Arthur of the Britons

I arrived at the building where Sean works for our 3 o’clock meeting, and he came down to meet me. On the way up to his office, he asked why I was so into “Arthur of the Britons”: was it Oliver? I said, no it was Michael. “Even then?” he said. Perhaps he thought a teenager would be more likely to fall for Oliver, though he did think that Michael was a very attractive man.

By way of background, Sean said that in the early 1970s, the smaller TV companies like HTV weren’t expected to do drama, especially on this scale, but Sean’s father, Patrick Dromgoole, decided that they should start. They had two crews, which produced a lot of great drama over the next 20 years, including "Children of the Stones" and “Robin of Sherwood.” “Arthur of the Britons” - along with “Pretenders” [a costume drama set in 1685, about two children during a rebellion against King James II] - was the start of this in many ways.

The story of Arthur, and the conflict between the Celts of Wales and Cornwall, and the Saxons in Wessex, was a natural choice for Harlech TV, which was based in the middle of those territories.

As we settled down to watch “The Gift of Life” together, Sean proved himself a man after my own heart by expressing approval for the 4:3 aspect ratio! He also said he loved Elmer Bernstein’s epic theme music.

Every now and then, as we watched the episode, he would press ‘pause’, and tell me something he remembered about what had just transpired.

The first thing he commented on was the horse Michael was riding. He said that either Michael wasn’t a natural rider, or the horses he’d been given weren’t up to the task, because he had been through about 3 horses without finding one that suited him. After some weeks, the horse wrangler, Ben Ford of Stroud, brought in a new bay horse, and named it Merlin because “if this works it will be a miracle.”



So Merlin was not the horse shown here - which Michael rode for the first few episodes.

As Krist and Elka stick their heads up on the boat, Sean drew his colleague’s attention to his first appearance: “I’m in show business!”



He then pointed out that much of the conversation between Arthur and Kai about what to do with the Saxon children – nearly a whole minute – was filmed in one take.

Then when Kai is getting ready to leave the village with the children, he drew my attention to a great shot of Michael.



He said there would have been huge polystyrene reflectors just out of shot, directing bright lights at Michael’s face; he would have been bravely keeping his eyes wide open to avoid squinting.

The riding scenes were filmed near Woodchester. Sean could ride already, as his mother had been very keen that he and his siblings should learn. It was alright for Tamzin riding in front of Michael, but very uncomfortable for him, riding at the back, where there was no saddle. Bumping along when they were cantering was agony!



The conversation between Krist and Kai about the scar on Kai’s neck would have been filmed by a tracking camera mounted on a vehicle, driven alongside the horse.

I mentioned how tall the bracken was, in the scene where Krist and Elka go missing. Sean said the problem was, trying to make sure the crew didn’t trample it all down!



When Kai was calling for the children, Sean said, “I did find Michael slightly scary – there was a threat about him. He was tall, distant, and rather magnificent.” He was also “moody” but Sean also recalled that he was “very kind, very patient.” He and Tamzin often screwed up a shot by, for example, looking straight into camera, but Michael understood that they were just learning. “In dealing with me and Tamzin, he was brilliant.”

When Kai teaches the children the secret whistle, Sean admitted that he couldn’t do it; that was the only part of the sound that wasn’t recorded live on location, but looped in a sound studio. The sound recordist, Mike Davey, a close friend of Sean’s, is deaf in one ear!

During the next scene where they were riding, Sean pointed out the vehicle tracks where the horse was trotting. I protested that they were cart tracks, but he said carts didn’t make tracks like that!

Where the children are sleeping, he said he remembered the feel of the sheepskin against his cheek.

I commented on Kai’s furry boot-covers, and Sean revealed that they were a lot of trouble, as they were always coming off.

As they walk into the Saxon village, Sean said that Heather Wright, who played Hildred, was a lovely girl. He commented once again on the wonderful cadence of the theme music.



He wondered what was the point of “putting fur on a guitar” (the minstrel’s lute).

In the scene where Kai is sitting in the hut, tied up, Sean pointed out that the wattle and daub panels, from which the walls were made, were actually moulded plastic! They had one real panel, and poured plastic onto it, then peeled it off, painted it, and poured some more on. They looked terrible in real life.



He thought Stephan Chase was a good actor; “You need to know who your villain is.”



When Kai springs out of the bracken to break the Saxon villager’s neck, Sean said he would have had his face smeared with Vaseline, to make it look as if he were sweating. By the time they filmed these scenes, they were losing the light.



Sean remembers being fascinated watching Peter Brayham organising the stunts, and by just how simple they were, up close. When Horgren surprises Kai, near his horse, it was Peter who buried the axe in the tree trunk, not Stephan Chase.



He remembers feeling the sticky “Kensington Gore” (theatrical fake blood) on his face after Kai palms his cheek as he rides away.

During the scene where Kai is lying on his sickbed, we speculated on where Arthur would have obtained the huge bunch of grapes Kai has in front of him. Sean suspects the cameraman was referencing Carravagio’s “Boy with a Basket of Fruit.”



The fire would have been made using a gas tube under some stone that had been painted to look like logs.

After the credits had rolled, Sean asked whether I had any other questions. I started by asking how he got the job!

He had acted before, in school plays and the like, but never in front of a camera. As soon as word got out about a new production, people in the business would be looking out for roles for their children. There was an audition: five boys and five girls, and a lot of those auditioning, like the Nevilles, were family friends.

The episode Director, Pat Jackson – a lovely man - must have auditioned them, but as the audition was held in Patrick Dromgoole’s office, Sean, and his younger brother Dominic and sister Jessica, were at something of an advantage. Sean himself was credited as “Sean Fleming” – his mother’s maiden name – because they didn’t want to give away the fact that he was in his dad’s production!

Sean got the part of Krist, partly because he was blond, which made him a better fit as a Saxon boy than his brother, Dominic whose hair was dark. Dominic got the part of Col’s son Frith, in “The Slaves.” He didn’t like the fact that at the end of the episode, he had to be lifted – almost thrown – high in the air by Dave Prowse. Jessica appeared in another episode as an extra.



Sean took it very seriously; he remembers rehearsing at the kitchen table with his mother. “I was the little pro – turned up with all my lines learnt!”

