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The following programme
contains some scenes of nudity.

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Downloaded from
YTS.MX

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Official YIFY movies site:
YTS.MX

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(OMINOUS MUSIC)

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(VOICEOVER MONTAGE)Hammer Films
set what I consider to be...

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the modern tone of the horror genre.

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Hammer was successful
because of...

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a certain alchemy
and a certain magic.

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They were very...

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lurid, shocking, Technicolor.

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You know, they were the opposite of
the old Universal horror pictures.

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When Hammer came round, it
took it to a whole different level.

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It just felt different
from everything else.

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Hammer Films
gave us this amazing brand of...

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spooky castles and vampires.

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And suddenly, this small British
studio was gonna become a force.

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It was something people wanted...
they wanted to see more of.

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CHARLES DANCE: A small
British film studio,

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born in the early 1930s,

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came to define the entire genre
of horror cinema.

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From humble beginnings,
it rose to legendary status,

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becoming a cultural touchstone...

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that still entertains audiences
and creators alike.

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We're about to embark on a voyage

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through the chronicles
of Hammer Films,

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exploring the lives of
the visionaries behind the scenes,

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how and why they created
such groundbreaking films...

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..and the lasting impact
they've had on cinema and culture.

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This is the story of the heroes,
legends and monsters...

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of Hammer.

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Oh, where did it all begin?

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Hammer was my father,
surprisingly enough.

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KINSEY: Hammer Film started
as the production arm of...

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a film distribution company
called Exclusive Films.

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Nineteen, take one.

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It was a family-run unit,
run by two families.

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MICHAEL: My grandfather,
Enrique Carreras...

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..and a man called Will Hammer,
or Hinds.

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He was a...

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successful businessman
and a failed comedian.

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He failed because
he wasn't really very funny.

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He and another chap
did a double act years ago,

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comic double act, and...

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cos his...my father's business
was centred in Hammersmith,

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they called themselves
Hammer and Smith,

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and the name Hammer
started from that.

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William Hinds worked
in his family business,

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which was FW Hinds the jewellers.

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He was someone who...

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combined his hobbies
and his business skills.

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In other words, if you like
racing bicycles, then, oh,
maybe we'll do some of that.

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He had a bicycle shop,
but he also had a particular
interest in the theatre.

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He had his own booking agency,

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used to book his own shows,
had his own theatres.

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Gradually,
his theatrical interest...

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started to take
a different direction

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when the motion picture
company started.

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He was very passionate
about filmmaking at that time,

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which is why it was his idea

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to start the production company,
use his name.

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Will Hinds gave his stage name
to the fledgling company.

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But what of the other man
responsible for Hammer's creation?

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Enrique Carreras was Spanish.

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Then he came over here in 1909,

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and it seems to have
been a fairly bold,

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entrepreneurial kind of figure.

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He had a chain of cinemas,
which was called the Blue Halls,

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which he'd sold to ABC.

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And it was him
that had formed Exclusive Films,

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which was now distributing movies.

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Will Hinds joined with him.

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And that was in 1929.

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Hammer became two families -

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the Hinds and the Carreras -
all the way through its career.

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Interesting family.
Very.

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They made five films
between 1934 and 1936.

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The two notable ones was...

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The Mystery Of The Mary Celeste,
with Bela Lugosi...

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I didn't forget you.

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..and Song Of Freedom,
with Paul Robeson.

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Paul Robeson was a massive artist.

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I'd like to sing you
a fragment of a song,

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which I've never sung
in public before.

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So it was a real coup to have
those headlining their films.

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Unfortunately, they didn't
do particularly well.

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(SINGS) I hear the voice of my...

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And the Hammer company was,
at that point, allowed to lapse.

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They continued running Exclusive,
which did quite well during the war.

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And after the war,
Enrique's son...

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Lieutenant-Colonel Jim Carreras,
came back and joined the firm.

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This is where the...

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Hammer film company proper comes in.

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PIRIE: It's often said...

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that no-one succeeds
like a son who saw his father fail.

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And I often think of that phrase
when I think of James Carreras.

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Who is he?
I don't know!

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James went
to Manchester Grammar School...

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..where he left at 16 without
any qualifications of any kind.

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He was a salesman...
absolutely personified.

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There is even a story that
he sold a car without an engine.

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He could sell
the proverbial ice cubes to Eskimos.

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Well, James Carreras
was exactly the kind of man

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who had what you call 'a good war'.

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He was successful.
He was greatly loved by his people.

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You couldn't have a nicer person
work for than Jimmy Carreras.

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What a distinguished,
beautiful-looking man he was.

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He wasn't a skirt-chaser.

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He became a colonel
in a fairly short space of time...

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and liked to be called the Colonel
for a time after the war too.

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And then he came back,
and he took over the company.

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The power is mine,

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and I shall use it as I please.

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Well, he was your typical sort of...

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old colonel...type,
very well-spoken,

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upright man - quite a nice guy.

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And that's when Hammer began...

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to accelerate
its commercial activities.

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The idea of Hammer
was to make money.

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And James Carreras was obviously
into the idea of making money.

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Which is... Who can blame him?

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My father was a businessman,
a salesman. He wasn't a film maker.

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He was really good
at schmoozing people.

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Our efforts...would be
considerably less effective...

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without the cooperation
of you gentlemen.

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Through his social life
and his work for the Variety Club,

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which he loved, he made contact
with American producers.

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Who needed what you might call
half-arsed British product

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with fading American stars...

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to produce what were called
'quota quickies'.

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There's no question
that Jimmy Carreras,

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in his backslapping, glad-handing,

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Variety Club way...

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was a genius of promotion.

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Through James Carreras'
networking abilities...

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he was able to take advantage
of the first key opportunity

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that arose
for his new production company.

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In a post-war move
to grow the economy,

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the UK Government aimed to boost
the British film business

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by taxing American movies,

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creating greater demand
for home-grown features.

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You're lucky it all worked.

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Lucky? This is only the beginning.

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So James Carreras...

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reintroduced the Hammer brand,
Hammer Films was made again,

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and they started making
little stocking fillers.

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(DRAMATIC MUSIC)

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Dick Barton was,
in fact, a radio serial...

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on the BBC Light Programme,

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which pre-dated The Archers.

