Entries tagged with call sheet

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Recollections from Camera Operator, Roger Pearce: "Just rearrange the call sheet and press on!"

Roger Pearce was the camera operator on many episodes. He was kind enough to share some memories of the times, and supplied some of the photos seen elsewhere on this archive.

I was the camera operator on much of the series – some 26 weeks in shooting – which began in a place called Woodchester Park in Gloucestershire. This is where the first village was constructed on the bank of a lake.

Woodchester was actually a far better place [than Woollard] to shoot Iron Age Britain; it’s a vast park, and though managed and farmed, is allowed to live and decay naturally and so pictorially looked more convincing. But it proved far too expensive to travel the cast and crew from Bristol and surrounding area every day, and the company couldn’t afford the accommodation for maybe 100 or so people, so it was decided to build a village much nearer to the Bristol base, and the chosen spot was the top and eastern side of Wollard: a large and steep meadow which slopes down to the river Chew. I remember a bridge was constructed over the river; perhaps the remnants might still be visible.

The disadvantages of this location were the rather restricted view for big wide shots, domestic dwellings, electricity poles and cables, clearly defined farm land with cultivated hedgerows, and the fact that Woollard is on the flight path to Bristol Airport though that not so busy then.

Two other locations you might recall, where two brothers were fighting in a wood, then spill out into open countryside, (one actor was Ken Hutchings; can’t remember t’other) and during the title sequence, 3 or 4 horsemen are following at speed the camera. We pass a telegraph pole: it’s still there, and was in shot! These two locations are on public ground, very near a pub called, ‘The Compton’.

Our unit base was at the top of the field where vehicles and large marquees were erected, one of which was the dining area. During really bad weather, of which there were many instances, we had to raise one side of the tent to allow a flow of water through and out the other side down to the river.

It being the 70s, many of our extras were student types who – apart from their every day clothes – quite looked the part. Some took to hiding at the end of each shooting day to evade crew; they would then re-emerge, occupy the better made huts, co-habit under furs and skins to the warmth of wood fires, and be ready for filming next day! Shall we say security was not what it is today! There was one security guard, and all he did was lock the gate when he thought the last person had gone. When the extras showed up early in the morning, the crew just thought they were really conscientious.

With regard to weaponry: most of the time it would be moulded rubber spear tips and daggers; only when the camera was close in would we switch to metal, although blunted, fake items could still inflict a wound. For any close up work or ‘no combat’ scenes, Kai’s axe would be genuine, but for hand-to-hand combat, an identical rubber axe would be substituted.

I have a vague memory of Ollie being injured. I think it was late afternoon and the result of a spear being thrown; it would not have been metal but a solid rubber tipped one. But with the weight of the wooden shaft behind it, it could still wound. I seem to remember Ollie was taken off by ambulance to be checked over and there may have been a few stitches to boot! Was filming halted? No, just rearrange the call sheet and press on! Nothing has changed.

When you are filming a series, you are like family, for the time you are together.

Additional information from Roger:

The scenes where people were riding were filmed from Range Rovers; they were very new at the time, so the crew was very excited about that!

The rock in “Arthur is Dead” was actually made of cloth, over a wooden frame. At one point, you can see a hole in it!

When filming “The Challenge”, they rolled down the bank a couple of times to practice, but they couldn’t get their costumes wet or it would have been all over. The scenes where they ride through the bracken were filmed in the Mendips.

The rock on which Arthur was tied to be flogged in “The Slaves” was in that position already. Black Rock Quarry has been used as a filming location many times.

When asked about filming "The Pupil", Roger says, "the only thing I do recall since you mention Peter Firth is, filming him under a stone bridge or culvert very close to the weir. He would have been hiding from someone, perhaps Kai?¹ We chatted about girls between takes! ... As to the fight in the Long House, I can’t remember why we remained inside. It may have been scripted that way or, indeed if the weather was poor, a decision would have been taken to do it there."

The series photographer was Stuart/Stewart Sadd.

Director Sid Hayers was a tall fat jolly man – nicknamed the Michelin Man.

¹The weir featured in "In Common Cause". The scene where Peter Firth was hiding would have been the one in the flashback, when he saw Arthur kill his father, Mordor.

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The Penitent Invader: call sheet no. 36

This call sheet was kindly donated to this archive by Barbara Hatherall, who was an extra on the series. The episode concerned is “The Penitent Invader.”

Call sheet Penitent Invader 10 Aug 1972 small

Call sheet Penitent Invader 10 Aug 1972 small

“The Penitent Invader” was episode ‘G’ - the seventh episode to be filmed.

The call sheet is No.36, and is dated 10 August 1972, which was a Thursday, so this would have been the fourth day of filming.

