A PLATFORM AT THE ROYAL NATIONAL THEATRE WITH SHEILA HANCOCK IN THE OLIVIER THEATER, WEDNESDAY 20th JULY 2005 - First-hand report and photos by Leila!

Sharyn and I arrived at the theatre about 45 minutes early for the Platform, however we have been in London all day enjoying the wonderful weather. We sat in the bar for a little while chatting, as people started to gather for the show. There was a band playing outside and the lovely music was coming into the theatre though the open doors of the National Theatre. At about 5.45pm we made our way up to the Olivier Theatre which is on the other side of the National from where we were. We were let into the theatre at about ten to six.

As we entered the theatre, the ushers gave us a piece of A4 sheet of paper, with some information about Sheila and Sandi Toksvig (who was chairing the evening). We took our seats.

The lights went down and Sandy came onto the stage, and told a lovely story about the first time she meet Sheila when she was working back stage on ‘Annie’ in 1978. Sandy had to go on stage with lights on props. She meet Sheila as she went under the stage to do her next bit and Sheila just said ‘Its ok Sandy your queue is before mine!” Sandy was shocked not only did Sheila know her job but she also knew her name! This is where she introduced Sheila.

Sheila came onto the stage with everyone cheering. She was wearing a colourful blouse and Jeans.

Sheila made some comments about when she worked at The National Theatre 1988, She said she had the same dressing room for all the time she was there. However she was working in all three theatres there and didn’t know where she was suppose to be. She said that Ian McKellen had to guide her to the stage at the right time. Sandy said it must have been great to have Ian McKellen as a guide dog.

Sheila stood next to Sandy to show everyone that Sandy is quite smaller than Sheila.

The first thing that Sandy told us was that on Tuesday 19th July, Sheila had been given a doctorate at Portsmouth University. Sheila is now a Doctor of Letters! Sheila made a joke about liking the robes and that she looked like she was auditioning for Harry Potter. Everyone was cheering that she had been awarded this honour.

The conversation then moved to Sheila’s childhood and her living in pubs, Sheila explained how she did the whole of Snow White and The Seven Dwarfs, for the ladies who wanted a quite drink on the ladies bar. She also told of her first role on stage as Dopey from the said play at school. She told the story about how she wanted to be Snow White and she was really disappointed when she was only given Dopey! Her mother made her the best costume. Sheila then went on to tell us how she fell over whilst singing ‘hey ho’ up the steps and the laughter that happened when they knew she was ok. She learnt that if she got a laugh no one was looking at Snow White.

Sandy then asked Sheila about why John went into acting. Sheila said it was because he learnt that he could make money out it. He did talent competitions where he could win money. She mentioned that John’s mother had left the family when John was seven. Sandy asked her why she left? She said because she was a star in her own way and she wanted something better. She also mentioned that she has had a letter from John’s mother side of the family to tell her that Dolly was one of 11 children not ten as it is stated in the book. She said that when John went to Duice Tec, he met two teachers who carried him into acting including letting play the lead in the ‘Scottish Play’ (It is bad luck to say Macbeth in the Theatre.) Sheila also mentioned that John’s headmaster has since died since her book was published. Sandy asked about John’s brother Raymond and Sheila said sadly that Ray died last year. she said that it could have been caused by the shock of losing his beloved brother.

When asked why she went on the stage? Sheila said she was ashamed of the answer. Sheila told her a story about when she was at Dartford Grammar School For Girls, some of the boys from the boys school would come and use their labs. She got on bell ringing so she could run past and hope to get noticed by one of the handsome boys called Alan Coast. She even ran past in her gym skirt. However it wasn’t until she was in the school production of ‘St Joan’ that Alan noticed her. He called her over and asked her to the prefect dance. Years later Sheila went on and on about her ‘Greek God’ to John so when he was doing her ‘This Is Your Life’. John found Alan and bought him out. Sheila said he was fat and losing his hair. She said that John sat there looking very happy at the fact that a man she had been going on about for years had grown old.

Sandy said they had to leave that there because of time, so she asked about the first time she meet John Thaw. Sheila said, that the acting she was working with had disappeared. This meant they had to get someone else. Sheila said John only went to see her because he got a free fare. She had been shopping with Melanie Jane who wanted some shoes for her school uniform, however Sheila said she had to have lace-ups where better. However Melanie went off one. (Sheila then told a story about Melanie recently coming to her house, and moaning about her daughter Lola (7). Melanie was saying she never listens, she is so rude. And Sheila just sat their grinning, and nodding. Like mother, like daughter.) Sheila dropped Melanie with her mother and went to meet John she walked in with ‘I am sorry darlings,’. John was sitting there, he flicked his eyes that way. She went up to him and said ‘So your John Thaw are you well…’ and crossed her legs and John said he could see her knickers. Sheila said it was the start of a long and happy romance, even if it always was.

(Left: Leila and Sheila; Right: Leila and Sharyn with Sheila).

