Elstree Calling

 

 

I was delighted when the writer, producer and novelist, Raymond Austin, agreed to write a piece for my website about his prolific career. Austin worked for several years on TV productions in Borehamwood, Hertfordshire, at ATV Centre and later at Elstree Studios. His credits for Elstree Studios include: The Avengers, The Saint, The Champions, Department S and Randall and Hopkirk (Deceased).

 

 

 

During the summer of 1953 I got my very first look inside a film studio gate. I had seen Hollywood at the flicks many times but never dreamt that I would ever go there. CBS was making a show called The Man Behind the Badge. I think it was CBS. It doesn't matter the main thing is that I got past the guard at the main gate and in those days that took some doing! The guards seemed to know every face in the industry. I always envied anyone that knew the guard by name. Years later, I am among the honoured! Scotty at Universal always called out "Morning Ray". Holly, at MGM, did the same. It makes you feel good. In the old days I had to park miles away from the stage - now, right next to the big door, I love it!

 

Why was I in the studio back in '53? Well, because I was going to be an actor!

 

I won't go on about the acting thing as most of you who know and remember me will know that I was not that great an actor. Yet, I was not bad, if there was a stunt tied to the part. I tell a lie, I was okay in The Loneliness of the Long Distance Runner - thanks to Tony Richardson.

 

That first look into one of the big sound stages in Hollywood really made me stand back and I took a good look around. I was only on that stage for three days, but it gave me time to watch all the little families. I was a young man at the time and new to show business.

 

So who are the "families"?

 

Electrics: The good old sparks, they are friends with everyone. Sparks will drink with the star, producers, extras, stunt men - you name them! The sparks are the good old boys!

 

I remember once I was directing a film called The Virgin Witches, or was it Fun and Games? No matter. We were 'shooting' down by the side of the Warren Lodge in Shepperton. It was about ten thirty at night and the pubs were just turning out. Well, as usual, a few of the locals started to have a good shout in the middle of a scene, and I had to cut twice. So we went again and the same thing happened. This time, however, I let go with a little verbal abuse at three young lads who had been making a noise. At that moment I had my crew around me and two policemen. The lads were told by the law to move on and so I thought that they had taken their advice - but no! A little while later I realised that I needed a pee, so, like everyone else, I walked down to the side of Warren Lodge to the river to have a pee. When I turned to walk back the three likely lads were standing in my way. I don't remember what was said, not much as I recall, but I very quickly realised that I had to get past them and back to the safety of the street. So I dropped my head down and head butted one on of the lads on the right, and he fell against the wall. I turned to the other two. They were about to grab me, but I managed to punch one of the other lads on the jaw. At that moment, the lad I had head butted came at me from behind and I knew I was in for it! But fortunately at that moment a good old spark, Tommy Lee, one of the Lee brothers, was walking back along a cable that was connected to a generator. I will never forget that he shouted out "Billy" and came running down towards me. A moment later, Billy Saddler, another spark, came flying around the comer and I never got a look in - it was all over in three hits! The three likely lads found a new way out of the Square at Shepperton - via the river! So Tommy and Billy, if you ever read this - thanks!

 

Props and Buyers: They are a small family, but not always that close together.

 

Extras: From the day I first became a director I always used the title Walk-on-Artist. That's what they are and what they mostly do. They live in a world of their own and mostly only talk about the last and the next days work. They wander around the set, visiting all day, but, on the whole, they are fun. I had some very good friends that were and are Walk-on-Artists from way back that have helped me and have been very good to me when I was trying to find my feet in the business.

 

Stunt Men: Interesting. Standing around on that stage back in 1953 for three days, watching what went on, led me to decide where I wanted to go and what I wanted to do. I wanted to run the show! I had to become a director. I wanted my name on my chair. So, as far as I could see, the best place for a young cockney boy, who didn't know anyone in the film industry, was to start on the stunt side of things. Everyone likes the stunt boys. Camera has always got time to talk to them about the 'shoot', the weather or to listen to the latest joke. The stars will always be buddies with the stunt man. You can always sit down and pass the time of day with them.

 

Now, weighing all this up, it seemed to me that if I was ever going to get into the directing chair I could learn more from everyone on the set if I was in a position to talk to everyone on the set! And who had the ear of everyone? The stunt team. Especially with the most important man, as far as I was concerned: the Cinematographer.

 

The Cinematographer: He is where it all starts from. That is from the day they say GO, we are making the film or TV production, So from that day on I watched every cameraman I ever worked with and listened to what he told his crew. When shots went wrong on the floor I would always be asking "why?" I would pester the camera operator, the focus puller or even the clapper boy: "Why, why?," I used to ask. I know lots of people would get very up tight and would say: "Why does he want to know?" I let my thoughts out of the bag once or twice in the early days about my directing ambitions and some people said: "Him a director? Ha, he's a stunt man, what does he know? Not a lot at that time, but thanks to the cream of cameramen, camera operators and a handful of what I considered the best directors, that I must have driven mad, I learnt. Bless you all!