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And from there, in a very small way,

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we started to make a series
of radio-orientated characters

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and bringing them to life
in the cinemas for the first time.

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We actually had a production
programme of six pictures a year,

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all based on the radio series.

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And from that, slowly,
whatever the company policies were,

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in changing names, but Exclusive
seguewayed into Hammer Films.

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And we were then...

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the first British company to have
a permanent American relationship

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and actually get American release

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for what were, really,
some very small British pictures.

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Oh, we've done it!
(LAUGHTER)

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The Hammer set up at that time
is that, really,

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James Carreras
is leading the company.

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And Will Hinds' son Tony,
who's now joined, Tony Hinds,

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is Hammer's primary producer.

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(GONG CLANGS)

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TONY: I went to see Jim Carreras.
We seemed to get on alright.

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And he said why didn't I join.

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I'd just come out of the air force,
and I really hadn't anything to do.

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So we got together,
and I joined the firm.

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On the production side,
and later, screenwriting side,

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Anthony Hinds was...

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extraordinarily important force
at Hammer.

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He was born in 1922, in London.

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When he came out of the RAF
after the war,

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they were making a film
called Death In High Heels,

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and the Producer disappeared,
went AWOL.

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They got Tony Hinds in to do it.

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He did a good job, and that
was the start of it. From then...

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..something really extraordinary
happens - a creative flair...

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I don't think anyone
had dreamt was there.

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And in a sense,
that is where we identify, I think,

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the uniqueness that was Hammer.

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Tony Hinds was a filmmaker.

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I mean, Tony Hinds,
was a better filmmaker than I was.

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He was, you know,
a definitive filmmaker.

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Tony only lived to make films.

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Anthony, in particular,

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is what you might call
a producer-auteur,

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because his handprint
is definitely visible

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on all of the films he worked on,

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whether it was in a production
capacity, a producer role...

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or whether he wrote the screenplay,

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which he often did
under the pseudonym John Elder.

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And it was a joke on an old
Art Director that worked for Hammer,

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called James Elder Wills -
he took the name from that.

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PIRIE: He was described by
the Daily Cinema as looking like

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'a doctor of divinity
about to take his finals.'

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There was one thing he did
which enraged everybody.

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He decided to put a microphone...

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on the stage...

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linked to his office,

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so at any time he could listen down
what was going on on the set.

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And if he felt,
'Hang on, they're not filming,'

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and there was a bit of a lapse
and things had slowed down a bit,

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and he knew what the schedule was...

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he would then race down onto the set
and get them to sort it out.

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Nose to the grindstone.

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(DOOR CLOSES)

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It was often said that if
they were running behind schedule,

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he would get the script
and tear a page out.

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There you are.
You're back on schedule now.

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And he was quite a revered producer
within the Hammer company.

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And Michael Carreras
started off as his assistant.

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I would say the monsters
of Hammer...

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..like all monsters,
are good and bad.

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And I'd say they're James Carreras
and Michael Carreras.

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You know, men who created greatness.

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And yet something within them...

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kept them from communicating...

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or achieving peace
within themselves.

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And that's the essence
of what a monster is.

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When I first reported for work
as an office boy in Wardour Street,

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I soon, luckily with influence,

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became Director of Publicity,

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which entailed putting
six black-and-white stills,

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and a poster,
into an envelope and...

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sending it off to the cinema that
was going to show an Exclusive film.

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And that...
As nobody else was doing it,

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I was Director of Publicity within
minutes of joining the company.

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The fastest promotion
you've ever heard of.

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Michael Henry Carreras
was born in London,

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on 21st December 1927.

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His parents were James Carreras
and Vera Smart.

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There seemed to be a very uneasy
relationship between father and son.

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James Carreras was very much
the architect of Hammer from the...

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business point of view.
Michael had...

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..you know, multiple talents.
He wasn't his father.

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I wasn't a businessman.

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Michael was a creative force
at Hammer.

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The different skills brought
by the father-and-son team

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were initially of great benefit
to Hammer.

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But in time, Michael's focus
on creativity over business

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could well come back to bite him.

245
00:12:54,480 --> 00:12:57,360
Michael was born
when James was only 21,

246
00:12:57,400 --> 00:12:59,360
and I think it was
very much a surprise.

247
00:12:59,400 --> 00:13:02,400
Their family history
is steeped in horrificness,

248
00:13:02,440 --> 00:13:06,160
and in things
that are almost Gothic.

249
00:13:06,200 --> 00:13:10,280
I'm not sure if James really
wanted to have a kid at that age.

250
00:13:10,320 --> 00:13:12,480
Did James want to be a father?

251
00:13:12,520 --> 00:13:14,680
I suspect he did, in fact,

252
00:13:14,720 --> 00:13:16,600
but not at that time.

253
00:13:16,640 --> 00:13:18,600
I don't know why
I put up with you at all.

254
00:13:18,640 --> 00:13:21,680
I should have drowned you at birth.
Thank you, Father.

255
00:13:21,720 --> 00:13:23,520
His father, James,

256
00:13:23,560 --> 00:13:28,680
ended up putting his mother, Vera,
into a sanitorium for a while.

257
00:13:28,720 --> 00:13:30,160
That's a Gothic trope.

258
00:13:30,200 --> 00:13:33,600
And Michael had to come
and live with his grandparents.

259
00:13:33,640 --> 00:13:36,320
I'm going to disown my son
and send him away to the country.

260
00:13:36,360 --> 00:13:39,520
It's a Victorian-slash-Gothic
horror movie,

261
00:13:39,560 --> 00:13:41,520
which is exactly
where they found their...

262
00:13:41,560 --> 00:13:43,760
ironically,
their power and their strength.

263
00:13:43,800 --> 00:13:46,680
The most curious family history.

264
00:13:46,720 --> 00:13:49,240
Michael was a kind
and jovial character.

265
00:13:49,280 --> 00:13:51,480
He got involved, stuck in,
with all the films,

266
00:13:51,520 --> 00:13:53,320
and all the people
that worked on the films.

267
00:13:53,360 --> 00:13:56,360
He was very good at bringing
creative people together.

268
00:13:56,400 --> 00:13:59,080
He was a Producer
that was hands-on.

269
00:13:59,120 --> 00:14:01,120
Michael Carreras
was doing everything - he was...

270
00:14:01,160 --> 00:14:03,480
playing with electrics,
with sound, with casting.

