In a chopper from Cannes to Nice and all the rest.

The Cafe de Paris in Monte Carlo left and a view of the Principality on the right.

As I'm still up to my eyes I thought I would do another repeat and then next time back to normal.
The film was well liked by people and we tried to make it in to a series so I went to Cannes with the distributors and loved the life.

The film - the pilot - is on You Tube now so if you want to look at it here it is: my pal, Jim. saw it and said my hair was always grey - well it wasn't but maybe the ups and downs, in and outs and generally all the meetings with the banks, financiers sent me white - but it was great fun as you will see from the following post which was from 2009.

Here's the movie, by the way, and as they say in America 'enjoy.' https://www.youtube.com/watch?v=wUZXIPAd9Z8

So this is from December 2011:
Well yes it was very nice going from Cannes to Nice in a helicopter but at the time it didn't really feel like a pleasant experience; I went four time to Cannes to try and sell the series: three times I had to catch a chopper from Nice to Cannes and the other time I travelled by train catching it at Cannes and going west to Marseilles before heading north to Calais going through Lyons and Paris.

When I say I had to catch a chopper it was because we were partying so much there that I would have missed my flight from Nice to London if I'd have travelled by coach and the three times I choppered to Nice I travelled with a terrible hangover.

The train journey was good and I travelled on the high speed train at a million miles an hour all that way of about nine hundred miles or so and arrived in Calais smack on time – then after the ferry to Dover the London train was delayed – figures!!

But let's go back to the cutting room in London; one of the partners in the distribution company was an ex editor, and a good one too, and he helped me put the finishing touches to the movie; we tightened up the continuity and made some sense out of it but looking back now it needed a lot more work and when I have the time I'll do it just for the sake of it; we also found that a piece of the cutting copy was missing.

In the film I run up to a door leaving my car door open, only to find that the door I ran up to was locked. I walk back to my car and give the door a kick. This put a dent in the door and as I stood there I suddenly realise that there is a dent and do a kind of subtle double take; the original editor had cut that out – just a little bit of sense needed there as it was very funny! So the first thing me new editor said was 'you've got to find that clip.'

We looked and looked but couldn't find it – it ended up on the floor of some cutting room at one of the film schools; this is why I believe there are comedy editors and drama editors.

On stage an actor times his laugh; he knows exactly when to come in with the next line after a laugh and to be quite frank some editors don't; they just stop the laugh dead in its tracks as the audiences strain to hear the next line.

The next job after the fine cut was the sound edit and I had to find a sound editor – nobody wanted to do it.

I had worked on a film with Giles Llewellyn-Thomas called 'Terence Walker on the Moon' – I saw a bit of a movie on a flight once called 'The Astronaut Farmer' with Billy Bob Thornton which looked very similar; anyway I got in touch with Giles who promised to do the sound editing for me; it's a very shitty job and I was forever grateful.

I don't know how much he knew the new way to serve Guinness but at that time Guinness had introduced draft Guinness in a can; it was almost the same as the draft you bought in the pub and they achieved this – and won the Queen's Award for Industry for it – by putting a widget in the can.

Our afternoons were spent very happily drinking the various cans of Guinness I bought and this seemed to be enough of a payment for Giles – he wasn't a boozer but I might have been on a temporary basis.

We had two deadlines to meet: number one was the dub when we would go into the dubbing theatre and put all the sound affects and music onto the film and the second appointment was with Universal Studios to put the whole film directly onto broadcast-able video tape directly from the negative. This cut out a lot of the printing and colour balances which usually takes a long time. I figured if was supposed to be for TV what would be the point in making any other format than tape.

I had to take the cutting copy and the negative into the neg cutters and I left a bit of space on the cutting copy for the missing piece of film and when we first saw the shot it fitted exactly – and it was funny!

So we met our two deadlines, drank many a pint of Guinness and I rented a theatre in Soho for the first showing.

As none of the actors had been paid I figured I owed them, at least, to try and get casting directors in to see it. Most of the casting directors in London were within a hundred yards or so of the theatre I had booked and as I'd booked it for 1.00 pm I thought I'd stand a chance of getting a few of them in. I bought a load of wine and some finger food – but only one casting director turned up; but why wasn't I surprised?

Most of the actors in the film were new faces and I think I decided there and then to go to Los Angeles at the first opportunity – which I did; but not before I went to Cannes.

There seems to be a festival every month in Cannes; the film festival is world famous but they also have commercial festivals, a music festival but the two I went to were MIP and Mipcom; the former the month before the film festival in the Spring and Mipcom in October sometime.

The first time I went it was to MIP and the distributors paid for my apartment and from then on I paid my own way; they paid a lot of money to have me registered with MIP and Mipcom too.

I thought it was wonderful but most of the people who went there moaned and groaned. I had never worked very hard in factories or down the mines but going to Cannes wasn't like work to me; work to me is hard work that hurts your back.

My hosts – and I don't mention any names on here much – were drunk from morning to night; the lady had a brandy for breakfast the day she took me out to the local market and drank pastise (a kind of Pernod) for the rest of the day; I don't know what the guy drank but he was the same.

I wasn't exactly a teetotaller there but I didn't drink before the evenings.

One time I went to Monte Carlo (above right) and we ate at the famous Café de Paris (which is the picture to the left above); we were suddenly with the jet set eating wonderful food and seeing all those rich people with their amazing French clothes accents and hair styles waiting for the next Formula One Grand Prix to come along and fill their Principality with gasoline fumes.

We couldn't get into the Grand Casino, I'm sorry to say; we were in the building, which seemed to be totally made out of marble, but to get into the casino we needed some kind of ID; two of us had our passports which were acceptable but one of us didn't – there were three of us. He was asked if he had any other form of ID and when he said only his press card we were shown the door so fast it was unbelievable!!

We had to go into a casino next door or so and I won a load of money playing black jack.

There were plenty of parties in Cannes and I went to a party on a boat one night and we were watching a film on a TV monitor with Jools Holland – he was the piano player with the band Squeeze.

Jools was talking in the film and then I heard his voice too – so I turned around and he was standing behind me. I introduced myself and we had a chat and a drink and then it was time for me to go to a bar in one of the hotels; so I said my goodbyes and went.

I heard later that when I went out a few people went to the port hole to look at me walk along the plank back to the quay to see if I was going to fall into the drink; didn't realise I was that drunk.

At the bar in the hotel – I think it was the Carlton – there was a black piano player who knew me and when I walked in he started playing Danny Boy.

I had more drinks in there and the piano player went leaving me sitting on the piano stool.

With the courage and bravado of a drink I played, maybe, eight chords of a boogie which is the extent of my piano playing, and then I stopped; 'Messieur!! Messieur!!' they shouted for me to play but I had to let them down; when I sat back down at the piano Jools Holland sat on the stool next to me “hello Mate” he said and launched into a boogie.

It was absolutely wonderful; the people around the piano went wild, I clapped my hands to the music, like the drunken idiot I must have been, and that was one of the times I had to get a helicopter to Nice.

From that hotel I went to the Casino in Cannes and won enough money to pay for the whole trip – again playing Black Jack; “Why don't I move here?” I thought to myself as I made my way back to my apartment; but I didn't I went to Los Angeles where it is very hard to get a bet on.

I never did sell the idea of the series; it was a well tried formula, a buddy series, but there were others on offer too.

The film itself sold to Finland, some airlines and other places in Scandinavia. It also sold to a cable company in England called British Satellite Broadcasting but before they showed it the company was taken over by Rupert Murdoch's BskyB and they didn't honour the deal.