Filming took place at Woollard, and it was an early start at 6:30 for the Make-up/Wardrobe department, and extras, who were preparing for the two main battle scenes which were to be filmed starting at 7:30, while the main actors were in make-up.

For the first scenes to be filmed, between Arthur’s Celts and the Picts, there were 13 Picts, 20 Celts – as well as two stuntmen dressed as Celts - and 20 dead Picts. Herward’s three companions during his dramatic intervention were also stuntmen. Presumably the stuntmen were the “two bodies in river” listed amongst the props.

Also listed along with weapons and shields, and underlined, as if they were of high importance, are towels – presumably to dry off the extras or stuntmen who had been in the river – and brandy, which the wisdom of the time said would warm them up afterwards!

Though there is no obviously female rider among them, “Maria” is mentioned as a member of Arthur’s Cavalry. This is thought to refer to Maria Tolwinska, the niece of Ben Ford, who supplied the horses.¹

Oliver Tobias, who had moved, since 4 August, from Ben Ford’s to a closer lodging, St Mary’s House, Wrington, was brought by taxi, to join Michael Graham-Cox in Make-up/Wardrobe at 7:15, with Jack Watson arriving at 7:30, to be ready to film their parts in the battle. Clive Revill was collected from the Unicorn Hotel ² at 07:00

Altogether, the earlier scenes were 1 to 6e.

Jack Watson only took half an hour in make-up, as did Michael Gothard, but it took 45 minutes to make up Oliver Tobias and Michael Graham-Cox; Hedley Goodall, who played the abbot, took an hour and a half.

To simulate Arthur’s knife wound, artists from the Animation department, a chest-pad, blood and a knife were needed.

Michael Gothard, who was not needed in Wardrobe/Make-up until 10:30, was allowed a lie-in.

For scenes 41 and 42, filmed at 11:00 – the fight between Rolf and the Picts, and the arrival of Arthur and his men upon the scene – a total of 16 horses were required.

At 2 pm, scene 43, where the abbot goes about the battlefield, blessing the dead, was scheduled to be filmed, as well 40a, which was a shot of Llud talking to himself as he watches Rolf and his men ride out. Filming schedules and scripts supplied by Peter Thornton show that the scene with the abbot was not in the original version.

Food for morning, lunch and afternoon breaks for the cast and crew –110 people - was laid on, by George Cook (or Cooke) on location.

¹ See this article from the Western Daily Press, 11 September 1972: "Back to school for King Arthur’s knights"

² Possibly The Unicorn Hotel, West Street, Somerton TA11 7PR England – this would have been about an hour away by car.

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The Penitent Invader: call sheet no. 35

This call sheet was kindly donated to this archive by Barbara Hatherall, who was an extra on the series. The episode concerned is “The Penitent Invader.”

Call Sheet Penitent Invader 9 Aug 72 small

Call Sheet Penitent Invader 9 Aug 72 small

“The Penitent Invader” was episode ‘G’ - the seventh episode to be filmed.

The call sheet is No.35, and is dated 9 August 1972, which was a Wednesday, so this would have been the third day of filming.

Filming took place at Woollard.

Jack Watson and Fred Wedlock had their own transport, and Clive Revill was collected from the Unicorn Hotel ¹ at 07:00. Along with Roy Carne, they were required in make-up at 7:30 for an 8:30 start.

Firstly, Jack Watson (Llud), Clive Revill (Rolf), and Roy Carne (Blacksmith) were scheduled to film scenes 35, 36, 36a, 37 and 38 - which had evidently not been completed the day before, when first listed. This is where Rolf walks on hot coals, and Llud is called away by a Messenger, then Rolf sets out to raid a fictional caravan carrying tribute to Arthur.

Also required in make-up at 7:30 for an 8:30 start were folk singer Fred Wedlock (Rolf’s Minstrel), Peter Derbyshire (Herward’s Messenger), Sean McCauley and Ben Ford (Llud’s companions), along with 24 extras (12 Celtic men, 8 Celtic women and 4 Celtic children).

The scenes involving these actors were 9, 9a, 30, 12, 32 and 32a. Given that a large roast boar is listed among the props, these must have been the banquet scenes, featuring Fred Wedlock, playing a dulcimer covered in animal skins. The scenes in Rolf’s bedroom were also on the schedule, as the blacksmith, and Herward’s messenger, who appear in those scenes, are required for the shoot, as well as beds, a candle, and Rolf’s spiked hide shirt.

Horses were required for Llud, Rolf, and Llud’s messenger, for the completion of other scenes from the previous day.

Breakfast, lunch and afternoon break for the cast and crew – about 75 to 80 people - was laid on, by George Cook (or Cooke) on location.