271
00:14:03,520 --> 00:14:05,880
He had the best sense of humour.

272
00:14:05,920 --> 00:14:08,520
Oh, my God.
He made me laugh so much.

273
00:14:08,560 --> 00:14:12,480
Michael Carreras' and Tony Hinds'
skill sets and personalities

274
00:14:12,520 --> 00:14:14,800
turned out to be an unlikely...

275
00:14:14,840 --> 00:14:16,800
but successful pairing.

276
00:14:16,840 --> 00:14:20,360
We're totally opposites,
and that was great too, because...

277
00:14:20,400 --> 00:14:23,560
certain types of films
that he enjoyed making, I didn't,

278
00:14:23,600 --> 00:14:26,360
and certain types of films
I liked making, he didn't.

279
00:14:26,400 --> 00:14:30,000
They kind of had
a sort of instinct for genre,

280
00:14:30,040 --> 00:14:33,920
I think, adventure,
suspense, swashbuckling -

281
00:14:33,960 --> 00:14:36,400
all that are ingredients of Gothic.

282
00:14:36,440 --> 00:14:40,360
They made one film at a time,
and the same crew came back,

283
00:14:40,400 --> 00:14:42,360
film after film after film.

284
00:14:42,400 --> 00:14:45,200
And their crew were the envy
of the British film industry.

285
00:14:45,240 --> 00:14:49,280
REYNOLDS: You realised you was
working at...a special company.

286
00:14:49,320 --> 00:14:51,360
When we went to various offices,

287
00:14:51,400 --> 00:14:53,760
you said you was from Hammer Films.

288
00:14:53,800 --> 00:14:57,320
Then they all knew
who you were talking about.

289
00:14:59,368 --> 00:15:01,440
The changing winds
of the media landscape

290
00:15:01,480 --> 00:15:04,320
were about to blow
in Hammer's favour.

291
00:15:04,360 --> 00:15:06,760
Although they didn't yet realise it,

292
00:15:06,800 --> 00:15:08,960
Hammer's cottage industry approach,

293
00:15:09,000 --> 00:15:11,640
utilising the same crew
again and again,

294
00:15:11,680 --> 00:15:13,560
was starting to pay off.

295
00:15:13,600 --> 00:15:18,520
It was about to allow them to take
advantage of another opportunity.

296
00:15:18,560 --> 00:15:21,480
We are on the edge
of a new dimension of discovery.

297
00:15:22,320 --> 00:15:24,800
It's a great chance
to leave our vices behind.

298
00:15:24,840 --> 00:15:29,360
So, 1953 is really a pivotal year
for British television,

299
00:15:29,400 --> 00:15:31,880
and historically,
radio had always been...

300
00:15:31,920 --> 00:15:34,280
the medium that was
the sort of nation's favourite.

301
00:15:34,320 --> 00:15:36,280
But the big thing
that happened in 1953

302
00:15:36,320 --> 00:15:38,480
was that a lot more people
got television sets

303
00:15:38,520 --> 00:15:40,840
because of the Coronation.

304
00:15:40,880 --> 00:15:43,880
More people got hold of a television
in the two months

305
00:15:43,920 --> 00:15:47,360
in the run up to the Coronation than
in any of the preceding two months.

306
00:15:47,400 --> 00:15:49,520
In 1953, until...

307
00:15:49,560 --> 00:15:52,480
for another few years after that,
television is BBC television.

308
00:15:52,520 --> 00:15:55,160
There is nothing else in this
country, just the one channel.

309
00:15:55,200 --> 00:15:57,920
And a lot of the plays
that were on were adaptations...

310
00:15:57,960 --> 00:16:01,520
of stage works
or had a literary basis.

311
00:16:01,560 --> 00:16:04,800
So there wasn't much
that was truly original.

312
00:16:04,840 --> 00:16:07,320
And the BBC script unit
was two people -

313
00:16:07,360 --> 00:16:09,160
Nigel Kneale and George Kerr.

314
00:16:13,880 --> 00:16:18,200
Nigel Kneale was an enormously
talented writer. Enormously.

315
00:16:20,080 --> 00:16:22,240
My name is Matthew Kneale,

316
00:16:22,280 --> 00:16:24,720
and my dad was...

317
00:16:24,760 --> 00:16:26,800
uh...Nigel Kneale.

318
00:16:26,840 --> 00:16:28,600
WOMAN: Eleven, take one.

319
00:16:28,640 --> 00:16:31,320
Nigel Kneale was a... Boy.

320
00:16:32,640 --> 00:16:34,440
He had a falling out with...

321
00:16:34,480 --> 00:16:37,840
famously, with John Carpenter
in Hollywood.

322
00:16:37,880 --> 00:16:41,160
He was not a nice man.
Not a nice man at all.

323
00:16:41,200 --> 00:16:44,760
HADOKE: I wish Nigel Kneale had
had a happier time of everything.

324
00:16:44,800 --> 00:16:48,920
He created Quatermass, which is
one of the seminal sci-fi texts.

325
00:16:48,960 --> 00:16:51,000
It's a landmark of television,

326
00:16:51,040 --> 00:16:53,360
and then it's a landmark of film.

327
00:16:53,400 --> 00:16:55,880
It spawns so much that came
after it.

328
00:16:55,920 --> 00:16:58,120
(CACOPHONOUS CLANGING AND RINGING)

329
00:16:58,160 --> 00:17:02,080
VOICEOVER: Three men went into outer
space. Only one of them came back...

330
00:17:02,120 --> 00:17:04,800
came back a strange,
distorted creature,

331
00:17:04,840 --> 00:17:08,320
haunted and possessed by something
beyond human understanding.

332
00:17:08,360 --> 00:17:10,800
And it doesn't seem
to have made him...

333
00:17:10,840 --> 00:17:13,720
particularly happy,
and I think that's a shame.

334
00:17:13,760 --> 00:17:15,360
Don't cry, please.

335
00:17:15,400 --> 00:17:18,320
Probably The Curse Of Frankenstein
would never have been made

336
00:17:18,360 --> 00:17:22,720
had not Nigel Kneale done
the Quatermass series on television.

337
00:17:22,760 --> 00:17:26,880
My father was actually
born in Barrow-in-Furness,

338
00:17:26,920 --> 00:17:29,080
and both his parents
were from the Isle of Man.

