> </b></span></span><strike> </strike><br /></div><div style="text-align: left;"><br /><div><span style="font-size: medium;"><u><b><i>1. FLIES ON THE WALL</i></b></u></span><br /></div><div><div style="text-align: left;"><span style="color: #6fa8dc;"><b> <br /></b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-asOeRBml1Y0/X2n3XIqTSlI/AAAAAAAADoo/E3k8wvO9YQEutXWcrDAlYtNpfsjfvKO8wCPcBGAYYCw/s1365/BtC-GW_Outline_06.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-asOeRBml1Y0/X2n3XIqTSlI/AAAAAAAADoo/E3k8wvO9YQEutXWcrDAlYtNpfsjfvKO8wCPcBGAYYCw/w145-h200/BtC-GW_Outline_06.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-bkANXzz0yxc/X2n3XPm_OEI/AAAAAAAADo4/8o9Uw8WqRToc2ADqasjVzQS1-MWDeS-awCPcBGAYYCw/s1365/BtC-GW_Outline_07.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-bkANXzz0yxc/X2n3XPm_OEI/AAAAAAAADo4/8o9Uw8WqRToc2ADqasjVzQS1-MWDeS-awCPcBGAYYCw/w145-h200/BtC-GW_Outline_07.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-EA0t3IQNIFc/X2n3XSFdXTI/AAAAAAAADow/1sqUzkbShxII33VGhJX2-_Kr02vRhbMegCPcBGAYYCw/s1365/BtC-GW_Outline_08.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-EA0t3IQNIFc/X2n3XSFdXTI/AAAAAAAADow/1sqUzkbShxII33VGhJX2-_Kr02vRhbMegCPcBGAYYCw/w145-h200/BtC-GW_Outline_08.jpg" width="145" /></a><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-msTMu-WdRAU/X2n3XhVdAxI/AAAAAAAADo0/6Z4qi7FZdTwW_PiCZtXmTxYY-86MjTH4gCPcBGAYYCw/s1365/BtC-GW_Outline_09.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-msTMu-WdRAU/X2n3XhVdAxI/AAAAAAAADo0/6Z4qi7FZdTwW_PiCZtXmTxYY-86MjTH4gCPcBGAYYCw/w145-h200/BtC-GW_Outline_09.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-ogArEkiqDKg/X2n3XwgzNbI/AAAAAAAADoo/9ZpLL7qm17MFnQFRSTPG0e9D4RsAnGg8wCPcBGAYYCw/s1365/BtC-GW_Outline_10.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-ogArEkiqDKg/X2n3XwgzNbI/AAAAAAAADoo/9ZpLL7qm17MFnQFRSTPG0e9D4RsAnGg8wCPcBGAYYCw/w145-h200/BtC-GW_Outline_10.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-OnS56nz0YG4/X2n3YAmuw4I/AAAAAAAADoo/Xq9uF-fGJEkajCEme4tSnUixiN3fSM2MwCPcBGAYYCw/s1365/BtC-GW_Outline_11.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-OnS56nz0YG4/X2n3YAmuw4I/AAAAAAAADoo/Xq9uF-fGJEkajCEme4tSnUixiN3fSM2MwCPcBGAYYCw/w145-h200/BtC-GW_Outline_11.jpg" width="145" /></a></div></div> </div><div style="text-align: left;">
<span style="color: #6fa8dc;"><br /></span><div style="text-align: left;"><span style="color: #6fa8dc;">VOLK: Hm, I like the individual episode titles! I always think it’s a waste not to give episode titles in a drama series: I always enjoyed doing that on <i>Afterlife.</i> Here it’s both a creepy image – flies indicating decay, dead meat - and a reference to “fly on the wall” documentaries of the style begun with the iconic <i>The Family. </i></span><br /><br /><span style="color: #6fa8dc;"><i>One time model and designer clothes...</i> I would shudder to describe a character like that now! Haggerty seems like a faux Bob Geldof. I enjoy him being a different take on the fuddy-duddy image of ghost hunters and I like the spiky banter. Of course he resists her call to adventure. “Columbo and Annie Lennox”? Oh dear! Did I have to?</span></div><div style="text-align: left;"><span style="color: #6fa8dc;"> </span></div><div style="text-align: right;"><span><b><span><b><span><b>RICH: Not yet titled the familiar, <i>"Ghost Watch",</i> </b></span></b></span></b></span><span><b><span><b><span><b>Tilda's show-within-a-show </b></span></b></span></b></span><span><b><span><b><span><b>primed to follow a handful of experts in their field</b></span></b></span></b></span><span><b><span><b><span><b> is currently known as, <i>"Best in the Business".</i></b></span></b></span></b></span><br /></div><div style="text-align: left;"><br /><span><span style="color: #6fa8dc;">As early (sic) as page 2 we meet Pam Early, Kim and Suzanne, as well as the noises in the pipes. Inner city here rather than Northolt. The sharing of the bed hinting sexual antics of the spectral kind. <i>Oojamaflip,</i> the imaginary friend – I like that. I guess I didn’t use it because it is too similar to the girl’s imaginary friend</span> </span><span><span><span style="color: #6fa8dc;">in</span><span style="color: #6fa8dc;"> <i>The Exorcist.</i>
I note that Kim says the ghost wants to do bad to everyone: glad I
saved that. (Pamela is a bible-basher here. I’m happy we didn’t do that,
as it’s far too heavy handed.)</span></span></span></div><div style="text-align: right;"><span><b><span><b> <span><b> </b></span></b></span></b></span></div><div style="text-align: right;"><span><b><span><b><span><b>Regan MacNeil's imaginary friend in <i>The Exorcist</i> is first referred to as, "Captain Howdy."</b></span></b></span></b></span></div><div style="text-align: right;"><span><b><span><b><span><b> </b></span></b></span></b></span></div><div style="text-align: right;"><span><b><span><b><span><b>Particularly </b></span></b></span>but not exclusively given the unforgettable portrayals of the Early
Family by actors, Bríd Brennan, Michelle Wesson, and Cherise Wesson, one of the
more surprising aspects found in the Series Outline is its depiction of the
Early Family as being of Jamaican descent – this specific change
factors into the hopes and motivations for estranged daughter, Kim, later on.</b></span></div><div style="text-align: right;"><span><b> </b></span></div><div style="text-align: right;"><span><b>Not yet inspired by the
Los Angeles street address for Stephen's agent, "Foxhill Drive, Northolt" is currently "October Street, North London".</b></span></div><div style="text-align: right;"><span><b> </b></span></div><div style="text-align: right;"><span><b><span><b>In today's film language, Tilda being introduced to the family retroactively evoke</b></span><span><b>s
a prequel vibe to this outline – as in dramatic terms, we never see
the actual moment Pascoe meets the Earlys during TX1992<i>.</i></b></span></b></span></div><div style="text-align: right;"><span><b><span><b> </b></span></b></span></div><div style="text-align: right;"><span><b><span><b>With the Earlys' home
ultimately becoming a semi-detached council house in <i>Ghostwatch,</i> presumably, the Ghost's
hiding place was more naturally transposed from their fireplace to the
cupboard under the stairs, owing to the lack of staircase in the former. And no, I'm not saying 'Glory Hole'. Gah, too
late.</b></span></b></span>
</div><div style="text-align: left;"><span style="color: #6fa8dc;">
</span></div><br /><div style="text-align: left;"><span style="color: #6fa8dc;">Page 3: Haggerty and Tilda stay up late on the vigil and chat. I like the notion of taking time out with characters in a hot house setting and nothing much happening. I used it in the episode of <i>Afterlife </i>called <i>Sleeping with the Dead. </i></span><br /><br /><span style="color: #6fa8dc;">Page 4: A mention of yuppies, how very 1980s! I don’t know if “Barnes Common socialist” still applies but it makes me smile. Tilda gets phone calls claiming they saw a ghost on TV – oh my. Not a great surprise the TV company decide to milk it.</span><br /></div><b><br /></b></div><div style="text-align: right;"><b>The bumping of Tilda's second episode mirrors the scene in TX1992 in which, following Sarah's discovery of Suzanne covered in cat-scratches, Michael Parkinson announces that the next scheduled programme shall be abandoned due to the unfolding events.</b><br /></div><div style="text-align: left;"><div style="text-align: left;"><span style="color: #6fa8dc;"> </span></div><div style="text-align: left;"><span style="color: #6fa8dc;">Page 5: Introducing Seyrig – a parallel strand to the narrative. <i>Switchboard inundated with calls. </i>What an uncanny prophecy this is! “This is the beginning” is a nice idea. Skull like face, monk’s hood – so I am using the Anglia TV report of the ghostly monk: over time this transmogrifies into “Pipes” in a long button-up dress. The connection of Kim describing the same thing is a big moment in the TX1992 <i>Ghostwatch </i>of course. Tilda dreaming the ghost is next to her bed is cool. Kids burying their dolls – that’s a nice image too. I will use that! <br /><br />Page 6: Analysing the mystery photos is quite Kneale-esque in a good way. Science brought to bear. Mrs Tyndall, the black bag, and the effect on the estate: my canvas is obviously wider at this point, using multiple characters and strands to build up a dread atmosphere, hopefully. <i>Gramophone needle</i> – oh gosh, that dates it!<br /></span></div><span><b><i> </i></b></span></div><div><div style="text-align: right;"><span><b>Character, Buster Hicks' involvement with the production, and his helping to 'unravel' the mystery of the ghostly figure, is similar to when Parkinson & Pascoe use the light-pen in the
studio to dismiss phone-in caller, Emma Stableford's claims that she saw a figure in the sisters' bedroom. Likewise, Pascoe dismisses the
sighting as being some sort of optical illusion.</b></span><b><span> <br /></span></b></div><div style="text-align: left;"><b><span> </span></b></div><div style="text-align: right;"><b><span>At the end of Episode One, Kim Early wakes screaming, just as her <i>pop star posters</i> are ripped from the wall, and a cacophony starts to emanate from the <i>pipes...</i></span> </b><span><span><b>Although the Ghost is never referred to as "Pipes" in this outline, curiously, the word itself appears on multiple occasions.</b></span> <br /></span></div><div style="text-align: left;"><span> <br /></span></div><div style="text-align: center;"><span><span style="color: #6fa8dc;"><span style="font-size: medium;"><b> </b></span></span><strike> </strike></span></div><div style="text-align: left;"><span> </span></div><div style="text-align: left;"><span style="font-size: medium;"><u><b><i>2. VIEWERS AND SEERS</i></b></u></span></div><p></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black;"><a href="https://1.bp.blogspot.com/-DeouHSFUf64/X2n3YX1MIiI/AAAAAAAADo8/tBZ2eW3JapAsr07NSyK7L_PVNnTRu6zaACPcBGAYYCw/s1365/BtC-GW_Outline_12.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-DeouHSFUf64/X2n3YX1MIiI/AAAAAAAADo8/tBZ2eW3JapAsr07NSyK7L_PVNnTRu6zaACPcBGAYYCw/w145-h200/BtC-GW_Outline_12.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-igg4yI29Ers/X2n3YZlWFkI/AAAAAAAADow/oHULoQTvw-4U6B-nrugVnb3yfndu03ZGwCPcBGAYYCw/s1365/BtC-GW_Outline_13.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-igg4yI29Ers/X2n3YZlWFkI/AAAAAAAADow/oHULoQTvw-4U6B-nrugVnb3yfndu03ZGwCPcBGAYYCw/w145-h200/BtC-GW_Outline_13.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-l2eZlbewPQ4/X2n3Y4DAWII/AAAAAAAADoo/YIrG79AOOnswg6oVS1ZFUeipseNkzUczACPcBGAYYCw/s1365/BtC-GW_Outline_14.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-l2eZlbewPQ4/X2n3Y4DAWII/AAAAAAAADoo/YIrG79AOOnswg6oVS1ZFUeipseNkzUczACPcBGAYYCw/w145-h200/BtC-GW_Outline_14.jpg" width="145" /></a><br /></span></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><span style="color: black;"><a href="https://1.bp.blogspot.com/-xb4gteBb-YE/X2n3Y5s1NVI/AAAAAAAADow/KO9jSiqJlYYnqmg3S-_RzApzsFg7_I_2QCPcBGAYYCw/s1365/BtC-GW_Outline_15.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-xb4gteBb-YE/X2n3Y5s1NVI/AAAAAAAADow/KO9jSiqJlYYnqmg3S-_RzApzsFg7_I_2QCPcBGAYYCw/w145-h200/BtC-GW_Outline_15.jpg" width="145" /></a></span><span style="color: black;"><a href="https://1.bp.blogspot.com/--fEaCoLSAVg/X2n3Y-si-nI/AAAAAAAADoo/SqPbWfCPlnUC1briiNivY5YZQy8w8NS2gCPcBGAYYCw/s1365/BtC-GW_Outline_16.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/--fEaCoLSAVg/X2n3Y-si-nI/AAAAAAAADoo/SqPbWfCPlnUC1briiNivY5YZQy8w8NS2gCPcBGAYYCw/w145-h200/BtC-GW_Outline_16.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-pao-Q-mTo4M/X2n3ZDWjnRI/AAAAAAAADo4/1ywDA2AN1zwaj5iGlACLFG2EtS3uxsyBACPcBGAYYCw/s1365/BtC-GW_Outline_17.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-pao-Q-mTo4M/X2n3ZDWjnRI/AAAAAAAADo4/1ywDA2AN1zwaj5iGlACLFG2EtS3uxsyBACPcBGAYYCw/w145-h200/BtC-GW_Outline_17.jpg" width="145" /></a></span></div></div><div>
<span style="color: #6fa8dc;"><br /><br />VOLK: Page 7: Another good episode title I think. Early kids now at siege. Ghislaine Hammond, weirdly, is a name I have used later in my novella <i>“The Little Gift”</i> (I’d forgotten that!). “Ghislaine” was the rather exotic name of a copywriter I once worked with. Quite hard to have a supernatural story hit the media – I wonder if this aspect would have worked? Bath University boffin strand (Seyrig and the “white rats”): having been a member of the Society of Psychical Research (SPR) I have always been fascinated by the idea of ghosts and ESP being studied under laboratory conditions. (Interestingly, Dr Pascoe in TX1992 <i>Ghostwatch </i>says they can’t be!) Tilda’s boss says “Do the obvious”: It was always my credo to apply the logic – if this was real, what would the BBC do?</span></div><div><span style="color: #6fa8dc;"> </span></div><div style="text-align: right;"><b><span><b><span><b><span><b>RICH: </b></span></b></span></b></span>The character of Dr. Donald Seyrig bears some similarities to Dr. Emilio Sylvestri; not least of all in his description of being, 'Bostonian'. Not nearly as arrogant in his demeanour or scientific process; if anything, he more closely represents the genteel nature of Dr. Pascoe </b>–<b> perhaps prototypically.</b><br /></div><div><span style="color: #6fa8dc;"> </span></div><div><span style="color: #6fa8dc;">Page 8: Hilary Tandy is maybe a first try out of my spirit medium Alison Mundy, the main character in <i>Afterlife.</i> But this medium is a Doris Stokes cliché – Alison wasn’t! (Tilda is called out by the medium. By weird coincidence, it wasn’t until I was researching my play <i>Answering Spirits</i> that I had a similar moment at <i>“An Evening of Clairvoyance”</i> in Bath.<br /><br />The phrase “young black doctor” makes me cringe. Colour-blind casting is the way to go these days. Diversity a given by casting directors. Again, describing Hammond as a “Sloane ranger” is so eighties! I see I bump up the subtext of the absent father abusing the daughters: here I make his conviction for abuse in plain sight (rather than Tunstall’s). <br /><br />Page 9: I’d forgotten the idea of “owl vision”. I like that phrase to describe people who see ghosts. I like the saucepan boiling over but the hob not being lit: another idea I shall steal for later use! The pink <i>fluffy rabbit</i> – Bubby, to be. Again, the drawings done by the children BEFORE the broadcast – neat idea.</span><span><b> </b></span></div><div><span><b> </b></span></div><div style="text-align: right;"><span><b>The group with 'Owl Vision' somewhat resembles those corralled by [fictionalised] producer, Ruth Baumgarten and the BBC, to participate in <i>Ghostwatch II: Return to Studio 1</i>, as the basis for sequel short, <i>31/10.</i></b></span></div><div style="text-align: left;"><span><b><i> </i></b></span></div><div style="text-align: right;"><span><b>Pam angrily ripping-up the newspaper is the diametric opposite action to her ultimate character in TX1992, who presents a scrapbook-worth of cuttings to Sarah Greene; albeit these specifically pertain to the haunting.<br /></b></span></div><div style="text-align: left;"><span><b> </b></span></div><div style="text-align: right;"><span><b>With regard to the children's sketches, Kim
also presents a hand-drawn illustration of Pipes to Sarah, during TX1992. Later on, Sarah,
Mike & Chris discover more of the sisters' artwork leading up to the
patio window.</b></span> <br /></div><div><span style="color: #6fa8dc;"> </span></div><div><span style="color: #6fa8dc;">Page 10: Widening the creepiness of the estate and the ESP lab experiments now, keeping doubt paramount. Doubt being the engine, as I see it, of a paranormal story. Oh heck! They go to meet the father in Broadmoor! Denial; so doubt again. Another person made him do it <i>outside not inside</i> – whereas in TX1992 the evil spirit IS inside Tunstall. I introduce a vicar: standard horror character from James Herbert et al.</span></div><div style="text-align: right;"><div><p><span><b><span><b><span><b>The