We were then allowed to ask questions. I was first and asked how did she feel about winning the book award. She said she was overjoyed and that it was amazing that the publishing world didn’t boo her.

She was then asked what acting meant to her, for which she replied ‘a Living.’ Sandy then asked Sheila about John’s final day. She explained that they had spent the day together and that John signed a new contract and was looking at new Jaguars. She joked that they where his two favourite things in life with his work and his Jaguar. She also told us about him walking around the garden and he noticed a tree missing in their garden.

Sheila went on to mention that after John died her GP sent round a Personal trainer who works with the GP. She said he had been there two days when her grandchildren came round before going to school. She was laying on a blue ball, legs apart in her gym things, when the doorbell rang, she asked her trainer to answer the door. He grandchildren ran in to find her lay on this ball, and where a little shocked.

Sheila mentioned that the worst stage fright she has ever had was when she was doing Sweeney Todd in 1980. She really didn’t know how to cope and it was only John who got her though. She said she didn’t get stage fright when she was doing Annie because she was worried about the children she was working with. She also mentioned that when she was in rep, she was leave her script in the wings of the theatre and make excuse to go and read it (e.g. ‘I must go and dead-head the roses).

John’s DIY was also mentioned. Sheila said that when they where in Provence they bought a new desk, chair and bookcase, when they got home John started to make them, whilst Sheila took the girls into the other room. She heard a lot of swearing with John reappearing saying ‘the f***ing instructions are in French’ and so on. When she went in there was a lob-sided desk, chair and bookcase. When John went into the garden to have a break, Sheila went in and tighten the screws on them.

Sheila went on to say that John loved his gadgets. As well as his new state-of-the-art radios, she said there is a wonderful photo of John in the book with is reading the instructions for a new radio of his.

Sheila said that she wanted to say the next thing without crying. She said that no matter how bad she was in something or in life. John was ALWAYS proud of her. No matter what!

Sandy said that in early photos of John he looked moody and very intense. Sheila just turned to us and said ‘He was always moody and intense.’

Sandy also said that John was a very funny man, which Sheila had to agree with.

Someone then asked what was it like at awards. Sheila said it was very scary because when you get out the car you have the press shouting ‘this way, this way’, she said that they didn’t know which way to look. Sheila said that John’s hand would drip in sweat in hers. And she also mentioned that his speeches seemed a little rube sometimes when he said just ‘thank you’ he just couldn’t wait to get off the stage.

When asked about her accent Sheila said that sometimes she drops her Rada accent and goes into Cockney.

Sheila went onto say that actors are some of the best company she has ever had. She has just finished filming ‘Bleak House’ and has really enjoyed being around the younger actors on the set.

Near the end Sheila mentioned the row she had with Tony Blair before the 2001 election. She mentioned that an actress said ‘I don’t know why are you here?’ Which started a row with everyone in the room, Sheila went home and said ‘There goes your knighthood Dear.’

At the end of the Platform, we all moved to the other side of The National theatre building for the book signing. The queue was very, very long. So long in fact that some of the people who where waiting left it. I tried to join the back of the queue because a couple weeks before I had had an email for Sheila’s PA telling me that Sheila will see me after the Platform. However people joined the behind us. When I got the head of the queue. Sheila looked at me and told me to wait over there. I waited until she had finished before she started looking for me. Sheila welcomed us with a very warm and welcoming hug. She signed the books I had with me. One of the messages she wrote has really touched me. I asked her could I have some photos for the site, which she agreed to. I also got a photo on my phone. I showed her the photo which I had as my background, which was a photo of her and John at the Bafta’s 2001. Sheila said it was very sweet, after telling me that I have a lot of gadgets.

On the whole it was an amazing evening. I am glad that I bought the tickets to cheer up Sharyn, because she really enjoyed it as well. Sheila was, as always, amazing. She is an amazing person!

(Disclaimer, some of the events above may not be in the right order, because I didn’t take notes during the Platform I did it in a café afterwards. With the help of Sharyn!)

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JOHN THAW FRAUDSTER JAILED - BBC News August 25, 2005

A convicted fraudster who tried to cash in on the death of acting legend John Thaw has been jailed for 15 months. Donald Vernon Knox Richards, from Liverpool, produced a book in tribute to the Manchester-born actor following his death from cancer in February 2002.

He persuaded contributors to write essays for the book, but they were not paid and Knox Richards later revealed he had been declared bankrupt in 2002. He was jailed at Liverpool Crown Court for not revealing his financial status.

Knox Richards, of Wellgreen Road, Childwall, had promoted the book, entitled John Thaw: An Appreciation, in a local newspaper. The contributors' work amounted to almost £20,000.

When they threatened to sue Knox Richards, who was trading under the title Elius Books, he revealed he had been declared bankrupt in April 2002, owing his creditors £234,381. He has a record of fraud going back to 1961 and had been sent to prison on several occasions for similar offences.