339
00:17:29,120 --> 00:17:31,160
The Isle of Man
is steeped in legend,

340
00:17:31,200 --> 00:17:33,640
and steeped in folklore,
and steeped...

341
00:17:33,680 --> 00:17:36,320
if we're thinking about how
he writes dialogue for people,

342
00:17:36,360 --> 00:17:37,960
steeped in the oral tradition.

343
00:17:38,000 --> 00:17:41,760
MURRAY: He actually developed a form
of skin sensitivity to sunlight.

344
00:17:41,800 --> 00:17:44,760
Which he regarded almost
in a Manx way as a kind of curse.

345
00:17:44,800 --> 00:17:48,080
For the whole of his life, really,
he had to stay out of the sun.

346
00:17:48,120 --> 00:17:50,160
His brother gave me
a wonderful phrase -

347
00:17:50,200 --> 00:17:53,120
'Nigel was always walking
in the shadows.'

348
00:17:54,920 --> 00:17:56,600
(SCREAMS)

349
00:17:56,640 --> 00:17:59,240
I think it's fairly easy
to make the link

350
00:17:59,280 --> 00:18:02,120
that somebody has to stay out
of the sunlight - what do you do?

351
00:18:02,160 --> 00:18:04,320
In those days, you sit and read.

352
00:18:04,360 --> 00:18:07,000
What does that do
to your imagination?

353
00:18:07,040 --> 00:18:09,480
Kneale was always writing stories,

354
00:18:09,520 --> 00:18:13,120
a lot of which are embedded in
the Manx folklore of his childhood.

355
00:18:13,160 --> 00:18:16,600
He was a very interesting writer...

356
00:18:16,640 --> 00:18:18,600
and forward thinker.

357
00:18:18,640 --> 00:18:22,800
He went to London
and trained as an actor at RADA,

358
00:18:22,840 --> 00:18:24,760
and around the time he finished,

359
00:18:24,800 --> 00:18:27,480
his short stories
were published as a volume.

360
00:18:27,520 --> 00:18:30,120
I think he was interested
in the meeting point

361
00:18:30,160 --> 00:18:32,840
of the rational and the irrational.

362
00:18:32,880 --> 00:18:35,200
And he won
the Somerset Maugham prize

363
00:18:35,240 --> 00:18:38,640
and thought he was set as a writer -
a book writer, a prose writer.

364
00:18:38,680 --> 00:18:41,880
He went travelling around Europe
with the money he got from...

365
00:18:41,920 --> 00:18:43,960
the Somerset Maugham prize.

366
00:18:44,000 --> 00:18:46,160
Came back expecting to be...

367
00:18:46,200 --> 00:18:48,480
rich with royalties -
found there was nothing.

368
00:18:48,520 --> 00:18:51,160
Where's my money, then? Where is it?

369
00:18:51,200 --> 00:18:54,080
He looked around for a job
and found something in the BBC.

370
00:18:54,120 --> 00:18:56,000
And he became a scriptwriter.

371
00:18:56,040 --> 00:18:59,240
In 1953, there was a gap
in the schedules...

372
00:18:59,280 --> 00:19:02,720
of six weeks, where he needed to...

373
00:19:02,760 --> 00:19:07,000
provide them with something,
and it was to be an original work.

374
00:19:07,040 --> 00:19:09,960
He had a relatively free hand
and...

375
00:19:10,000 --> 00:19:14,240
came up with the idea for a science
fiction series called Quatermass.

376
00:19:14,280 --> 00:19:16,920
And...that was
the beginning of it all.

377
00:19:18,600 --> 00:19:20,600
It might be significant.

378
00:19:20,640 --> 00:19:24,520
The original Quatermass Xperiment
was the most modern...

379
00:19:24,560 --> 00:19:28,960
present-day science fiction thriller
that had been put on television.

380
00:19:29,000 --> 00:19:31,160
Kneale was definitely
kind of influenced by...

381
00:19:31,200 --> 00:19:33,240
by what was going on
in the real world.

382
00:19:33,280 --> 00:19:35,400
1953 is the time when...

383
00:19:35,440 --> 00:19:38,960
that kind of idea of the Space Race
was just starting to come along.

384
00:19:39,000 --> 00:19:41,800
That idea of, 'OK,
we're sending rockets into space.

385
00:19:41,840 --> 00:19:43,640
What happens if we do that?

386
00:19:43,680 --> 00:19:46,480
What will they bring back?
What will they encounter?'

387
00:19:46,520 --> 00:19:49,280
When Kneale first wrote
the synopsis for the story,

388
00:19:49,320 --> 00:19:51,560
it was a character
called Professor Charlton.

389
00:19:51,600 --> 00:19:54,840
As he fleshed it out, he wanted
to give the character a better name.

390
00:19:54,880 --> 00:19:57,320
When he looked in the phone
directory, and in the Isle of Man,

391
00:19:57,360 --> 00:19:59,440
a lot of the names -
in fact, almost all the surnames -

392
00:19:59,480 --> 00:20:03,080
begin with a K or a Q-U,
and he found Quatermass.

393
00:20:03,120 --> 00:20:04,920
He had a good eye for the name,

394
00:20:04,960 --> 00:20:07,640
and I suppose 'mass'
sounded slightly scientific.

395
00:20:07,680 --> 00:20:09,960
And it's a dramatic name,
so it was a good choice.

396
00:20:11,040 --> 00:20:13,400
The original TV series
of The Quatermass Xperiment

397
00:20:13,440 --> 00:20:15,200
was a real success.

398
00:20:15,240 --> 00:20:18,400
Viewing figures were good,
the reviews were very good.

399
00:20:18,440 --> 00:20:22,480
Even before it finished going out,
there was conversations going on

400
00:20:22,520 --> 00:20:24,440
about...can we turn this
into a film?

401
00:20:24,480 --> 00:20:27,240
Tony Hinds and others at Hammer
pricked up their ears,

402
00:20:27,280 --> 00:20:29,120
and then Hammer put in an offer,

403
00:20:29,160 --> 00:20:32,040
which was way over what
they should have, perhaps, put in.

404
00:20:32,080 --> 00:20:35,560
I've seen people refer to it as
a bad business decision. It wasn't.