Being one of the youngest cast members was, “terrific! Everyone spoiled me.” People fell over themselves to look after them, especially the make-up lady, Christine Penwarden, on whom he had a crush. She used to show them how to make fake scars with Bostick, and shock their families.

When they went for the costume fittings, they were fascinated by the axes with rubber heads, used during the actual fight scenes. Saying, “This is a real one”, Oliver picked up an axe, took a swing at one of the posts in the Saxon village, struck into it, and also hit one of the female crew members - possibly the costume lady, Audrey MacLeod - on the head! She was okay though.

There were very small crews in those days – 30 or so – so everyone was racing about the whole time, but because of people like the cameraman, Bob Edwards and the director, Pat Jackson, the atmosphere was relaxed and very friendly; there seemed to be plenty of time. “It was great fun – a real confidence-booster. They made it so easy.”

Nevertheless, not being a ‘morning person’, Sean was “beguiled” by how early in the morning they started work (dawn). They only shot 3 and a half to four minutes’ worth of film each day, unlike these days, when 8 minutes is the norm. It took about a week to film each episode.

When asked how much direction he was given, Sean said, “Not enough, watching it! I think the idea was to keep us as relaxed as possible – not do take after take, which would have been intimidating for a child.” He thought he could have given a better performance. It was hard to know how much direction any of the adult cast received, because a good director would speak to the actors privately.

He didn’t see the rushes. There would be a lab. report the next morning, and the rushes would be seen the following night. Some directors invited the actors; the more experienced ones didn’t, because they didn’t want them to be distracted by thinking about what they’d done before.

Sean thinks he was paid for the performance, but has no idea what happened to the money; it didn’t end up in his pocket! He was present for the filming of some other episodes but didn’t appear as an extra, which was boring: not like being the centre of attention!

It rained, half the time, and the cast and crew would either stand under tarpaulins, film indoors, or just got on with it, pretending it wasn’t there.

Tony Shaffer – the writer of “Sleuth” - suggested that John Hurt should play Arthur; the series would have been “different”. But Patrick cast Oliver Tobias, who they already knew really well. Oliver used to bring his Haflinger 4 x 4 to their parents’ place, and drive them up an almost vertical hillside, making them all scream!

Oliver was hugely popular, “an utter delight.” He maintained friendships with all levels of the crew, to the extent that, years later, when he played the villain, Bertrand de Nivelle, in the “Robin of Sherwood” episode, “Lord of the Trees”, and had to fight Michael Praed, who played Robin, the crew were all cheering for Oliver: “Come on – give him what for!”



When the episode was broadcast, on 13 December 1972, Sean’s whole cub scout troop – all in their uniforms – came to their house in Somerset to watch it. “I was a fucking star!”

Though he hasn’t been back to the locations where they filmed, Sean sometimes feels drawn to visit them. His involvement with “Arthur of the Britons” was a very intense experience, and his attachment to it is deep set. He asked me what I thought of the series when I saw it again on DVD after nearly 40 years; I said it was better than I remembered, and he agreed. The series has stood up well.

He wanted to take up acting as a career, until his first professional auditions, which were so ugly and intimidating, he wondered why anyone would ever put themselves through the process. He probably should have gone to drama school, but his parents didn’t believe in it. He flirted with the idea of becoming and engineer, but decided it would be too dull, so he studied Philosophy at University, where he also did 22 plays, and had his own punk band, The Ripchords.

[The Ripchords' sole release was an eponymous EP with four tracks, “Ringing in the Streets”, “Music is...”, “Peace artist”, and “Television television”, was championed by John Peel, and quickly sold out. "Punk 77" described their music as “Tuneful punk with sepulchral vocals and deep growling bass”, and "My Life's a Jigsaw" as “Great garage/DIY punk.” Sean Dromgoole was the vocalist.]

When Sean finished his studies, he spent a number of years behind the camera, working for his father as an Assistant Director.

Photo of some of the crew, including cameraman Brian Morgan (third from the left). It was taken in the bower prepared in Mark of Cornwall's village for his wedding to Rowena, in "The Marriage Feast."



Thanks to Thomas Maslen for the photo.



According to the blog, "Britain is no country for old men": Brian Morgan, cameraman and director of photography, was "nicknamed the 'Prince of Darkness'" because of his preference for the use of "minimal lighting to create mood and atmosphere ..."

In the 1960s, he got a job at Harlech Television Company as a camera assistant, where he worked with "the talented Tony Impey, who taught him much about the skills of lighting for film."

Having joined "Patrick Dromgoole's 'dream drama team'", he and Tony Impey worked on "Arthur of the Britons". Brian was Camera Operator on "The Gift of Life", "Enemies and Lovers", "In Common Cause", "The Penitent Invader", "The Slaves", "People of the Plough", "Go Warily", "The Prisoner", "The Duel", "Rowena", "Some Saxon Women", "The Marriage Feast", "The Prize", "Six Measures of Silver", "Rolf the Preacher", "The Wood People" and "The Girl from Rome."

Brian also has credits for "Children of the Stones", "Kidnapped", and "Robin of Sherwood". 'Robert Young, director on "Robin of Sherwood", said he could always rely on Brian to astound and surprise him.'

His later work includes "Wycliffe", and "McCallum" and "Jamaica Inn."

See here for the original article.

Brian died in May 2012, at the age of 69.

Plot

On a winter’s day, Llud and Kai look out over the stockade, at a group of men, women and children, standing on the rise, looking towards the village. Kai expresses suspicion of the strangers - the Wood People - but Llud is more tolerant. Arthur arrives back from a diplomatic visit, and, despite Kai’s objections, sends him to invite the Wood People into the village.

Later, when some of the Wood People’s children are playing with those from the village, a Celt woman tells them off. She complains to Arthur, but he just sends all the children off on a race together.

Meanwhile, Kai is heating a sword on a brazier, to cauterise a wound to the arm of one of the men, Badric. As Llud examines Badric’s injury, one of the Wood People – a young man, Yan – offers some herbs which would allow Badric to sleep through the treatment. Badric angrily rejects the offer, and is heard screaming as his wound is treated.

