March 2017 – Page 3 – What Was Pebble Mill?

John Craven on Countryfile

Here are a couple of screen grabs of John Craven presenting on Countryfile.
Thanks to Ian Collins for making the stills available.

The following comments were left on the Pebble Mill Facebook page:

Jo Moore: ‘I’ve got half an idea that I was the AP on this item…I think it was an Alan miller shoot – possibly when we were doing something about water/ irrigation etc.
I still see John from time to time and like most people who’ve been lucky enough to work with him – he taught me SO MUCH about all things tv. A total gentleman, generous of spirit and warm beyond measure. Some of my happiest telly times.’

Alan Miller: ‘It rings a bell with me too but I cannot be sure I was the director or merely compiled the programme it was in. That’s the trouble, I made so many films with John that I have lost track.’

Andrea Buffery: ‘The bath scene was for a compilation programme directed by Joanna Brame starring Bob the duck!?! and my old snorkel’

Dawn Trotman: ‘The compilation had Charlotte Smith’s bog snorkelling piece in it I think? The train pix was I think from the scenic train journey items we did just before we left Pebble Mill. John always pulled the whistle! A true legend and one of the nicest men in telly.’

Kulwant Sidhu: ‘I directed JC on a steam train thread for CF on several occasions…that screen grab looks like Severn Valley…but could be mistaken. Great man, great raconteur.’

Roy Thompson: ‘Such a great guy, really helped and guided me during an attachment to Countryfile.’

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Spotlight on Graphics 1992

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This article is from Midlands News, the internal BBC newsletter from June 1992. It gives an insight into the work of the Graphics department at Pebble Mill, and mentions a number of the staff and programmes being worked on.

Thanks to Stuart Gandy for sharing the article.

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Trinity Tales

This photograph of Alan Plater’s, Trinity Tales, (BBC2, 1975) includes, left to right: Bill Maynard, David Rose, Gaye Brown. It was taken on location at Wembley for the Rugby League Final. David, although the producer, obviously also wanted a Hitchcockian moment.

The following comment was left on the Pebble Mill Facebook page:

Steve Saunderson: ‘I did a couple of days as Focus Puller on this series. John Williams was the Cameraman and all I remember was that the “in vision” old mini-bus kept breaking down. I was lodging at the legendary “Mrs Meakings Theatrical Boarding House” at the time and so was Gaye Brown and one or two other cast members.’

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Martin Chuzzlewit TX card

This is the transmission card for the 1994, BBC2 drama serial Martin Chuzzlewit. The adaptation was written by David Lodge, produced by Chris Parr and directed by Pedr James, with Gavin Davies as the production designer.

Thanks to Ann Chancellor-Davies for sharing the TX card.

The following comments were left on the Pebble Mill Facebook page:

Ian Barber: ‘That was on location in Kings Lynn, we had an amazing time there.’

Gary Williams: ‘I believe Tony Fisher did all the graphics and I loaded up all the opening/closing credits!’

Sue Haslam: ‘Looks rather like some of Tony Fisher’s wonderful calligraphy on the title too…’

Terry Barker: ‘I had just started working for Chris Parr as the show was being edited and I well remember the difference of opinion between him and Pedr over the number of cockroaches on the opening titles. Chris won, and it was less than 12.’

Camilla Fisher: ‘If you are interested in seeing more of the artwork for Martin Chuzzlewit check out the Tony Fisher archive at the library of Birmingham.’

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All Memories Great and Small – part 5 John Williams

John Williams, cameraman

Excerpt from “All Memories Great & Small” by Oliver Crocker

Memories from John Williams (Film Cameraman):

‘For the lambing scenes, Wardrobe came up with the wonderful idea of mobile hand warmers, bags of something or other that stayed warm for long periods. Wardrobe never let the cast down, hence Peter Davison’s scarf wrapped around his head in the opening scenes. Christopher Barry was a good director who knew and understood the scripts, so he would work out the structure of what we had to get in the can and we had a relationship where he trusted me to get on with it. We couldn’t expect the animals to perform as directed, so I had to be aware of what specific shots were needed and just get them. Robert Hardy was very good, he had his work cut out working with these live wild animals, which could be difficult as they weren’t very predictable, so he didn’t have an easy time.’

60 cast and crew have shared their memories for this new book, which is available to preorder now from Miwk – http://bit.ly/2d7p5ts

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John Williams has also published his own memoirs, Shoot First, No Ordinary Life, which is A4, 216 pages full colour, 96,500 words; it is being sold at cost £14, plus postage or can be collected.If you would like a copy please contact John on john@willbriar.myzen.co

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