405
00:20:35,600 --> 00:20:37,440
So at that point,

406
00:20:37,480 --> 00:20:42,080
Nigel Kneale is very happy
that his television series...

407
00:20:42,120 --> 00:20:44,880
is being looked at to be made
by a film company.

408
00:20:44,920 --> 00:20:47,160
He is delighted by that.

409
00:20:47,200 --> 00:20:51,320
History tells us that Nigel Kneale
didn't remain delighted for long,

410
00:20:51,360 --> 00:20:54,520
and he remained undelighted...

411
00:20:54,560 --> 00:20:56,560
for the rest of his days.

412
00:20:57,640 --> 00:21:01,800
When my dad wrote the first
Quatermass television series,

413
00:21:01,840 --> 00:21:05,640
for the BBC, he asked, 'Well, what
would happen if it was sold on?'

414
00:21:05,680 --> 00:21:09,360
And he was told, 'Oh,
of course you'll be recompensed.'

415
00:21:09,400 --> 00:21:12,320
And then after Quatermass
became such a hit,

416
00:21:12,360 --> 00:21:15,520
the BBC rather...
changed their minds about this.

417
00:21:15,560 --> 00:21:18,520
And my dad felt
that he'd been mistreated.

418
00:21:18,560 --> 00:21:23,000
Hammer's newly acquired rights
to create films based on Quatermass

419
00:21:23,040 --> 00:21:25,520
could be a turning point
for the company.

420
00:21:25,560 --> 00:21:28,520
But how should they approach
this sci-fi feature?

421
00:21:28,560 --> 00:21:31,240
Violence, gore and nudity...

422
00:21:31,280 --> 00:21:33,360
would mean an X certificate,

423
00:21:33,400 --> 00:21:35,760
restricting a film's
potential audience.

424
00:21:35,800 --> 00:21:38,440
This could certainly
present a challenge

425
00:21:38,480 --> 00:21:41,520
for Hammer's debut horror
sci-fi feature.

426
00:21:41,560 --> 00:21:44,960
But where lesser men
saw only problems...

427
00:21:45,000 --> 00:21:47,480
Tony Hinds saw opportunity...

428
00:21:48,280 --> 00:21:52,920
..an opportunity
that could define Hammer forever.

429
00:21:54,320 --> 00:21:57,040
The Censors, basically,
were a huge help to Hammer,

430
00:21:57,080 --> 00:21:59,680
because it gave something
to push against.

431
00:21:59,720 --> 00:22:02,240
It forced them to be creative.

432
00:22:02,280 --> 00:22:05,720
The Quatermass Xperiment was called
The Quatermass 'Xperiment',

433
00:22:05,760 --> 00:22:07,840
because they were
exploiting the X rating.

434
00:22:07,880 --> 00:22:10,600
The X thing was still relatively
new, so now it's a thing of,

435
00:22:10,640 --> 00:22:12,960
'This cannot be shown
in the presence of anyone under 16.'

436
00:22:13,000 --> 00:22:15,400
HADOKE: The X certificate
was a very powerful thing

437
00:22:15,440 --> 00:22:18,640
in terms of making people
come to see those films.

438
00:22:18,680 --> 00:22:21,560
And marketing-wise, it was huge.

439
00:22:21,600 --> 00:22:25,400
A young man died of a heart attack
during that movie,

440
00:22:25,440 --> 00:22:27,680
but the whole thing...

441
00:22:27,720 --> 00:22:31,440
was bathed in the music
of James Bernard.

442
00:22:31,480 --> 00:22:34,320
I thought he was
an unbelievable composer.

443
00:22:36,800 --> 00:22:38,920
The score for Quatermass...

444
00:22:38,960 --> 00:22:42,120
is like a precursor to Psycho.

445
00:22:42,160 --> 00:22:44,240
James Bernard is certainly a hero,

446
00:22:44,280 --> 00:22:46,200
because the music is...

447
00:22:46,240 --> 00:22:48,200
is often phenomenal.

448
00:22:48,240 --> 00:22:50,360
His music is, like...

449
00:22:50,400 --> 00:22:54,080
it's as important as the direction,
the setting, the actors.

450
00:22:54,120 --> 00:22:58,480
James Bernard did actually have
some musical lineage in his family.

451
00:22:58,520 --> 00:23:00,520
One of those was Thomas Arne...

452
00:23:01,400 --> 00:23:03,760
..who was the composer
of Rule Britannia.

453
00:23:03,800 --> 00:23:07,120
James Bernard was born
in the Himalayas.

454
00:23:09,880 --> 00:23:14,800
He then went to
the Wellington College in England.

455
00:23:14,840 --> 00:23:17,800
Eventually, he would actually
end up at Bletchley Park,

456
00:23:17,840 --> 00:23:21,200
and he was part of the team
that were helping

457
00:23:21,240 --> 00:23:24,640
to try and crack the codes
of the Enigma machine.

458
00:23:24,680 --> 00:23:26,680
He worked with Christopher Lee,

459
00:23:26,720 --> 00:23:29,360
who was actually stationed
at the same place as James.

460
00:23:29,400 --> 00:23:32,400
And this is where he first ever
encountered Dracula.

461
00:23:32,440 --> 00:23:36,440
I'd just become an officer,
and I was billeted...

462
00:23:36,480 --> 00:23:38,920
in a sort of...in an old rectory...

463
00:23:38,960 --> 00:23:43,080
adjoining an old church in
a remote village in Buckinghamshire.

464
00:23:43,120 --> 00:23:46,280
It was a full Hammer set,
the whole thing,

465
00:23:46,320 --> 00:23:48,640
and it was a terribly cold winter.

466
00:23:48,680 --> 00:23:50,560
And I was reading Dracula,

467
00:23:50,600 --> 00:23:53,080
Bram Stoker's original,
for the first time.

468
00:23:53,120 --> 00:23:56,360
And I tucked myself up into bed
with Dracula...

469
00:23:56,400 --> 00:23:58,760
with the book, I mean. (CHUCKLES)

470
00:23:58,800 --> 00:24:02,720
And I was really enjoying it
enormously and totally engrossed.

471
00:24:02,760 --> 00:24:04,880
I suddenly realised
I was freezing cold.

472
00:24:04,920 --> 00:24:08,360
So I got out of bed and went
to the kitchen of this old rectory,

473
00:24:08,400 --> 00:24:10,920
and made myself a hot water bottle.