At night, the Wood People’s Elder approaches the guard outside the longhouse, and covertly drops some powder into his brazier. Soon, he falls to the ground, unconscious. The Elder slips into the longhouse, and approaches the sleeping Arthur. She draws a knife and holds it over him, as if to strike, then slowly lowers the knife. Llud wakes, shouts a warning, and disarms the Elder, who then asks Arthur for help.

The Wood People claim that a band of Saxons took two of their children hostage, and demanded Arthur, dead or alive, in exchange. Kai doesn’t believe them, but when Arthur asks one of the children about the Saxon’s leader, her testimony convinces him.

Kai and Llud, in disguise among the Wood People, go to meet the Saxons, with Arthur pretending to be their prisoner. They intend to try to take the children without surrendering Arthur, but when they lose the element of surprise, Arthur gives himself up, in exchange for the children.

As the Saxons take Arthur away, intending to sell him to Cerdig, the Celts, and some of the Wood People, follow, and watch from the cover of the woods. Night falls, and the Saxons set up a makeshift camp inside a ring of torches. Arthur sits on the ground near the Saxon Leader, who threatens and humiliates him.

The Saxons start to fall asleep; Kai contemplates an attack, but Llud thinks that would get Arthur killed. Then Kai asks the Wood People for some of the Herbs of Sleep to use on the Saxons. The Wood People set off to gather ingredients, and as it starts to get light, they return with the mixture.

Yan takes the bag of herbs from the Elder, and creeps across the space between the woods and the Saxons’ torches. The Saxon Leader sends one of his men, Grend, to fetch firewood. Grend trips over Yan, who makes a run for the campfire. Felled by a blow from the Saxon Leader, Yan drops a handful of the Herbs of Sleep into the campfire, before he dies.

The Saxons start to keel over, and the Celts attack. Seeing that his side is losing, the Saxon Leader puts his sword to Arthur’s throat before the Celts can rescue him.

As dawn breaks, the Saxon Leader runs through the trees, pushing Arthur ahead of him. Arthur stumbles and falls. The Celts surround them. The Saxon Leader raises his sword to strike a death blow, then decides to bargain for his life, instead.

Arthur tricks the Saxon Leader into setting him free, then fights and kills him.

Back at the Longhouse, while the Wood People prepare to leave Arthur’s village, the Elder gives Arthur a pouch containing more Herbs of Sleep. Kai brings a gift for the Wood People. Arthur and Llud make fun of him.


Timeline

"The Wood People" appears after "The Pupil" and also after "The Treaty" on the "Konig Arthur" DVDs. However, external evidence of extreme weather which resulted in the flooding of the site prior to the filming of "The Treaty" points to that episode as the last to be filmed.

Also, in 1972, Michael's adopted sister, Wendy, visited Woollard, and saw the crew working on two episodes. She says, “they were not filming it in proper order. We spent two days there, and they were finishing ‘The Pupil’ with Peter Firth, then leaping on to ‘The Wood People’, then going back to ‘The Pupil.’”

Viewing "The Wood People" immediately after, or before, "The Pupil" therefore makes sense; they were probably filmed concurrently over a two week period. Seasonal cues also suggest this. The trees are relatively bare, and the days were so short that some scenes in "The Wood People" were filmed after night had fallen.

Suggested shooting order so far

Arthur is Dead
Daughter of the King
The Challenge
The Gift of Life
Enemies and Lovers
In Common Cause
The Penitent Invader
The Slaves
People of the Plough
Go Warily
The Prisoner
The Duel
Rowena
Some Saxon Women
The Marriage Feast
The Prize
Six Measures of Silver/Rolf the Preacher
The Games
The Pupil/The Wood People


Locations

The Wood People are first seen standing on the rise to the west of the village at Woollard.



Not much of the action takes place in the actual village, and most of it is on the north-east side, but the scene in which the sentry is drugged takes place on the south west side of the longhouse.



The final fight scene takes place in the same copse as some of Corin’s lessons in “The Pupil.”




Filming



The scene in which the Wood People’s Elder drugs the sentry, and the final scene, when the Celts say goodbye to the Wood People, are the first in the series which were filmed at night, rather than just at dusk, (like the scene in “The Pupil” where Arthur has a serious talk with Corin) or using “day for night” techniques, as in the later scene at the Saxon camp.



With night falling earlier, as winter approached, it may no longer have been necessary to pay overtime rates in order to film in the dark.


Inside Information

More memories from Michael's adopted sister, Wendy, can be found here.


Cast notes

Most viewers are used to seeing Bernard Bresslaw as a harmless, bumbling giant, in comedy roles, often in “Carry On” films, and the like, but he was capable of much more, and seemed to relish the role of the brutal Saxon Leader.

Laura Cairns reprises the role she played in “The Gift of Life”, as a Celt Woman with a particular hatred of outsiders, even when they are only children.



In 1977, The Wood People’s Elder, Daphne Heard, appeared in a rather simlar role, that of Martha Tyler, in the Dr Who episode, "Image of the Fendahl", along with Tom Baker, who appeared in "Go Warily."


Author note

According to his website (no longer extant), David Osborn, a New Yorker by birth, left the USA when black-listed, along with one of the actors in a radio play he had written, during the McCarthy witch hunts. He went to France, where he owned and operated a small rock quarry on the Cote D’Azur.

Around 1958, when his script for “Chase a Crooked Shadow” became successful, he came to work in England, and spent many years writing for film and TV, including three of the episodes of “Arthur of the Britons” with the most overtly political messages: “Some Saxon Women”, “The Wood People”, and “The Games.”

When contacted in 2013, David Osborn’s immediate recollection was that he “created the series, wrote a pilot script and received an award for it as best children's series”, though he admitted that his memory, at the age of 90, was a little hazy. (He must have been referring to The Writers’ Guild Award, shared with the other writers on the series.)

“If I remember correctly, I was approached by a TV company … and asked to come up with a series. I took a different approach than the usual Knights of the Round Table etc. and cast Arthur as a tribal chief of the Britons who was waging guerrilla warfare as his people were being slowly driven out by the Saxons.” He also said, “I've written nine novels since, am deep into my tenth, and have finally hit ninety, so I might be excused at being less definite.”

