I'd forgotten I'd already written about the production of JFSP Series Nine, back when we first started recording in March, here. The home recording set-up in that first session, however, turned out to be insufficiently broad-bandy, so most of my remaining lines were recorded half an hour's stroll away, in the Nathan-Barley-themed escape room of Bloomsbury's Syncbox studios...
I would usually have had only two hours' sleep the previous night from the excitement of knowing this was coming. Sometimes I'd be lucky enough to be joined – in the opposite corner of the studio, no hugging – by Carrie taking a
break from the ambulances she now drives, also on about
two hours' sleep. John, being John, wouldn't have slept since
Christmas of 2020. On such little sleep, a crucial advantage of not performing the series live turned out to be the opportunity for retakes, and the chance for our producer Ed Morrish to direct, well, specifically, me. "Try that again, warmer," was a common note, while Carrie got it, and got on with it.
I'd hoped my tiredness might help me stop overthinking "the point" of a scene, but I'm suddenly remembering how she'd still, occasionally, have to give me an additional note to just "do the thing John asked"... Was it really necessary to have so
many scenes of Jerry making up poems, I remember thinking, for example, having no idea yet of the
revelations in Episode Five... As I said on the tweetalong (and I've enjoyed seeing how many listeners are surprised by this), we all knew John had a big idea for the shape of this series, but none of us – with the possible exception of Ed – knew what that shape was. And John, again being John (one of his best qualities) would still ask open-endedly for feedback or suggestions, but to take him up on this felt like kicking the tyres on the batmobile.
In fairness to my lack of understanding, quite a lot of Jerry's episode was recorded first, and there wasn't that much to piece together back then. (Only tyrants have favourites, but Jerry might have been the character John found least inherently difficult to create.) But even the author didn't have a clearer idea than was needed of the big picture two sessions in. Take the first recording of the scene where Alex asks Russ about his tattoo...
John on Zoom: "Okay. Simon. Could you read Alex in this?"
"Okay. Who's Alex?"
"Yes. I should probably decide that, shouldn't I."
"Someone Russ is meeting at a party?"
"No. Maybe Russ's partner, or husband. Let's decide... Okay, yes, his partner or husband."
"And is this them meeting at a party?"
"No. This isn't a party."
"Shall I give Alex an accent?"
"No."
If you haven't listened to the series, Alex ended up being an Australian, played by John. So yes, of course there was a plan, is what I'm saying, a pretty perfect plan as things turned out, but there was also – perhaps the greatest advantage of the costume-less, set-less, on-book medium of radio – a big temporal overlap with that plan's execution.
Series Nine is still being repeated nightly at 11pm, the tweetalong will be continuing tonight or, if you have any questions, you can post them below, and you can still hear the whole thing any time you like here.
For those of us who adore Cabin Pressure, John choosing to be Australian came as an, ahem, unexpected choice.
ReplyDeleteThank you so much for the extra behind the scenes-ery. The Nathan Barley room in particular made me howl with delight as TVGoHome was one of my first ever bookmarks. I can't think of Mick Hucknall without imagining pancakes.
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ReplyDeleteI still think they should have picked that backstage photo as the CD cover. Oh, well.
ReplyDeleteI genuinely cannot comprehend how you all manage to create things of such beauty running on so little sleep. I was going to say that I hope at least Margaret and Lawry get enough rest for the lot of you, but I fear retribution from the gods of slumber.
[SPOILERS FOR 9x06 AHEAD - just to be on the safe side]
Something that's been bothering me for a while is that - as far as I can tell - most people seem to react to the revelation about Vanessa's parentage by going back and looking at every interaction between N. and Vanessa through the lens of a father-daughter relationship, at least on N.'s side. The thing is, I may be entirely in the wrong, but this doesn't sit right with me for some reason. I don't really know how to explain it, but to me, he genuinely sees her as his niece rather than his own daughter. (Also, I may be projecting, but he does strike me as someone who would very much rather not have kids of his own, and the circumstances of Vanessa's conception might make it all the more necessary for him to distance himself from the whole business.) But that's enough of that, I think, and my apologies for rambling off on a tangent.
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DeleteI think it's additionally touching because, ultimately, we don't know how Newt feels.
DeleteMy reaction is similar: there's no reason the biological relationship needs to be paramount for Uncle Newt. Also, it's interesting to think about why he keeps the secret forever - is it just out of loyalty to Gally (and Susannah?) or is it because, to him, the truth of the relationship is that Susannah and Gally truly are Vanessa's parents and he truly was "just" a loving uncle? Or is it partly that he finds it extremely odd to think of himself as a father or as (very briefly) sexual in the first place?
Delete(As an aromatic ace, one thing I've noticed in myself is an almost inexplicable horror when people think of me as having romantic or sexual motives. I've gone out of my way in the past, probably quite oddly, to explain to people - say, an acquaintance that I've run into in a restaurant - that no, in fact, I'm not on a date with the person I'm eating with.)
Yes, this makes a lot of sense.
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