474
00:24:10,960 --> 00:24:13,760
And I filled this
with almost boiling water,

475
00:24:13,800 --> 00:24:16,920
took it back to bed,
clutched it to my chest,

476
00:24:16,960 --> 00:24:20,040
went on reading Dracula,
thoroughly absorbed...

477
00:24:20,080 --> 00:24:23,240
fell asleep
with the book on my nose,

478
00:24:23,280 --> 00:24:28,000
woke up in the morning and
the bottle was clutched to my chest.

479
00:24:28,040 --> 00:24:29,880
So I removed it.

480
00:24:29,920 --> 00:24:33,560
And underneath it
was a huge, angry, white blister.

481
00:24:33,600 --> 00:24:35,400
And the blister went,

482
00:24:35,440 --> 00:24:38,760
but the scar remained
for years and years and years.

483
00:24:38,800 --> 00:24:41,240
And I think
it only finally vanished...

484
00:24:41,280 --> 00:24:44,360
when I'd written the score
for The Scars Of Dracula,

485
00:24:44,400 --> 00:24:46,200
which was my last Dracula film.

486
00:24:46,240 --> 00:24:49,280
VOICEOVER: There is no escape
from...(BAT SCREECHES)

487
00:24:51,240 --> 00:24:55,720
James first started working
in music for Benjamin Britten.

488
00:24:55,760 --> 00:24:59,320
He would copy the sketches for...

489
00:24:59,360 --> 00:25:02,040
Billy Budd the opera,
but after that...

490
00:25:02,080 --> 00:25:06,480
Benjamin Britten told him
that he should make his own way,

491
00:25:06,520 --> 00:25:08,800
because if he stayed with him,

492
00:25:08,840 --> 00:25:11,120
he would just swamp him,

493
00:25:11,160 --> 00:25:13,440
and he would not be able to,

494
00:25:13,480 --> 00:25:16,200
you know, make his own way
as a composer.

495
00:25:16,240 --> 00:25:19,480
James was very keen
to work in film.

496
00:25:19,520 --> 00:25:21,760
He had to find a way in.

497
00:25:21,800 --> 00:25:25,560
Television hadn't really started up
again properly since the war.

498
00:25:25,600 --> 00:25:28,080
His way in was radio plays.

499
00:25:28,120 --> 00:25:30,320
Now, he did a bunch of those

500
00:25:30,360 --> 00:25:33,120
for what is effectively now
BBC Radio 3.

501
00:25:33,160 --> 00:25:35,320
I think it was
The Death Of Hector...

502
00:25:35,360 --> 00:25:37,640
was the first, which was...

503
00:25:37,680 --> 00:25:40,440
directed by
Sir John Gielgud's brother.

504
00:25:40,480 --> 00:25:43,600
One of the next ones he did
was called The Duchess Of Malfy.

505
00:25:43,640 --> 00:25:45,480
It's basically a horror.

506
00:25:45,520 --> 00:25:48,560
Everybody pretty much
ends up dead by the end.

507
00:25:48,600 --> 00:25:52,200
And the Duchess Of Malfy
was actually recorded to tape.

508
00:25:52,240 --> 00:25:55,000
The Quatermass Xperiment
was originally...

509
00:25:55,040 --> 00:25:57,440
assigned to John Hotchkis,

510
00:25:57,480 --> 00:26:00,160
and unfortunately, John fell ill...

511
00:26:00,200 --> 00:26:02,560
and couldn't continue.

512
00:26:02,600 --> 00:26:05,920
Tony Hinds, at Hammer, said to a man
called John Hollingsworth...

513
00:26:05,960 --> 00:26:07,840
'We're in a real pickle here,

514
00:26:07,880 --> 00:26:10,240
and we need a composer
as soon as possible.'

515
00:26:10,280 --> 00:26:13,160
So John Hollingsworth
remembered James Bernard,

516
00:26:13,200 --> 00:26:16,400
who had conducted the score
for The Duchess Of Malfy.

517
00:26:16,440 --> 00:26:19,960
Now, because they had the tapes
to The Duchess Of Malfy,

518
00:26:20,000 --> 00:26:24,200
He rushed to go retrieve these
and play them to Tony Hinds.

519
00:26:24,240 --> 00:26:27,120
Tony Hinds loved it,
and immediately, on the spot,

520
00:26:27,160 --> 00:26:31,720
James Bernard was hired and paid
the princely sum of £100

521
00:26:31,760 --> 00:26:35,280
to write the score
for The Quatermass Xperiment.

522
00:26:35,320 --> 00:26:37,200
If you listen
to The Duchess Of Malfy,

523
00:26:37,240 --> 00:26:40,000
and you listen to
The Quatermass Xperiment,

524
00:26:40,040 --> 00:26:42,240
you're gonna see
a lot of similarities.

525
00:26:42,280 --> 00:26:45,400
Because James Bernard
was basically touching upon

526
00:26:45,440 --> 00:26:47,600
what he already knew how to do,

527
00:26:47,640 --> 00:26:50,480
and that was
writing for strings and percussion.

528
00:26:50,520 --> 00:26:53,680
So they basically have
almost the same instrumentation.

529
00:26:53,720 --> 00:26:56,520
When he then went on to do
The Curse Of Frankenstein,

530
00:26:56,560 --> 00:27:00,160
he would actually quote, musically,
some of his themes and motifs

531
00:27:00,200 --> 00:27:02,680
from The Duchess Of Malfy.

532
00:27:02,720 --> 00:27:06,440
Hammer's Quatermass Xperiment
was successful across the board.

533
00:27:06,480 --> 00:27:10,080
Pushing the boundaries
of what was acceptable in cinema

534
00:27:10,120 --> 00:27:12,720
became one of
Hammer's driving forces.

535
00:27:12,760 --> 00:27:16,200
The X certificate
was nothing to be feared...

536
00:27:16,240 --> 00:27:19,000
but something to bear with pride.

537
00:27:19,040 --> 00:27:21,000
James Carreras felt, instinctively,

538
00:27:21,040 --> 00:27:23,920
that this was
the route to success for Hammer,

539
00:27:23,960 --> 00:27:28,040
but were this band of British
creatives charting the right course?