Patrick Dromgoole is generally thought of as the originator of the series, and the episodes written by David Osborn were all filmed during the later half of the shooting, so whether Osborn was actually as deeply involved in the creation of the series as he remembers, we will probably never know. But according to James Chapman, in "Swashbucklers: The Costume Adventure Series”, “HTV was too small an outfit to mount such an ambitious undertaking itself and had to seek co-production partners. Arthur of the Britons was produced in association with Heritage Enterprises of New York … which released an abridged feature film from the series, King Arthur the Young Warlord, in America in 1975 …” Perhaps New Yorker David Osborn was part of this US connection.

He had earlier written the original screen story for “Whoever Slew Auntie Roo?”, in which Michael Gothard appeared, so if he really was involved in the genesis of “Arthur of the Britons”, it may not be too much of a stretch to see his influence in Michael’s casting as “Kai”. Osborn’s personal experience with a rock quarry may have provided the inspiration or background for “The Slaves.”


Cursèd witches

This episode sends a clear message, and one still relevant nearly five decades on: that we should not shun outsiders, just because they seem different or strange, and that we should help those in need. David Osborn chose Kai as the main voice of superstition, fear, and intolerance, who has to learn this lesson on the viewer’s behalf.

When we first see the Wood People huddled outside Arthur’s stockaded village, Kai is oddly fearful of them, comparing them to “a hungry bear, waiting for a wolf cub to leave its lair”, and saying they are “cursèd” and “bring nothing but trouble”. Perhaps, as an outsider himself, he feels the need to “pull the ladder up” behind him.

The more tolerant Llud, comparing them to “carved statues”, observes that it’s easy to unfairly lay the blame on them for any misfortune.

When Arthur, finding Kai’s prejudice amusing, tells him to invite them into the village, Kai trots out more xenophobic objections: that the Wood People are “witches”, “unclean” and “bring diseases.” His genuine fear and disgust when one of the women rushes forward to thank him, are almost comical.

But Kai isn’t the only one who doesn’t like them. The same shrill Celtic woman who advocated drowning the Saxon children, Krist and Elka, in “The Gift of Life”, complains to Arthur about the Wood People’s “dirty brats” playing with her own children. Kai must have spread the word that they’d been told to stay in their hut.

When Arthur tells Kai that the whistle he gave one of the Wood People’s children “will offset the dreadful curses those witches would cast on us”, Kai realises that he is being mocked again. He gives Arthur a dry look, and but still insists, “I’ll still sleep easier when they’re on their way.”

Despite their mixed reception in the village, the Wood People try to be helpful. One of them offers Badric some “Herbs of Sleep” when his wound has to be cauterised. But Badric rudely rejects any offer, “from a scavenger”.

That night, when the Wood People’s Elder uses those same herbs to drug the guard outside Arthur’s hut, then makes an abortive attempt on his life, Kai feels justified in his original suspicions, and acts as unofficial prosecutor.

Seeing Arthur give himself up in exchange for the child hostages, Llud begins to agree with Kai, that the Wood People have a curse on them.

When the Wood People join the Celts to help get Arthur back, the Elder shows they are well aware of how different they are from the Celts or Saxons, who are “not enough at one with the rocks and trees.”

She says that if one of “the despised People of the Woods” are spotted by the Saxons, “when they finish killin’ him, they will just laugh and spit on his corpse, and leave your leader alone.” And the Saxon Leader does exactly as predicted – then berates Arthur’s people for their cowardice in sending “witches” to rescue him.


"By the Gods!"

Llud succinctly describes how superstition works: “When things go well … we thank our gods, but when trouble comes, we look elsewhere for the cause.” But nearly everyone seems keen to enlist the deities to their own side. One of the Wood People tells Kai, “God protect you for your kindness”, and before attacking the camp, Llud says, “May my gods help me. May Arthur’s god help him” - as if the two sets of deities happily co-existed. Kai prefers getting practical help.

Even the evil Saxon Leader thinks the heavens are on his side, telling Arthur “by the gods I’ll slit your gullet” and “by the gods, you will be the first to go.”

Arthur doesn’t trumpet his beliefs, but sets an example of Christian charity, firstly by offering food and shelter to the Wood People, then by sacrificing himself to save two innocents.


Dark Age Men

Badric rashly refuses to consider pain-relief when Kai is about to burn the infected flesh on his arm: “I am not a sick child that I need comfort! I’m a warrior! I don’t run from pain, like … like some woman!” Arthur shows more sense: “were it I with that wound, I would have perhaps forsaken honour and accepted sleep, gratefully.”


The best laid plans …

Yet again, Arthur and his people don’t seem to have thought things through very carefully. They should have taken more of the real Wood People with them to the prisoner exchange, in case the Saxons were expecting to see the same individuals they originally ambushed, as well as to reassure the child hostages.

A cynical person might also question the wisdom of handing one’s charismatic leader to the enemy, in exchange for two children of no strategic value, without a better rescue plan than: “Keep well hidden. And take your chance.”

But it’s interesting to see both the Celts and Wood People using camouflage, be it smearing their faces with mud, or hiding under a green cloak.


Arthur’s wisdom

Arthur is still struggling to unify the Celts. He is realistic about his progress, saying of Dirk: “He made his mark. He would disown it if it suited him … He demonstrates his wish for peace, even if it is only because he doesn’t feel strong enough for war.”

Arthur then handles a tricky situation with determination, putting forward rational arguments in favour of bringing the Wood People in, rather than just overruling Kai, as he might have done.

He even chooses to finesse the angry Celt woman, disingenuously claiming that Kai was only thinking of the Wood People’s comfort when he told them to stay in their hut, while making it clear that he wants all the children to play together. He softens her attitude by showing that the strangers’ children are no different from her own.


What have the Romans ever done for us?

The Romans may have been driven out of Britain, but apparently there are still some former gladiators roaming the countryside, hiring out their services. The Wood People’s child describes the Saxon Leader with awe: “he’s made marks on his sword hilt for all the men he’s killed. Lots and lots! He fought as a soldier in the Roman Legion … And he was a gladiator.”

And this ex-gladiator likes to brag about his kills: “This was a Nubian, twice your size. And this was a Greek, with a trident and net. And this was a Jute.”

Predictably, Arthur has nothing but contempt for the Romans’ idea of entertainment: “Just brutal, senseless killing.”


