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Post by Terry Kinane on Nov 26, 2011 15:43:31 GMT -5
The female choice would be Pauline Quirke. The male choice would probably be Ray Winstone.
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Post by maximus on Nov 26, 2011 16:01:07 GMT -5
Yeah, Ray is a very clever actor. I'm glad he made it in Hollywood. Talent is no guarantee for making the big money there.
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Post by maximus on Nov 28, 2011 7:40:39 GMT -5
Terry, correct me if I'm wrong, you directed the Welsh spy episode with the train scene? If so, were you happy with the flow of the episode? I am particularly referring to the use of a flashback to show how the spy was caught. I suppose in a show about time travel you don't have to have scenes flow chronologically! However, it was unusual for GS. Would you have preferred it to have unfolded differently? By the way, I loved that episode. This isn't a criticism as such.
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Post by Terry Kinane on Nov 28, 2011 7:59:22 GMT -5
To be honest, I have never actually sat down and watched GS as a series. I was usually editing or dubbing when the shows originally transmitted, so in terms of my own episodes, the last time I saw them was when I was technically reviewing them having edited them. I don't have the DVD of the series, and I've never seen the Lo and Mo commentary that goes with the DVD. I guess I should really get the DVD and actually watch the episodes. Regarding the spy episode; I don't remember it in sufficient detail to answer your question. I do remember it being one of my favorite episodes to direct though.
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Post by maximus on Nov 28, 2011 8:59:53 GMT -5
How did you film the train scene? Was the set built from scratch, or was it borrowed from another BBC production? It looked very good for a 90's sitcom! By the way, you really should watch the episodes...it's not the same experience while editing! I genuinely consider this show to be among the best examples of the sitcom genre. It's up there with Fraser in my opinion
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Post by Terry Kinane on Nov 28, 2011 9:21:24 GMT -5
The train was a set built from scratch. I sat with Roger (Production Designer) and talked through exactly how I wanted to shoot it. He then designed the set with that criteria in mind. I know what you mean by watching as a show is edited. Bear in mind though that there is a technical review of the episode after the edit is complete. Then I watch the episode again as it is sent to the audio dubbing suite. Then I watch as it gets dubbed; and then I watch the completed episode played back to VTR machine containing the original video and audio as the original audio track is replaced. Then, typically, at 9am the following morning I would be rehearsing the next episode.
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Post by maximus on Nov 28, 2011 10:40:40 GMT -5
Were actor's lines re-recorded in post-production? Is that common? If so, I presume it was only a few lines rather than the whole episode? I hadn't realised how much effort and technical skill went into each episode. Thanks for the overview
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Post by Terry Kinane on Nov 28, 2011 10:59:35 GMT -5
The only time you might need to re-sync a line, is if you were shooting on location, and the ambient noise at the time was too loud to use the voice track. I never had to re-sync on any show I ever directed. Audio dubbing is typically used to enhance the reality of the episode.
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Post by maximus on Nov 28, 2011 13:13:23 GMT -5
Terry, you know the behind the scenes politics and managerial culture of the BBC. Do you think that, had Marks and Gran pitched the premise behind Goodnight Sweetheart today, the show would have got the green light? It's so very different to anything produced in Britain in the subsequent decade. Here's a very open question (apologies in advance ) - If the show was made today, what would have been different, considering the evolution of the genre?
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Post by Terry Kinane on Nov 28, 2011 13:49:33 GMT -5
Lo and Mo were able to get Sweetheart off the ground because of the relationship they had with the BBC at that time. 'Birds' had been very sucessful, and the BBC were keen to keep Lo and Mo producing for them.
If truth be told, Sweetheart was probably better suited to BBC2 at that time than BBC1, in that it was conceived as more of a comedy drama than a sit com.
If the idea was pitched today, without something similar already having been done before, I would be tempted to pitch it as a series of half hour comedy dramas, without the studio audience component.