prevalent discord in Curran Park [ironically] pre-dates Pascoe's
'Prehistory' theory that Pipes may not solely be limited to being some kind of fusion between Tunstall & Seddons, but possibly, many other individuals spanning the ages. Ultimately, in TX1992, Foxhill Drive becomes the
national hub of urban myth, paranormal activity, and pervading danger.</b></span></b></span></b></span></p><p><span><b><span><b><span><b>Scenes based in Seyrig's lab bear similarities to the recordings of Pascoe's own university-led investigations into the Early Haunting. Also, when 'Owl-Vision' participant Gary 'regresses' to a child-like vocalisation, this trait perhaps developed into characters in <i>Ghostwatch</i> speaking with others' or otherworldly voices.<br /></b></span></b></span></b></span></p><p><span><b>In
some respects, and no doubt coincidentally, the Baptist vicar who is ultimately advised by his bishop <i>against</i> making his beliefs public, correlates with the real-life
vox-pop participants who volunteered their Ghost Stories to the
production; in that, some were said to have been reluctant to share
their experiences, for fear of ridicule, or not being taken seriously.</b></span><br /></p></div></div><div style="text-align: left;"><span style="color: #6fa8dc;">Page 11: I love that the music box in Broadmoor plays a lullaby the kids have been humming. I’m a clever bugger at times! Creepy near-road accident a regular horror trope. Now Kimmy says they made it up, and we are thrown for a loop (Big Moment in TX1992). <i>The cameras came in and it all changed. Then there WAS a ghost... </i>The rabbit hit by the car / the fluffy bunny. Interesting!</span><br /></div><div style="text-align: left;"><br /></div><div style="text-align: right;"><b><i>Elm Street</i> echoes-aside, nursery rhymes heavily factor-in to both iterations of the <i>Ghostwatch </i>story. In TX1992, <i>Round and Round the Garden [Like a Teddy Bear]</i> and <i>Fee-Fi-Fo-Fum</i> are Pipes' poems of choice; not forgetting fairy tale, <i>Little Red Riding Hood.</i></b></div><div style="text-align: right;"><b> </b></div><div style="text-align: right;"><b><span><b>In TX1992, Pam Early states that her family openly & actively requested a move to
another council house to escape the haunting. Here, Kim admits the entire premise of the Ghost was a hoax conspired by the two sisters in order to try and secure a better council property, and that the Ghost only manifested for real, afterwards. In <i>Ghostwatch, </i>Suzanne maintains that she faked a haunting during the show, due to the nature of the live broadcast; on the assumption that had Pipes not appeared, there was no guarantee the family would ever be believed for the otherwise genuine manifestations</b></span>.</b></div><div style="text-align: right;"><span><b> </b></span></div><div style="text-align: right;"><span><b>In TX1992, Suzanne's hoax merely
agitates Pipes, with the resulting nationwide reaction somehow <i>fuelling</i> his presence by way of the 'massive s</b></span><span><b><span><b>é</b></span>ance'. However, in the outline, the post-broadcast reaction of Tilda's documentary seems to expressly conjure the Ghost itself, as if specifically
<i>willed</i> into existence by the viewing audience and their need-based experience.</b></span></div><div style="text-align: right;"><span><b> </b></span></div><div style="text-align: right;"><span><b>The intended shot of Kim's fluffy bunny dropping from her hand is clearly a loving homage to seminal <i>Garth Marenghi's Darkplace </i>episode,<i> The Apes of Wrath</i>, which Stephen Volk must have caught during its original Peruvian run. There's no other rational explanation. Unless, of course, somebody just lent him a tape.<br /></b></span></div><div style="text-align: left;"><span style="color: #6fa8dc;"> </span></div><div><span style="color: #6fa8dc;">Page 12: Sheer horror scene with the kid, Andreas here, in the playground. Very Stephen King and no bad thing – in many ways I wanted to create a Stephen King miniseries for the BBC at this point.</span><span style="color: #6fa8dc;"> </span></div><div><span style="color: #6fa8dc;"> </span></div><div style="text-align: left;"><span><b></b></span></div><div><div style="text-align: right;"><b>B</b><span><b>oth the description of the Ghost and its accompanying
scene strongly resembles Pipes </b></span>– <span><b>as does the local tale of terror relayed
to Craig by Yvonne Etherley & Wendy Stott at the nearby
waste-ground, during TX1992. In the outline, the young character of "Andreas" functions
similarly, in an expanded-sense, to the unseen Gary [Etherley], who happened upon the mutilated labrador. Here, Andreas has a more direct role in the
story; first being pursued by the Ghost, and later encouraging his peers
to their doom.</b></span></div><p style="text-align: left;"><br /></p><p><span style="font-size: medium;"><u><i><b>3. THE FLESH TAPE</b></i></u></span><span style="color: #6fa8dc;"> </span></p><p><span style="color: #6fa8dc;"></span></p><span style="color: #6fa8dc;"></span><p></p><p><span style="color: #6fa8dc;"></span></p><div style="text-align: center;"><span style="color: black;"><a href="https://1.bp.blogspot.com/-exxN94kXl5s/X2n3ZU18mfI/AAAAAAAADos/GZfAn-Ydqc4xkqP3dHkV4HcOk1FHMsX1gCPcBGAYYCw/s1365/BtC-GW_Outline_18.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-exxN94kXl5s/X2n3ZU18mfI/AAAAAAAADos/GZfAn-Ydqc4xkqP3dHkV4HcOk1FHMsX1gCPcBGAYYCw/s320/BtC-GW_Outline_18.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-pJRw_X74GKA/X2n3ZpUF4kI/AAAAAAAADoo/ufJcPSGLC-0zcpVa_iXXhU5yYn7jVpUgwCPcBGAYYCw/s1365/BtC-GW_Outline_19.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-pJRw_X74GKA/X2n3ZpUF4kI/AAAAAAAADoo/ufJcPSGLC-0zcpVa_iXXhU5yYn7jVpUgwCPcBGAYYCw/s320/BtC-GW_Outline_19.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-yTG3cvI5FR0/X2n3Zkhin_I/AAAAAAAADos/6k5su32rkZ8JFGTeKJt7cZbCf3SziHv7gCPcBGAYYCw/s1365/BtC-GW_Outline_20.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-yTG3cvI5FR0/X2n3Zkhin_I/AAAAAAAADos/6k5su32rkZ8JFGTeKJt7cZbCf3SziHv7gCPcBGAYYCw/s320/BtC-GW_Outline_20.jpg" width="145" /></a></span><br /></div></div><div><div class="separator" style="clear: both; text-align: center;"><span style="color: black;"><a href="https://1.bp.blogspot.com/-djD_B5Ogdmg/X2n3Z5xGiOI/AAAAAAAADow/yjZ8kJ2LZc4qBisZyRO7hEM4Us3SUZYNQCPcBGAYYCw/s1365/BtC-GW_Outline_21.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-djD_B5Ogdmg/X2n3Z5xGiOI/AAAAAAAADow/yjZ8kJ2LZc4qBisZyRO7hEM4Us3SUZYNQCPcBGAYYCw/s320/BtC-GW_Outline_21.jpg" width="145" /></a></span><span style="color: black;"><a href="https://1.bp.blogspot.com/-L-UWlkMKjr8/X2n3aBs8b9I/AAAAAAAADo4/q57VDgViZb4OkEMPvcw39vx0Xlk19xW4gCPcBGAYYCw/s1365/BtC-GW_Outline_22.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-L-UWlkMKjr8/X2n3aBs8b9I/AAAAAAAADo4/q57VDgViZb4OkEMPvcw39vx0Xlk19xW4gCPcBGAYYCw/s320/BtC-GW_Outline_22.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-M9c3hSf98JI/X2n3aG4YluI/AAAAAAAADow/DPFQwomjwDUNvLr5cIQ0-GhhWVC0q0CKwCPcBGAYYCw/s1365/BtC-GW_Outline_23.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-M9c3hSf98JI/X2n3aG4YluI/AAAAAAAADow/DPFQwomjwDUNvLr5cIQ0-GhhWVC0q0CKwCPcBGAYYCw/s320/BtC-GW_Outline_23.jpg" width="145" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-pMBxqBZlDI4/X2n3auJ5l-I/AAAAAAAADow/utd6uXpqVCI-1R-_7OcohBXyv-IpkRIeQCPcBGAYYCw/s1365/BtC-GW_Outline_24.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-pMBxqBZlDI4/X2n3auJ5l-I/AAAAAAAADow/utd6uXpqVCI-1R-_7OcohBXyv-IpkRIeQCPcBGAYYCw/s320/BtC-GW_Outline_24.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-xlpCKM_19dA/X2n3an4AImI/AAAAAAAADos/g4X3mnvm5HspmflqoiycCn1T98nNobrvQCPcBGAYYCw/s1365/BtC-GW_Outline_25.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-xlpCKM_19dA/X2n3an4AImI/AAAAAAAADos/g4X3mnvm5HspmflqoiycCn1T98nNobrvQCPcBGAYYCw/s320/BtC-GW_Outline_25.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-BKaX6Pa6rnY/X2n3auL2nKI/AAAAAAAADoo/vctYVagYEAU689YIMQ1stFEw-XINyNGpwCPcBGAYYCw/s1365/BtC-GW_Outline_26.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-BKaX6Pa6rnY/X2n3auL2nKI/AAAAAAAADoo/vctYVagYEAU689YIMQ1stFEw-XINyNGpwCPcBGAYYCw/s320/BtC-GW_Outline_26.jpg" width="145" /></a></div><span style="color: black;"> </span></div>
<span style="color: #6fa8dc;"></span><span style="color: #6fa8dc;"></span><p></p><p><span style="color: #6fa8dc;">VOLK: Page 13: A very David Cronenberg title, eh! The fakery writ large, so Tilda’s instinct that something is strange makes her a voice in the wilderness. They want to draw the line but she can’t. Similar beat in TX1992. Missing child, which the medium warned her about. The Peppermint Shroud... I have a feeling I used this elsewhere, in <i>Afterlife </i>maybe?</span></p><div class="separator" style="clear: both; text-align: center;"></div></div></div><div style="text-align: right;"><b><span><b><span><b><span><b>RICH: </b></span></b></span></b></span>Dursley's line, <i>"It's over Tilda. Who wants to know more about a ghost that doesn't exist?"</i> aligns with Parkinson's assertion that the <i>Ghostwatch</i> event has simply ended part way-though, on the basis that Suzanne has admitted to faking the haunting. Arguably, there could be considerable insight to glean in appreciating her intentions, but the callous nature of both Parkinson's character and Light Entertainment itself seemingly blocks exploration for anything other than visceral entertainment </b><b>– even when exploiting a family's suffering.</b><br /></div><div style="text-align: left;"><b><br /></b><span style="color: #6fa8dc;">Page 14: Seems to be a telepathy subplot in the lab. These are the foothills of ideas that find voice in <i>Telepathy,</i> a feature film script of mine. Science and psychic ability overlapping. The scratches, which appear in TX1992. The reverend’s test of faith strangely echoes through the years in a project I wrote in 2015 – the ITV adaptation of Phil Rickman’s <i>Midwinter of the Spirit,</i> about female priest Merrily Watkins and her encounter with pure evil. I like the little girl finding the broken TV set.</span></div><div style="text-align: left;"><span style="color: #6fa8dc;"> </span></div><div style="text-align: right;"><b>Social worker, Graham Mead's ponytail has not yet migrated over to Pascoe's professional partner, Alan Demescu.</b></div><div style="text-align: left;"><b> </b></div><div style="text-align: right;"><b>Suzanne experiencing a fit is similar to when she is discovered on her bed, burning-up, and covered in cat scratches; albeit close to catatonic, as opposed to manic.</b><span style="color: #6fa8dc;"><br /></span></div><div style="text-align: left;"><p><span style="color: #6fa8dc;">Page 15: ...and the reveal it is Tilda as a child. The exploration of the card fakery seems a bit dull: I am aching to get to the haunted house. The reporter quizzing the rev about evil forces becomes Craig Charles walking and talking with the British Rail guard in TX1992.</span></p><p style="text-align: right;"><b><b>In both iterations, n</b>ot only does Pam Early have little choice but to abandon her Foxhill-based family home, but the sequel short, <i>31/10</i> reveals how she ultimately emigrates to America, perishing in a house fire in 1995, just three years later.</b><span style="color: #6fa8dc;"><br /></span></p><p><span style="color: #6fa8dc;">Page 16: Kids in peril. Again, Stephen King. <i>IT </i>in the drain. The idea they’ve been looking at the wrong sister – this is maintained in future versions. <i>Child abuse has been rife in Curran Park...</i> horrid idea, not sure the BBC would EVER buy that.</span><span style="color: #6fa8dc;"><b> </b></span></p><p style="text-align: right;"><b>The premise that the poltergeist focus is actually Kim, being the <i>"real sensitive"</i> opposed to the more-obvious Suzanne, also crosses-over into TX1992.</b><span style="color: #6fa8dc;"><br /></span></p><p><span style="color: #6fa8dc;">Page 17: The debunking I’m playing in parallel with upping the ante of dread and darkness now. Kind of mass hysteria element. The medium cashing in on it. The lab rats become TV stars, like the spoonbenders. I’m noticing a lot of TV watching and TV switching off in scene after scene. Bigging up the notion of the watching audience. <b> </b></span></p><p style="text-align: right;"><b>Some serious fan extrapolation here, but could "Graham Mead" be the <i>real</i> name of the anonymous phone-in caller, </b><b><b>voiced by the late Mark Drewry, </b>who details to Pascoe & Parkinson his experiences serving as Tunstall's social worker..? I'd like to think so, at least.</b><span style="color: #6fa8dc;"><br /></span></p><p><span style="color: #6fa8dc;">Page 18: The ceremony of prayer using the Ken Dodd song is fun. This strikes me as like the vigils they hold when someone in USA is executed. Similar discordance. The supernatural threat – real or imagined – is really present strongly now. The idea everybody watching is vulnerable to this evil seeping out through the TV set. Drowned children? Tough sell for TV back then – or even now! <b> </b></span></p><p style="text-align: right;"><b>The idea that children watching Tilda's programme somehow become physically-affected or transfixed by it, carries over into TX1992, by way of the concerned, uncredited phone-in caller who reports how her own children, <i>"won't take their eyes off the set".</i></b><span style="color: #6fa8dc;"><br /></span></p><p><span style="color: #6fa8dc;">Page 19: Technical hitch in the programme (oh yes...) Tilda resigns but finds an ally in Haggerty, plot point. There’s not as much of them (as a double act) as I was expecting. Remember the idea of the believer and sceptic wasn’t done to death in 1988 when I wrote this. <i>The X-Files</i> didn’t hit our screens until 1993.</span></p><p style="text-align: right;"><b>The stage direction describing how Tilda fails to notice something obviously Supernatural happening close to her, even though we the audience can, shares similarities with TX1992.</b><br /></p><p style="text-align: left;"><span style="color: #6fa8dc;">Page 20: Nice to see Nigel Kneale’s <i>“The Stone Tape”</i> theory cited here, updated by me to posit that our human neurology acts as a recording device (and projector). Mrs Tyndall remembering the murderer back in her childhood... (This council estate aspect makes me think of true crime dramas of late, such as <i>The Moorside.</i> I’m not sure I would today want to depict such places as hubs of primeval evil. Times have changed. I’ve changed.)</span></p><p style="text-align: right;"><b>Arguably, the fateful tale of Edna James later transposes to that of Judy Wheland, in TX1992.</b></p><p style="text-align: right;"><b>The reasons <i>why</i> Pascoe gets involved in the Early & Heidelberg cases are never explored in <i>Ghostwatch.</i> Despite being very different characters, here, it seems Tilda's motivations for investigating the Supernatural have links with some kind of personal tragedy.</b><br /></p><p style="text-align: left;"><span style="color: #6fa8dc;">Page 21; There is so much going on in this treatment that the idea of writing these episodes seems impossibly daunting. I think I would trim to the bone and not have so many points of view. There is the temptation to fill in lots of plot for five hours, but in the end it is better to focus on a tight group of characters. I can’t remember Ruth Baumgarten’s producer reaction to these pages – perhaps it all bamboozled her. It slightly bamboozles me reading it now. Hard to maintain pace and suspense over a long period of physical time.