540
00:27:28,080 --> 00:27:30,600
After the success
of The Quatermass Xperiment film,

541
00:27:30,640 --> 00:27:34,920
they speak to audiences, and they
speak to distributors, and they say,

542
00:27:34,960 --> 00:27:38,080
'This horror thing, this is great.
This is what we want.'

543
00:27:38,120 --> 00:27:41,040
So the obvious thing is
to try and do a Quatermass sequel.

544
00:27:42,280 --> 00:27:45,320
INTERVIEWER: You tackled your first
feature, which was X The Unknown.

545
00:27:45,360 --> 00:27:47,480
Right.
How do you feel about that?

546
00:27:47,520 --> 00:27:49,720
We were sort of sitting around
the office one day

547
00:27:49,760 --> 00:27:51,600
trying to come up with a story.

548
00:27:51,640 --> 00:27:54,560
I was Production Manager
at the time, and...

549
00:27:55,600 --> 00:27:58,000
..it was Tony Hinds
and Mike Carreras,

550
00:27:58,040 --> 00:28:00,880
and we were batting around ideas.

551
00:28:00,920 --> 00:28:03,000
And it seemed
at the end of a session,

552
00:28:03,040 --> 00:28:05,920
I'd come up with the most ideas, so
Tony said, 'Go away and write it.'

553
00:28:05,960 --> 00:28:08,400
I said, 'I'm not a writer,
I'm a production manager.'

554
00:28:08,440 --> 00:28:10,880
And he said, 'Well, write it.
If we like it, we'll buy it.'

555
00:28:10,920 --> 00:28:14,120
So I wrote it. And he liked it.
And he bought it.

556
00:28:14,160 --> 00:28:16,720
Jimmy Sangster started
with Hammer in 1948,

557
00:28:16,760 --> 00:28:19,000
on a film called
Dick Barton Strikes Back,

558
00:28:19,040 --> 00:28:21,440
as a Second Assistant Director.

559
00:28:21,480 --> 00:28:23,800
He later becomes First Assistant,

560
00:28:23,840 --> 00:28:26,640
and he's the youngest First
Assistant Director in the country.

561
00:28:26,680 --> 00:28:30,160
And in 1954, he becomes a
Production Manager with the company.

562
00:28:30,200 --> 00:28:32,200
Around this time...

563
00:28:33,240 --> 00:28:36,080
..Milton Subotsky and Max Rosenberg
come to Hammer

564
00:28:36,120 --> 00:28:38,720
with an old-fashioned
Frankenstein script.

565
00:28:38,760 --> 00:28:41,200
It was called
Frankenstein And The Monster.

566
00:28:42,040 --> 00:28:45,560
And it was recommended that they
make a film...along those lines,

567
00:28:45,600 --> 00:28:49,040
probably just another
of their black-and-white quickies.

568
00:28:49,080 --> 00:28:52,360
Studying the script, they realised
that it was actionably similar...

569
00:28:52,400 --> 00:28:54,600
to the old Universal
Frankenstein films.

570
00:28:54,640 --> 00:28:57,360
Anthony Hinds reads it and says,

571
00:28:57,400 --> 00:29:01,200
'We can't use it, but this
is an idea - to do Frankenstein.'

572
00:29:01,240 --> 00:29:03,480
So they paid off...

573
00:29:03,520 --> 00:29:05,840
Rosenberg and Subotsky...

574
00:29:05,880 --> 00:29:08,920
and launched with their own script.

575
00:29:08,960 --> 00:29:11,280
Which was written by...

576
00:29:11,320 --> 00:29:12,920
Jimmy Sangster.

577
00:29:12,960 --> 00:29:15,880
I don't think I read
the Mary Shelley book, actually.

578
00:29:15,920 --> 00:29:18,560
I mean, one knew
the Frankenstein story.

579
00:29:18,600 --> 00:29:20,600
I don't think I read it.
I'd just seen all the...

580
00:29:20,640 --> 00:29:22,720
all the old Frankenstein movies.

581
00:29:24,763 --> 00:29:27,680
In the wake
of Hammer's newfound success,

582
00:29:27,720 --> 00:29:30,720
Tony Hinds would need
to find the right director

583
00:29:30,760 --> 00:29:34,720
to deliver his frightening Gothic
vision for their next picture,

584
00:29:34,760 --> 00:29:38,320
particularly if they were
to unlock its financial potential.

585
00:29:38,360 --> 00:29:43,200
Hinds needed a safe but creative
pair of hands for this vital role.

586
00:29:43,240 --> 00:29:48,440
His solution was to turn to his
longtime collaborator Terence Fisher.

587
00:29:48,480 --> 00:29:52,320
Terence Fisher being the Director
who's given us most of the classics.

588
00:29:52,360 --> 00:29:55,720
I remember that he always
wore a jumper and a shirt.

589
00:29:55,760 --> 00:29:59,520
RIGBY: Terence Fisher kickstarted
the Gothic trend at Hammer.

590
00:29:59,560 --> 00:30:02,720
Probably a sort
of crimson-colour jumper.

591
00:30:02,760 --> 00:30:04,360
And he was a really good director.

592
00:30:04,400 --> 00:30:06,160
Possibly with a jacket.

593
00:30:07,480 --> 00:30:10,280
I understand, originally,
Hammer wanted to...

594
00:30:10,320 --> 00:30:13,520
knock The Curse Of Frankenstein out
in three weeks.

595
00:30:13,560 --> 00:30:16,320
They offered it to my father, and...

596
00:30:16,360 --> 00:30:18,440
he said, 'I can't possibly
do it in three weeks.'

597
00:30:18,480 --> 00:30:20,400
He said, 'It's got to be six.'

598
00:30:20,440 --> 00:30:23,840
He took a while to go away
and think about it, a long while,

599
00:30:23,880 --> 00:30:26,080
and then came back and agreed.

600
00:30:26,120 --> 00:30:28,280
But it wouldn't have
been the innovative,

601
00:30:28,320 --> 00:30:30,640
extraordinary film that it was...

602
00:30:30,680 --> 00:30:34,560
if someone hadn't said to Hammer,
'No, I can't do it in three weeks.

603
00:30:34,600 --> 00:30:36,400
Give me six.' (CHUCKLES)

604
00:30:37,240 --> 00:30:39,480
We don't want to be
over-hasty, do we?