¹ Possibly The Unicorn Hotel, West Street, Somerton TA11 7PR England – this would have been about an hour away by car.

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Recollections from Meic Stevens: "We could have done with wellies!"

Meic Stevens is an acclaimed Welsh folk singer. This is a photo from 1972.

Stevens, Meic

He appears in “Arthur is Dead”, playing a Celt named Cabot, who is also Arthur’s Minstrel; in "The Gift of Life" as Ulrich's minstrel; in "Enemies and Lovers", as the minstrel who accompanies Goda, and at the end of "The Penitent Invader", when he sings for Arthur once more.

Arthur is Dead (64)

He was kind enough to set down a few memories.

Thanks for the letter and pictures. I’d almost forgot all that stuff, long time ago.

HTV had built an ancient village in the Forest of Dean. It was brilliantly built and the hall (Arthur’s) was real, thatched roofs etc, stockade.

It was a beautiful spot, but very muddy! The production had started off trying to look authentic, of the period (Dark Ages), but the weather wasn’t kind, so we rejected the original shoes, which were not waterproof because they were made of hessian-like cloth. We finally got leather boots which were modern. We could have done with wellies!

My hair was long and dark brown then, and they wouldn’t let us shave.

Patrick Dromgoole was the producer, and they hired actors who were quite well known like Hillary Dwyer, Brian Blessed etc. We all stayed in the Unicorn Hotel, Bristol. ¹

Anyway, Oliver Tobias was an up and coming actor; good-looking. Some of the others had been members of the Old Vic, Royal Shakespeare Company, RADA, etc.

It was a bit of a soap really – a historical soap!

The instrument I played was a mandolin, disguised as a Welsh crwth. I remember quite well, I did it myself. I also wrote the lyrics of the songs.

Aftermath (8)

In one of the pictures, I am playing a Saxon, and the instrument is a dud, just a board with ordinary ‘strings strings.’ I recorded the musical bits (songs) in a studio in Bristol, and mimed.

Celebration (11)

It was a wig I was wearing as Athel’s minstrel.²

Magic (3)

Anyway, can’t remember much more, it’s pretty boring on a film set in the middle of nowhere! Sometimes we’d walk (me and some of the actors) down this earthen track about a mile or two to the road, where lay a country pub.³ We were in there one afternoon, playing darts, when some American tourists came in to find half a dozen Celtic warriors playing darts and a pile of swords and spears in the corner. They didn’t make any comment, but left rather hurriedly.

¹ Call sheets 35 and 36 show Clive Revill being collected from the Unicorn.
² This instrument seems to be the one Meic Stevens described as a dud. The one he plays as Ulrich’s Saxon minstrel looks like the same one he uses when working for Arthur, with a bit of added fur!
³ The Compton Inn is in the right location.

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The Penitent Invader: call sheet no. 34

This call sheet was kindly donated to this archive by Peter Thornton, who was employed as Clapper/Loader – a role now known as 2nd Camera Assistant – for much of the series. The episode concerned is “The Penitent Invader.”

Call sheets_0008.jpg

“The Penitent Invader” was episode ‘G’ - the seventh episode to be filmed.

The call sheet is No.34, and is dated 8 August 1972, which was a Tuesday, so this would have been the second day of filming.

The scenes scheduled for this date were to be filmed at Woollard.

Jack Watson (Llud), Clive Revill (Rolf), Roy Carne (Blacksmith), Sean McCauley (Llud’s Messenger), and Hedley Goodall (Abbot Morpeth), along with 25 extras (12 Celtic men, 8 Celtic women and 5 Celtic children) were required in Make-up/Wardrobe at 07:30, to begin filming at 08:30. Jack Watson had his own transport, and Clive Revill was collected from the Unicorn Hotel ¹ at 07:00.

Scenes 10 and 10a, with Llud, Rolf and the Abbot, for which filming began the day before, were to be completed.

New scenes scheduled to be filmed were 8, 11, 13, 25, 33, 35, 36, 36a, 37 and 38.

Scene 8 was Llud's arrival at Rolf's village. Scene 11 was a short scene of Llud and Rolf talking while walking along. 13 was Llud and Rolf on Horseback, with Llud thumping Rolf on the back. 25 was Rolf being flogged. 33 and 35 - 38 were the scenes where Rolf and Llud stand by the fire pit and discuss the punishment - walking over hot coals - then Llud is called away by a Messenger. Rolf walks on the hot coals – and then sets out to raid a fictional caravan carrying tribute to Arthur.

An additional breakdown of the scenes, also from Peter Thornton, shows that it had been intended that Llud's being called away would provide a reprieve for Rolf from the fire-walking, but in the show as filmed, he actually walks across the firepit before telling his men to douse the fire.