</span></p><p style="text-align: center;"><span style="color: #6fa8dc;"><span style="font-size: medium;"><b> </b></span></span><strike> </strike></p><p><strike></strike></p><p><i><u><b><span style="font-size: medium;">4. BAD MOTHERS</span></b></u></i><span style="color: #6fa8dc;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-mq84w0EVJrA/X2n3bFGAImI/AAAAAAAADoo/eLY-U3x_QRACOgfH3tyE59oSBXqO1UktwCPcBGAYYCw/s1365/BtC-GW_Outline_27.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-mq84w0EVJrA/X2n3bFGAImI/AAAAAAAADoo/eLY-U3x_QRACOgfH3tyE59oSBXqO1UktwCPcBGAYYCw/s320/BtC-GW_Outline_27.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-VmPYUPMSyk4/X2n3bZbw25I/AAAAAAAADos/sGCNzBahHzw9PQCujG97de9Ia-Ui7gaFQCPcBGAYYCw/s1365/BtC-GW_Outline_28.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-VmPYUPMSyk4/X2n3bZbw25I/AAAAAAAADos/sGCNzBahHzw9PQCujG97de9Ia-Ui7gaFQCPcBGAYYCw/s320/BtC-GW_Outline_28.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-EnkjaBZQKmU/X2n3bhOXi4I/AAAAAAAADpA/ZnRvgDKCGa4Ep3RmJOQOTBf8phaCv-k9wCPcBGAYYCw/s1365/BtC-GW_Outline_29.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-EnkjaBZQKmU/X2n3bhOXi4I/AAAAAAAADpA/ZnRvgDKCGa4Ep3RmJOQOTBf8phaCv-k9wCPcBGAYYCw/s320/BtC-GW_Outline_29.jpg" width="145" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-bHZDlZXYMO4/X2n3b3tfAPI/AAAAAAAADow/UCTocQC5xgUJGUvmU6A_M0yyac4RzkXwACPcBGAYYCw/s1365/BtC-GW_Outline_30.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-bHZDlZXYMO4/X2n3b3tfAPI/AAAAAAAADow/UCTocQC5xgUJGUvmU6A_M0yyac4RzkXwACPcBGAYYCw/s320/BtC-GW_Outline_30.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-wQt_sALPcwA/X2n3b6P9XCI/AAAAAAAADow/X6tFp459MaE1-aK-2Jouts-Z82jFIFPHgCPcBGAYYCw/s1365/BtC-GW_Outline_31.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-wQt_sALPcwA/X2n3b6P9XCI/AAAAAAAADow/X6tFp459MaE1-aK-2Jouts-Z82jFIFPHgCPcBGAYYCw/s320/BtC-GW_Outline_31.jpg" width="145" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-hO04g7BJRJQ/X2n3cbt9drI/AAAAAAAADo4/c2ZE64lu5z8ch_WGoRdi5herBePabWvMQCPcBGAYYCw/s1365/BtC-GW_Outline_32.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-hO04g7BJRJQ/X2n3cbt9drI/AAAAAAAADo4/c2ZE64lu5z8ch_WGoRdi5herBePabWvMQCPcBGAYYCw/s320/BtC-GW_Outline_32.jpg" width="145" /></a><span style="color: black;"><a href="https://1.bp.blogspot.com/-b4KOu2MQQ5w/X2n3cZBKwxI/AAAAAAAADpA/ePXsIff3bn0Rz7Cr8yGSoO6r9RtMnwr4gCPcBGAYYCw/s1365/BtC-GW_Outline_33.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-b4KOu2MQQ5w/X2n3cZBKwxI/AAAAAAAADpA/ePXsIff3bn0Rz7Cr8yGSoO6r9RtMnwr4gCPcBGAYYCw/s320/BtC-GW_Outline_33.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-U637uGHJpic/X2n3cq7KUgI/AAAAAAAADo8/NtdT3eZahKM2iX5f35Zfq2h4D9dZn7uJwCPcBGAYYCw/s1365/BtC-GW_Outline_34.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-U637uGHJpic/X2n3cq7KUgI/AAAAAAAADo8/NtdT3eZahKM2iX5f35Zfq2h4D9dZn7uJwCPcBGAYYCw/s320/BtC-GW_Outline_34.jpg" width="145" /></a></span></div><p><br /></p><p><span style="color: #6fa8dc;">VOLK: Page 22: I remember having one of those toys that moos if you turn it upside down. It always struck me as sinister. Funny how these things from distant childhood surface when you are thinking of things that are disturbing. You don’t exactly know why but you have to trust your instinct when you pluck them from the darkness. Novelist Adam Nevill is very good on this – talking about the images of childhood, perverted to become nightmarish for our entire lives. I guess the waxworks idea comes from me thinking about Christie, Haig and such characters in the <i>Chamber of Horrors</i> – again something that terrified me when I was younger. The frock a very clear and unashamed steal from Norman Bates in <i>Psycho</i> I’m afraid.</span><b><span><b><span><b><span><b> </b></span></b></span></b></span></b></p><p style="text-align: right;"><b><span><b><span><b><span><b>RICH: </b></span></b></span></b></span>Detective Superintendent <i>Pascoe</i> makes an appearance. Perhaps, a relation of Lin's?</b><b> </b></p><p style="text-align: right;"><b>The affirmation that Andreas' body was found <i>deeper </i>in the ground than the Electricity Board was digging is similar to how Heather, Josh, and Mike's footage was recovered <i>beneath</i> the undisturbed ruins of Rustin Parr's house, preceding the release of, <i>The Blair Witch Project.</i></b></p></div><div style="text-align: left;"><div style="text-align: right;"><b>In learning more about local murderer, Leslie James, Tilda discovers he was <i>"dressed as a woman"</i> when they arrested him </b><b>– similar to Raymond Tunstall in TX1992.<span style="color: #6fa8dc;"> </span></b><br /></div><span style="color: #6fa8dc;"><br />Page 23: I’d forgotten this scene entirely but I like scenes between adult daughters and their mothers. Somehow they can be very revealing and the idea of Mrs Early asking if she is a bad mother is a good counterpoint. <i>Dead kittens... </i>We would never be able to do that on the BBC! It was bad enough in TX1992 to mention the dead dog. Just the words being spoken upset a lot of people!</span></div><div style="text-align: left;"><span style="color: #6fa8dc;"> </span></div><div style="text-align: left;"><div style="text-align: right;"><b>In this page, Pam is also revealed to have a sister, with whom she is currently residing.</b></div><div style="text-align: right;"><b> </b></div><span style="color: #6fa8dc;">Page 24: Oh, hello Rupert Murdoch! Fancy meeting you here! I mention “John Pilger” and <i>World in Action:</i> both might be unknown to readers or some TV viewers in 2020, but they were bywords for television cut-and-thrust current affairs reporting in 1988. I see I’m teasing out the lullaby / Victorian song now. The bit of séance-busting is a premonition of the opening scene of my screenplay of <i>The Awakening.</i> I love séance scenes and séance busting scenes.</span></div><div style="text-align: left;"><span style="color: #6fa8dc;"> </span></div><div style="text-align: right;"><b>During Hilary Tandy's final séance, a spirit ostensibly appears, <i>"behind some muslin drapes."</i></b></div><div style="text-align: left;"><span style="color: #6fa8dc;"><br />Page 25: OK, the suicide here is Leonard Early and not Raymond Tunstall, but the suicide method, being based on a story a policeman once told me, remains intact in TX1992.</span></div><div style="text-align: left;"><span style="color: #6fa8dc;"><br />Page 26: Fifteen drownings. Blimey. For a series – not bound in real time – you have to up the ante, and in some ways up the death count, but this seems excessive. The experts descend with <i>gadgetry, infra-red, electronic sensors... a stake out at the haunted house – primetime TV.</i> Here we go... <br /><br />Page 27: Kimmy and Suzanne facing the TV screen “Talking to Daddy” is pretty spooky. The movie <i>Poltergeist </i>has a lot to answer for. The Nativity Play is an idea I have always wanted to use, its naffness (the stick on beards, kids playing sheep...) and the potential to subvert Christian values. I have used it in another treatment yet to come to the screen (if ever). Bones from the hole in the road – shades of <i>Hobb’s Lane.</i><br /><br />Page 28: The song, here, a made up rhyme about Mother Seddons. In the end I used “Round and Round the Garden”, which my grandmother used to do when I was little. Tickling as a kind of intrusive contact – while intended to be the cause of mirth – might be frowned on today as unwelcome. Children are told to say if they find endearments unwanted. When I was a boy we weren’t given a choice. It was wall to wall kisses off grannies smelling of Imperial Leather.</span></div><div style="text-align: left;"><span style="color: #6fa8dc;"> </span></div><div style="text-align: left;"><span style="color: #6fa8dc;"><span style="color: #6fa8dc;"><i>Maladjusted children...</i> would I do this now, in the context of a ghost story? Don’t know.</span><br /></span></div><div style="text-align: left;"><span style="color: #6fa8dc;"> </span></div><div style="text-align: right;"><b>The as-yet unheard nursery rhyme for Mother Seddons goes:<br /><br /><span style="font-size: medium;"><i>"Mother S, Mother S,<br />Mother us, mother us,<br />Don't smother us, smother us,<br />Kiss kiss kiss."</i></span></b></div><div style="text-align: right;"><b><i> </i></b></div><div style="text-align: right;"><b>The children tearing their toys apart, thereby 'acting out' their traumas, carries over into TX1992, where Kimmy rips out Bubby's eyes; though her trauma is not specified. </b><br /></div> <div><br /><div style="text-align: left;"><span style="color: #6fa8dc;">Page 29: The demented Reverend. This seems out of a different film, but it’s a big, cinematic moment, and it was always a stable of Hammer films that fire cleanses the evil.</span></div><div style="text-align: left;"> <span style="color: #6fa8dc;"></span><br /></div><div style="text-align: center;"><span style="font-size: medium;"><span style="color: #6fa8dc;"><span style="font-size: medium;"><b> </b></span></span><i><b><span style="color: #6fa8dc;"><span style="font-size: medium;"><b> </b></span></span><strike> </strike></b><u><b><strike></strike></b></u></i></span></div><div style="text-align: center;"><span style="font-size: medium;"><i><u><b><strike><br /></strike></b></u></i></span></div><div style="text-align: left;"><span style="font-size: medium;"><i><u><b>5. ALL SOULS</b></u></i></span></div><div style="text-align: left;"><span style="font-size: medium;"><i><b> </b></i></span></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><span style="color: black;"><a href="https://1.bp.blogspot.com/-JbiPk3Kn7es/X2n3c4j38fI/AAAAAAAADow/k7epLPbwEkM6EtSzqFzi-Hej4o8NOqqngCPcBGAYYCw/s1365/BtC-GW_Outline_35.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-JbiPk3Kn7es/X2n3c4j38fI/AAAAAAAADow/k7epLPbwEkM6EtSzqFzi-Hej4o8NOqqngCPcBGAYYCw/w145-h200/BtC-GW_Outline_35.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-sei7PdSwTRY/X2n3dBtOUDI/AAAAAAAADo0/k5ryk8bRRKcpkl5p5YfOPGyRd1DjGguqQCPcBGAYYCw/s1365/BtC-GW_Outline_36.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-sei7PdSwTRY/X2n3dBtOUDI/AAAAAAAADo0/k5ryk8bRRKcpkl5p5YfOPGyRd1DjGguqQCPcBGAYYCw/w145-h200/BtC-GW_Outline_36.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-wmjF6tAjIpo/X2n3dvTM1SI/AAAAAAAADo0/7Uhc0hUffewoSiBAuKlLWsBgZMpr6FUZwCPcBGAYYCw/s1365/BtC-GW_Outline_37.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-wmjF6tAjIpo/X2n3dvTM1SI/AAAAAAAADo0/7Uhc0hUffewoSiBAuKlLWsBgZMpr6FUZwCPcBGAYYCw/w145-h200/BtC-GW_Outline_37.jpg" width="145" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: black;"><a href="https://1.bp.blogspot.com/-LiKZsJCego8/X2n3dni1wRI/AAAAAAAADo0/AZn_UiIpfdAVt74OTqJmcY7dP2OfRtrlQCPcBGAYYCw/s1365/BtC-GW_Outline_38.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-LiKZsJCego8/X2n3dni1wRI/AAAAAAAADo0/AZn_UiIpfdAVt74OTqJmcY7dP2OfRtrlQCPcBGAYYCw/w145-h200/BtC-GW_Outline_38.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-x1jHYtxZ-fI/X2n3dtAGikI/AAAAAAAADo4/4e3FK8y85uULxXxUCdFvTb4kyh1NN-sbgCPcBGAYYCw/s1365/BtC-GW_Outline_39.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-x1jHYtxZ-fI/X2n3dtAGikI/AAAAAAAADo4/4e3FK8y85uULxXxUCdFvTb4kyh1NN-sbgCPcBGAYYCw/w145-h200/BtC-GW_Outline_39.jpg" width="145" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: black;"><a href="https://1.bp.blogspot.com/-gXJMBiwpyvI/X2n3eC8uj1I/AAAAAAAADo0/-5KesAEAsuAB-QTjDQF_Z7aunmyvz6HbgCPcBGAYYCw/s1365/BtC-GW_Outline_40.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-gXJMBiwpyvI/X2n3eC8uj1I/AAAAAAAADo0/-5KesAEAsuAB-QTjDQF_Z7aunmyvz6HbgCPcBGAYYCw/w145-h200/BtC-GW_Outline_40.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-KYnZHS7MVW4/X2n3euniLvI/AAAAAAAADo4/zTSQm2T88Ns-NPlQ03XV4X81gctv5jPzACPcBGAYYCw/s1365/BtC-GW_Outline_41.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-KYnZHS7MVW4/X2n3euniLvI/AAAAAAAADo4/zTSQm2T88Ns-NPlQ03XV4X81gctv5jPzACPcBGAYYCw/w145-h200/BtC-GW_Outline_41.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-hLeMoU87qBA/X2n3fECyx9I/AAAAAAAADo4/ZIEv99DdkyMGixZltHBzU9mSaLVprstOwCPcBGAYYCw/s1365/BtC-GW_Outline_42.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-hLeMoU87qBA/X2n3fECyx9I/AAAAAAAADo4/ZIEv99DdkyMGixZltHBzU9mSaLVprstOwCPcBGAYYCw/w145-h200/BtC-GW_Outline_42.jpg" width="145" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: black;"><a href="https://1.bp.blogspot.com/-38vDRSpDtts/X2n3fyObFtI/AAAAAAAADo8/Nz1jqvd8TxQ2Qb1mrSxcnw3JxM1LXugtgCPcBGAYYCw/s1365/BtC-GW_Outline_43.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-38vDRSpDtts/X2n3fyObFtI/AAAAAAAADo8/Nz1jqvd8TxQ2Qb1mrSxcnw3JxM1LXugtgCPcBGAYYCw/w145-h200/BtC-GW_Outline_43.jpg" width="145" /></a><a href="https://1.bp.blogspot.com/-1NpT-E_bPqE/X2n3gIcAbUI/AAAAAAAADpA/gNLIeTQI2dYiBrUYDaMw_25HmKGNO342ACPcBGAYYCw/s1365/BtC-GW_Outline_44.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="992" height="200" src="https://1.bp.blogspot.com/-1NpT-E_bPqE/X2n3gIcAbUI/AAAAAAAADpA/gNLIeTQI2dYiBrUYDaMw_25HmKGNO342ACPcBGAYYCw/w145-h200/BtC-GW_Outline_44.jpg" width="145" /></a></span></div><br /><p><span style="color: #6fa8dc;">Page 30: All the souls watching their TV sets at the same time, that is. Tonight for one hour, Live... The promise, the expectation building. I want to get there now. Nothing less than concrete proof of the existence of ghost, captured on videotape...</span></p></div><div style="text-align: left;"><span style="color: #6fa8dc;">So this is the final episode that I pitched to Ruth as a 90-minute Special. “Let’s just do the final episode AND DO IT AS IF IT’S LIVE.” It is like the crowds that besieged the Davis house in Teesdale Street in 1938 in the hope of seeing a ghost.... Is it? Where did I get that from?</span></div><div style="text-align: left;"><span style="color: #6fa8dc;"> </span></div><div style="text-align: left;"><div style="text-align: right;"><b><span><b><span><b><span><b>RICH: </b></span></b></span></b></span>The description of <i>Ghost Watch</i> being a
"TV Event" differs somewhat from TX1992 in that there was comparatively less run-up to the real-life broadcast. Had the final episode in the serial been
broadcast as-live as intended, there would have been four episodes' worth of public anticipation prior to the special, in some respects mitigating a swell of
public interest </b><b><b>–</b> be this a fictional/in-universe response to the show's airing, or real viewers awaiting the big finale.<br /></b></div><div style="text-align: right;"><b> </b></div><div style="text-align: right;"><b>As
soon as the first page for the final episode, alongside familiar
opening dialogue by its host as they introduce the programme, there is also mention of, <i>"Great floodlights erected to light the area for TV."</i></b></div><div style="text-align: right;"><b><i> </i></b></div><div style="text-align: right;"><b>Due to the recent fire damage, exploration of the Early home would be a notably different, and no doubt more perilous experience than that depicted in, TX1992.</b><br /></div><span style="color: #6fa8dc;"> </span></div><div style="text-align: left;"><span style="color: #6fa8dc;">Page 31: I like the phrase “traitors to the realm of reason” – it’s very grand and suitably pompous for a bishop! I like using the tabloids in a ghost story, I used an unscrupulous tabloid reporter in <i>Afterlife </i>too. The trashy way the gutter press deals with real life ghost stories is such a contrast to the serious minded scientists trying to unravel the facts. Two sides of the human coin. <br /><br />The TV Presenter set up for a commentary, <i>Apollo Mission style.</i> Videos cameras and other equipment detailed. This is the stuff I loved and didn’t want to lose. The practical joker in the crew, here - which is Craig Charles frightening Sarah Greene in the TX1992 version.</span></div><div style="text-align: left;"><br /><div style="text-align: right;"><b>Compared to Stephen's final screenplay, the line, <i>"Back in
the studio a PRESENTER has a couple of experts on hand for running
commentary."</i> demonstrates just how significantly focus for
different aspects of much the same narrative, ultimately shifted.