The latest conviction followed an investigation by the Department of Trade and Industry. Thaw died at the age of 60 after losing his battle against cancer.

Mr.Richards was jailed for 15 months at Liverpool Crown Court following a prosecution by the Department of Trade and Industry (DTI). A DTI spokeswoman said last night: "It is not right that hard working and honest businesses are ripped off by fraudsters who use their services but don't pay the bill."

"The DTI will take action against companies and their directors who con the public or steal from other firms. Anyone who thinks they are getting away with unscrupulous business practices should wake up to the fact that they could find themselves in prison."

Knox Richards was declared bankrupt in April 2002, owing his creditors £234,381. Later that year, he started trading as Elius Books and began approaching people to work on the book, John Thaw 1942-2002: An Appreciation. He enlisted a journalist to edit the book, as well as friends and colleagues to write essays and share memories of the actor.

When the book was published in 2003, Knox Richards told the press the idea had come within 24 hours of the actor's death in February 2003. The book was priced at £12, and advertisements stated £1 would go to Comic Relief. A few of the contributors received small amounts of money, but between them they lost £19,925.43.

It was only when contributors threatened to bring legal action that he revealed his true circumstances, and told them it was not worth suing him. The court heard Knox Richards had a record of fraud going back to 1961 and had been sent to prison on several occasions. The DTI had prosecuted him for similar offences in 1990.

Mr Knox Richards obtained credit from editors, publishers and contributions from writers and designers, without telling them that he was in fact a bankrupt and as such was breaking the law. It was only when the contributors threatened to sue him for the money that he revealed his true circumstances and told them it was not worth suing him.

Born in Manchester, Mr Thaw began his career in the Liverpool Playhouse company during the early 1960s, after studying at the Royal Academy of Dramatic Art in London. He achieved national fame when he played Flying Squad detective Jack Regan in The Sweeney in the 1970s. From 1987, he was best known as the title role in Inspector Morse, for which he received two Baftas. He also appeared in the films Cry Freedom and Chaplin alongside Robert Downey jnr. In 1964, Mr Thaw married Sally Alexander, but the couple divorced four years later. He married actress Sheila Hancock in 1973 and remained with her until his death. He had two daughters. Mr Thaw received the CBE in 1994. It is believed he was shortly due to receive a knighthood when he died from throat cancer at the age of 60.

Knox Richards was sentenced under the Insolvency Act 1986.

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CORRUPT PUBLISHER GETS HIS DUE - BBC Watchdog September 20, 2005

Donald Knox-Richards, a bankrupt businessman who persuaded people to contribute to a book about the actor John Thaw and then refused to pay them, has been jailed for 15 months.

He published a book celebrating Thaw's life. He found ten writers, asked each to write a chapter and promised to pay them several thousand pounds for their work. Susan Elkin was asked to edit the book. "Part of his plausibility was that we all had written contracts. He promised me £5,000." Susan was paid a down payment of £1,000 and wrote and submitted her manuscript. But then, "the excuses started and every time I mentioned money I was told it would be paid the next week". Knox-Richards still owes Susan thousands and the same applies to many of his contributors, designers and printers. It wouldn't take Inspector Morse to discover the reason why - he's been bankrupt for the last five years.

Three years before, Knox-Richards published a book about the composer Gustav Mahler. Again he failed to pay contributors. He did a disappearing act, the reason – he had been sentenced to 27 months imprisonment for VAT fraud. He went on to publish the book when he came out, but still didn't pay contributors.

Knox-Richards has eight previous convictions for fraud and deception, but it doesn't end there. He's due to publish another book soon - about veteran DJ John Peel but he'll have to do it from behind bars. As for his contributors, all together they're out of pocket to the tune of nearly £20,000.

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INSPECTOR MORSE JAG UP FOR SALE - October 1, 2005

The car is currently in the ownership of the joint Liquidators of the PPP Group of Companies (a property management company based in Gateshead, Tyne & Wear). The liquidators are Dermot Power, Charles MacMillan and Tony Supperstone of BDO Stoy Hayward, who were appointed on 13th March 2003. The marketing and sale of the car is being undertaken by Walker Singleton (Asset Management) Ltd., sole agents for the joint Liquidators.

The 1960, burgundy, 2.4 litre car appeared throughout the series and is quoted as being "the most recognizable Mark 2 Jaguar in the world". It was voted, in July 2004, as the "the nation's all-time favorite, famous, car" in a recent poll, commissioned by the Post Office in the UK, beating the Mini Coopers of the Italian Job; Chitty Chitty Bang Bang and the Aston Martin of James Bond. Additionally, the series has recently been voted 4th “Greatest ITV programme” of all time in a poll commissioned to coincide with ITV’s current 50th celebrations. Such is the recognition that the car appears on a set of commemorative stamps currently on issue by the Royal Mail.