“My word is my bond”

In “Daughter of the King”, writers David Pursall and Jack Seddon introduced the idea that it was important to be able to trust a leader’s given word. On this occasion, Arthur played a trick on Eithna, to find out whether Bavick’s promises could be relied upon.

Michael J. Bird then made Arthur’s word a crucial factor in his episode, “In Common Cause”. Arthur promised to give Cerdig some of the Celts’ animals to replace those the Saxons had lost to a plague, and left Kai as hostage to that promise. When Kai escaped, and urged Arthur to keep the animals, Arthur left it to Kai to decide whether this was the right thing to do, and after much soul-searching, Kai agreed that the promise should be kept.

In “Rowena”, written by Robert Banks Stewart, Arthur insisted - against his own wishes - on keeping his word to Yorath, by delivering Rowena to Hecla to be wed, against her will. He pointed out that, as she originally agreed to the match, she too had an obligation to keep her word.

In David Osborne’s “Some Saxon Women”, Yorath accused Arthur of rescuing the women from his camp, and refused to believe Arthur’s angry denial. On the basis of this loss of credibility, the Celts’ peace treaty with the Jutes nearly foundered.

But in Robert Banks Stewart’s “The Prize”, Arthur lied to Mark, over and over, to get him to come along on the expedition to save Llud and Kai. When the lives of his father and brother were at stake, Arthur was ready to take full advantage of his reputation, and cash in all the credit he had built up over the years, to save them. His strategy worked; when Arthur finally admitted that their mission was to save Kai and Llud, Mark could scarcely believe it. The idea that Arthur was basically honest, truthful and reliable, was so set in stone that even Mark - despite his initial suspicions - was completely taken aback.

And in this later David Osborne episode, Arthur again takes a much more flexible approach to the truth. When the Saxon Leader has him at sword point, Arthur promises that if he is set free, none of the Celts will stand in the Saxon Leader’s way, or try to harm him. But when released, Arthur says, “I gave you my word that none of my men would stand in your way. I said nothing of myself. If you want your freedom, Saxon, you must fight for it.”

Here, Arthur is clearly weaselling out of a deal. His men are standing in the Saxon Leader’s way - they have him surrounded. He has to fight Arthur. And if he had won the fight - killed Arthur - Kai and Llud would certainly have killed him, if they could.

Keeping his word, and being known for doing so, gives Arthur a strategic advantage, but in this case, the practical benefits of betrayal far outweigh the disadvantages. A menace to society will be removed, a dead Saxon Leader will tell no tales, and Arthur's reputation for reliability will remain intact.

Even so, Arthur seems to be feeling guilty, because after he kills the Saxon Leader, he feels the need to justify his action, with a speech: “Two and twenty notches. And I warrant not one of them for a cause. Not one of them in defence of right or justice. Just brutal, senseless killing.”


The hot-headed side-kick

For all that Kai seems rather prejudiced in his attitudes, he only does what a good Executive Officer should: pointing out the possible dangers of Arthur’s charitable intentions, and challenging what the Wood People say in their defence, until he is satisfied that they are telling the truth. Later, he is not too proud to ask them for help when Arthur is in danger, and despite the fact that their problem almost gets Arthur killed, he eventually decides that they aren’t such bad sorts after all.


Celts and Saxons

We haven’t seen or heard from Cerdig for some time, but in the last three confrontations between the Celts and Saxons – in “The Slaves”, “The Duel”, and “Rolf the Preacher” – the Celts came out on top. If, as Kai and the Saxon Leader believe, Cerdig will “pay a fortune” for Arthur, it seems that Cerdig sees him as a real threat.

Kai speculates that Cerdig would kill Arthur, “slowly, in a public ceremony”. We haven’t actually seen any evidence that Cerdig is particularly blood-thirsty, but his slaves at the quarry were treated brutally.

The Saxon Leader has hopes that “if Cerdig’s feeling in a good mood”, he’ll be allowed to kill Arthur. Hardly a shining example of civilised behaviour himself, he implies that the Celts are uncouth: “You’re a pig, aren’t you? Pick it all up with your teeth, Pig!”


Great Moments

Kai, offering to run the Wood People out of the area, and Arthur telling him to invite them in.

Arthur, annoying the angry Celt Woman by encouraging her children and the Wood People’s to play together.

Arthur giving himself up in exchange for the children.





Arthur’s fight with the Saxon Leader.

Kai, when he brings his gifts to the Wood People, looking at Arthur and Llud as if to say “Go on then! Take your best shot!” and their gentle mockery.




Quote/unquote

Arthur: He demonstrates his wish for peace, even if it is only because he doesn’t feel strong enough for war.

Llud: He’ll sleep alright. Either before … or afterwards.


“That is bloody dangerous!”

A.S., the daughter of one of Michael's friends, recalled: “Health and Safety? Michael has a scene where he is supposed to cauterise a wound, in ‘The Wood People’: real sword in real fire, only substituted at the last minute! Child actors running round close to the fire! I don't remember any rehearsal for that either.”



Yan (Christopher Douglas) falls into a fire.




“Night-night, Kiddies!”

Dark Age medical treatments are no fun.



A lot of people, including one of the Wood People’s children, are threatened with swords or knives in this episode.








Dressed to kill?

The Wood People all wear cloaks, even indoors.



It was clearly quite cold when they were filming the first scene, as Arthur is wearing his big grey fur cloak, inside-out; Kai, his big cloak with the fur trim, and Llud, a kind of blanket, over the studded tunic he has had since “Arthur is Dead”, with his new green shirt underneath. Llud doesn’t change his costume for the whole episode.

When Arthur takes his cloak off, he reveals a shirt in wet-look leather, with the pale blue shirt underneath it, while Kai starts the episode in a the rather fancy purple tunic with fawn trim, first seen in "The Games." He evidently didn’t like it much, because it is never seen again. Perhaps it was a bit too feminine! Over it, he wears the same sleeveless leather jacket which he had on while fighting Corin in “The Pupil.”



For the scene where the Celt woman complains about the Wood People, and also when he is handed over to the Saxons, Arthur wears the sleeveless sheepskin jacket from "The Prize" over his wet-look leather.