Likewise, Lin Pascoe would notably incorporate various characters'
condensed & consolidated traits.</b></div><div style="text-align: right;"><b> </b><br /><span style="color: #6fa8dc;"></span></div><span style="color: #6fa8dc;">Page 32: In homes all over the country, viewers stare relentlessly... Which indeed they did. The rattle of the wire coat hanger (<i>Mommie Dearest’s</i> iconic); a beat I use in a different way in TX1992. Behind the scenes VT director and producer in this version. The blank crowd waiting for something – what?</span></div><div style="text-align: left;"><span style="color: #6fa8dc;"></span></div><div style="text-align: left;"><span style="color: #6fa8dc;"></span></div><div style="text-align: left;"><span style="color: #6fa8dc;"></span></div><div style="text-align: left;"><br /><div style="text-align: right;"><b>Ironically, this scene occurs shortly after the prank is played on Tilda</b><b>, now serving as the prototypical "REPORTER", later played by Sarah Greene </b><b>– as memorably teased by Craig Charles [granted, </b><b><b>Haggerty may enjoy the occasional Pot Noodle, but Dave Lister sure doesn't]. </b>In some respects, the aforementioned, dehydrated snack which moves of its own accord precedes both cameraman, Chris Miller's inexplicably frozen wristwatch, and also the strange puddle that appears in the Earlys' living room during TX1992.</b></div><div style="text-align: right;"><b> </b></div><div style="text-align: right;"><b>The abstract sound of mice seemingly circling Tilda & Haggerty has not yet been superseded by the unforgettable, furious howling of Tunstall's cats.<br /></b></div><div style="text-align: right;"><b> </b><br /></div></div><div style="text-align: left;"><span style="color: #6fa8dc;">Page 33: Mrs Early’s bag of crucifixes I can do without. Suzanne knows the woman in black is there. The wire coat hanger digging into Tilda’s heel makes me wince. Horrid! She sees the ghost in the mirror - of course she does. </span></div><div style="text-align: left;"><br /><div style="text-align: right;"><b>The mirror also <i>"falls and cracks"</i> [</b><b>though not yet onto soundman, Mike Aiton]</b><b> as <i>"the pipes start to creak and moan."</i></b></div><div style="text-align: right;"><b><i> </i></b></div><div style="text-align: right;"><b>The stage direction, <i>"For a fraction of a second, she glimpses the Tall Woman"</i> bears a striking similarity to what would ultimately become known by <i>Ghostwatch</i> fans as, "Pipes Sightings".<i> </i></b><br /></div><span style="color: #6fa8dc;"><br />Page 34: The scientist says <i>They’re creating it! We’re all creating it!</i> Indeed so, mate. Haggerty becomes Harry the Explainer regarding Mrs Seddons, baby farmer. I’m surprised to see I have this down so early in the development process: there she is. The child drownings, the copper. <br /></span><div style="text-align: right;"><b> </b></div><div style="text-align: right;"><b>A little more back-story on Mother Seddons' murderous motivations </b><b>– Haggerty explains how written records claim that she took-in unwanted children for a price, but somehow found it more <i>profitable </i>to kill them. Her total number of victims is thought to be in the hundreds, including five of her own.</b></div><div style="text-align: right;"><b> </b><br /></div><span style="color: #6fa8dc;">Page 35: Now it is becoming more like TX1992. I’m messing with the screen. Normal service will be resumed. Chaos brewing outside. Not sure whether rioting extras are ever very convincing but I suppose my lodestone here was the chaos at the end of <i>Quatermass and the Pit.</i> It’s all going a bit insane now, bashes over head, etc. <br /></span><br /><div style="text-align: right;"><b>A famous British-staple for anybody poorly or under-the-weather, the <i>wet flannel</i> makes its inaugural appearance </b><b>– but here, used as a <i>weapon</i> by Pam Early, no less!</b></div><div style="text-align: right;"><b> </b><br /></div><span style="color: #6fa8dc;">Page 36: The poltergeist is now controlling the OB cameras and wiping out phone lines, they have no control over the TV picture any more. The dead body of Haggerty – the sound man in TX1992 – Tilda now being Sarah Greene, equipment down, no lights. She is in a cocoon. Leonard and the lathe – I’d forgotten that as well. Never on the BBC, darling. What on earth was I thinking I could get away with? <br /><br />Page 37: Full on horror film effects required here. This is a ghost train ride with the brakes off. It’s mad and relentless. Bonkers. The “need based experience” comes from my reading of the works of the late Hilary Evans, if anyone is interested. His books are exceptional if you are fascinated by the psychology behind anomalous experiences. And there it is in black and white: You’ve created a BIG SEANCE with TWELVE MILLION PEOPLE joining hands!”And then an ice rink with dead children under the ice. Fuck! <i>The Omen 2. </i><br /><br />Page 38: Wait, I love the ghost handing Tilda a baby, that’s really creepy. The child she was pregnant with. I’m evil. The taunting is ghastly. Judgement Day? Again – what was I thinking? Baby with the bathwater. Maybe I was thinking, if we get to make this, let’s do EVERYTHING! <br /><br />And the coda is rather nice, if I do say so myself. In the afterlife, to coin a phrase. Obviously Overlook Hotel related, but still. (Perhaps the life hereafter is just another channel we tune into. Hell is the one full of repeats.) Loss of transmission. Cut to black.</span></div><div style="text-align: left;"><br /><div style="text-align: right;"><b>The outline closes with the following quote from Norwegian artist, Edvard Munch:</b></div><div style="text-align: right;"><b> </b></div><div style="text-align: right;"><span style="font-size: medium;"><i><b>"Nature is not only that which is visible to the eye </b></i><i><b>– it also presents the inner pictures of the world </b></i><i><b>– the pictures on the reverse side of the eye..."</b></i></span></div><div style="text-align: right;"><b> </b><br /></div><span style="color: #6fa8dc;">End of treatment. End of that version, anyway. And, as I look back at it, my work was only just beginning.....</span><p style="text-align: center;"><strike> </strike><br /></p><p>With boundless thanks to Stephen once more for this fascinating glimpse into how everyone's favourite Hallowe'en Hoax came to pass. Remember, we want to hear <i>your </i>questions later on this week, for the live Tweet-Cast. Please send an SAE to <b><a href="https://www.twitter.com/Ghostwatch" target="_blank">@Ghostwatch</a>,</b> and I'll do my best to read them out, on air.<br /></p><p>Happy Hallowe'en, Ghostwatchers. Try not to have sleepless nights, take care, and look forward to seeing you at <i>National </i><i><i>Séance</i>,</i> on Saturday.</p><p>Special mention<span style="font-size: small;"><i><b> </b></i><i><b>–</b></i></span> my love and heartfelt gratitude to two very special people <span style="font-size: small;"><i><b>–</b></i></span> firstly, my mother, who despite a profoundly difficult year,
has predictably broken through every obstacle in her way, and as always, still
found time to selflessly consider and care for others. And, to Cat for her kindness, warmth, and generosity this year; least of all in streamlining the title of my "Functionally Finite" theory. I owe them both, so much. xx</p></div></div>GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-26399066220508106402020-10-21T19:00:00.004+01:002020-10-21T19:21:17.667+01:00They're just a sign of the times...<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-xrCNndEakuQ/X46iKnMnHjI/AAAAAAAADpo/BAuG9MIfdmU6iZN_7XCBv0M9_UESD2PjwCLcBGAsYHQ/s2048/BtC_HiddenBritainSignCo_CompletedSign.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1152" data-original-width="2048" src="https://1.bp.blogspot.com/-xrCNndEakuQ/X46iKnMnHjI/AAAAAAAADpo/BAuG9MIfdmU6iZN_7XCBv0M9_UESD2PjwCLcBGAsYHQ/s320/BtC_HiddenBritainSignCo_CompletedSign.jpg" width="320" /></a></div>Greetings, Ghostwatchers!<p></p><p>In anticipation of this year's <i>National Seance Live</i> event, I was fortunate enough to speak with Rob from the <a href="http://www.hiddenbritain.bigcartel.com/product/ghostwatch-foxhill-drive-road-sign" target="_blank"><b>Hidden Britain Sign Co,</b></a> regarding their exciting new creation, now available to pre-order... a real-life <b>Foxhill Drive</b> street sign!</p><p>Ironically, despite the now-iconic nature of the film's fictitious locale, such a prop never appears during the programme, itself. Given the many opportunities, as there always are, you'd be forgiven for thinking there was time to sneak-in a quick shot during the opening titles, or even a fleeting glimpse when Craig wanders up the road to speak with Yvonne Etherley... but, alas not.</p><p>Even so, that hasn't stopped Rob from expertly crafting something striking and evocative - so much so that you'd be forgiven for thinking that it came straight from the 1992 BBC Props Department.<span></span></p><a name='more'></a><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-M_utQkEM02o/X3DTYobaMYI/AAAAAAAADpI/mK2kNtvlNwUZVdPZ4SJ-X373KzT3ljFMACLcBGAsYHQ/s1824/03.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1028" data-original-width="1824" src="https://1.bp.blogspot.com/-M_utQkEM02o/X3DTYobaMYI/AAAAAAAADpI/mK2kNtvlNwUZVdPZ4SJ-X373KzT3ljFMACLcBGAsYHQ/s320/03.jpg" width="320" /></a></div>You may also have caught sight of this noble attempt, as cobbled-together by yours truly, from a number of years back. Comprised as I recall, from three sheets of lacquered, inkjet semi-gloss carefully pasted onto band-sawed MDF - expertly distressed using thick globs of PVA mixed with powdered cinnamon for a semi-authentic rust effect. Again, we never actually see such a sign during <i>Ghostwatch,</i> itself - this here is what Terry Lollard might have described as being, a 'factual rendering'. <p></p><p>Originally built for the ending of the documentary, in which having driven past the actual filming location for 41 Foxhill Drive, as seen earlier in the film, I would try on my moth-eaten acting cap, and express 'genuine surprise' at the sight of our custom-made street sign now <i>unexpectedly</i> facing opposite the property, before <i>expectedly</i> smash-cutting to black. Ooh, scary-darey. Sadly, having repeatedly missed the rather complex shot, by the upteenth tortoiseian lap of the close's tiny road, one or two of the curious neighbours began venturing out to find out why these strangers seemingly couldn't find their way out of an open, one-way street, and suddenly the illusion was evaporated.</p><p>Another alternate post-credit scene, abandoned in favour of a certain, impromptu cameo, also involved me 'happening upon' the Foxhill sign whilst on my jollies, and effortlessly picking it up, before carrying it home. Though, I'm glad we went with what was clearly meant to be.<br /></p><p>So, you can imagine, it was with sheer glee when I caught the news back in September of this undeniably spiffing effort then-in the pipes-line. I also had the pleasure of speaking with its creator Rob, to learn more about his creative process in so adeptly turning fiction into reality...</p><p style="text-align: center;"><strike> </strike></p><p style="text-align: right;"><span style="color: #6fa8dc;"><b></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #6fa8dc;"><b><a href="https://1.bp.blogspot.com/-TBPspDclfkA/X46iVcnVhvI/AAAAAAAADps/MjGBq2nOQhcEYa0-PN3A_mPufQLeMDV-gCLcBGAsYHQ/s2048/BtC_HiddenBritainSignCo_Design.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1152" data-original-width="2048" src="https://1.bp.blogspot.com/-TBPspDclfkA/X46iVcnVhvI/AAAAAAAADps/MjGBq2nOQhcEYa0-PN3A_mPufQLeMDV-gCLcBGAsYHQ/s320/BtC_HiddenBritainSignCo_Design.jpg" width="320" /></a></b></span></div><span style="color: #6fa8dc;"><b>RICH: Hi Rob, so, first - <i>Ghostwatch!</i> Can you describe your experiences with the programme? When did you first see the show, and do you recall your thoughts, at the time? Has your take on the programme changed since?</b><br /></span><p></p><p style="text-align: left;">HB: I'd just turned 11 years old in the first half of October '92. I remember that time vividly having started middle school the previous month, and with Christmas just around the corner.</p><p style="text-align: left;">There was talk of my brother and I getting a Sega MegaDrive that year, which filled us both with much excitement. I'd left primary school the previous summer where, along with my best friend Ben, I'd spent many hours poring over the Usborne <i>Mysteries of the Unknown</i> book and PG Tips <i>Mysteries of the World</i> cards. I was deep into the idea of ghosts at this point, and was utterly convinced I'd seen the ghost of our recently deceased family dog sitting at the side of the house looking back at me whilst I was playing in the garden during the Summer of '91.</p><p style="text-align: left;">Talk of <i>Ghostwatch</i> started filtering into my mind during the month leading up to transmission, and the idea of it couldn't have been more up my street, despite my healthy sense of unease about what this live broadcast might unearth. On the day it was televised I spent most of the afternoon willing the evening to roll around, and just after the watershed hour of 9pm I went upstairs to my room, got into bed, turned off the lights and settled down with an equal measure of excitement and trepidation.</p><p style="text-align: left;">My heartbeat quickened as the title sequence rolled and Parky gave his introductory piece to camera. "Wow", I thought. My mind was racing from the off. Within a few minutes they cut to pre-recorded footage of the two girls in their bedroom, as my blood started to run cold and I re-adjusted the pillow propping me up in bed. I looked on as the sequence unfolded into chaotic poltergeist activity, ending with the light-bulb exploding and their room being plunged into darkness. I leapt out of bed, turned the lights on and the TV set firmly off. I couldn't do this, it was all too much for me even after the first 5 minutes, that moment further compounded by being alone in a darkened bedroom myself.</p><p style="text-align: left;">At this point my Dad appeared at my door, warmly suggesting "I'm not sure you should be watching this", knowing full well the extent of my vivid imagination and fascination with the subject matter at the time. I agreed and settled back down into bed with just my bedside lamp on for comfort. Within a few minutes the house had quietened down again and my pulse had slowed.</p><p style="text-align: left;">"Right", I thought. "I have to turn this back on!" I couldn't <i>not</i> - I'd been waiting to see this for weeks and needed to be able to talk to my school friends about it the following Monday. I spent the next 80 minutes getting out of bed and turning the TV on and off countless times. The talk of 'Pipes', dog mutilation and suicide in the basement once again became too much for me to bear, never mind the glimpses of a menacing figure behind curtains and reflected in the glass of the patio door. I think I probably watched 50% of the programme that night, being caught between abject fear and fear of missing out on this televisual event.</p><p style="text-align: left;">Back at school, my friends filled in the gaps of what I had missed. I joined in where I could from what I'd seen but otherwise I just nodded along, not giving away that I'd only seen half of the show that night. It was many years later that I was able to finally see it in its entirety. After many failed attempts I eventually tracked down a VHS tape on eBay. It was quite possibly a 100th generation copy - almost black and white - with colours desaturated and the picture further degraded by constant static snow.</p><p style="text-align: left;">Myself and a group of friends, all now in our early 20s, gathered to watch it at a mate's house and we were captivated by it once again, for different reasons this time, despite the poor quality of the pirated VHS copy I'd purchased. I re-watched it again recently after many years (this time on DVD) and was really struck by how clever, brilliantly scripted and dark it is. It still feels wonderfully ahead of it's time and a real one-off event in the history of British television. <br /></p><p style="text-align: right;"><span style="color: #6fa8dc;"><b></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #6fa8dc;"><b><a href="https://1.bp.blogspot.com/-Y18IcM5y-kQ/X46ieOR-TMI/AAAAAAAADp0/Z8OTWMroTD8TV5UuwaXWOeidd_PN-z-5ACLcBGAsYHQ/s2048/BtC_HiddenBritainSignCo_PixMax.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1152" data-original-width="2048" src="https://1.bp.blogspot.com/-Y18IcM5y-kQ/X46ieOR-TMI/AAAAAAAADp0/Z8OTWMroTD8TV5UuwaXWOeidd_PN-z-5ACLcBGAsYHQ/s320/BtC_HiddenBritainSignCo_PixMax.jpg" width="320" /></a></b></span></div><span style="color: #6fa8dc;"><b><b>RICH: </b>Regarding your background as a graphic artist and sign maker - when did you discover you had a talent for art - specifically, making fictional signage a reality?</b><br /></span><p></p><p style="text-align: left;">HB: I have no formal training as a graphic designer, with A-Level being the furthest I took visual art before going off to college to study music production in the early 2000s.</p><p style="text-align: left;">That said, my aforementioned best mate Ben and I would mock-up fictitious album covers and artwork during our early adolescent years, dreaming one day of holding our own record sleeve in our hands. We didn't have to wait long as in '99, whilst we were studying for our A-Levels, a Birmingham-based record label approached us to release a 7" vinyl of three of our songs. We were asked to supply artwork for the release and this kickstarted over 20 years of producing music and artwork for our own records and others.</p><p style="text-align: left;">I've been involved in nearly 100 releases since then, as a musician and in terms of producing artwork, and it's this experience that really developed my keen interest in design, layout and construction. I've also worked for the last 13 years as a freelance art gallery technician, installing exhibitions all over the UK. Working in this settling really got me thinking about the possibilities and technicalities I could deploy within the idea of something like 'Hidden Britain'.</p><p style="text-align: left;">Then in early 2019, I purchased a vinyl cutting machine, initially to print vinyl wall banners and gallery interpretation for venues where I worked. This led me to start considering ideas inspired by my love of British Horror TV and film along with my interest in design and typography. When lock-down happened in March of this year, I found myself out of work but had time on my hands to really start developing these ideas fully. <br /></p><p style="text-align: right;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-cqmjokqIXyg/X46jHydsL3I/AAAAAAAADqY/IG_iqP-X9cQwV_IGLPdCsFBI14UGh0_zwCLcBGAsYHQ/s2048/BtC_HiddenBritainSignCo_Weeding.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1152" data-original-width="2048" src="https://1.bp.blogspot.com/-cqmjokqIXyg/X46jHydsL3I/AAAAAAAADqY/IG_iqP-X9cQwV_IGLPdCsFBI14UGh0_zwCLcBGAsYHQ/s320/BtC_HiddenBritainSignCo_Weeding.jpg" width="320" /></a></div><span style="color: #6fa8dc;"><b><b>RICH: </b>What is your process for making a sign, particularly but not exclusively for this Foxhill Drive design? Do you have your own process that you've developed yourself, or is there a tried-and-tested way for producing each piece? What are the signs made from, and what kind of tools do you use?</b></span><br /><p></p><p style="text-align: left;">HB: Without being too demystifying about my process, all my initial designs and sketches start in Photoshop as a digital mock-up. I've been using Photoshop for years now, but have pushed myself to use Adobe Indesign and Illustrator a lot more over the last year or so too. After I've sketched out an idea in Photoshop, I'll move across to Illustrator to do the final layout, sizing and vectorising of the design so that I can send this to my vinyl cutting machine and cut the lettering in whatever colour and size I need for that particular sign.