Page 33 - Fujifilm Exposure_35 Miss Potter_ok

who’ve done everything, and more besides, I ask of them.
Thornton who, before he started on D&P, worked on the ITV children’s show, The Giblets, as well as shooting second unit on the first series of Doctor Who and a Granada drama, Walk Away And I Stumble, is using all the main Fujifilm tungsten stocks on the series including the Eterna 500 for the first time. “I’m very impressed with it,” he says, “and the stocks mix so well together.
“The first episode we did in this series was directed by Minkie Spiro and was about pot-holing. We spent nearly a week down caves in the Forest of Dean. I lit it mostly with very small lamps and torches, and the stock performed extremely well.
“For the second episode, we’ve had some really good visuals includ- ing a plane crash and explosions. Annie’s been very good and let us have the toys out like cranes, and we’ve had three cameras on at times.
“Of course, they say you should never work with animals and children and on this one we’ve had both, including lots and lots of horses. We did scenes at Warwick race course and even set up our own race at the end of one proper race day so we could get the right horse winning with the crowds kindly staying on for us.
“It turned out to be absolute chaos. The wrong horse got in front and threw its rider. It was quite spectacular but not what the story wanted. We then had to go back with 80-100 extras to do it ourselves. In fact, the story’s not so much about horse racing but all the wheeling and dealing behind the scenes.”
As for the untypical cloudless British weather? “It’s been amazing and actually quite good for a glossy episode which has lots of champagne and expensive cars,” notes Thornton, who is about to continue his BBC ‘run’ with the Casualty Christmas special.
In the final analysis, the continuing success of Dalziel & Pascoe has much to do with the interaction between Clarke and Buchanan, who claims he can’t quite put his finger on it.
“The relationship between Warren and I just works. We get on well off screen and our chemistry – if that’s the right word – transfers onto screen. The films are of a consistently high standard. It’s quality drama and this in turn attracts great talents to come and appear in the series.”
Clarke adds: “When we were cast, I hoped that Colin and I would become friends, and we have. We’ve also grown into the roles over the years so we fit them very well, which all adds to the success of the series.” ■ QUENTIN FALK
Dalziel & Pascoe
was originated on 16mm Eterna 500T 8673, Eterna 250T 8653 and Super F-125T 8632
Photo inset l-r: On the set of Dalziel & Pascoe with DP Peter Thornton and his crew Jamie Phillips (2nd Assistant Camera), Thornton, Martin Stephens (operator),
Mark Maidment (focus puller) and Allan Hughes (grip); main: Warren Clarke as Detective Superintendent Andy Dalziel and Colin Buchanan as Detective Inspector Peter Pascoe
Fuji Motion Picture And Professional Video • Exposure • 31