RUSS: It began with the conceit of how we might have Endeavour solve a murder story in the middle of one, yes. Keeping an eye on the details. “And” can be a very special word. And yet, I can’t help feel that in a way, isn’t creating ordinary, everyday costume designs for productions with contemporary and more mundane settings equally, if not more difficult, particularly in order to avoid clichés and stereotypes? But usually – the producer has put all the right HoDs in place, and is managing them brilliantly. DAMIAN: Yes Sir. So complex and interesting, that it allayed any of the perceptions that I thought I didn’t have! In some ways, he’s closer to Thursday in his methods. I don’t really think about the audience, in that way. Endeavour and Monica went to a pantomime of Peter Pan at The New, with her niece and nephew. It’s great fun who you find at the costume houses. Younger, better, infinitely smarter fingers will be upon the typewriter. DAMIAN: There was a gentleman wearing an eyepatch playing at a gambling table during one of Bixby’s parties, was that supposed to be Emilio Largo from THUNDERBALL? It’s got to have a story. DAMIAN: Like the James Bond franchise (with the possible exception of DIE ANOTHER DAY – invisible Aston Martin indeed! DAMIAN: Do any of the films happen to take place on a Wednesday? I can only describe it as measured and introspective which really works for the character. Seductive and mocking. It’s a collision between two worlds – that of Endeavour’s generation and that of his parents. It could have been quite an easy misfire, Morse amidst the Rave scene, but Julian, as ever, proved a master of his materials and handled it with great insight and sensitivity. Seriously. A lot of it’s about imparting tone – conveying the overall vision for the series – picking up on the things that are out of whack, or don’t chime happily. RUSS: It’s funny – the Housman… it was the preceding stanza that I liked and it seemed to chime with the unfolding drama, but if you didn’t know it, you wouldn’t, in the moment, make the connection to the more familiar lines. I’m drawn to the proper coppering type stories – and I think the show often works best when the cryptic whodunit is working alongside the more Z Cars/Dixon/Carry on Constable type stories. Any regrets? Endeavour and Nurse Hicks at the bus-stop, etc. In the 60’s women would been look down on if they didn’t wear skirts in the office, and even though she is the boss so could flaunt these rules there are standards she likes to keep up! That – JM Barrie — was hard-wired into the story to a much greater degree until fairly late in proceedings. The first is sung by Sharlette – who’s got a gorgeous voice, and is quite a find; and the other features the actors who make up The Wildwood. Thanks. The Permissive Society – so called. Saying whether we like the colour the Police Station has been painted, or want it changed. DAMIAN: Protesters outside Richardson’s supermarket shout to end the illegal regime and freedom for Rhodesia reminding me that we’ve touched ever so slightly on politics before in our discussion of TROVE when I asked if you infuse any of the characters with your own personal politics and you replied “I suppose all the characters, stories, etc., are infused to some degree”. Joan’s bravery, and intelligence, and utter decency. Norman Bates stammering over the word ‘bathroom’ is the same thing. DAMIAN: At the end of series two, you left us with Thursday shot and fighting for his life, Endeavour languishing in jail, Jakes still drowning his sorrows in the pub, Monica with the moped peering out of the window searching for her lover, and Win, Joan and Sam waiting anxiously by the telephone. JACK: It was scripted! DAMIAN: And what a finale it was! The fun of it for us was recasting some of those things through the prism of 1960s Oxford. But I had a lot of fun with Matt Slater putting together the songs for it. In comparison to both INSPECTOR MORSE and LEWIS, ENDEAVOUR puts our friends in peril on a much more regular basis and given that you’ve toyed with our nerves regarding Thursday’s possible demise in NEVERLAND and again if we count CODA, isn’t there a danger of you becoming the writer who cried wolf? The joke, such as it is, works for a modern audience for its being – unintentionally on Max’s part – but a letter away from Mr.Simon’s play. I’d no idea he was going to actually try to perform both parts in the moment, as it were. I felt it made him human. Endeavour had cut himself off from Monica as a way to try to protect her from the forces that had put Thursday in hospital and him in prison. It’s quite a pastoral piece. He would always wear a bow tie too. As you know, we borrowed (pinched!) Morse and Lewis transported. Events. At risk of falling foul of the Data Protection Act, I can reveal the contents of an email I got from Shaun Evans who, in his capacity as Associate Producer, dropped by one of the Mixing Days. But, the theme of the play, the notion of an unholy bargain – what price a soul? No guarantees. CTV National News for Sunday, Oct. 18, 2020, Chris d'Entremont on N.S. As a fan of the novels, the original TV series and now especially Endeavour, it really is an enormous privilege for me to talk to you about this character that means so very much to me and so many other people around the world. RUSS: None of the above. Did you have any idea back then what Russ had planned for the characters? I think I just about fought shy of him snapping, ‘Do NOT smoke in here, thank you.’ Or asking for a glass of water. It contained some pretty soul-searching dialogue from Bright, and some consolation from Thursday. You lose Strange from uniform, and someone has to step in. What can you tell us about your time in Whitechapel? DAMIAN: In terms of visual effects, what cost Mammoth Screen more money, the tiger or Jenna Coleman’s eyes? Which was a pity – visually. RUSS: Hmm. He is inexhaustible, and gives so much of his brilliant creative energy to ENDEAVOUR. What would the neighbours say? A location falls through, or a prop doesn’t work, an actor goes down, or you don’t quite get what you were hoping for, scenes dropping off the schedule that contains a piece of information vital to driving the plot – a million and one things. I arrive at Unit Base where the cast and crew have set up camp for the duration of the Oxford shoot. Support journalism without a paywall — and keep it free for everyone — by becoming a HuffPost member today. I’ve got a feeling there was a Thursday family Christmas lunch. Corking performances from Mr. Malahide, Christopher Fulford, and David Ryall which kept everyone guessing until the very end. ENDEAVOUR’s an absolute juggernaut of a machine, and once it’s left the station on its six to nine month journey it’s unstoppable. Talk to a real live human being. DAMIAN: Just time for our penultimate “Desert Island Dexter”. Tolkien and C.S. She is not one for the ordinary and Endeavour appears to be everything out of the ordinary. But – back to PROMISED LAND, and that finale. Well, here we all are again. My original intent had been to plot the unravelling of the relationship across the rest of the series, but the feeling was that their story had been told, and had been brought – for better or worse – to a close by the events at the end of NEVERLAND. When it crashed to black – a nation held its collective breath. Sign up for membership to become a founding member and help shape HuffPost's next chapter, Register to vote and apply for an absentee ballot today. DAMIAN: And, of course, doesn’t the scene serve as a brilliant foreshadowing of the future strained relationship between Endeavour and Strange who is now his superior? RUSS: They weren’t too highly raised. DAMIAN: There seemed to be few or at least very slight references to Easter so I’m wondering why you decided to set RIDE during that bank holiday weekend? RUSS: Mmm. RUSS: Well – as I’ve said before — we do like a Western. Protecting the soul of the show, if you will. If you don’t have representation, pick up the phone and call the script department/editors of the show you want to write for. I’ve said before that there’s more to him than meets the eye. I think it’s important that we never feel as if it’s just ticking boxes. Everyone deserves accurate information about COVID-19. It took me a while to place it but I went through my John Barry collection and realized it was very similar to his music score for The Ipcress File. You drew his fire”) it’s the silence after this, the two seem to communicate best in theses pauses and they are masters of an almost Pinteresque understatement in conveying their respect and quite possibly love for each other. This was covered quite heavily in the excised Bright/Thursday scene, but we hoped there was enough contained in his welcome back to Endeavour, and the expression of his hopes for a better tomorrow, to point the way forward. There’s an ebb and flow in Endeavour’s fortunes. Shades of Captain Darling, perhaps? It’s up there with my absolute favourites FIRST BUS TO WOODSTOCK, HOME and NEVERLAND. Dean was hospitalized last week with the coronavirus and … Sign up for our weekly email newsletter delving into climate science and life on a changing planet. Indeed, characters such as Bright and Dorothea for example, often have their scenes trimmed or cut altogether. Finally he looked up. I know both yourself and Roger provide significant input into the scripts so is this sort of debate regarding how or a scene should be shot and played typical? I hadn’t deliberated referenced Eric Morecambe but if you think it works then yes, thank you, it was most definitely intentional…. It’s usually characters that have stayed in the memory that put in an appearance. SHAUN: I particularly liked the penultimate novel, I can’t remember the name of it, something about it I just really liked.
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