This is going to look familiar to my very very very faithful readers - and I know you're there! I found the newspaper clipping, above, which is from November 1st 1988 - my wife's birthday, would you believe. It's a clip from the Business Section of the Northampton Chronicle & Echo and when I found it - well my wife found it and didn't recognize it was published on one of her birthdays. It was also the birthday of Mary Sullivan my grandmother - so how's that for a coincidence? By the way, my brother's wife has the same birthday as my mother and - even more coincidental - Mary Sullivan's parents have the same first names as my wife and myself. So how about that?
This always made me laugh as every word in it is true. A friend read it when I published it in February 2011 and said 'how will that guy feel if he reads that' - well he probably won't and in any case I didn't say anything derogatory.
I had a good response to this post from would be film makers who were very grateful as they said the learned a great deal.
I made a film once in which I was involved from writing the script, acting and directing in it to putting the china graph marks onto the cutting copy to denote where I wanted cuts, fades, wipes or whatever on the negative.
Then I had to sit and grade it in the studio to make sure the colours were consistent and then take it to Cannes to try and sell it as a pilot for a TV series.
The story was about two antique dealers from the bottom end of the market who find a valuable item at Portobello Antiques market in London, sell it after a lot of negotiations and then lose it before getting paid.
Just a bit of fun, really, but people liked the two lead characters and thought they would look good if the short film was made into a TV series; so I was asked, by a film distribution company, to write some outlines for future scripts before setting off to Cannes - in between helping the sound editor by plying him and accompanying him with many a glass of Guinness; it's a wonder our livers survived.
This might sound a bit like a one man show but there were a lot of others involved and I sorted out a way to pay for it - eventually.
When I was working at the theatre in Northampton, I bumped into a business man on the train coming up from London, who was a big fan of the theatre. He took his wife to every play and invited us to his big house in Northampton one of the nights after the show for dinner.
I stayed on living in Northampton after finishing the season there and lots of times, when I travelled on the train to and from London, I would meet the same businessman.
We would talk of plans for the future and one time I told him of my wish to make a film of my own. He said he would fund it and he said he could easily do it as a tax write off.
So I set about writing the script based on a true incident from the antiques trade which we dabbled in – and still do.
I had directed before when someone asked me to take over on a film so I contacted the director of photography from that film, the DP, and showed him the script.
He wanted to do drama, as he had been specialising in documentaries up to then so away we went; I would get the actors and he would get the crew.
To get everybody to work for nothing we gave the crew a rise in rank; somebody new would be the clapper/loader, a clapper/loader would go to camera assistant (focus puller) a camera assistant took the job of a camera operator and the DP became the DP on a drama as opposed to a DP on a documentary.
The sound was a different story; I had to use about three of four sound people on the film.
When a documentary is planned they hire their DP and he or she would choose where they would hire the camera, lenses and camera equipment from; so we went to a camera house in London and on the promise that he would use them for his next paying project they let us have camera and equipment for nothing.
I told him about the businessman and the fact that he had a very photogenic house which he might let us use for the film.
I had to buy the stock; this is film for the camera, tape for the sound and mag-stock which is what you transfer the sound to edit in an editing machine which is the same size as the film and we planned to shoot on sixteen millimetre.
Shooting on film was and is very expensive as opposed to shooting today on Digital which is relatively cheap.
The two music videos I shot over the past few years were shot on Digital and cost virtually nothing.
The other thing about digital is that you can play it back as soon as you shoot it but the only time you can do that with film is with a video assist – invented by Jerry Lewis – and we didn't have that kind of money; in fact we had no money at all.
I opened an account with the Rank Organisation – J. Arthur Rank of the famous rhyming slang activity – to process the film we shot and the rest of the stuff was begged or borrowed as with the camera and the actors worked for food; even though the crew ate it all – I'm joking I'm sorry.
I remember one of the days I took everybody out for a meal in Northampton and, when they ordered everything, I went to the lavatory to count the money in my pocket to see if I could pay for it.