The car was purchased by Carlton TV specifically for the series. It remained in the ownership of Carlton until the series was brought to a close, with the death of Morse, in November 2000. Carlton, in conjunction with Woolworth's, gave the car away in a promotional raffle undertaken in November 2001. The winner, a London based lawyer, quickly sold the car privately.

The new owner commissioned some restoration works prior to its resale, by auction in April 2002; where it sold for £53,200. The purchaser at the auction was the Director of the Company, now in liquidation. In May 2002 the Company retained classic car restorers David A C Royle & Co, of Staindrop, Co. Durham to undertake a full and comprehensive "nut and bolt" restoration. This was finally completed at the end of June 2005 at a final cost in excess of £100,000. The restorers have provided a summary of the condition of the car at the time it passed into their control together with a synopsis of the works undertaken by them:

Although the Inspector Morse Jaguar was driveable when it was delivered to us and it looked reasonably presentable it was in fact in very poor condition. The bodywork had been patched and cosmetically enhanced with liberal amounts of plastic filler three quarters of an inch thick in places! Mechanically the car was tired out with the majority of components in need of replacement or overhaul.

The car has been carefully and systematically dismantled down to a bare bodyshell and all the paint stripped off to reveal numerous old repairs, patches and bodges. The damaged and corroded parts of the body have been cut out and replaced with new panels. The extent of the work can be shown by the list of new panels that have been fitted to the car. These include both front wings, wing stay brackets and reinforcing panels, the crows foot' front chassis section, front crossmember, closing panels and braces, four door frame repair sections, four door skins, both sills (inner and outer) and main floor repair panels, both rear wheel arches, spare wheel well in boot, panhard rod mounting bracket, rear spring mounting channels and boot lid repair panel. The panel joints were all lead loaded where appropriate following Jaguar practice when the car was built.

The body was then prepared, primed and painted (inside and out) in Jaguar Regency red and new vinyl roof fitted to restore the car to 'Inspector Morse' specification. All the mechanical components have been reconditioned, replaced or repaired and the engine fully rebuilt and converted to run on unleaded petrol. New parts fitted include stainless steel exhaust, engine mountings, hoses, hydraulics, water pump, heater matrix, clutch, universal joints, shock absorbers, suspension rubbers and ball joints, wheel bearings, brake pads, pipes, cables and hoses, full wiring harness, lights and various switches and relays. The radiator was thoroughly cleaned out and flow tested, the gearbox and rear axle were repaired and new tyres and tubes were fitted.

A new headlining has been fitted and the car carefully assembled with new rubber seals and new glass although the existing interior woodwork, upholstery and carpets have been cleaned and retained. New period seatbelts have been fitted for the front seats to replace the worn out originals and all of the chrome work is either new or reconditioned. The car is now in virtually new condition with all the 'Morse' features retained and has been road tested for over 100 miles to bed in the new components and sort out any minor snags. For example the original rev counter sensor failed on road test and was replaced with a new unit. The car passed the MOT test with flying colours in early June 2005. David A C Royle & Co.


Car Specifications:
Make: Jaguar
Model: Mark 2 - 2.4
Engine: 2.4 litre
Reg. No: 248 RPA
Date of Reg: 5th July 1960
Odometer: 79,460
M.O.T: 7th June 2006
Colour: Jaguar Regency Red
Chassis No.: 102827DN
Engine No.: BG4462.8


The car was Jaguar's small saloon, of the time, and benefits from DeNormanville overdrive and disc brakes. It reputably generates 120 bhp and has a top speed of around 120 mph. The current registration plate was originally issued by Surrey County Council and the current V5 records 8 keepers. The model was introduced in 1959 and continued in production until 1967. Over 25,000 were made of this model out of 80,000 Mark II’s. The car has retained all reference to the series including the non-standard vinyl roof and a special bracket across the front of the chassis which was used during filming to allow the occupants of the car to be filmed through the windscreen from a pick-up truck mounted camera.

The car is being offered for sale, subject to the Agents standard Terms and Conditions. A 10% Buyers Premium will be added to the successful bidder's tender. Written offers should be submitted on the formal tender form and returned to the Agents, Walker Singleton (Asset Management) Ltd., by 12 noon on Friday 25th November 2005.

The car will be open for general viewing (dates to be confirmed) or by prior arrangement with the Agents. Whilst the engine can be run; at no point will the car be driven on the road by, or for the benefit of, interested parties. The Agent holds all the worksheets and parts information pertaining to the recent restoration. These are available for inspection, by prior arrangement. The restorers are also more than willing to hold dialogue with any parties with specific points. All enquiries, requests for further information, or access to inspect the car should be made through the offices of Walker Singleton (Asset Management) Ltd. Email: info@morsejaguar.com

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ME AND MY MOTORS - An Interview with Sheila Hancock, December 2005, BY SYLVIA ROGER OF THE SUNDAY TIMES, article courtesy of Leila

Mrs Morse, the fast lady:

The actress Sheila Hancock was born in 1933 and has starred in numerous films and television series and on stage. Her memoirs, The Two of Us, detailing her life with the actor John Thaw, won the Reader’s Digest Author of the Year 2005 award. She is a Quaker.