When he is cauterising Badric’s wound, Kai wears the suede shirt first seen in “The Challenge.”

When the Wood People’s Elder slips into the longhouse, Kai is sleeping in the white cheesecloth shirt from “People of the Plough.” Arthur is still in the pale blue shirt.

During the scenes in the woods, Kai is wearing a dark brown studded suede jacket – possibly the same one as in “People of The Plough”, but with added studs.



The hearing around the longhouse table, and the scene where they bid farewell to the Wood People, are probably some of the ones filmed on the same day as scenes from “The Pupil”, as Arthur, Kai and Llud are wearing the same basic costume in all of them.





Kai has reclaimed the pale blue shirt from Arthur, and also wears the green jacket with the big furry sleeves, with big white shaggy jacket on top, and Arthur is wearing his new dark brown studded tunic, with the circular designs on the chest.


“A man on a horse is worth ten on foot”

Arthur arrives back after his trip to see Dirk, riding Bernie. Kai rides Merlin to go out and speak to the Wood People. Other than that, everyone travels on foot.

See also: The Equine Stars of "Arthur of the Britons" and The horses of "Arthur of the Britons": quick reference ID pictures.


Honourable mention …

… for everyone’s favourite witchy granny, The Wood People’s Elder, played by Daphne Heard.


Extra! Extra!

Daphne Neville, whose field was flooded to drown the Saxons in “Arthur is Dead”, is the Wood Person standing to the right; the girl in the brown hood,who tells Arthur about the Saxon Leader, is her daughter, Perry.

This episode sees one of the earliest appearances by David Rappaport (front, centre), who would later star in “Time Bandits.”



But he wasn’t among the eight Wood People waiting outside the palisade at the start of the episode. Where did he suddenly appear from? And why bring him in, if he’s just going to stand there, without saying a word? Perhaps the obvious presence of a dwarf among the Wood People was intended to emphasise their role as outsiders.


What’s going on here?

Some of the Wood People have long staves, topped with what looks like wads of sheep’s wool. Their function is never explained. Luckily, they don’t seem to be weapons, because Arthur’s village looks as if it might be vulnerable to a spear, thrown from the hillside nearby!

Arthur has been to visit Dirk; but why haven’t we seen this important ally since the first episode? Perhaps it was because the actor, Donald Burton, was very busy on a number of projects, including both “Upstairs Downstairs” and “War and Peace.”

Arthur rather dryly asks Kai, “Are those Barbarians still plaguing us?” - though he must surely have seen them as he rode in!

The Wood People’s Elder goes alone to the longhouse, apparently intending to stab Arthur while he sleeps. Presumably, she intended to exchange him for the child hostages – but how did she plan to get his dead body out of the longhouse, on her own, without waking Llud and Kai? Perhaps these difficulties only occurred to her as she raised the knife, and were the reason for her sudden change of heart!

In any case, she could definitely have chosen a more convincing way to ask for help!

And one can’t blame Kai for being sceptical about the Wood People’s story. Why would a roving band of Saxon looters expected the Wood People to accomplish something they couldn’t do for themselves? Though, having said that, they did persuade Arthur to hand himself over to them!

Arthur asks one of the children about the Saxon’s leader, what she tells him appears to quickly convince Kai. Had they already heard about this ex-gladiator? And why are we never told the Saxon Leader’s name? Surely such a boastful fellow should have been bandying it about!

When they go out into the woods for the hostage exchange with the Saxons, Arthur shouts out to the Saxons, “The children first.” He seems to have forgotten that he’s supposed to be the Wood People’s prisoner, and as such, he shouldn’t be the one making demands.

When the Saxon Leader releases the first hostage, it seems a bit odd that the boy doesn’t eagerly run to Llud, though he doesn’t recognise him. The Saxon Leader seems so unpleasant that anyone would prefer to take their chances with a stranger.

Llud complains that the Saxon Leader always stays out in the open ground, and won’t move into the forest until they reach Saxon territory. But the Celts usually complain that the Saxons cut down all the forests. So why are most of the forests in Saxon lands, rather than around Arthur’s village?

The Wood People’s Elder gives Arthur a pouch containing more of the Herbs of Sleep, saying “you may yet find a use for them again.” Perhaps there were plans to include another story featuring these herbs, had there been a third series.

And perhaps it had already been decided that this episode would be shown last in season one. Kai’s “See you next year”, sounds as if it might be addressed, not just to the Wood Child, but to the audience as well.




Music

Some of the music tracks used in this episode were:

Track 20, The Fair Rowena: the Wood People wait outside Arthur’s village.
Track 19, Celtic Dance: the Celts’ and Wood People’s children play together.
Track 15, At Dead of Night: the Wood People’s Elder approaches the sentry.
Track 17, Pensive Moment: Arthur questions the Wood Child.
Track 5: To Battle! – the prisoner exchange goes badly; Arthur is taken away.
Track 6, Infiltration and Treachery: Arthur surrenders; the Celts spy on the Saxons; the herbs of Sleep are gathered; Yan sacrifices his life for Arthur’s.
Track 8, Kai the Saxon/Skirmish and Rout: the Celts pursue the Saxon Leader.
Track 16, Danger Mounts: Arthur tricks the Saxon Leader.
Track 12, Duel: Arthur and the Saxon Leader fight.
Track 30, Night Scene: Arthur denounces the Saxon Leader’s behaviour.
Track 29, Pastoral Episode: the Celts bid the Wood People farewell.

The whole suite of music, beautifully written and orchestrated for the series by Paul Lewis, is now available on CD.


Cast

Arthur ……………....... Oliver Tobias
Kai ……………….…... Michael Gothard
Llud ………………...... Jack Watson
Saxon Leader ..….......... Bernard Bresslaw
Wood People’s Elder … Daphne Heard
Yan ……………….….. Christopher Douglas
Celt Woman ..…............ Laura Cairns
Child …………….….... Perry Neville
Woman ……………..... Daphne Neville
Badric ……………....... Eric Mason

Crew

Director ………….…... Sidney Hayers
Writer .……………….. David Osborn
Executive Producer ….. Patrick Dromgoole
Producer ……………... Peter Miller
Associate Producer ….. John Peverall
Production Manager … Keith Evans
Post-production ……... Barry Peters
Fight Arranger ………. Peter Brayham
Cameraman ………….. Bob Edwards
Camera Operators ….... Brian Morgan, Mike Haftie
Editor ………………... David Williams
Sound recordist …….... Mike Davey
Art Director …………. Doug James
Set Dresser ………….. Ken Bridgeman
Assistant Director …... Stuart Freeman
Production Assistant ... Ann Rees
Costume Design .……. Audrey MacLeod
Make-up …………….. Christine Penwarden
Incidental music …….. Paul Lewis
Theme music ………... Elmer Bernstein

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.”