</p><p style="text-align: left;">Once the design has been cut, there are a number of stages before I then transfer the lettering to an MDF wooden board and apply a few layers of varnish to seal the design, which also helps build up a protective layer that the vinyl lettering sits within. All in there are about 10 stages that go into producing a sign and I spend roughly between 1.5 to 2 hours on each across the whole process. With each of these stages that have slowly become tried and tested, I used experience from my day job and lots of trial and error during my initial tests. It's quite time consuming from start to finish to produce the signs, but I find it a really nice balance between digital design and more hands on making and precision.</p><p style="text-align: right;"><span style="color: #6fa8dc;"><b></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #6fa8dc;"><b><a href="https://1.bp.blogspot.com/-UCXE4QN0VkU/X46ilzJpYfI/AAAAAAAADp8/MlN-Qb8pe8cvp1gZ-LL8QXpfn50d9Jf1gCLcBGAsYHQ/s2048/BtC_HiddenBritainSignCo_Finishing.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1152" data-original-width="2048" src="https://1.bp.blogspot.com/-UCXE4QN0VkU/X46ilzJpYfI/AAAAAAAADp8/MlN-Qb8pe8cvp1gZ-LL8QXpfn50d9Jf1gCLcBGAsYHQ/s320/BtC_HiddenBritainSignCo_Finishing.jpg" width="320" /></a></b></span></div><span style="color: #6fa8dc;"><b><b>RICH: </b>Typography is an art in and of itself. Can you go into more detail regarding your particular process as regard choosing the appropriate typeface, spacing, kerning, etc? What is it that makes a sign look good?</b></span><br /><p></p><p>HB: I've been really fascinated with the history of certain typefaces for a long time now, particularly more utilitarian fonts used in British transport signage. From Edward Johnson's 'Underground' typeface of 1910s to 'Gil Sans' in the late 1920s to the 'Motorway Transport' font and publication of the British Rail Corporate Identity Manual in the 1960s. I still find it incredible the level of detail, precision and thought that went into that manual and design and is a constant source of inspiration in making my designs feel 'right'.</p><p>The kerning between the letters is so important when looking at producing authentic signage and it's something I take great care and time over when working on new designs. I also have to add that the 1964 British Rail 'Two Arrows' logo is still one of my favourite pieces of design ever.</p><p style="text-align: right;"><span style="color: #6fa8dc;"><b></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #6fa8dc;"><b><a href="https://1.bp.blogspot.com/-zZ5604HZH8k/X46i1HUG45I/AAAAAAAADqI/kR15nU8E3dojLdhVnqjn-i_-ZZe-KLIAQCLcBGAsYHQ/s2048/BtC_HiddenBritainSignCo_Applying.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1152" data-original-width="2048" src="https://1.bp.blogspot.com/-zZ5604HZH8k/X46i1HUG45I/AAAAAAAADqI/kR15nU8E3dojLdhVnqjn-i_-ZZe-KLIAQCLcBGAsYHQ/s320/BtC_HiddenBritainSignCo_Applying.jpg" width="320" /></a></b></span></div><span style="color: #6fa8dc;"><b><b>RICH: </b>We live in a great age of fandom - arguably, more than ever. Cosplay and fan productions now often work hand-in-hand with their chosen following. What is it regarding replica props that you think appeals to fans and collectors, alike? How does owning a 'piece of fiction' bring fans closer to what they love?</b></span><p></p><p>HB: For me, it is about producing something that I'd like to own myself, and hope others would too. I try to create something which is evocative of a time and place, which is faithful to the story and setting, and is also aesthetically pleasing. I hope the signs are something that people are be proud to have on display, to photograph, or to post on social media as part of a more personal display of their own identity and interests. As the signs are limited edition (I typically only make around 25 of each item) and are handmade, they have a unique quality which I think appeals to fans and collectors too.</p><p>Owning something physical such as a sign or other object brings a little piece of that world into your living room, or your study, or wherever. It brings you closer as it's something you can see, touch and feel. It makes me very happy to see people post images or message me privately about the signs I send to them and to hear their own unique stories, perspectives and connections to these objects. It's been immensely enjoyable working on this project over the last 6 months or so and people's responses have been incredibly gratifying. I hope to continue producing new designs - that people are proud to own - for a long time yet.<br /></p><div style="text-align: center;"><strike> </strike></div><p>With huge thanks again to Rob for a fascinating insight into the making of this marvellous collectible. Again, be sure to check out <a href="https://www.hiddenbritain.bigcartel.com/product/ghostwatch-foxhill-drive-road-sign" target="_blank">the <i>Hidden Britain Signs Co</i> site</a> to <b>pre-order</b> your own sign now.<br /></p><p>Until next time, Ghostwatchers... try not to have sleepless nights.</p>GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-17702362254356806862020-10-02T17:21:00.000+01:002020-10-02T17:21:32.612+01:00National Séance Live – The Tenth Annual Event<div class="separator"><a href="https://1.bp.blogspot.com/--ZyE5yYIvU0/X3dG18294EI/AAAAAAAADpU/8Z9uWwNNMwU-9_RgewMgIkyQkeKPXFK_wCLcBGAsYHQ/s2048/NS20_TVLogo.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1855" data-original-width="2048" src="https://1.bp.blogspot.com/--ZyE5yYIvU0/X3dG18294EI/AAAAAAAADpU/8Z9uWwNNMwU-9_RgewMgIkyQkeKPXFK_wCLcBGAsYHQ/w320-h290/NS20_TVLogo.jpg" width="242" /></a></div><p></p>Greetings, Ghostwatchers!<p></p><p></p><p></p><p></p><p>On Saturday, 31st October 2020, the annual <i>Behind the Curtains</i> Tweet-cast, <i>National Séance</i> will have been haunting, cheese'n pickling, and otherwise glory-holing your Twitter feeds for no less than a decade. How time flies, even when your watch stops.<br /></p><p>We've all heard the same captivating anniversary speech a thousand times before, but when I first imagined the idea of a virtual 'repeat' of <i>Ghostwatch</i> in 2010 as potentially being a fun way to celebrate Hallowe'en, and the programme's eighteenth birthday, alongside some like-minded fans, I had no idea it would become a kind-of phenomenon in its own right.</p><p><span></span></p><a name='more'></a><p></p><p>Twenty-eight years on from 31/10/92, whatever single aspect that continues to make <i>Ghostwatch </i>a source of fascination remains elusive, even to me. My mission to learn more about the programme, and its reaction, now almost three decades following its first and only, in-full British airing shall now likely accompany me forevermore; as will my side-quest to boil-down some pure, observable form – the supposed magic element that sustained both the stark creative genius that engendered its rare production, and loyal following that... well, followed its legendary broadcast.<br /></p><p>It also seems, I remain far from the only person out there, increasingly keen to one day see the Screen One special drama return to television, where it rightly belongs – not upscaled, not needlessly pan-and-scanned to modern-day widescreen – merely repeated at least once more, in proper, useful, dignified context. Whether this shall ever happen outside of the hopeful artifice of <i>National Séance</i>, remains to be seen. The Thirtieth Anniversary is, however, just round the corner...<br /></p><p>The long-standing & delightfully-growing community of fellow Tunstallonians, Foxhillians, and Pipes Phobes who have taken it upon themselves to carry, share, and dissect the many myths, and facts, surrounding the show is truly an extraordinary one, at that. Generous, supportive, and committed in all the right ways, it is more than fair to say that this project, and its continued hub of research just wouldn't have been possible without you all, and I offer my sincere thanks once more.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-tKGNeAsHcOU/X2SuG6fRydI/AAAAAAAADkA/G2OU3y7DYD8CVio68O2lGAaHtV5xqHsnwCLcBGAsYHQ/s2128/NS20_Logo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="788" data-original-width="2128" height="148" src="https://1.bp.blogspot.com/-tKGNeAsHcOU/X2SuG6fRydI/AAAAAAAADkA/G2OU3y7DYD8CVio68O2lGAaHtV5xqHsnwCLcBGAsYHQ/w400-h148/NS20_Logo.jpg" width="400" /></a></div><p>For those yet to join us, the upcoming decadian evening itself is based around the altogether simple concept of <b>synchronising our personal copies of <i>Ghostwatch,</i> and pressing 'Play' at exactly 21:25 – just as it aired, twenty-eight years ago.</b> What usually follows, is a heady mix of debate, nostalgia, and good humour, as fans from across the globe come together to celebrate an unconventionally-unique drama, that truly changed Television as we knew it, forever.<br /></p><p><a href="http://www.ghostwatchbtc.com/2012/11/so-last-night-went-alright.html" target="_blank">I'll never forget, in 2012,</a> when we sky-rocketed up the
leader-boards, at one point even rising above coverage of the Liverpool-Swansea game, that night. Since then,
regular Ghostwatchers have joined us like clockwork. Every year, potential
Pipes Sightings have continued to be poured over, themed cup cakes have continued
to be baked, and Kevin Tripp's aforementioned, lynchpinian, Cheese'n Pickle sandwich has
increasingly, and rightly, become stuff of legend.</p><p>Invariably, each year, we try to do something special to mark the occasion. Much earlier in 2020, plans were afoot to bring <i>National Séance</i> to the masses – care of a special live event. Then, for much of the world, normal changed overnight.</p><p>But
where there's a will, there's occasionally a way! So, this time, for one night only, mostly-successful
film-maker, Rich Lawden [... me] shall be doing his best to host a live video
stream on Hallowe'en Night appropriately entitled, <i><b>National Séance Live.</b></i><br /></p><p>Joining Rich [... that's, still me] for this rare and special reunion, will be the show's creators, producer <b>Ruth Baumgarten, </b>director <b>Lesley Manning,</b> and writer <b>Stephen Volk.</b> A link to the live stream shall be added here on the blog, and bandwidth-permitting, shall commence around a half-hour earlier than usual, at 21:00, for an advance introduction. As always, questions, concerns, and comments can be sent to <b>@Ghostwatch</b> – and if you can, please try to use the hash-tags, <b>#NationalSeance</b> or <b>#NationalSeanceLive</b> to help us keep track of messages, as they come in.<br /></p><p>Remember, throughout the sure-to-be spine-tingling evening [hums, <i>The Twilight Zone</i> theme], you can share with us your own Supernatural experiences on our very own, Hallowe'en Witchboard... I mean, 'Switchboard...' I mean, 'Twitter'. We particularly want to hear from you if you've had any personal experiences with the show – particularly, stories, photos, creations – and crucially, <i>your</i> opinions on just what you're seeing.<br /></p><p>And stay-tuned during this month's run-up to the event, as one or two special, upcoming articles may just materialise around these here parts, too. Look forward, as always to seeing you there!<br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-VNu97rU8XBU/X2So-SkZJDI/AAAAAAAADj0/Pxc_EuMUcUE1CpkrjAM7cVQ2p0_bwnAygCLcBGAsYHQ/s1037/BtC_BDMock.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="963" data-original-width="1037" src="https://1.bp.blogspot.com/-VNu97rU8XBU/X2So-SkZJDI/AAAAAAAADj0/Pxc_EuMUcUE1CpkrjAM7cVQ2p0_bwnAygCLcBGAsYHQ/s320/BtC_BDMock.jpg" width="320" /></a></div><p>A further burning question that continues to warm the cockles of the <i>BtC</i> inbox concerns whether or not the
doc shall finally be returning to DVD or Blu-Ray. The as-yet staid answer, remains a very definite, 'possibly'.</p><p>News on this, if, as, and when it comes in, as always. It may seem relatively easy, getting a film out, in this day and age, but there's also much to consider ahead of time, in getting it done <i>right.</i> But hopefully, with all things being equal, the minutiae surrounding a
proposed physical re-release will again be looked into next year, at the
very least. I can't promise anything concrete right now, but I'll try my best to make it happen.</p><p></p><p>You know... [of course, you do], this little Indie project continues to remain such an immense source of pride, to me. It has encapsulated over a third of my adult life, and above all, it really does feel like we've achieved something, thus far. In 2012, the documentary was completed in time for the 20th Anniversary. In 2013, it was released on DVD to strong reviews, and an overall positive response. As a great man once said, I couldn't have been happier with it, in its own terms.</p><p></p><p>Believe me, I want my film back in the world, too. If I could, I'd love to make another. As a piece of work, the doc means a great deal to me, as I'm sure it still does to many of those friends, family, and colleagues, who worked so hard to make it happen. It deserves a decent encore, at least.<br /></p><p>That's invariably what makes the occasional screening so worthwhile. Plus, with the dreadful pandemic continuing to dictate terms on all of our lives, options in making the doc available again remain sorely limited. In any event, I don't quite have the same energy, or even impetus, that I used to in peering bright-eyed through the increasingly-opaque glass of triple-latched Acquisitions Department double-doors. Of late, Life has continually reaffirmed its premise of being precious – with a great many other aspects increasingly too important to coolly sidetrack. </p><p>That said, the doc <i><u><b>shall</b></u></i> return. Mark my words.<br /></p><p>Happy Hallowe'en, Ghostwatchers. Try not to have sleepless nights, thank-you for following and supporting the project for so long, apologies again for the delays, may your roaring determination be ever-bolstered in these trying times, and as those with greatness in their hearts have so often proffered
in similar times of desperation and need, "Don't let the bastards grind
you down."</p><p>Oh, and here's Stephen "Foxhill Supremo" Freestone's copy of the opening BBC Continuity Announcement for use on the night. For added authenticity/effect, simply play approximately one minute before we start [21:24]. Speaking of a 2-Disc Special Edition, if we ever get a hand in making that happen, I would especially like to see this reinstated, as I've always felt, it really helps to set the scene, for what follows...<br /></p><p>See you on Saturday... 31st October, 2020. At 21:25. Again. For the tenth time. Crumbs. x</p><p><br /></p>
<div style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/vDSZWpp_Rhw" width="560"></iframe></div>GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-31325935750129552162020-09-12T17:48:00.000+01:002020-09-12T17:48:34.353+01:00I tell you what, why don't we put it up somewhere, where everyone can see it?<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-t9gKF6qozOc/X1zdlmd27iI/AAAAAAAADjc/pf7k4fbKMlU5mRW5O5YR5QcttdBMQ3U6QCLcBGAsYHQ/s1387/GhostwatchBtC_TV.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1387" height="199" src="https://1.bp.blogspot.com/-t9gKF6qozOc/X1zdlmd27iI/AAAAAAAADjc/pf7k4fbKMlU5mRW5O5YR5QcttdBMQ3U6QCLcBGAsYHQ/w256-h199/GhostwatchBtC_TV.jpg" width="256" /></a></div>Greetings, Ghostwatchers!<br /><br />Well, another fact has become a news. By now, we all know, the longer you wait around these here Foxhillian parts, invariably, yet another post-obvious hidden gem shall rear its head, compelling us all to ask why we didn't happen to notice it earlier.<br /><br />On the 11th of September 2020, Twitter user <a href="https://twitter.com/MailerJon/status/1304526849352118279?s=20" target="_blank">@MailerJon reached out to share something</a> that certainly hadn't registered with me, even after the best part of 28 years of loyal Ghostwatching.<span><a name='more'></a></span> <p></p><p>At approximately nineteen minutes, forty-eight seconds into old favourite, <i>Spook Watch with Michael Aspel,</i> the live feed cuts to one of the wall-mounted mini-cams – specifically, the hallway shot, as seen above. For context, Kimmy has just gifted Sarah Greene with her personal sketch of Raymond Tunstall/Mother Seddons, and decided the best place for it to go up, is on the fridge-freezer in the kitchen – the coldest part of the house.<br /><br />What Jon has astutely noted, is that during that locked-off shot, in which Sarah and her intrepid crew ventures from the living room to the hallway, just barely visible in the background, is the Earlys' living room TV set. Later on in the programme, we see this device's source image change on no less that two separate occasions; first, when Pam shows Sarah some VHS footage of her family's stilted appearance on what is generally considered as, <i>"Kil-roy Lite",</i> and second, when Suzie is about to start playing <i>Dizzy</i> [Egg] on her trusty Commodore CBM-610.<br /><br />What is most interesting about this particular observation is its place in the canon or verisimilitude of the <i>Ghostwatch</i> story. In meta-fictional terms, if we the audience are seeing the 'live' BBC1 feed from that wall-mounted cam, then one would assume the image on the Earlys' TV set would likely be the same; resulting in a recursive, <a href="https://en.wikipedia.org/wiki/Droste_effect" target="_blank">Droste-like Effect,</a> in which the apparent footage would be seen within the TV screen, itself – with that replicated also, and so on, and so forth.</p><p>But, no. Evidently, the action as presented on the television appears to be the actual live feed from roving cameraman, Chris Miller's shoulder cam; which conclusively demonstrates that the television in the Early House is receiving a different signal to that which 'we' are.</p><p>So, in the words of a truly great store detective, why is this thus? What is the <b>reason</b> for this thus-ness? I will tell you, it is thus. Thus it has always been, and ever thus should have ever been thus.</p><p>In other words, excitingly, there may not be a clear-cut answer, to this one... Least of all, as Jon also believes there may be a sneaky Pipes Sighting hidden somewhere within the television footage. Can't see anything there, myself... False alarm? Famous last words, I know, but do let us know if you can catch this elusive glimpse, yourself.<br /><br />As for suitable explanations, Pipes is a master manipulator; particularly but not exclusively of technology. It is feasible, even at this early stage of Pascoe's unwitting 'massive seance', that the Ghost is somehow determining what the house's occupants are seeing. The singular, most crucial aspect to bear in mind with this theory however, is 'Why?' What is Pipes gaining by switching from a locked-off shot, to a mobile one? Aside from [also in the words of Jon] possibly 'tracking' these visitors now exploring his domicile; having potentially usurped the eye of the camera, for his own.<br /><br />The second, and arguably more plausible theory is that the notional BBC crew responsible for tooling-up the <i>Ghostwatch</i> broadcast has set-up a custom feed to the Earlys' TV set, for the family to uniquely and directly benefit from, themselves. The singular, most crucial aspect to bear in mind with <i>this</i> theory, however is, what does the Early Family gain by having a live feed of Chris Miller's camera feed, rather than simply what everyone else is seeing in their living rooms, or elsewhere?<br /><br />And, it is precisely this which leads to the second theorem holding even more weight. Droste Effect aside, let alone any on-set technicans no doubt wanting to prevent similar audio-based issues, could the [again, notional] director of <i>Ghostwatch</i> have considered giving the Early Family a unique insight into their own home, at some point during the proceedings? Might there have been a sequence envisioned, and later abandoned for obvious reasons, featuring the terrorised trio monitoring Sarah & Company independently exploring their property, first-hand? Who can say what the remainder of the otherwise-itinerised evening may have entailed, before the proverbial ectoplasm hit the fan...<br /><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-OoctyevD1b0/X1zd4GsK5jI/AAAAAAAADjk/QxKxWA3MIO8qnMOBZGfdbQ-DHOIZLH6awCLcBGAsYHQ/s1387/GhostwatchBtC_Carl.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1080" data-original-width="1387" height="199" src="https://1.bp.blogspot.com/-OoctyevD1b0/X1zd4GsK5jI/AAAAAAAADjk/QxKxWA3MIO8qnMOBZGfdbQ-DHOIZLH6awCLcBGAsYHQ/w256-h199/GhostwatchBtC_Carl.jpg" width="256" /></a></div>But that's not all, as Jon has also broached what appears to be a mini poster of famed "science-educator", Carl Sagan, proudly-displayed on the sisters' bedroom wall [upper-centre, here]. A mite incongruous a choice you may agree, especially alongside depictions of then-magazine-stalwarts, Jason Donovan, and MC Hammer. Could this be a suitably-sceptical Easter Egg, dropped-in by the crew? Or, were Kimmy & Suzie just budding astrophysicists?<br /><br />In any event, what a fun pair of finds! With thanks again to Jon for getting in touch, on the above.<br /><br />And, as always, until next time... try not to have sleepless nights. Hope you're all doing well, everyone. x<br /><p></p>GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-91740249042786231312020-08-03T15:19:00.000+01:002020-08-03T15:19:14.941+01:00Seb Patrick RIP<div class="separator" style="clear: both; text-align: center;">