Sheila Hancock might have been forgiven for suppressing a smile earlier this month on hearing that the car her late husband John Thaw made famous had been sold. The 1960 Jaguar MkII driven by Inspector Morse attracted a frenzy of attention from fans and collectors and was bought in a sealed bid contest estimated to have reached £130,000. But if Hancock’s memories are anything to go by, someone has bought a very expensive Christmas turkey.

“It was very decrepit, a hideous car,” she says. “They constantly had to push it to get it started on set and because it was so old and didn’t have power steering it was a beast to drive.”

In fact the car — which appeared in all 33 episodes of Inspector Morse from 1987 to 2000 — had been restored to mint condition before the auction at a cost of about £100,000 to preserve a piece of automotive history and to attract nostalgic buyers. Hancock herself was never tempted to enter in the bidding fray, though: her current car retains all the memories of her husband, who died of cancer in 2002, that she could want.

Today she still drives the Jaguar XKR that Thaw bought her for their silver wedding on Christmas Eve 1998. “It was a fantastic present, but it wasn’t a big surprise,” she says. “John knew that my previous car, an XK8, needed updating and he knew that I wanted another Jag.”

She remembers travelling to the Jaguar factory at Browns Lane, Coventry, to choose the car and watch the workers put the finishing touches to it. “It was fascinating watching the guy matching up the beautiful walnut fascia. They take the most enormous pride in their work; it was an absolute joy.”

Then she asked the workers what colour she should choose. “They suggested racing green, the classic colour for a sports car. But I’m afraid to say I decided to have snazzy topaz, with cream leather interior. It’s a gold colour, which makes it sound a bit vulgar, but it’s a lovely beige-gold and it doesn’t show the dirt like racing green.”

That Hancock should take such an interest in her car should come as no surprise. Despite being 72 the grande dame of British theatre says she has had a passion for cars all her life. Born in Blackgang on the Isle of Wight, she remembers moving to the mainland and living above the Carpenters Arms in King’s Cross, London, where her parents would regularly put on a song and dance act for customers. Later, when attending the Royal Academy of Dramatic Art, she says she dreamt of being a star on stage and being able to afford a flash car.

She passed her driving test first time and immediately bought a Lambretta scooter — the height of fashion during the 1960s — and remembers whizzing around London with fellow actors, including Kenneth Williams, on the pillion seat.

As her star began to rise with West End roles and appearances in films such as Carry On Cleo in 1964, she bought her first car: a Morris Minor 1000. “It was a dear little pea-green car,” she recalls, “and I loved it with a passion.” The car didn’t last long. When she and her first husband, the actor Alec Ross, had their daughter Melanie she felt she should upgrade to a bigger, more practical car and swapped the 1000 for an estate version. “It was cheaper to run and accommodated prams and baby paraphernalia.”

In 1971 Ross died of cancer and two years later Hancock married Thaw. The actor would later describe persuading her to marry him as “the greatest achievement of my life”.

The couple had another daughter Joanna and an even more family-friendly car beckoned until Hancock visited the motor show at Earls Court and fell in love with the swooping lines of the old-fashioned Morgans on display. There was only one problem — the waiting list. “Then I saw Peter Morgan at the show,” she says, “and I told him that I had fallen in love with his car. I chatted him up — to hell with it — I jumped the queue.”

After travelling to the factory in Malvern she picked out a metallic cream model and fitted two tiny seats in the back for her children. But her infatuation was short-lived: every time it rained the windows leaked, soaking the children in the back.

Hancock delayed the inevitable for a while — wrapping the children in towels every time they went out — but she knew it couldn’t go on. “I thought, ‘I’ve got to give up this car’,” she remembers. “It was one of the most depressing days of my life when I sold it to a Morgan dealer.”

So it was back to a sensible car — a Rover this time. “I hated it with a passion,” she says. “I loathed every minute in that hideous thing, I really did. It was a perfectly reliable car and that’s why I hated it, it meant that I was Establishment.”

Her passion for powerful cars was shared by Thaw. “John loved driving,” says Hancock. “But when we drove long distances he preferred to take the wheel. I think he felt safer.”

His caution is understandable. Hancock admits that in the past she drove her Jaguar in an aggressive manner, shouting obscenities out of the window at other drivers and arguing with the voice of the satellite navigation. “John said to me, ‘Look girl, with a car like this you can’t behave like that. You are going to get really done up’.” He advised his wife to sign up for an advanced driver’s course. “I’d advise anyone to do it,” she says, “it makes you take driving seriously and it makes everything more enjoyable.”

The course did not totally curb her enthusiastic style. “On one occasion not long before John died we were driving in France in his big Jaguar Sovereign and due to arrive at a hotel in time for dinner. He was just chugging along and I knew that we would be late so I persuaded him to let me take the wheel and drove like the wind. At the end of it he was white.”