An additional cruelty from the Director, or an act of self-sacrifice for his art, from Clive Revill? Was Clive utterly determined to show Rolf as a crazy, mixed-up chap?

Props listed include “practical” (ie. real) fire, blacksmiths’ tools, whip, rope for tying, burning logs and “chaffe to throw on fire.”

Horses were required for Llud, Rolf, and Llud’s messenger, with an additional three “for carts”, and – somewhat confusingly – 3 donkeys. The intended use of these donkeys is unknown – nowhere in the episode do we see more than one (baby) donkey.

The weather prospects must have been uncertain, as Fred Wedlock (Minstrel) was on standby, in case indoor banquet scenes 9, 9a, 30, 32 and 32a were to be filmed instead.

Breakfast, lunch and afternoon break for the cast and crew – about 70 to 75 people - was laid on, by George Cook (or Cooke) on location.

¹ Possibly The Unicorn Hotel, West Street, Somerton TA11 7PR England – this would have been about an hour away by car.

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The Penitent Invader: call sheet no. 33

“The Penitent Invader” was episode ‘G’ - the seventh episode to be filmed.

The call sheet is No.33, and is dated 7 August 1972, which was a Monday, so this would have been the first day of filming.

The scenes scheduled for this date were to be filmed at Woollard.

The day's filming involved extras, Barbara Hatherall and her husband; Gabrielle Doody, and three as yet unidentified extras, two of them horsemen. They were required in Make-up/Wardrobe at 07:30, to begin filming at 08:30.

Jack Watson (Llud) and Clive Revill (Rolf) were required in Make-up/Wardrobe at 08:30, to begin filming at 09:30. Jack Watson had his own transport, and Clive Revill was collected from the Unicorn Hotel ¹ at 08:00.

A number of scenes were to be filmed, starting with 14, 15, 16 and 24, then 17, 23, 18, 22, 19, 20 and 21.

The scenes in which we see Mr Hatherall as a jeweller at his work, and then being tended by his wife (Barbara Hatherall) following an attack by Rolf; a maiden (Gabrielle Doody) relaxing on the river bank, then in distress after an attack by Rolf, and a couple of men tending two horses, then the empty corral and the injured horsemen, would have been filmed first.

When Llud and Rolf were ready, they shot the scenes where we see Llud testing Rolf's reaction to the various temptations, and Llud hitting Rolf each time he appears tempted! Then there was the scene where Rolf and Llud stop to rest, and Llud falls asleep, wakes and finds Rolf missing, and then retraces his steps and observes the results of Rolf's depravities. Some of these were referred to as "pick-ups", being simply reaction shots.

At 12:30, Hedley Goodall (Abbot Morpeth) was required in Make-up/Wardrobe to be ready to film at 14:30. That allowed two hours to get him ready; perhaps as this was the first day of filming, they needed extra time for a suitable costume to be found and fitted.

Jack Watson and Clive Revill were also required, to film scenes 10 and 10a – the scenes where Llud goes to speak to the Abbott, Rolf’s “scourger” - and relieve him of his burdensome duties. One of the prop requirements was “Lots of baby animals”, presumably so that Rolf could demonstrate his villainy by abusing them! In the end, only a baby donkey was involved, tied up outside the Abbot’s hut, for Rolf to villainously shove with his foot.

The weather prospects must have been uncertain, as Fred Wedlock (Minstrel) was on standby, in case indoor banquet scenes were to be filmed instead of those scheduled for the morning. A crowd for these scenes was to be rounded up if needed!

Breakfast, lunch and afternoon break for the cast and crew – about 65 people - was laid on, by George Cook (or Cooke) on location.

¹ Possibly The Unicorn Hotel, West Street, Somerton TA11 7PR England – this would have been about an hour away by car.

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The Slaves: call sheet no. 32

“The Slaves” was episode ‘F’ - the sixth episode to be filmed.

The call sheet is no.32, and is dated 4 August 1972, which was a Friday, so this would have been the fifth day of filming.

The scenes scheduled for this date were to be filmed on location at Black Rock quarry in Cheddar.

Jack Watson (Llud), Michael Gothard (Kai), Adrian Cairns (Heardred), Oliver Tobias (Arthur) and David Prowse (Col) were required in Make-up/Wardrobe at 07:30, to begin filming at 08:30, so at 06:00, Oliver was picked up from Ben Ford’s stables in Stroud, and at 6:30, a car collected Dave Prowse from the Unicorn Hotel ¹. Jack, Michael and Adrian must have made their own arrangements.