I hadn't counted on going to a restaurant as I had laid food on for them back at my house – where we shot some of the film – but off to the restaurant they all trotted.
When I counted what was in my pocket I found I didn't have enough so I went back to the table and watched everybody eating and asking for more and maybe more wine and what about a pudding? – ha ha ha ha, they were laughing and having a lovely time and there we were; me and the crew, the actors had gone back go London, and I kind of sat there and looked at them having a good time wondering how I was going to pay for it.
“Excuse me” I said and I went out; I stood there in the street and wondered if I should just go home – but I'm not like that.
I tried my ATM card at the bank over the street but it was declined so I found a phone box and called a friend who didn't live very far away; luckily he was in and met me in the street with a hundred pounds which was enough to pay the bill.
Yes you're right; what happened to that businessman. That's what we were thinking!
The last time I met him on the train I told him I was going ahead and he was very excited but when we were about to start I found him hard to get hold of; his secretary took a few messages but he didn't return any of my calls so I went around to his house and knocked the door.
He had a huge glass door and when I rang the bell I could hear his children playing in the hall; then I could see them as they were looking at us through the curtains; but nobody answered; I got the message.
I had shot the whole film, I owed the Rank Organisation money and when I took some lights back I was told that money was outstanding on them so I paid that.
My daughter's boy friend's father had let me use his big van for the shoot for nothing, so I didn't owe any money there but I did owe everybody in the movie to get it finished.
A few years earlier I did an award winning student film so I contacted the editor to see if he would be interested in editing my film and he said he would do it at the cutting rooms at the film school in Bournemouth but I would have to pay him; so I did; six weeks wages as he could only do it part time.
It was then finished at the cutting rooms at the Royal College of Art in South Kensington – but they didn't know about it; sorry RA. We would climb over the gate and creep in to the editing suites after the pub closed at night and do it then and it was eventually finished up to a rough cut. The editing and paying the editor cost more than the rest of the film, apart from the stock, even though I didn't have to pay for the use of the equipment.
My solution to funding the film was the same as any, and probably every other, businessman in the UK; an overdraft! So I booked an appointment with the bank manager.
This I did and he gave me an overdraft; with this I paid Rank and anybody else who needed paying and went to see the distributors; they let me use their cutting room for free for the sound editing and that's when I called my pal Giles and we gave our livers the Guinness test.
So I was bound for Cannes to try and sell the thing as a series. The distributors were involved in trying to get funding and set up loads of meetings in Cannes – and what a time that was.
I was asked if I would change the casting of the other character in it for an actor called Iain Cutherberson who was well known; the distributors had a connection with a Scottish TV company and as he was Scottish they wanted him in it.
But it wouldn't have worked; I promised my friend that he would be in it if we actually made the series but in any case I am about 5'9” and Iain Cutherberson was 6'4” - the dynamic would have changed. It wouldn't be about two fellas trying to make money out of antiques – it would have been about the long and the short of it.
At the end of the day we didn't get the series made; a series called Perfect Scoundrels was taken up by Southern TV, one of the people we were talking to, which was about two other guys on the make and which was very good I have to say.
My film sold to Finland and other Scandinavian countries but I didn't see a penny – that's show business.
The bank wrote off the overdraft and I came to Hollywood.
One night I went to the International House of Pancakes (IHOP) on Sunset Boulevard for a short stack of pancakes and coffee. As I sat there I noticed someone looking over at me; he was sitting with his friend and eventually came over.
“Are you Chris Sullivan?” he said.
“Yes” I said “and I know who you are.”
It was the rich businessman from Northampton.
I didn't hold a grudge so I joined them at their table.
“I'm sorry to let you down” he said “I was going through a bad patch.”
“That's okay” I said “but you could have answered your door!”
I re-cut the film - The Scroll - a couple of years ago so it's shorter than the original version and here it is https://youtu.be/WpWmesv5nVA