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It’s around 18:00, on 2nd August 2020 when my phone finally recovers its much-needed signal-strength to receive data. As those blocky antenna pixels unconsciously stack-up, the few bytes that have been waiting to download, sent by an old, mutual friend some 99 minutes earlier, almost entirely sap my own.<br />
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Within moments, I realise this digitised message concerns the increasingly-inevitable news that one always hopes shall arrive much later down the road, but once more, has filtered down far too soon — another mate has passed away.<br />
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Let me begin by saying that as a friend of the late, Seb Patrick‘s, I can assuredly say that he was a student of all sciences. To name but a few eclectic categories of note, his love of comic books, contemporary media, and a variety of sports cultured a veritably encyclopaedic knowledge that those in his inner & outer circles could always reliably draw upon for a solid opinion. In simple terms, he was a dedicated family man, with an ever-growing number of incredibly close friends, colleagues, and followers. For those reasons, and many more, he shall be sorely missed.<br />
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I first met Seb, as is now commonplace, via The Internet. Well over a decade ago by now, online forum and discussion hub, <a href="https://www.ganymede.tv/2020/08/seb-patrick/" target="_blank">Ganymede & Titan</a> had kindly hoisted me onto their shoulders to showcase some <i>Red Dwarf</i>-inspired fan art and video editing I had been experimenting with; that arguably helped me land a brief, but honoured gig at Grant Naylor Productions.<br />
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It was a real pleasure to be invited into that ouroboros-esque posse of like-minded friends; for whom even the least like-minded among us (... ahem) seemed nonetheless bound by the simple, common thread of enjoying a curious BBC sitcom that from the get-go, and for whatever reason[s], seemed light-years ahead of its contemporaries; both in terms of overall production value, and its rare ability to proffer genuine heart & meaning alongside otherwise thrilling, fantastical stories.<br />
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I will never forget those occasions where Seb and I crossed paths, professionally. We were <i>Smeggheads</i> together, at one of the <i>Dimension Jump</i> conventions in Birmingham; in other words, hand-picked Dwarfer Nerds deemed most-likely able to answer questions for the spoof BBC quiz of the almost-same name...<br />
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Despite getting all my questions right [though, I’ll never forget the brief, cold sweat on being asked in front of the large, gathered crowd, “In which year did Rimmer’s favourite fascist dictator lose the Battle of Waterloo?”) for a further few unnerving moments, our team’s final question well-and-truly stumped, even us. It involved recalling the contents of a particularly long-numbered yet otherwise unremarkable space canister. After a few moments of contemplation, Seb assertively spoke into his microphone, “Kochanski’s remains”, and we took home the figurative trophy, to a genuine round of applause.<br />
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We also had the pleasure of interviewing Seb at Earl’s Court for, <i>Behind the Table</i> — the short follow-up to, <i>Behind the Curtains.</i> I’ll allow his wise words to speak for themselves...<br />
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And, speaking of the doc. When Seb took on the full-time role of Editor for reddwarf.co.uk, in his infinite wisdom, he somehow managed to <a href="https://www.reddwarf.co.uk/news/2013/03/15/behind-the-curtains/" target="_blank">announce the news</a> that my life-long dream project had finally come to pass [well, DVD], on my birthday, no less.</div>
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Shortly thereafter, also backstage at a DJ event — upon examining in person, the theatrical release poster for the doc, I vividly recall his expression lifting on noticing slight recurrent artistic touches in my work. I can’t recall his exact words, but I can still see his wonder-filled eyes, and excited smile, as he keenly pointed them out to myself and those present.</div>
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Thanks, Seb. In the small space of just 37 years, you leave behind a formidable professional legacy, an equally-impressive wealth of dedicated work, and good memories to be poured over, for longer than I can foretell. Your closest friends and family are currently exchanging those unforgettable stories, and genuine moments, which shall continue to be shared for many years to come, I'm sure.</div>
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My heart and very best wishes goes out to Seb's wife, and daughter, during this incredibly difficult time.</div>
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See you, Smeg-head. I had come to regard you, as far more than someone I had merely met. As far as I was concerned, you were family. Hit the retros.</div>
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– RICH LAWDEN</div>
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GhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-67353720953589193562020-04-30T00:01:00.000+01:002020-04-30T00:01:15.443+01:00National Séance 2020 — 6 Month Countdown To Our Tenth Annual Event!<a href="https://1.bp.blogspot.com/-1jhR2iA8AeI/XqgnI9uPksI/AAAAAAAADhc/uZegQ_8_oJQQ5HD0dQ3KpFAl_bm6Qj1FgCLcBGAsYHQ/s1600/BtC_Auto.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1008" data-original-width="756" height="320" src="https://1.bp.blogspot.com/-1jhR2iA8AeI/XqgnI9uPksI/AAAAAAAADhc/uZegQ_8_oJQQ5HD0dQ3KpFAl_bm6Qj1FgCLcBGAsYHQ/s320/BtC_Auto.jpg" width="240" /></a>Greetings, Ghostwatchers!<br />
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Understandably, we’ve been receiving just one or two more messages than usual lately regarding the long-hoped return of the documentary in some shape or form, after its inaugural run on DVD quickly sold-out, so long ago.<br />
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Not one to get your hopes up, as there currently remains No News On This As Yet, but seeing as I'm also not one to <i>give</i>-up either, I can also assure you, that regular efforts have been ongoing since the film was completed, in terms of seeking distribution [this year marks close to seven years' worth]. As you probably already know, the doc was not crowd-sourced, instead fuelled by happy little clouds, life savings, puppy dreams, glitter, kindness, and the like, and as such, the process of getting the film physically out there to be watched, wasn't/isn’t as easy, as it might sound.<br />
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<a name='more'></a>Not least of all, as [deep breath] I’ve been dealing with a handful of persistent health issues, over the past four years. Nothing life-threatening thankfully, but very much ball & chain type affairs, that to date, remain unavoidably ongoing. #woeisme #idemandsympathy<br />
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Ideally, a television broadcast and/or willing streaming platform could solve this niggling home media deficiency in one deft move. I mean, you'd think distributors would be clambering for new, exciting content in these difficult times; bombarding Lawman Productions with emails detailing how we could stand to make a whole tuppence per hundred-thousand views, biannually. Across the board however, any legitimate, and to be fair, mostly-optimistic messages that have come our way seem dependent on <i>Ghostwatch</i> itself being re-screened alongside the doc, which would of course be ace, but seeing as I’m currently not the DG, also something impossible to predict, in terms of scheduling. <br />
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And so, with today marking the official six month countdown to <i>National Séance 2020</i> — our tenth annual tweet-cast, in which fellow fans across the globe, drop everything on Hallowe'en Night, just to bang-on about how great Kevin Tripp’s cheese’n pickle sandwich is — <u>tonight, at around 21:25,</u> may I please ask that all you glorious Ghostwatchers make some noise on Twitter, directed to whomever you feel would be best placed to bring the doc, and eponymous Hallowe’en Hoax back to the telly box, ideally sometime later on, this year? Who knows, it may actually turn some heads.<br />
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In the interests of fairness, I’m not going to pre-empt you on Twitter handles. Just go with your gut. And, do please copy in <a href="https://www.twitter.com/ghostwatch" target="_blank"><b>@Ghostwatch</b></a> so we can keep track! I promise I won't ask this of you, again. You've already done more than enough, for me to remain eternally grateful. I owe so many drinks by now, I could start a micro brewery called, <i>Fears.</i> You know, like <i>Cheers?</i> Or, how about, <i>Pipes' Place?</i> Okay, <i>The Rotten Cabbage?</i> No? <i>The Bent Spoon?</i> Uhh... <i>Intense Cold Shots?</i> ... Okay, forget it. <br />
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At the very least, it would be useful to know <i>why</i> the doc has yet to find a new home since the untimely close of BBC Store. Say what you will, but the piece wasn't shot using a potato, it boasts a professional sound-mix, and I'll have you know, <i>Sight & Sound</i> worthy-of-note, Vis-FX. It is curious as to why <i>BtC </i>remains in distribution limbo. I'm possibly too close to see the obvious, but feel free to enlighten me, if you have any ideas.<br />
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Granted, the Industry may be as cut-throat as ever these days, but even my renowned patience, in attempting to carve a path in the cryptic world of the single lens, can't last forever. When 'The Plan' comes together, the resulting work can nothing short of blissful. Aside from the promise of oodles of moolah, that's the true, lasting appeal of working within the creative arts. When it doesn't, you tend to count the milliseconds of resulting defeat, as you intermittently notice your peers' well-earned careers continuing to soar, albeit to thankfully-declining ratings [insert echoing Machiavellian laughter here]. And before you scream, 'schadenfreude', these inexplicably-likeable types to whom I refer, are still getting paid at least, or so they keep telling me.<br />
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In addition to which, although the doc includes some noteworthy revelations concerning the production and aftermath of its parent drama, there isn't a great deal at all that I would flag as even potentially troublesome; least of all, as neither did our solicitors, prior to release. It's all good to go, Coach. Just let us onto the field.<br />
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I often say, ‘team-effort’ is the mantra that helped not only engender the creation of the doc, but also very much brought water to its mill. The project simply couldn’t have progressed without your kindness, good-wishes, and generously-shared research, consolidating into a meaningful exploration into what has already gone down in history as one of the most important, and [encouragingly, increasingly-discussed] British television programmes ever produced.<br />
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The documentary itself marked one of two impossible goals in my professional life, to hopefully one day personally contribute. To this day, I remain thunderstruck that I had the good fortune to somehow be part of either, at all. You know the other one, as it's the only other thing I ever talk about. No, not chow mein — <i>Red Dwarf.</i> You see? I just mentioned it, again. Even though, I doubt my dream of physically working on the latter's cosmic set will ever come to pass, which at one time I'd have merrily settled for buffing on bended knee, using my own toothbrush.<br />
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The feeling of somebody insisting on shaking my hand following a rare screening of the doc remains impossible to equate. To even exist, <i>Behind the Curtains </i>had to be made on its own terms, and also at that precise moment in time. If Lesley and I had waited any longer, two of the most memorable and important interviews I have ever headed, featuring the wise words of much-missed friends, contributors, and boundless raconteurs, Richard Broke, and Mike Smith, would have been lost forever. I remain so proud of the piece as a whole, and its wholly Independent roots, and would like nothing more than for you to check it out — particularly, if you haven’t yet had the chance! I also cannot say enough for the contributions made by the Holy Trinity of <i>BtC,</i> Arfon Jones, Ian Evans, and Danny Stephenson. In my mind, truly, artistes beyond compare.<br />
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The irony is also not lost on us, that the retrospective follow-up to <i>Ghostwatch</i> is now arguably even harder to get hold of, as was its progenitor in the early nineties. One copy of the doc was recently going for £70 on eBay, if you can believe. Before this cruel coronaviral chaos descended upon us, plans were afoot to more appropriately celebrate this year's decade-long milestone for <i>National Séance 2020</i>, in October. Can't say too much, as with a Glory Hole full of luck, the... <i>thing</i> still may go ahead, as planned. But, I'll keep my fingers crossed, in any event. And no, it's not the themed cruise, as once promised.<br />
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Sending you all my love and thanks, as always. Couldn’t think of any other pictures to include in this article other than my personal, favourite keepsake from the production as seen above, so here’s a photo of my old GameBoy Color that I recently stepped-on, scrubbed, and dutifully modded during lock-down. Turned out nice again, heh'ay.<br />
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... Actually, I'll leave you with this shiny penny of a true, though ostensibly-unrelated story. Might as well. Not much else to do. Years ago, I was asked to work on a pilot for somebody I hugely respected. It was an honour to be head-hunted, and I unthinkingly leapt at the chance.<br />
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Shortly ahead of time, I was informed care of the wonders of mobile telephony that I would not be paid for the gig [a solid week's work, as lead stills photographer], that I would need to find my own transport, accommodation, and food, but if I played my cards right, I could very-well find myself being hired for something else, something much bigger, down the line. Suffice it to say, this constituted a far better offer, than usual.<br />
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Fortunately, it turned out, there was room for me at the inn after all, including my own plate of hot grub [sorry, 'casserole'] waiting for me, after each remarkably-long day of filming, to which I remain very grateful. Regrettably, just moments after being welcomed on set, my first assigned task was to make everyone a cup of tea. It was at this point that I realised my poker hand was probably not as strong, as I had first hoped [not least of all, as I truly cannot stand the archetypal, nay chemically-addictive, British Cuppa], but also, as in that very moment, I was able to rather impressively foretell, that my actual chances of taking even a single photograph during the entire production were practically slim-to-none. And, wouldn't you know, for once, I was proven exactly right. Though, I did sneak one snap of the copious camera kit unceremoniously lumped into a pile between takes, in mind to later drop into a written article I had also been asked to put together, chronicling my experiences, that ultimately also never saw the light of day. Cor, Showbiz, eh?<br />
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That solid week's graft would prove unforgettable to me, for, ooh, loads of reasons. Ultimately, I probably wasn't <i>quite </i>right for the gig. In some respects, I often felt like a fifth wheel. In others, I felt I could probably run creative rings around certain of the higher-ups. I'm sure it didn't help things when the cast would occasionally loudly request that I be present during certain takes, as I'd spared a moment or two to rehearse with them, on down-time; mostly, as they were collectively not only a good laugh, but also extremely talented, to boot. It was an effective learning environment, to be sure. That said, by no means am I blaming anybody for my distinct lack of progression. Sometimes, those tumbling <i>Tetris</i> blocks just don't stack up, exactly the way you'd prefer. Plus, I can be an annoying little shit, sometimes.<br />
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Anyway, as I was saying about this being everyone else's fault, I vividly recall, during the tail-end of my final, and [for a number of frankly unbelievable, and entirely avoidable reasons] most-taxing day, the weather was glorious, yet only a deep sense of melancholy pervaded. Despite my initial, bright-eyed, bushy-tailed enthusiasm, I had come to feel almost totally disconnected from my colleagues; who practically from the-off, seemed to look upon the project with, not entirely jaded, but certainly more pragmatic/professional eyes. By now, my own bloodshot peepers had somehow auto-corrected the perfect blue, cloudless curtain above, relentlessly beckoning me home, rendering the resulting paradise all around me, practically day-to-night.<br />
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I remember being promised a present worthy of a collector, for working so hard, which I dutifully waited weeks for, only never to arrive. Even so, I was gifted a partial travel refund, which I accepted with thanks. All in, without being told outright, I implicitly knew that I hadn't made the sizeable impression I sorely needed to ensure a reserved slot for my name, in the Rolodex. And, in the blink-of-an-eye, that was my big chance evaporated. Eagerness just isn't enough in this game. You need to evenly-radiate confidence, ability, resolve. You must demonstrate your usefulness when required, but also adequate levels of subservience; which is a concept, I never have, or likely ever will, fully grasp. Praise too heavily, and you're a creep. Not enough, and you're regarded, as not being a team-player.<br />