They were to shoot “pick ups” - minor shots to be added to scenes already filmed - and scenes 28, 34, 39 and 47. These may have included that scene in which Heardred shows Kai the little armoury shed, the scene where Llud tried to reassure Kai, after Arthur’s flogging, and the scene in which Llud warns Kai that they have been discovered.

At 07:00, a car collected Anthony Bailey (Rodolf) and Deborah Watling (Thuna) from the Unicorn Hotel. They and Jackie Cooper (Ensel) were to be in Make-up/Wardrobe at 08:00, to be ready to film at 09:00, along with the actors already on set.

A crowd of 45 was required, to represent Saxon guards and Celtic slaves. Some of these were collected from the HTV studios in the Z Car Bus, at 06:30.

Stunt arranger Peter “Shag” Brayham, and stunt men Les Crawford, Del Baker and 4 others (including, per IMDB, Chris Webb) were also required, as was a fall bed for the stunt in which Ensel (Jackie Cooper) is knocked off the cliff top by a sledge-hammer.²

The scenes to be filmed from 09:00 were 24, 30, 41, 53 and 55. Given the presence of so many stunt men, and the requirement for “axes, whips, weapons” among the props, these presumably included some of the fight scenes at the end of the episode.

Breakfast, lunch and afternoon break for the cast and crew – about 110 people - was laid on, by George Cook (or Cooke) on location.

¹ Possibly The Unicorn Hotel, West Street, Somerton TA11 7PR England – this would have been about an hour away by car.

² Oliver Tobias said that cardboard boxes would be piled up, to about a third of the height of the drop, and covered with a big canvas sheet. It would cover a large area, but still look very small from the top!

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The Slaves: call sheet no. 30

“The Slaves” was episode ‘F’ - the sixth episode to be filmed.

The call sheet is No.30, and is dated 2nd August 1972, which was a Wednesday, so this would have been the third day of filming.

The scenes scheduled for this date were to be filmed on location at Cheddar.

Jack Watson (Llud), Deborah Watling (Thuna), Adrian Cairns (Heardred) and Jackie Cooper (Ensel) were required in Make-up/Wardrobe at 07:30, to begin filming at 08:30, so at 6:30, a car collected Deborah Watling from the Unicorn Hotel ¹, where guest stars were commonly billeted. Jack, Adrian and Jackie must have made their own arrangements.

They were to shoot scenes 50, 51 and 52. These must have been the scenes where Ensel, the genuine new supervisor sent by Cerdig, arrives at the site; Thuna tells Heardred she never trusted Kai, calls Llud over, and subtly warns him of the danger. She then distracts Ensel. Heardred takes the opportunity to complain to Ensel about the difficulties of his task.

At 06:45, Oliver Tobias (Arthur) was picked up from Ben Ford’s stables in Stroud, and at 07:15, a car collected David Prowse (Col) and Anthony Bailey (Rodolf) from the Unicorn Hotel. Michael Gothard (Kai) was also required, and all were to be in Make-up/Wardrobe at 08:15, to be ready to film at 09:15, along with the actors already on set.

A crowd of 45 was required, to represent Saxon guards and Celtic slaves. Some of these were collected from the HTV studios in the Z Car Bus, at 06:30.

The scenes to be filmed from 09:15 were 23, 26, 27, 31, 33, 35, 36, 38, 44, 45, 46 and 49. These probably included the scene where Arthur is taken up to the rock-face and chained up, most of the shots of the slaves working the quarry, the scene where Col collapses and Arthur defends him from Rodolf, then attacks Rodolf, forcing Kai to take charge of Arthur’s punishment, and possibly the scenes where Arthur is dragged away from the punishment site, and Kai gets everyone back to work.

Props required are the tools needed by the slaves, a horn – to be blown to signal meal times – and a theodolite - one of the tools of Heardred’s trade.

The weapons needed for the rebellion are not listed among the props, and neither is there any mention of “practical food”, or “bowls of wet cotton wool” (the slaves’ “food”) so neither the scenes in the small arsenal, the big fight at the end, nor any of the scenes where the slaves or their masters are eating lunch, were filmed on this date.

Breakfast, lunch and afternoon break for the cast and crew – about 110 people - was laid on, by George Cook (or Cooke) on location.

¹ Possibly The Unicorn Hotel, West Street, Somerton TA11 7PR England – this would have been about an hour away by car.

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The Slaves: call sheet no. 29

The episodes were given alphabetical designations, and “The Slaves” was episode ‘F’, which indicates that it was the sixth episode to be filmed.

The call sheet is No.29, and is dated 1st August 1972, which was a Tuesday, so this would have been the second day of filming.

The scenes scheduled for this date were to be filmed at Black Rock, Cheddar, which at this most definitely “on location.”