“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.

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.”



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.”

In July 1972, composer, Paul Lewis was briefed to compose the score for "Arthur of the Britons." Here, he shares his memories of his experiences.

One afternoon in 1972, Executive Producer Patrick Dromgoole rang me, and asked me to be in his office the following morning [3 July 1972], so I got up very early and drove across the south of England to Bristol, with no idea why Patrick wanted to see me. While I was waiting in HTV's reception area, the commissionaire mentioned that they were making a series about King Arthur.

A Celtic-style melody immediately sprang, fully formed, into my head; I took an envelope out of my pocket and wrote the tune on the back of it. The melody became The Fair Rowena, and I still have the envelope.



I was asked by Producer Peter Miller to compose a library of music to cover every possible eventuality, including battles on foot and on horseback, children playing, and dramatic chords, for Arthur of the Britons, the series.

Luckily, having also been an archaeologist with a special interest in the medieval, I knew a lot about the period, for nothing had been shot¹ and only two scripts had been written. I didn't even know what the lead actors looked like! I discussed with the producers the various situations that music would have to cover, and thereafter used my imagination and historical sensibilities to gauge the musical style, embarking upon the composing of a score that is considerably more terse, energetic and astringent than my music is wont to be, in order to reflect the barbarity of the age.

I also orchestrated Elmer Bernstein's Title Theme from his pencil sketches, ignoring his suggestion to use a bass guitar. (I think he was confusing the West of England where the series was filmed with the Wild West of America!)²

I remember the intensity of composing so much music and scoring it for orchestra in such a short time, working every day from six in the morning till midnight and often one the following morning. I still have Arthur dreams: another series is going to be made and I'm back in Bristol to see the shoot and talk about more music ... Strange really - it's not as if I've done nothing exciting ever since!

I do it all. I always compose in pencil, orchestrate - (the sound of the orchestra is in my head as I compose) - and finally conduct the orchestra and produce the recording sessions. The only thing I delegated was the copying out of the parts from my orchestral score for the individual musicians: I employed a professional copyist.

I never underestimate the importance of the viewer; after all it is for you as much as for the director or even myself that I have composed so much TV music. I wrote many years ago: "I have never regarded television as a lowest-common-denominator medium, or indeed as the poor relation of cinema, but have always regarded as a challenge and an honour, the opportunity to compose the best possible music for the largest possible audience."

I could have said "the best possible music that time allows" … The timing was very tight indeed. From briefing, I had only 25 days to compose and orchestrate 80 minutes of music, mostly for full orchestra, before a 3-day dash to Brussels for two days recording with what was basically the National Symphony Orchestra of Belgium³ on a day off. And all on a budget of £3,000!

At the first session, on the evening of 28th July, we recorded the Celtic homestead music, including the recorder and harp piece I jotted down in HTV reception.

The next day there were two four-hour full orchestral sessions; the orchestra was superb, and Studio Fonior and its recording engineer Walter Coussement were magnificent. No re-mixing of any sort was required.

Arthur finished off a love affair with a Russian artist who complained that I hadn't told her I loved her for two weeks – “I HAVE been rather busy” was my reply - and made way for a love affair with a Chinese art student who was more understanding!


Paul Lewis with Chinese art student, Hiang

I took the music tapes to HTV the following week. To my surprise and delight, Oliver Tobias sat with us and listened to the entire score. Not only was he a lovely man, but I had never had a star take such an interest in the music before, and I haven't ever since.

A week later I was asked for a further 20 minutes of music, mostly variations on Bernstein's theme, and had a week to compose those before dashing back to Belgium!

A composer's responsibility is huge: the right music can make a film, the wrong music can ruin it. We also have to thank the Arthur of the Britons film editors. I had composed a large suite of music – themes, underscores, action music etc. After I had shown the editors how to score a couple of episodes – how to use the music, in other words – they did the rest without me, and all did a wonderful job.

Some of them soon found favourite pieces and used them repeatedly; one actually reversed the tape and played a music cue backwards. It was a long sequence of sustained string tremolos punctuated by drumbeats, rising in pitch and intensity to a big climax. There was a fight in the mud which got slower and slower until the combatants dropped from exhaustion, so editor Alex Kirby played the music backwards so that it gradually sagged away to nothing! So resourceful, and the joke is I never noticed! So much grunting, clashing of weapons and muddy splodgy sounds!

The first time I saw a photo of the three lead actors was August 1972, a couple of weeks after I recorded the music. Luckily, they matched the picture I had in my mind as I composed!

Paul Lewis



¹ Filming was scheduled to begin during June, and Director Peter Sasdy remembers that it started on time. Also, a news article which mentions an injury sustained by Oliver Tobias while filming "The Challenge" pins the filming of that particular episode – the third to be filmed - to the second week in July. It therefore seems likely that much of the first episode, "Arthur is Dead", was actually filmed during the last week in June, prior to Paul Lewis' meeting with Patrick Dromgoole. However, it was far from complete, which might explain why he wasn't shown the footage.

² It was suggested that the fact that “Arthur of the Britons” was partly financed by a company which produced many Spaghetti Westerns - Heritage Enterprises of New York - might have helped get Elmer Bernstein on board to do the theme. Paul Lewis replied: “Indeed you’re right … When Elmer sent me the short score (a detailed sketch) of his theme to orchestrate … I said straight away to the English producers that it sounded like a Western. “You should see our opening film” was Executive Producer Patrick Dromgoole’s only response. (He had a very dry sense of humour).

Years later, Producer Peter Miller told me it was an unused theme Elmer wrote for a Western, that Heritage had knocking around in a drawer! So Elmer didn’t write it specially after all. What he was paid, if anything, I never asked and was never told.