On her CD changer:

“The Jag has a great system so I love hearing music in the car — mostly classical. My daughter got married last year and compiled a CD of love songs — Frank Sinatra (right) etc — for all of us. I like to play that, it’s wonderful.”

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PETER MAYLE ABOUT PETANQUE - Long before, during a holiday, we had bought our first set of boules after watching old men in Rousillon spend an enjoyable argumentative afternoon on the village court below the post office.

We had taken our boules back to England, but it is not a game that suits the damp, and they gathered cobwebs in a barn. They had been almost the first things we unpacked when we came to live in Provence. Smooth and tactile, they fitted into the palm of the hand, heavy, dense, gleaming spheres of steel that made a satisfying chock when tapped together.

We studied the techniques of the professionals who played every day next to the church at Bonnieux - men who could drop a boule on your toe from twenty feet away - and came home to practice what we had seen. The true aces, we noticed, bent their knees in a crouch and held the boules with the fingers curled around and the palm facing downward, so that when the boule was thrown, friction from the fingers provided backspin. And there were the lesser elements of style - the grunts and encouragements that helped every throw on its way, and the shrugs and muttered oaths when it landed short or long. We soon became experts in everything except accuracy.

We were playing on our own court that evening, and the game was therefore subject to Lubéron Rules:

1. Anyone playing without a drink is disqualified.

2. Incentive cheating is permitted.

3. Disputes concerning the distance from the cochonnet are mandatory. Nobody's word is final.

4. Play stops when darkness falls unless there is no clear winner, in which case blind man's boules are played until there is a torchlight decision or the cochonnet is lost.

We had gone to some trouble to construct a court with deceptive slopes and shallow hollows to baffle visitors, and had roughened the playing surface so that our luck would have a sporting chance against superior skill. We were quitly confident, and I had the added advantage of being in charge of the pastis; any signs of consistent accuracy from the visiting team would be countered by bigger drinks, and I knew from personal experience what big drinks did to one's aim.

Intrigue and gamesmanship make up for the lack of athletic drama, and the players that evening behaved abominably. Boules were moved by stealth, with accidental nudges of the foot. Players poised to throw were distracted by comments on their stance, offers for more pastis, accusations of stepping over the throwing line, warnings of dogs crossing the court, sightings of imaginary grass snakes, and conflicting bad advice from every side.

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RIDLEY SCOTT TO MAKE FILM OF PETER MAYLE'S NOVEL - (Friday July 29 2005, 2:28 AM, Variety Magazine) LOS ANGELES (AFP) - "Bladerunner" and "Gladiator" director Ridley Scott is tackling softer themes with a film version of author Peter Mayle's gentle novel "A Good Year" about a would-be winemaker in Provence. The British filmmaker is in negotiations with Australian actor Russell Crowe, who won an Oscar for "Gladiator," to star in the Fox 2000 production that is expected to get underway soon, Daily Variety reported Thursday.

Screenwriters Marc Klein, Ted Griffin, and Tom & Jez Butterworth have combined to adapt Mr. Mayle's tale into movie formCrowe would play an investment banker who loses his job and moves to Provence to take over a failing vineyard owned by his late uncle, a move that is complicated by the arrival of an unknown American cousin.

The last movie from Crowe, 41, was this year's "Cinderella Man," Ron Howard's story of a depression-era US boxer that delivered disappointing box office return in North America. And he faces legal woes in the United States after allegedly throwing a broken telephone at a New York hotel receptionist in a rage that saw him charged with assault in June.

Mayle's book "A Good Year" continues the theme that made him world famous with the success of his "A Year in Provence." "A Good Year" is the story of a failing London banker who moves to Provence after inheriting a vineyard, only to encounter a beautiful Californian who has her own claim on the estate. Knopf published the novel on June 1st, 2004.

The project began when Scott wanted to direct a picture set in Provence and Scott Free prexy Lisa Ellzey recommended Mayle, the bestselling author of a half-dozen books set in the south of France. As it turned out, Scott knew Mayle: They had been colleagues in the London ad world.

Mayle said he didn't pen screenplays, so Scott suggested he write another novel, one that would be adapted. Mayle wrote "A Good Year" under his Knopf contract after working with Scott to hammer out a treatment for the story. Albert Finney co-stars.

Mayle's breezy, uncomplicated fifth novel (Chasing Cezanne, etc.) and ninth book follows 30-something Max Skinner from a sabotaged financial career in London to his adoption of the Provençal lifestyle on an inherited vineyard in France. Max spent holidays at his Uncle Henry's vineyard as a child, so when he inherits the place, the prospect of returning is tempting; a generous "bridging loan" from ex-brother-in-law Charlie seals the deal. The estate, Le Griffon, is in a dire state of disrepair and the wine cellar is filled with bottles of a dreadful-tasting swill, but it's nothing that vineyard caretaker Claude Roussel and prim housekeeper Madame Passepartout can't resolve. Max settles into his new life easily thanks to the attentions of local notary Nathalie Auzet and busty cafe owner Fanny. The arrival of young Californian "wine brat" Christie Roberts, Uncle Henry's long-lost daughter, complicates matters for Max, but her surprise offer and Charlie's arrival lessen the impact of a vicious vineyard scandal involving a delicious, high-priced, discreetly produced wine called Le Coin Perdu. Mayle's simple story provides lighthearted if unadventurous reading and a fond endorsement of the pleasures of viniculture.