Oliver Tobias (Arthur), Michael Gothard (Kai), and Jack Watson (Llud) were required in Make-up/Wardrobe at 07:30, to begin filming at 08:30. At 6:30, Oliver was picked up from Ben Ford’s stables in Stroud, where he was staying; Michael and Jack made their own arrangements.

They were to shoot scenes 11, 12, 15 and 16. In scenes 11 and 12, Arthur, Kai and Llud search for the trail left by the Saxons who kidnapped the group of Celts, including Arthur’s friend Col, the blacksmith, from the village where they lived. In scenes 15 and 16, we see them track the group to a quarry, and discuss what they see there – Celts being used as slaves.

At 07:00, a car collected David Prowse (Col) and Anthony Bailey (Rodolf) from the Unicorn Hotel ¹, where guest stars were commonly billeted. They were required in Make-up/Wardrobe at 08:15, to be ready to film at 09:15, along with the three principals.

A crowd of 45 was required, to represent Saxon guards and Celtic slaves. Some of these were also collected from the Unicorn Hotel, but by the Z Car bus, and more came from the HTV studios on the Unit Bus, all to be there by 07:30.

The scenes to be filmed from 09:15 were 18, 19, 20, 21 and 22. These must logically have been the scenes where Kai – pretending to be an agent sent by Cerdig – brings “runaway slaves”, Arthur and Llud, to the slave master, Rodolf, and Arthur is taken up to the rock face and shackled there near to where Col is already working.

No “weather cover” scenes are listed, but there are only two scenes filmed in or near a small shed, so the day’s schedule was dependent on the weather remaining reasonably fine.

Catering for the cast and crew – about 110 people - was laid on, by George Cook (or Cooke) on location.

Among the props required are listed “grave to be set up and dressed plus twig cross.” This item is not seen in the episode. Perhaps it was realised that Rodolf wouldn’t have allowed the slaves time to bury or mourn their dead. Also listed are, “whip, hammer” and, rather hilariously, given the quarry location, “rocks”!

¹ Possibly The Unicorn Hotel, West Street, Somerton TA11 7PR England – this would have been about an hour away by car.

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The Gift of Life: call sheet no. 25

This call sheet was kindly donated to this archive by Peter Thornton, who was employed as Clapper/Loader – a role now known as 2nd Camera Assistant – for much of the series. The episode appears to have originally been titled “The Saxons Are Coming”, but the cast list confirms that the document pertains to “The Gift of Life.”

Call sheets_0002.jpg

The episodes were given alphabetical designations, and “The Gift of Life” was episode ‘E’, which indicates that it was the fifth episode to be filmed.

The call sheet is No.25, and is dated 27th July 1972, which was a Thursday, so this would have been the fourth day of filming on this episode.

Filming was to take place at Woollard, which - at this point - is still considered to be “on location” – the main base being at Woodchester.

Geoffrey Adams (Hald) and Heather Wright (Hildred) were collected by car at 7:00, from the Unicorn Hotel ¹, where guest stars were commonly billeted. Michael Gothard (Kai) made his own arrangements. These three were required in Make-up/Wardrobe at 7:30. The children, Sean Fleming (Krist) and Tamzin Neville (Elka) had to be there by 08:00, presumably brought by their parents, Patrick Dromgoole (the Executive Producer) and Daphne Neville (chaperone and extra) respectively. All had to be ready to film at 8:30.

The only horse required was for Kai.

The scenes listed to be filmed in the morning are 17 and 19. Judging by the cast needed, these would be the scene where Kai and the children arrive at the woodland path near the village, and Kai encounters Hald for the first time, and the scene where Kai and the children walk down into the village, and are greeted by the women and children working in the fields. An hour seems quite a short time to have allowed for the shooting of both Kai’s arrival with the children, and their rapturous greeting by the village, but as Heather Wright is required on set at this time, it seems the only option. The content of Scene 18, which was to be missed out, is unclear. Possibly it is the shot of Hald coming out of the woods and announcing the return of the children.

The “crowd” was collected from HTV studios at 07:00, in a “Z car bus”. This was not directly related to the BBC series, "Z Cars"; Peter Thornton says, “I seem to remember that “Z Cars” was a taxi company that had the contract to ferry cast members between the set and the hotel.” In fact, there is still a company named “Z Cars” operating in Bristol. Assuming that they were being collected from HTV Television Centre at Pontcanna, Cardiff, these extras would have arrived at around 8:20 – possibly in time to be included in the scene of Kai’s arrival with the children.