Of the Bernstein theme, Paul said, “it was rousing but totally unsuitable. After I recorded my incidental music I was put to work again to write some tracks based on Elmer’s theme. In the first, “Apotheosis”, I attempted to take the theme as far from its origins as its opening phrase would allow, hoping that this would become the opening title music, but as you know it didn’t! Actually … what I really wanted was for the opening section of track 8, now called “Kai the Saxon”, to be the theme tune, and not use Elmer’s at all! Should this sound like sour grapes, I should reiterate that I appreciate all the qualities of EB’s tune – except its cowboyishness!!!

³ For contractual reasons, Paul invented a name for the orchestra - “The Belgian Studio Symphony Orchestra” – for use on the CD.

The incidental music, beautifully written and orchestrated for the series by Paul Lewis, was released on CD in Summer 2013, and is available here.

Patrick Dromgoole, the Executive Producer of "Arthur of the Britons", was kind enough to answer some questions about the show. Here is what he remembered.

Arthur: a fresh take on the legend

You ask where the idea to do a realistic series about Arthur came from – I think probably Geoffrey Ashe the historian was one of our main influences. I read his books before we set about putting it together and although I was working with an American co-producer who wanted shining armour and galloping horses along with the Malory version, I stuck to my guns and insisted we would have something more original if we set it where it belonged – in the 5th century with Arthur, as a Dux Bellorum but not as an actual king. That's actually why we called it "Arthur of the Britons" – when it went out in America they renamed it "King Arthur", despite the fact none of the stories bore the title out.

We tried to take a lot of the main incidents from the romantic history of Arthur and turn them into realistic occurrences that could have created a myth. You may remember that the myth of Arthur being the only person who could pull a sword from a stone was re-interpreted in our version as his inviting all the competing and disputing chiefs and kings to pull a sword from under a huge rock and then persuading them all to push the rock while he pulled it out himself – neatly emphasising his point that they must all band together to keep the Saxons at bay. Corin was an echo of the evil Mordred, underlined by the choice of his father’s name. The jealousy of Arthur and Kai over Eithna is a common dramatic triangle, as in the original Malory.

It was difficult to stick to a realistic theme of an available gang of pro-British professional soldiers available where needed, without losing the mystical aspects of Merlin.

Scripting

Putting the brief together for the writers would have been done by myself and Peter Miller the producer, after a great deal of discussion. Ideas grow in lengthy conversations with authors.

The scripts were not written before filming started. We had enough to start filming, but made a lot of changes according to the performances of the actors and what seemed to make a successful episode as we went along.

Characterisation would have been maintained by the editing of the series in Peter Miller’s office and in mine, and I think most of the episodes fitted in pretty well. Any leader at any time will be likely to rival President Bush in his use of the phrase "for the greater good" and this might well have been Arthur’s justification when putting Kai at risk. [In the episode, "In Common Cause."]

The Actors

Oliver was a good friend, and a splendid star to work with.¹ I had seen Michael in "The Last Valley"; he was an artist of high standards. Jack Watson was the most cooperative man you could ever wish to work with. Brian Blessed I knew well.

Practicalities

Most of our costumes were made by our own wardrobe department, and although some were hired, probably from Berman’s most of them were made to our requirements; nearly all our photographs were taken by a staff photographer.

Most of the accommodation found for the actors would have been in Bristol. They would have stayed in hotels or indeed apartments leased for them for the duration. I don’t think anyone has ever spent the night in the location caravan. Not officially anyway.

Filming

We shot the episodes out of sequence, and the B unit would have been working on any filming or re-filming necessary from previous or future episodes as well as on the episode currently being filmed by the A unit.

Filming all the episodes of Rowena and Yorath would probably have been "bunched", as a result of the artists’ availability. Gila [von Weitershausen] was only available for a limited time, as far as I can remember; that may well have influenced our looking elsewhere. [for new love interest: Catherine Schell as Benedicta in "A Girl from Rome.”]

I think any of those directing could have handled any of the episodes – I don’t think we chose directors on any grounds other than availability once we had settled on our teams.

As far as I can remember there was a break between the two series, and certainly the long house that we built and used was adapted for a number of different episodes.

[In the episodes filmed later on] the village was the same, but in deference to their architectural taste we shot it from two different points of view in long shot according to whether it was Jute, Saxon etc. or Brit – the Germans favoured, as far as I can remember, a rather longer roof than the Brits did. I believe Brandreth’s camp [in "Go Warily"] was in the Blackdown Hills.

Incidents

Funny stories – well. I don't remember many. Oliver's spear injury terrified the life out of us, and might have been quite serious although he tended to play it down and got out of hospital and back to work as fast as he possibly could. One particularly touching scene I remember was where Gila von Weitershausen was emphasising her maidenhood in a love scene when we had to stop shooting because her baby started squalling in the background.

At the risk of sounding cruel, one of my happiest memories is of a particularly pompous German actor who was taking part² (mainly because of the co-production arrangements) who usually spent an incredibly long time in make up and one occasion after keeping us waiting a long while, arrived looking quite splendid and fell flat on his face in the mud. We lost even more time as a result while his costume, make up and persona were repaired, but it was worth it.

Dubbing

When the series was sold to a new market the dubbing would be left to them – or indeed, the subtitling, if that was what they preferred. The German market was a slightly different situation as we were working in co-production with them, and some moments were actually filmed in German as well as English.

Tales not told

In the manner of our kind we probably hoped for another series – and of course we were in a good position to proceed from where we left off. But there was never a third, fourth, fifth series made simply because the competitive difficulty of scheduling one drove the series out of existence. Dozens of scenes must have ended up on the cutting room floor, but I gravely doubt if any record of them remains.

~~

¹ In a magazine interview, Patrick was to say of Oliver: "He has about him an atmosphere of brooding power. He is dangerously quick in his movements, an expert horseman and sword fighter, with the added qualities of charm, humour and wit. If we'd searched the world we couldn't have found a better actor to play King Arthur."

² This was presumably either have been Georg Marischka, who played Yorath the Jute in a number of epsiodes, or Ferdie Mayne, who played the Greek trader in "Some Saxon Women."