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Also, I still can't help but occasionally recall the pissed-off look on the Guv's face, when their beloved, and very characterful pooch instead trotted over to me for a loving pat on the head, despite my not having been the one to call its name. "Oh, thanks a lot..." this well-known person muttered into their coffee.<br />
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Routinely-deposited at the nearest local train station to commence my laborious trek back to Sunny England's mid-west, I realised that my crumpled return ticket was now a couple of stops short. With the figurative lump in my throat ever-swelling with a painful sense of unrecoverable defeat, I gently enquired with the man behind the glass, and he kindly allowed me to purchase a short-hop ticket to bridge the missing stations for just a few extra quid. Nice guy.<br />
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As so often before & since, my heavy shoulder bag finally slipped, landing somewhere between each aching ankle, and I waited singularly on the solid, grey platform, hoping that an affordable time machine might soon be landing on Aldi shelves, nationwide. My considerate nervous system began registering fresh bruises slowly settling atop their young predecessors, stretching calve-to-thigh, mostly borne from many days' worth of lugging heavy equipment I had still been learning the names for, on repeated trips up-and-down-and-up-and-down uncountable flights of stairs [these were mostly, "C-Stands", and they're bastard heavy, I can tell you].<br />
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On boarding the train, a short while later [design-wise, itself something of a late seventies throwback], I easily found a seat; as no doubt, given the time & place, other than myself, there was hardly a soul about. Then, unexpectedly, and for some profoundly unknown reason, I felt more than a tad uncomfortable. So much so, that I promptly got-up to find a new place to rest. And another. And another. There was just something about that first carriage that didn't sit right with me. I still can't explain it, but I do recall uncertainly making my way down to the next, in search of a better option.<br />
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Following an unlikely number of failed attempts to take the weight off my feet, at last, my eyes locked-on to an altogether-unremarkable pair of thickly-upholstered cushions somewhere between one-third and half-way up the second carriage, residing on what I can only describe as the train's port side. On exhaustedly collapsing into place, I remember feeling the hot sun streaming relentlessly through the glass, soaking into my skin, magnified like a greenhouse. Still, 'this is the seat for me,' I nodded assertively.<br />
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With luggage stowed, I unthinkingly glanced ahead, as you do. Then, unconsciously, but somehow intentionally, my right hand reached out to the cream-coloured release clasp on the moulded tray table built into the back of the seat, now facing me. Likewise, I'm not entirely certain why all this transpired; all I can promise you, is that it very much did. As the glossy ledge smoothly floated down into place, a small, folded-up square of lined note paper, until now completely hidden within, stared back at me. After a moment, I curiously picked it up, and unfolded it. Again, and again, and again.<br />
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What I ultimately saw, was this. I don't know who made it. I cannot presume their intentions, other than by simply leaving it there for someone to find, this signified some sort of kindness between strangers. A brief encounter, you might even say.<br />
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But I've carried it in my wallet, since. Because, it's worth remembering, that it usually isn't long, before things start to get better. Then, the train guard nearly threw me off the carriage, because he couldn't understand why I had two tickets.<br />
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Until next time, Ghostwatchers... try not to have sleepless nights. Take care. xGhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0tag:blogger.com,1999:blog-4960083708975321159.post-36389590025684035332020-04-10T10:07:00.000+01:002020-05-03T19:15:45.818+01:00Red Dwarf: The Promised Land<div class="separator" style="clear: both; text-align: center;">
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Greetings, Ghostwatchers! #CraigsInIt #Spoilers<br />
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Well, you know you're a <i>Red Dwarf</i> fan, when towards the tail-end of an unprompted review, you notice that you're randomly drinking a tin of fizzy mango & chilli craft pop, and realise the only place to mention it, is to cram it in, somewhere near the start. You know, <i>drinking fresh mango juice..?</i> Oh, forget it.<br />
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Now, typically, I find it remarkable just how much a live recording or screening can differ from its subsequent broadcast. When I was fortunate enough to catch the first and final episodes of Series X being performed, a few years back, compared to their inaugural airings, the difference to me was almost night & day. Perhaps, after the mind has initially filled in those blanks otherwise set aside to be supplemented by movie magic, any other interpretation is naturally met with unconscious resistance.<br />
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Even so, having now finally caught this completed, brand-spanking, feature-length instalment of old favourite/emotional crutch, <i>Red Dwarf,</i> as lovingly enabled by UKTV channel, <i>Dave, </i>I'm somewhat happy to report, that as experienced on the night of filming, there were several pleasing aspects to be found that I've been waiting patiently for the series to revisit, since its undeniable heyday of the early-90s. <br />
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Not all television shows have the capacity to naturally translate to the Big Screen, but those that can are often most worthy of a place in the time capsule. Arguably and inexplicably, even <i>Ghostwatch</i> plays... just better, when projected at a larger scale; not only as a communal event, but with the expanded format aiding in capturing the minutiae of the proceedings. It's slightly harder to miss Pipes when he's projected, ten feet tall onto a thick sheet of silver lenticular fabric; even though the piece was only ever really intended for a 24" CRT.<br />
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Although a welcome return for the lovable Smeggers, at this late stage of my lifelong fandom, <i>Red Dwarf: The Promised Land,</i> didn't consistently deliver on all that it pre-emptively intimated through carefully-chosen nomenclature. And, this intermittently citrus-gurning stance is based on two simple factors...<br />
<ol>
<li>There being no reason to suggest the resources required to make something that evoked past, mind-melting highs for the series, were <i>not</i> at the disposal of the production's creative parties, from the off.</li>
<li>From personal experience, being safe in the knowledge that the show has the potential to consistently surprise, in both profoundly imaginative and challenging ways, even when faced with budgets that would make Blumhouse blush.</li>
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As one might expect, given its initially slick, though certainly compared to, <i>Back To Earth</i>, or even Series VIII, overall meager marketing push, <i>The </i>subtitled<i> Promised Land</i> suitably kicks-off with just enough artificial scope to virtually evoke another partially-formed iteration of the fabled <i>Red Dwarf Movie</i> adaptation, itself still yet to be fully realised. Given the unconvincing success rate of TV-Film transitions, few fans remain die-hard supporters of such a radical, though inevitable shift in presentation. I myself very much am, and always have been; largely owing to my faith in <i>Red Dwarf's</i> enviable ability to evolve and shift into new eras, and formats. So, there.<br />
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The show has always proudly worn its filmic aspirations on its recharge socket, and rightly so. By their own admissions, its creators' heartfelt admiration for classic sci-fi flicks played a
big part in the shaping of the programme's own reality bubble. Many from the production's crew have considerable feature
experience. Several episodes are basically mini-movies unto themselves,
largely abandoning their standard sitcom parameters, in favour of Xtended special
shoot sequences. Just look to, <i>Better Than Life</i> from Series II, or <i>Backwards</i> and <i>Bodyswap </i>from
Series III, as being prime examples which ably disprove the myth that
live audience reaction is necessary in garnering strong comedic and/or dramatic performances.<br />
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If you're looking for further examples, I'm afraid that's your lot for now, as I'm having to keep this percussively grandiloquent diatribe as sententiously epigrammatic as possible, if only to placate my fellow kindly and ardent fans. <a href="https://www.ganymede.tv/2020/01/red-dwarf-special-set-report-byte-2/#comment-97797" target="_blank">Or, as I like to call them, 'best mates'.</a> How's that for wordy?<br />
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So, the plot. In spite of the innumerable reasons/excuses surrounding actor, Norman Lovett's various departures and reinstatements to the main cast, the return of hologrammic AI, Holly is both as welcome as it is, long overdue. His re-installation via oversized floppy disc might have been funnier/more plausible had the prop been closer to normal-size, or care of an even nerdier format [ZX Microdrive, SCSI breeze block, 2x 3DO rom, 6" wax cylinder?], but the gag works well-enough to help get the proceedings up-and-running.<br />
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<i><u>Additional:</u> I'm still fuzzy on how such a large disk could become lost in the sleeping quarters, even when unusually cluttered, though..? Also, why does Rimmer refer to himself as "First Technician" again, when he's only a Second Tech? I mean, all cool people know that.</i><br />
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It soon transpires that in rebooting the ship's previously-waterlogged, mainframe computer, the process has unwittingly restored his personality and memory files to that, before the first series even began. As per his default programming, Holly brusquely orders the crew off the ship, and they are forced to scarper, pronto.<br />
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<i><u>Additional Additional:</u> Are there no measures for legal asylum, in the future? Could the JMC or Space Corps. be held criminally accountable, if anything happened to these 'stowaways', post-enforced deportation? Why not just have some skutters throw them in the brig, or even The Tank? Also, why does this newly-hard nosed, Holly seem perfectly at ease in releasing a fully-loaded, Class II, ship-to-surface vessel for these would-be renegades, to escape in? A bit like handing me the keys to a Harrier jet, or souped-up bread van at least, having somehow snuck on-board a carrier air-wing.</i><br />
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Boarding the fortuitously 'in-range' derelict, <i>SS Iron Star,</i> it isn't long before the crew discovers a superheroic upgrade module for Rimmer that provides him with the suitably coiffe-inducing, Diamond Light upgrade; functionally even one-upping dimension-hopping alter-ego, "Ace". Though, the energy required to facilitate this envious competence boost quickly drains the hapless hologram's battery pack, ultimately reducing him to demeaning, power-saving mode; at long last presenting the character as originally-intended in 1988; monochrome, if not additionally translucent.<br />
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Then, as if no-one has really been paying attention to the show since 1993, the Dwarfers discover, yet again, that they are not alone in this scummy, godless universe. A timid trio of Cat Clerics effortlessly makes contact with their fabled saviour, and with resigned glee, declare their undying faith to Lister, first-hand. We soon learn, these clearly vulnerable devotees are escaping a savage faction of Cats, the <i>Ferals </i>[not seen since, <i>Demons & Angels</i>], who have kindly stepped-in for the Simulants, or Homo Sapienoids, or Berserker Generals, or whomever would like to vent their frustrations at the crew, this week.<br />
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With Starbug soon forced onto a barren desert moon under falling debris and heavy fire, the cockpit and mid-section are promptly buried under too much sand to shift, which handily provides some time to <strike>kill</strike> reflect. Fortunately, by now, Lister seems to have overcome his pervasive claustrophobia [inexplicably established in Series VII] to such an extent, that he could now easily rattle-off a handy, self-help guide, that anybody faced with the prospect of being buried alive under three tons of granulated silica, could no doubt find, a riveting read. Despite assurances, I guarantee he is no longer allergic to tomatoes, either.<br />
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Bearing the blunt brunt of Cat's harsh realities regarding the nature of Rimmer's simulated existence, Arnold's inescapable predicament compels him to rethink his second life, even contemplating virtual suicide. Lister kindly reassures him, re-instilling purpose. Then, after Kryten is somehow able to squeeze his spherical eyeball through what looks like an 8mm drill-hole [a cartoonish <i>pop!</i> wouldn't have gone amiss], a distress call is sent back to the Dwarf, and a memory-restored Holly is able to devise a daring rescue plan that involves physically cracking-open the planet using mining torpedoes, thereby allowing Starbug to remain behind, in empty [albeit toxically-irradiated] space. This marks a full-on return to <i>Dark Star</i> territory; one of the true, undoubted inspirations for <i>Red Dwarf,</i> and the perfect arena for Lovett's much-missed, laconic, laser-brain to legitimately shine.<br />
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As to be expected, Starbug miraculously survives the cataclysmic explosion, and limps back to its mothership with only two landing struts to park with. On boarding, the Boyz face off against the Ferals, who have at long last returned to their first, abandoned home. Bearing his teeth, their megalomanic leader, King Rodon, cruelly reveals that our Cat was left behind during their species' legendary exodus, in search of the eponymous promised land, for no better reason that he was among the least cool of his sharp-toothed brothers...<br />
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It's a compelling, heart-rending moment that Danny John-Jules humiliatingly plays to, just perfectly; irrevocably shifting his uniquely-ancillary character firmly into centre-stage, and undeniably proving his crucial worth to the ensemble; much as Llewellyn was able, decades past, whilst mercilessly challenged by Jack Docherty's, <i>The Inquisitor.</i> The call-back to an earlier light-pen gag is also nice, witty, and of fine service to the plot. The special then closes with Rimmer reluctantly sacrificing his new super-power-supply to save Kryten, who has run out of charge, having shared it, to keep his selfish superior online. Gladly taking on the Cats' sacred godly title from Lister, Rimmer revels in the glory, as the Cat Fleet harmoniously reorders itself into a strikingly-familiar, phonemic symbol...<br />
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Admittedly, <i>The Promised Land</i> may be a welcome lark, but it's one that I feel, could have been so much more. To be fair, its daring premise in theory mitigates its feature-esque aspirations, and as a piece of film-making, the special has been well-shot, if not clearly at breakneck pace; with far more dynamism, grace, élan, and poise than in recent series, to be sure.<br />
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Granted, there are a handful of nice, perhaps classic gags peppered throughout, but these only serve to carry an altogether simple premise that is far too reminiscent of the final episode of Series X, along with its underwritten, underpowered, and under-motivated, villainous antagonist, to merit such a prestigious presentation.<br />
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Given most fans' prevalent
disdain for this special's prequel episode [one of my favourites, as it happens], ironically, it is Series I's unfairly-maligned, <i>Waiting For God</i> that serves as the springboard for the continuing saga, in its revisiting of mostly-discarded, 'Wouldn't it be funny if the only man to ever get his money back from the Odor-Eater people was worshipped, as a god?' sub-plot ̶ which at one point, felt like a serious contender to be more comprehensively explored, later on down the line. It's a
curious choice to expand upon such an overwhelmingly unpopular instalment; in some respects analogous to, <i>Spock's Brain</i> being cherry-picked to form the basis of the second, <i>Star Trek</i> feature, over, <i>Space Seed.</i> Ironically, the overarching consideration of misplaced hero-worship as depicted in, <i>The Promised Land,</i> if anything to me, more closely resembles near-perfect, <i>Star Trek</i> parody, <i>Galaxy Quest,</i> than much else closer to home.<br />
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Similarly, the close of aforementioned Series X finale episode, <i>The Beginning,</i> too suggested some kind of vital
progression of the show's core characters; specifically with Rimmer
finally admitting his true Working Class nature, and proudly declaring
himself to be the same kind of 'Slime' as his fellow shipmates.<br />
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Regrettably, despite two further series and now another feature under the <i>Dave</i> banner, not a great deal of this alluded-to potential has ultimately been extrapolated; with the brand instead having regressed into a perpetual Greatest Hits medley on Shuffle with the wrong equaliser selected, that more often than not has felt disjointed, sketchy, and genetically-engineered to merely precede future instalments determined to prioritise quantity-over-quality of laughs, heart, or even logic.<br />
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Once too often, storylines have been hastily wrapped up, nothing much depicted has appeared to be of great consequence, and characters unfathomably remain breathtakingly-unfazed when confronted by an increasingly-populated universe, as they watch their otherwise carefully established traits & motivations, on occasion, quite literally tumble out of airlocks. [Cor, talk about, 'Catty', eh?] Thankfully, it's not quite so much the case, this time around, though the sheer weight of the runtime hasn't exactly helped things flow more smoothly, either.<br />
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My biggest gripe with <i>Red Dwarf,</i> post-Series VI, is that despite its core super troupe, for the most part, remaining one glorious whole, the programme has yet to progress its altogether simple premise, to the next level. Granted, much of the qualitative work rendered by its highly-capable workforce has remained as good, if not exceeded expectations, from past series. Even the wheel-rattling Series VII spearheaded the game-changing filmizing effect, whereas <i>Back To Earth</i> revolutionised TV visuals, care of super-duper, hi-def, Red® cameras. But, what does all this alluring gloss practically amount to, if the ongoing narrative fails to evoke much that is actually meaningful, or dare I say, even consistently amusing? <br />