Meanwhile, Stephan Chase (Horgren), Kenneth Bender (Ulrich) and Meic Stevens (the minstrel, here listed as "Mike Stephens") were to be collected from the Unicorn Hotel at 7:45, arrive in make-up/wardrobe at 8:30, and be ready to shoot at 9:30. Also required were some “Elders” to be collected in a cast minibus “per Andrew Wilson’s instructions.”

The scenes scheduled for filming from 08:30 were 20, 22 and 23. Scene 20 must have been the scene in which the return of the children is celebrated with a feast. Scene 21, not filmed at this point, would have been the one where Krist and Elka inadvertently give away Kai’s identity as Arthur’s lieutenant. Scenes 22 and 23 would have been the shock revelation of Kai’s identity, and then his hearing before the tribe’s Elders.

No “weather cover” scenes are listed, so presumably the forecast was for a fine day.
Catering for the cast and crew – about 95 people - was laid on by George Cook, all on location.

Among the props required are listed “practical flowers” and “practical fire” - which means real flowers and a working fire: “there is a requirement for a prop to be as it would in real life” according to Peter Thornton.

A telling note at the bottom of the page shows that “pick ups” - shots filmed after the bulk of an episode has been completed – from “Enemies and Lovers” and “The Challenge”, were to be filmed at the end of the week, on Saturday 29th July. From this we can gather that those episodes were C and D. An article in the Bristol Evening Post published 13th July refers to Oliver’s spear injury, incurred during “The Challenge”, as having occurred during the week beginning 10th July, making that one episode C. “Enemies and Lovers” must therefore have been episode D, the bulk of which must have been filmed during the week beginning 17th July.

¹ Possibly The Unicorn Hotel, West Street, Somerton TA11 7PR England – this would have been about an hour away by car.

² Oliver Tobias (Arthur) was not involved in the day’s filming – the filming schedule/call sheets having been arranged to give him time to recover from the head injury he suffered while filming “The Challenge.”

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Recollections from extra, Mrs Barbara Hatherall: “Someone’s got a watch on!”

In, in response to a request in the Chew Valley Gazette, Mrs Barbara Hatherall offered these memories.

Barbara Hatherall knew the Maxwell family who owned Woodborough Mill Farm, where much of "Arthur of the Britons" was filmed. The "Giant’s Dam" - seen in the episode, "In Common Cause" - is the weir at Woodborough Mill Farm, where they used to play when they were kids.

Barbara’s son Robert helped his uncle to build the village on a field near the River Chew, dragging logs and such like from the nearby woods to make the buildings, etc.

In the summer of 1972, Barbara would go up to the shooting location nearly every day, for one thing or another. She appeared as an extra on many occasions, and they all thought the pay they got as extras was brilliant.

The family had a caravan in their back garden and the production rented it from them for the summer, for one of the crew who had to be there early. It came back spotless.

She had a shop that sold odds and ends in her front room. The cast and crew would come in to buy chocolate, etc. Patrick Dromgoole, the Executive Producer who also directed five episodes, used to come in and sit in her chair, and put his cup of tea on the arm (there was a little wooden stand to put things on) and say what a nice chair it was. She got it for £12!

He’d ask her to recommend people who lived in the area for particular parts. At one time, he wanted a man of a certain age. She said, "Well, my husband’s free that day," so Patrick had a look at a picture, and cast Barbara and her husband as the jeweller and his wife in "The Penitent Invader."

Well, her husband went into the make-up caravan, and when he came out she didn’t recognise him! They put him in a wig and a beard, and – later on, after he was supposed to have been robbed by Rolf – Patrick gave them some dirty old rags to bandage his head. Patrick kept screaming at her because she was laughing so much at silly things her husband was saying to her while they were trying to film.

In the scene where Rolf had attacked a young girl on the river bank, Patrick was telling the victim to spread her legs out, and look like she’s been raped, but she said "I can’t, there’s all stinging nettles there!"

Barbara was also in a banquet scene as a serving wench, and they had to do the scene over and over, because she had to take a tray of food to where Oliver Tobias was sitting, and he would stab a dagger into the table, making her jump back.

In the scene in "The Penitent Invader", where Clive Revill, as Rolf, has to walk across hot coals as penance, he was supposed to put his feet in gaps which had been left between the coals, but ended up actually walking on hot coals because he kept missing the gaps. And he had to do it again, because Patrick shouted out "someone’s got a watch on!" and that was Barbara, with a watch under her hessian dress!

Hot coals (31)

Barbara’s daughter also appeared in a scene,¹ walking across a bridge.

One day, Patrick Dromgoole had asked the agency to send a lot of dark (meaning "dark-haired") extras, but when the transport turned up, it was full of black people! They couldn’t be used for filming, but they got a free meal at the canteen.