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Post by jobsta on Nov 28, 2011 17:36:22 GMT -5
Terry, was there ever any discussion in regards to having some more cameo roles for stars of the 40's, or stars that Gary ripped off in the 40's appear in the show? I know Rolf Harris appeared in a dream. I sometimes wish that was Paul McCartney, only because I love Paul and would have liked to have seen him in my favourite show, but I imagine that Paul would be very hard (expensive) to get. It got me thinking though whether it was ever considered for anyone else, either as a dream or as their current selves in the '90s?
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Post by Terry Kinane on Nov 29, 2011 6:17:05 GMT -5
It may have been something that would have been seen if the series had continued....I guess we'll never know.
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Post by maximus on Nov 29, 2011 10:24:05 GMT -5
I loved the Rolf cameo! That whole dream episode was very clever. I think the show made good use of historical figures, such as Churchill, Coward, Guy Burgess etc. There probably wasnt the need to have many real cameos. Terry, I'd be interested to know if any consideration was given to make Gary his own grandfather? It was hinted at in one of the episodes, and I remember thinking that it could explain why Gary was able to time travel in the first place. I suppose it would have been too weird! Was there much discussion of possible explanations as the show entered its final series? Any alternative storylines you can share with us?
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Post by Terry Kinane on Nov 29, 2011 13:09:47 GMT -5
Because news that the show was not going to be renewed happened just as we were starting to make the last series, the typical development meetings never took place during the last series, and therefore there really weren't any mind bending discussions.
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Post by maximus on Nov 29, 2011 15:11:28 GMT -5
I didn't know that the company hadn't know that series six would be the last until after series 5 ended. I had been under the impression that the show was working towards VE day from the beginning. What you have said is very interesting, as it explains the disjointed nature of series six. Also, it is clear that episodes in that final series were, on the whole, written as one off stories rather than to push the overall story along.
Terry, did you feel that the show was running out of steam in that final series? Or would there have been enough left in the premise to stretch the show for another year, leaving the VE episode till the end of series 7?
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Post by Terry Kinane on Nov 29, 2011 16:57:49 GMT -5
I think that six seasons was about right for Sweetheart. I just think we could have been more polished in the last few episodes.
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Post by maximus on Nov 30, 2011 8:15:08 GMT -5
I probably shouldn't ask this question as it is a private issue, but the parallel's with the show make me curious. Liz carling had what must have been a traumatic personal betrayal that mirrors sweethearts premise during the 5th series. Did it affect her work, or were you aware of her being uncomfortable with some of the more pogniant jokes of Gary's bigamy?
I am only curious, as I didnt notice any drop in performance from Liz. I suppose the show must go on, and all. But the similarities between her character and herself...it would have affected me if I was in that situation.
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Post by Terry Kinane on Nov 30, 2011 10:33:21 GMT -5
I probably shouldn't ask this question as it is a private issue, but the parallel's with the show make me curious. Liz carling had what must have been a traumatic personal betrayal that mirrors sweethearts premise during the 5th series. Did it affect her work, or were you aware of her being uncomfortable with some of the more pogniant jokes of Gary's bigamy? I am only curious, as I didnt notice any drop in performance from Liz. I suppose the show must go on, and all. But the similarities between her character and herself...it would have affected me if I was in that situation. Well, obviously we were all aware of what was going on. Liz talked to us about it so that we didn't have to walk on egg shells. The reality though was that it didn't affect her work at all. I think Liz was able to become someone else when she was rehearsing the show, and that meant not having to think about her personal life. I always created a bubble on any of my shows. When you walk into the rehearsal room, we are all there to rehearse. Outside stuff happens outside.
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Post by maximus on Nov 30, 2011 10:51:59 GMT -5
That's a good way of putting it. I suppose that is the mark of a true professional. It was an unfortunate parallel though; a case of life imitating art. I've seen Liz in other shows over the years, and she always impresses me with how she gets completely into her character. Did any of the Sweetheart actors, particularly Dervla and Liz, get accent training specifically for the role? The accents are all very convincing, especially considering Dervla is Irish and Liz has a strong northern accent. I can't imagine it was something they just picked up by themselves.
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Post by jobsta on Nov 30, 2011 11:09:02 GMT -5
I always created a bubble on any of my shows. When you walk into the rehearsal room, we are all there to rehearse. Outside stuff happens outside. A bit like the Willesden Wildeans! Hehe
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