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The main issue that I'm picking-up on here seems to lie somewhere between the obvious disconnect with, well... me, and what I feel makes <i>Red Dwarf</i> work best; plausible implausibility, absurdest genius, heroic cowardice... in fact, pretty much, either end of every dramatic continuum you could possibly think of. And, not forgetting, a healthy dollop of genuinely-intriguing science-fiction, to boot. It's not that, <i>The Promised Land</i> has none of these aspiring aspects to offer, it's just that sadly, they're often too far between, to always register.<br />
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Perhaps, <i>Red Dwarf </i>works best as an exploration of cosmic balance. The characters often represent ying yang-like mirrors for each other; no better exemplified than in the closing scenes of unbeatable Series V classic, <i>Back To Reality;</i> a moment the series has yet to transcend, in which Kryten boils down the character traits of his adopted family with such profound dignity, that you might feel, helplessly giggling at Lister's shrinking boxers shorts in Series III, was nothing short of a lifetime ago. [Note: I just wrote "laughtime ago", and felt bad for backspacing it].<br />
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To be fair, it must be a near-impossible situation for the show's nerve centre. The show<i>business</i> in<i> Dwarf </i>resides not only in garnering new followers, but also placating those of yesteryear. I do, however, feel there is a happy medium that could be reached, with just a mite more effort. At this stage, the show could at least do with a writers' room, to generate some notional content, ahead of physical production. I'm aware that too many cooks can spoil a space weevil, but while some scripts require ironing out, it's plainly obvious even to me, that certain others need soaking in PERC.<br />
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For too many reasons to comfortably list even here, Our'Craig has few fans more appreciative than myself, but I would like to see Lister a little more rugged, and a little less simple-minded. After all, he was always presented as street-smart, which carries its own stochastic talents. Lister may not have all the answers, but he doesn't always have to be the one asking the silly questions.<br />
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Plus, not only is the character [occasionally] the last human being in the cosmos, he has now been rejected [off-screen, no less!] by none other than [ostensibly] the last human female in existence, too. Given what he's already lost, this alone could have been enough to break him, shredding his resolve into finality, but nevertheless, he has clearly refused to allow the pain to hold him back. Why? Is he still focused on his search for home? Is he now questioning what home is? What is Lister's passion, these days? I mean, he hasn't even talked about curry, that much of late; let alone making it back to Earth. So, what is it [... that's keeping him going]?<br />
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Encouragingly, <i>The Promised Land</i> at least makes some attempts at resolving this perpetual philosophy, with Cat finally displaying weakness before his families, in his noble admittance that Red Dwarf is very much where he belongs. It's easily the best moment of the entire piece, and possibly an ace that writer/director, Naylor has been keeping up his sleeve, for a while. Cat was born on Red Dwarf, after all. It's the tip of a fascinating iceberg that this special frustratingly leaves until its final few moments to explore.<br />
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Expanding on that point, the long-mooted delving into Cat mythology is a welcome one, but also far too simplistic to serve any predominantly useful purpose [other than I suppose, simulating a predominantly useful purpose]. What I always hoped to learn, as a fan, was to greater understand the mechanics of these people's infamous holy war, in which two factions each built a great ark to leave Red Dwarf in search of Fuchal [their fatefully misinterpreted Promised Land]; derived in part from a folded postcard, and erroneous extrapolation of Lister's ancient laundry list. Brilliant.<br />
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Committed to separate routes [presumably, one of the factions reasoning that Red Dwarf was heading towards Fuchal, and the other, away], one of the arks was said to have flown straight into an asteroid, but what if [Cloister forgive me] the elucidating holy book of legend that Cat shared with Lister in Series I, had been 'embellished' by clerics, or worse yet, was nothing more than a false narrative? After all, how could this bible chronicle events that transpired <i>after</i> the Cats disembarked, for good? Who was around to write it, other than the 'sick and the lame'? And, while I'm at it...<br />
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<ol>
<li>How would witnessing such a cat-astrophe of the lost ark affect those populating the remaining one? Would they indeed consider themselves most righteous, having survived; perhaps fuelling the rampant superiority of the dominant Ferals? Would they regret the futility of their costly struggles?</li>
<li>Are those survivors still ship-bound, or have they since settled on a new homeworld? What is the cosmic influence of the Cats in this region of space, and how far does their empire reach? </li>
<li>If tracking-down Red Dwarf was as easy as hitting just a few buttons, did any of the Cats ever consider heading-back to their safe, crimson birthplace, and if so, what was stopping them?</li>
<li>Did Holly ever establish contact with the Cats? And, if not, why not?</li>
<li>How did the Cats glean specific details concerning Lister's pipe-dream of a donut diner on Fiji?</li>
<li>Are there still 'mixed-race' Cats, as imaginatively depicted with actor, Noel Coleman's memorably 'spotted' make-up design, in Series I? </li>
<li>Why do the Cats' sacred depictions of Cloister now resemble Craig Charles, as amended in Re-Mastered, as opposed to the more plausible, generic artwork seen in Series I, on broadcast? Is this a revised/alternate holy book? Did each faction push for their own distinct narrative, or was it purely the colour of their cardboard hats, they fought over?</li>
<li>Exactly how long before Lister was released from Stasis, did the Cats leave Red Dwarf? Assuming, Cat was roughly 30 years old when we meet him, and given the Cat Priest's dying words four episodes in, did the Ferals abandon him and those few others, at a young age?</li>
<li>What is Cat's personal take on these sacrosanct shenanigans? When the character was first introduced, he spoke of his religious upbringing, but perhaps to save face, despite dismissing his people's beliefs, did he ever privately practice his faith, outside of Kitty School?</li>
<li>Between series, the Dwarfers, including Cat, have occasionally been in Deep Sleep/Stasis for extended periods, sometimes centuries, during long-haul voyages [<i>Psirens, Out Of Time, </i><i><i>Tikka To Ride, </i>Nanarchy</i>]. Unless he too has been in suspended animation for a coincidental period of time, does that mean, Rodon is in fact a distant relative of Cat's, rather than his first degree relative? Or, has he been using stasis technology to extend his lifespan? </li>
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SO MANY QUESTIONS, WITH SO MUCH TIME TO ANSWER THEM. And, no doubt of most urgent, critical importance to the plot; in deifying Lister as opposed to the glorified Cloister, how/why did these three Cat Clerics choose to model their clothing on his classic Series V attire, despite his leathers being retconned in Series X? [Note: These here tabbies are wearing the same [style] mission patches that previously adorned Craig's III-V+VII+BTE threads, which I have helped detail at absurd length for Fan Club magazine, <i>Back To Reality.</i>] So, have these feline fundamentalists been covertly monitoring the Dwarfers for years, decades, or centuries, painstakingly modelling their wardrobe, on his own? Or, did he just get a new jacket in, Series X?<br />
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Yes, I know all this nit-picking isn't that important, but nevertheless, with the show's overarching plot continuing to Swiss-cheese at a rate of knots, frankly, I'm growing tired of apologising for being pedantic; especially considering how much source material is already available to scrape through, in bracing-up continuity. How about a simple flashback to a group of artisan high priests reverently Bob Ross-ing Lister's ancient stasis booth, complete with an upscaled freeze-frame of his perfectly-frozen fizzog staring blankly ahead through the thick glass; bleary-eyed and polyester-swathed for countless millennia; perpetually [un]safe in the knowledge, the next time that heavy door would open, he'd promptly be tossed overboard, back to Liverpool, eighteen [relative] months younger than his best mates. Just something, <i>anything, </i>to bolster what has previously been alluded to.<br />
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Excitingly, Rimmer also dips his bi-photonic toe into unknown territory, but sadly, all-too briefly. His transient mid-life crisis echoes several memorable aspects of, <i>Dimension Jump,</i> and <i>Stoke Me a Clipper;</i> two further examples of superior efforts in their own rights, which both unexpectedly emboldened their already multi-faceted lead character, with aplomb; crucially by setting aside enough time for himself, his compatriots, and audience to meditate on recent developments.<br />
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Conceivably, Rimmer's sudden downgrade to Soft-Light is the credible spark that wreaks havoc with his self-esteem; though again, this undeniably debilitating aspect isn't really explored, or even much noted; presumably as the rotoscoping required to maintain the greyscale FX depended on actor, Chris Barrie remaining as still as possible. Not being able to physically interact with your environment, after years of flip-flopping between life, death, soft-light, and hard-light can't have been easy on old Rimmsey, but I don't buy that it only took a fleeting jab from Cat, for him to crumble.<br />
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Also, to be fair, there's little evidence to suggest that Rimmer ever took his mission of keeping Lister sane, seriously. In functional terms, Holly brought Arnold back because he was the crew-member most likely to keep Lister psychologically active, through petty antagonism. So effortless was this unthinking task, that it constitutes about as much an official assignment, as me noshing on a Singapore chow mein. Had Holly brought back Kochanski, Lister may have suffered even more, pining for a hollow projection of his lost love. In bringing back old muckers, Chen, Selby, or even Petersen, this would likely have resulted in a <i>Me²</i> type-predicament, and so on.<br />
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Here, Rimmer's confidence-stripping self-pity rightly manifests as depression, but his lurch into hypomania most likely stems from lugging around considerable 'always-got-a-pen'-type neuroses, as opposed to an idiosyncratic acceptance of some perceived lack of professional/personal achievement. I don't think Rimmer is capable of self-analysis, when sober. Well, certainly not <i>this</i> Rimmer, who is more likely, the hologrammatic restoration of his regressed, nanobot-restored copy; no doubt destined to one day, bravely stoke himself a clipper, and take on the dauntless mantle of universal wrong-righter, Ace.<br />
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As much as I'd love to see it happen, I cannot help but doubt that any absorbing aspect of, <i>The Promised Land</i> shall carry over into the unwritten future narrative of the series; especially its devilishly dogmatic dénouement. If anything, the special begrudgingly ruminates on the power and ubiquity of Spirituality, be it organised or personally-divined, with such vague disinterest, that I cannot fathom why it ever became the main focal point of the story, other than to serve as a simple hook.<br />
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The special neither critically, nor lovingly translates its own understanding of religious doctrine, as in Kevin Smith's masterful metatronic mass, <i>Dogma;</i> or shrewdly denigrates the pitfalls of blind faith and Inhumanism carefully layered throughout, <i>Monty Python's Life of Brian,</i> which at least reminded us to occasionally look on the bright side of life. Even in, <i>Waiting For God, </i>Lister mindfully agonises that his unwitting actions may have lead to millennia of unnecessary suffering, in His name. The character exudes a smattering of equivalent fretting this time around; but so little in comparison, that any internal contemplation regarding this enigmatic, lost historical era seems to have passed him by, almost entirely.<br />
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It could have been fun for Lister to have to readjust to some unconsidered tangent, as far as the Cloister myth was concerned; least of all having been described as, "The ultimate atheist" in one episode. Rimmer's questionable family tradition as Seventh Day Advent Hoppists is also passed by entirely, as is Kryten's pre-programmed hope in one day making it to, Silicon Heaven. It is interesting to note that these past notions all stem from the basis of being false narratives, too. With the perfect impasse of Starbug being entombed beneath the dunes, I can imagine a figurative follow-up to Lister & Rimmer's unforgettable, long talk from, <i>Marooned, </i>in which the four guys reach some sort of sage conclusion, when faced with the inevitable. Perhaps, collectively, shaking their beliefs.<br />
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In lighter news, there's very little to say on the characters of Cat & Kryten, mainly for reasons of satisfaction and consistency. Both gents' new looks work reasonably well, and John-Jules' and Llewellyn's performances are as reliable, well-tuned, and slick, as ever. I know, I keep banging on about it, but Norman Lovett's return as Holly is practically pitch-perfect, both in dialogue and place in the story. And, that's coming from a Hattie Hayridge fan. I would have appreciated the merest hint of a classic solarizing or pixelation effect, though.<br />
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The costumes are great. The visual effects are sporadically impressive [less-said-the-better regarding some of the compositing, and recycling of shots]; as is the sound design ̶ particularly, Rimmer's mono filter, on being downgraded; which was of course yet to be added to his track, on the night of recording. The score is big, yet fitting. On a technical level, for the most part, all I can ever think to say to those involved is a very sincere, 'well-done'. Still can't bring myself to ignore many of those jazzy on-screen graphics, though; which to me, persistently fail to align with the otherwise carefully-established aesthetic, from years past.<br />
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Functioning as a highly-anticipated evening's entertainment airing amidst a frightfully-unprecedented, global quarantine, <i>Red Dwarf: The Promised Land</i> nevertheless fails to practice all that it purports to preach; not least of all in committing to deliver the comprehensive, nay definitive, feature-length adventure that many devoted fans such as myself have been keeping their claws crossed to one day, experience. But, it's a near-miss, on that front. Mostly, as I'm sure it would have worked better as a regular-length episode.<br />
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Despite my gripes, I am genuinely glad it's out there to be enjoyed. Any new <i>Dwarf</i> is worthwhile, for one reason, or another. In this particular instance, not only as it keeps its fascinating canvas and dazzling spectacle on the telly box where it belongs, but also in unforgettably warming my heart, on witnessing Cat finally learning to warm his own. Aw.<br />
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It may be telling that from <i>Back To Earth,</i> onwards, I have so often heard voices ruminating on the ultimate rhetorical, 'Will this next iteration mark the end of the series?' These portentously-ponderous predictions perhaps stem from a pervading sense of finality regarding, <i>Red Dwarf</i> fulfilling its obligations as a functioning linear narrative, now three decades into its operational lifespan.<br />
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So, does this special mark the end of, <i>Red Dwarf</i>, as we know it? Of course, it does. That's the key to its lasting success. Transmogrifying and evolving, whilst always preserving its base genome [sounds terrifyingly familiar]. That said, given the sudden solid shift into feature-length story formats taking precedence over episodic six-show runs, whether this truly marks The Beginning, or The End for how we ultimately come to regard the series, remains to be seen.<br />
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As a fan, it goes without saying, I'd be happy to see the show go on, and in whatever form, for as long
as possible. However, unless its rounded premise evolves beyond the current comfort
zones of followers, loyal and casual alike, and in turn, finally allows Dave Lister
to discover some cosmic way
back home, rekindle/clamp-off his relationship with Kochanski, choose to settle and start afresh on some welcoming S-3 planetoid, or even pitifully
perish amongst those lonely stars, the most important thing is that his
personal struggle ultimately amounts to something. Whether that's saving Humanity, the
Universe, his friends, his soul, or even a chicken vindaloo, it doesn't really matter, to me. I
just hope that fundamentally, Lister's poignant crusade at least matters, to him. Otherwise, the core notion that has so far sustained the series could theoretically
tumble into oblivion, clacking off the edge of the table, right into somebody's pint of beer.<br />
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To close, in the words of old Sir Pat Moore, what is a red dwarf? It's an ancient, reliable, burning ball of plasma that is expected to be among the last remaining beacons of light, as the Universe lurches into cold entropy. How did it come to be so old? Gosh-darned, dogged perseverance, that's how. You might say, a steadfast refusal to perish. With such grand innings, in principle, should come equivalent wisdom.<br />
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Conversely, in the oft-repeated words of my last fleeting ex, what is, <i>Red Dwarf?</i> A mere television programme? A complex comedy? A simple trademark? A burgeoning philosophy 'twixt orthodox doctrine for fulfilling one's life? However it is regarded, it's just heartening to know, that a handful of nobodies representing the finest our species has to offer, are still flying our collective flag three million years, down the line. So long as they're out there, surviving and believing, so in turn, shall we.<br />
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And so, this, the thirteenth stellar outing for comedy sci-fi series, <i>Red Dwarf,</i> arrives with a coarse, rough, and at times irritatingly-sandy thud, which as we all know, gets eevvverywhere. But, at least Norman was funny.<br />
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Last word, but I'd also just like to say Rest In Peace to legendary model maker, Bill Pearson, who sadly passed away far too soon, in March of this year. Bill was the very first person I ever saw walking about at Shepperton Studios, and was someone who made me feel so important to even be in his presence, I shall never forget being stood within thirty feet of him. His intricate and dedicated craftsmanship shall live on, for countless years to come.<br />
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Until next time, Ghostwatchers... try not to have sleepless nights. Hoping you and yours are safe & well in these difficult times. And <i>don't</i> say, we're gonna get through this..! xxxGhostwatchBtChttp://www.blogger.com/profile/15135737233843297896noreply@blogger.com0