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KEVIN WHATLEY ON CARRYING ON WITHOUT MORSE - (Yorkshire Post, Sepetember 2005) Five years after he was last seen as Robbie Lewis, a role which occupied him in 33 Inspector Morse films for 14 years, Kevin Whately returns to the role.

John Thaw and Kevin made their farewell appearance as Britain's favorite detective duo in November 2000 in the dramatization of Colin Dexter's final novel The Remorseful Day, in which Morse collapsed in an Oxford college quad and later died in hospital.

A new two-hour film takes up the story again with Lewis - now an Inspector - returning to the Thames Valley police and his stomping ground of the university city of Oxford. Back in the UK from a two- year attachment on the British Virgin Islands, Lewis finds himself teamed up with a much younger colleague and reporting to a female boss in the figure of Chief Supt Jean Innocent as he investigates the murder of an American college student.

Was it a hard job to convince Kevin Whately to take the job? "Various, different people had talked about it; it had been suggested for years and I had pooh-poohed it. It wasn't until Ted Childs (executive producer) actually said, 'How about this?', that I thought seriously about it.”

"I have huge respect for Ted and the idea had come originally from ITV drama executive producers Michele Buck and Damien Timmer, who I knew well from Peak Practice days; so the fact I knew all of them and the producer, Chris Burt, and trusted them, was a big factor.”

"With the sheer number of detectives on TV, you are constantly being offered new cop roles, several a year. But when this came up, you think, 'There's a back story and people like the Lewis character', so you've got a head start.”

"The Morse films had a quality to them which is maybe unusual these days, and Michele Buck promised me it would have the same production values, which made a huge difference. And Madelaine, my wife, said, 'Have a go at it, why not?'"

But Lewis as an inspector has a long history in the annals of the Morse films. "The idea of Lewis being an inspector goes way back to Geoff Case's script for Who Killed Harry Field? in 1991; the subsidiary story throughout that film was 'Could Lewis be an inspector?' and Morse saying 'No, I don't think so,' when actually Morse knew fine well that he could, but he didn't want to lose him.”

"If Lewis hadn't got his promotion, he probably would have gone off into private security or one of those jobs, like a lot of police officers do. But it's very obvious in this film that, like Morse, he loves investigating murders and being at the sharp end of police work.”

"It is quite a fiendish plot, and I love the fact that maths are involved; that's quite Morseian." But Kevin admits that he ignored the fact that he was playing the eponymous role. "It never occurred to me, so my shoulders weren't weighed down. We were working at such a speed. It did seem a slightly more frenetic pace than used to be on Morse, maybe just because I had much more to do. So I didn't have time to think, 'Oh God, I wish John was taking the weight!"'

Laurence Fox joins Kevin and plays Cambridge graduate Det Sgt James Hathaway. Kevin explains: "Hathaway is a hugely bright young cop, the sort of graduate policeman that Lewis wouldn't like very much, and obviously he has a hot line to the superintendent and seems to be her man. So he doesn't trust him from that point of view.

"But gradually, and I think quite subtly, over the length of the film, they gain a mutual respect. It sounds like a bit of a cliché, but I think it's well done.”

"I think there's a lot of potential there. Both Lewis and Hathaway are nice people; I think we'd have to ginger it up for the future. I think it works fine in this story because there is a bit of grit in the relationship."

After his five-year absence, Lewis finds himself in a new world where women are in the police hierarchy. "Morse never quite related to women as human beings; he tended either to fall in love with them or stick them in prison because they were murderesses - or both. But Lewis has always seemed absolutely relaxed and fine with women," says Kevin.

Though it was back in front of the cameras in Oxford for the first time since he and many of the crew filmed The Remorseful Day, Kevin had visited the university city in the intervening years. "I fronted the Magdalen Bridge restoration appeal a few years ago, and have been involved with a few other Oxford charities, including a children's home north of the city."

And of the main college location for the new film, he adds: "We hadn't really done much in Wadham College in the past films; there's still quite a lot of Oxford that we haven't shot in - or that didn't invite us. This time they let us have our location base right in the middle of the city by the Radcliffe Camera, which we used to do on the very early Morses before they banished us down to the station yard. But Oxford is good to shoot in because wherever you point a camera looks great, and the light is always nice because of the Cotswold stone.”