The production really brought the village to life, with all the horses coming in, in big wagons, and all the cast and crew. There were a lot of people involved. It was good fun, and the actors would all chat to you. Barbara couldn’t remember anyone being stand-offish – everyone mucked in and worked together.

¹ Possibly in “The Gift of Life.”

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Daughter of the King: call sheet no. 7

This call sheet for the episode, “Daughter of the King” was kindly donated to this archive by Peter Thornton, who was employed as Clapper/Loader – a role now known as 2nd Camera Assistant – for much of the series.

Call sheets_0001.jpg

The episodes had been given alphabetical designations, and “Daughter of the King” was episode ‘B’, which, as had previously been assumed, and is confirmed by this designation, was the second episode to be filmed.

The call sheet is No.7, and is dated 3rd July 1972, which was a Monday. From this, we can reason that there were 6 call sheets relating to the first episode, “Arthur is Dead” – which presumably took 6 days to film.

The scenes scheduled for this date were to be filmed outside Arthur’s camp, but still in Woodchester Park, and set-up began at 6:30 am!

Tony Steedman (Tugram) and Madeleine Hinde (Eithna) were collected by car at 6:30, from the Unicorn Hotel ¹, where guest stars were commonly billeted. Oliver Tobias (Arthur) was then picked up from Ben Ford’s stables in Stroud, where he was staying. Michael Gothard (Kai) and Jack Watson (Llud) made their own arrangements. All were required in Make-up/Wardrobe at 7:45, to be ready to film at 9 am.

It appears that doubles were used: Peter Brayham the fight arranger doubling for Llud, and Ray Ford – presumably a relative of Ben Ford – for Arthur. It seems likely that the short scene in which Llud, while mounted, grabs Eithna from her horse and carries her back to Arthur, was the occasion when Peter would have doubled for Jack. The scene where Arthur rides alongside a straying horse and jumps from the back of his own mount to that of the other horse would seem to be the occasion where Ray might have doubled for Oliver, especially given that he would probably be familiar with both horses.

Peter Brayham, Ray Ford and Del Baker are listed as being involved as “stuntmen and special action.” Del Baker's role is unclear.

Twelve men on foot and twelve horses are said to be required – however, in the scene as broadcast, there appear to be somewhat more “extras” among the men on foot.

According to Peter Thornton, “a scene can have an infinite number of cuts, if you are the editor, or shots as they are usually called when shooting. The director determines how many shots to shoot in each scene. But quite often not all shots are used in the final edit. Some scenes do only have one shot, but more often than not, close ups will be inserted into the master shot of each scene.”

The scenes listed to be filmed in the morning are 1 – 7 inclusive. As we know that the prologue to this episode was filmed many months later, we can assume that this refers to the scenes immediately following the opening credits. In these scenes, Arthur, Kai, and some of their men are out riding when they spot a party of armed Celts, whom Arthur mistakes for a party of the marauder Bavick’s men. Before joining battle, Arthur and Kai chase down a riderless horse they have spotted. They are then almost attacked by another local leader, Tugram, who himself mistakes them for Bavick’s men. They spot Bavick’s daughter, Eithna, jumping out of a tree, and Arthur sends Kai to capture her – a task he sets about with gusto.

Meanwhile, Iain Cuthbertson, who played Bavick, was to be collected from the Unicorn Hotel at 10:00, arrive in make-up/wardrobe at 11:30, and be ready to shoot at 1 pm. The scenes scheduled for the afternoon were 21 – 26. These must have been the scenes in which Arthur and his men arrive at the same location as before, to exchange their prisoner, Eithna, for Llud. As Llud crosses paths with Eithna, he snatches her from her horse, and once again takes her prisoner.

Listed under “weather cover” are some of the scenes which took place indoors – 9, 10, 11, 12, 14, 28, 29, 30, 32 and 33. These must be most of the scenes that took place in the Longhouse, in which Arthur talks to Eithna, his people and Tugram’s discuss what to do, before the prisoner “swap” and then later celebrate Bavick’s capitulation; Eithna tries to manipulate first Arthur and then Kai.

It is not known whether or not the conditions were right for filming outdoors, but if they were, then these last scenes would have been filmed on Thursday and Friday, 6th and 7th July.

It is good to see that sustenance for the cast and crew – about 80 people - was laid on, by George Cook. Morning and afternoon breaks were taken on location, and this must have been close enough to the main base for everyone to return there for lunch.

Colin Holloway recalled: “Food is supplied via a professional location caterers which is very good overall, with the highlight being the fresh sandwiches and cakes just before we all go home for the day, exhausted, with only a few hours before our early morning alarm call - and off we go!”

¹ Possibly The Unicorn Hotel, West Street, Somerton TA11 7PR England – this would have been about an hour away by car.