"I asked very early on if we could get as many of the core team people; most of them are pals and they are the best. They were always the top people on Morse." In contrast to Hathaway, Lewis can be seen as old-fashioned when it comes to new technology, something with which Kevin can sympathize. "Sending emails from your hand, as Hathaway does, really astonishes me," he says.

"I can't stand people being able to get hold of me at the drop of a hat. I guess I am a bit of a technophobe; things like computers tend to go wrong and if you can't fix them, then you spend your whole life waiting for somebody to come and sort you out. I've got by very happily for 50-plus years without. I don't need it. I don't want it."

How about being reunited with Lewis's creator Colin Dexter? "That was absolutely great, as long as he doesn't open his mouth," he says jokingly. "No, it was fab; he was on the set a lot when we were in Oxford and you could tell it was just such a buzz for him to be back."

How many takes did Kevin do in his scene with Colin as a college scout? "Quite a lot and I can't remember why. It's got to have been Colin's fault and if it wasn't, I am saying that it was; especially if it was my fault!"

Kevin owes his role as Lewis to an out-of-town theatrical flop. After the success of the series Auf Wiedersehen Pet, Kevin met John Thaw to read for the part, though he thought he wouldn't be able to take part in the new detective drama. Kevin recalls how relaxed he was at the meeting with the first producer, Kenny McBain and casting director Michelle Guish, to discuss playing Robbie Lewis. "I thought I wouldn't be able to appear in Morse anyway, because at the time I was out of town in a comedy directed by Ray Cooney.

"We thought it would come into the West End for a long run – but luckily it flopped in somewhere like Hornchurch or Bromley and left me free to be Lewis. I've always liked the character, so now we'll see how the audience reacts."

John Thaw died in February 2002 at the age of 60. After 13 novels, Colin Dexter said goodbye to Morse and Lewis as he wrote the final novel, The Remorseful Day, published in 1999, but Dexter was delighted to see his creation back in Oxford. The author was a daily visitor to the set and he reprised his Hitchcockian role, familiar from many Morse films, by appearing as a bowler-hatted college scout who shows Lewis and Hathaway to the rooms of Danny Griffon in a scene filmed at Wadham College.

"I think that, above all, what the audience wants, apart from dear old Kevin, is a good story," says Colin, "and I'm confident about this. There are always people who say you should never regurgitate the past. I think the difficulty from the start was whether or not it would be wise to resurrect anything.”

"But it seems to me that the joy of this is that we have the continuity from Inspector Morse, not only with Kevin, but with Oxford; and, above all, the wonderful camaraderie of the crew, who seem to be working together in exactly the same ways as in the balmy days of the 33 Morse films."

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NOTABLE JOHN THAW QUOTES - “I feel very proud to have created a character that is so respected. On the other hand, as an actor, I have more freedom now to do other things.”

“I found a lady who taught me elocution, and then I went for a RADA audition and was offered a place.”

“I like classical music and the poetry of A.E. Housman like Morse, but I can't do crosswords. And although I now don't drink at all, I have never liked beer!”

“I think Morse is a little patronizing to Lewis a lot of the time but he envies him. Therefore you've got a classic sort of double-act.”

“I think Morse's thing about being a poor policeman but a good detective is a very good description of him.”

“I think sadly that Morse thinks that he can exist on his own and he only realizes at the end that he can't and never really has been able to. I feel sorry for him.”

“I was involved in school plays, but when I left school I did a couple of odd jobs as a baker's apprentice and then as a fruit market porter in Manchester.”

“I'm an introspective person. I'm not an extrovert.”

“I'm not an instinctive actor.”

“In the same way he's fascinated by crosswords, the puzzle of solving the murder is what drives him on.”

“It's quality TV - I think the audience knows the difference these days.”

“Just keeping it fresh-for me and the audience-that's been my job for 13-some years.”

“Morse is a walking dictionary, but he's also an arrogant man. He doesn't have any friends. His closest friend is Lewis, who's a workmate.”

“Morse is an arrogant, rather pompous well-educated intellectual. Lewis is anything but. He's very straightforward, very down-to-earth.”

“Morse's fallibility, both as a policeman and as a human being, I think we can all identify and empathize with him in some way and think, Oh thank God, he's not James Bond.”

“Parts like Morse don't grow on trees. He's a great character.”

“The writers have built up the Morse and Lewis characters, and their relationship. You're fascinated how these two men get to the result they get to.”

“There is no more final end than death.”

“Watch the mouth; it reveals what the eyes try to hide.”

“We all know that somebody did it, but how did they find the answer?”

“We were using a hand-held camera to film the scene when Morse collapses. The camera wouldn't start. Three times they said action and it still wouldn't work. To this day, they still don't know what was wrong.”

“When he's solved that particular clue, then he's back to reality and he doesn't like it. I think that's why he drinks more than most.”

“You can't say to someone with a brain like Morse, This is the way you do it, regardless of the circumstances; this is the way it is done.”

Articles & Interviews (Pt.17)