605
00:30:40,680 --> 00:30:43,200
He's the Director,
whether you know it or not,

606
00:30:43,240 --> 00:30:45,440
you think about
when you think of Hammer, I think.

607
00:30:45,480 --> 00:30:48,080
He went to boarding schools
at a very early age,

608
00:30:48,120 --> 00:30:51,000
went to prep school
and then to Christ Hospital.

609
00:30:51,040 --> 00:30:54,480
I think of the two results
that boarding school can have...

610
00:30:54,520 --> 00:30:59,080
with pupils is that they either
get this arrogance and confidence,

611
00:30:59,120 --> 00:31:02,360
or else they're...
just completely cowed.

612
00:31:02,400 --> 00:31:04,120
He was such a dear...

613
00:31:04,160 --> 00:31:06,480
kind, cuddly little man.

614
00:31:07,280 --> 00:31:08,680
Very shy.

615
00:31:09,560 --> 00:31:12,280
(WHISPERS) He was very quiet.
He talked like that.

616
00:31:12,320 --> 00:31:15,920
So he gave direction.
'Would you mind very much if you...

617
00:31:15,960 --> 00:31:18,240
moved over here...
moved over to there.

618
00:31:18,280 --> 00:31:20,720
Thank you very much.
And then he would disappear.

619
00:31:20,760 --> 00:31:22,440
A quiet one, are we?

620
00:31:23,880 --> 00:31:26,040
You've hardly said a word.

621
00:31:26,080 --> 00:31:28,200
My father joined the merchant navy,

622
00:31:28,240 --> 00:31:31,080
and he travelled
all round the world...

623
00:31:31,120 --> 00:31:35,000
but never talked about it
unless you particularly asked him.

624
00:31:35,040 --> 00:31:36,840
After the merchant navy,

625
00:31:36,880 --> 00:31:39,680
he went back to London...and
hadn't a clue what he wanted to do,

626
00:31:39,720 --> 00:31:41,680
but...there was a shop
round the corner.

627
00:31:41,720 --> 00:31:44,040
It was Peter Jones -
a big department store -

628
00:31:44,080 --> 00:31:46,400
and he became
a window dresser there.

629
00:31:46,440 --> 00:31:48,880
And he always said it was
quite a good introduction

630
00:31:48,920 --> 00:31:52,000
into setting stuff into a frame.

631
00:31:52,040 --> 00:31:55,040
Terence Fisher began
in the film industry in...

632
00:31:55,080 --> 00:31:56,960
various different capacities, but...

633
00:31:57,000 --> 00:31:59,040
I think he really
found his footing as an editor.

634
00:31:59,080 --> 00:32:02,440
And I think it was his experience
as an editor or a cutter,

635
00:32:02,480 --> 00:32:04,720
as he preferred to call it,

636
00:32:04,760 --> 00:32:07,640
that really is the key to his work,

637
00:32:07,680 --> 00:32:11,200
really, because he edited
the films in his head,

638
00:32:11,240 --> 00:32:13,440
and this made him
a very prized collaborator,

639
00:32:13,480 --> 00:32:17,080
because Hammer
liked to keep costs down.

640
00:32:17,120 --> 00:32:19,120
You know, they were
a smallish operation,

641
00:32:19,160 --> 00:32:21,680
and they were making
very lavish looking films...

642
00:32:21,720 --> 00:32:23,440
but on a budget.

643
00:32:23,480 --> 00:32:25,960
Their budgets were minuscule -
The Curse Of Frankenstein,

644
00:32:26,000 --> 00:32:28,000
in 1956, made for £80,000.

645
00:32:28,040 --> 00:32:31,080
Dracula, in 1957, made for £90,000.

646
00:32:31,120 --> 00:32:32,920
Yet you look at those films,

647
00:32:32,960 --> 00:32:35,600
and they look like
they have bigger budgets.

648
00:32:35,640 --> 00:32:38,840
Anthony Hinds made
another huge jump here,

649
00:32:38,880 --> 00:32:40,600
where he said
it should be in colour.

650
00:32:40,640 --> 00:32:44,600
It was pretty amazing when you
consider James said yes to colour,

651
00:32:44,640 --> 00:32:47,440
when colour would have cost 10%
of the entire budget,

652
00:32:47,480 --> 00:32:50,920
just changing from monochrome
to colour, but he did.

653
00:32:50,960 --> 00:32:53,360
Now you can see the blood,
and the blood is gonna be red.

654
00:32:53,400 --> 00:32:56,640
And from a marketing point of view,
it's pretty genius.

655
00:32:56,680 --> 00:33:00,880
This was an enormous breakthrough -
not a single person was thinking
of making horror films in colour.

656
00:33:00,920 --> 00:33:02,880
The Americans
weren't doing it either.

657
00:33:02,920 --> 00:33:05,400
The critics went mad, you know?
They thought this was vile.

658
00:33:05,440 --> 00:33:07,320
But the public absolutely loved it.

659
00:33:07,360 --> 00:33:10,800
And from there on,
I think you could say...

660
00:33:10,840 --> 00:33:12,920
the Hammer brand is born.

661
00:33:12,960 --> 00:33:16,000
It was the Gothic cycle
in colour for the first time.

662
00:33:16,040 --> 00:33:18,000
World audiences were waiting.

663
00:33:18,040 --> 00:33:20,640
And there's another wrinkle here,
which is very interesting -

664
00:33:20,680 --> 00:33:23,640
by a strange, quixotic turn of fate,

665
00:33:23,680 --> 00:33:27,120
colour was what allowed them
to evade the censorship,

666
00:33:27,160 --> 00:33:29,240
which would otherwise
have prevailed.

667
00:33:29,280 --> 00:33:32,080
Terence Fisher said, 'Oh, we never
had any problem with the Censors,'

668
00:33:32,120 --> 00:33:34,800
which was the most ridiculously
disingenuous thing to say.

669
00:33:34,840 --> 00:33:38,480
Because Hammer had titanic problems
with the Censors.

670
00:33:38,520 --> 00:33:43,160
Hinds worked out if he showed the
Censor the films in black-and-white,

671
00:33:43,200 --> 00:33:46,000
but he would say to them, 'Yeah,
of course it's in colour,' early on.

672
00:33:46,040 --> 00:33:47,840
Then he'd show them
the black-and-white.

673
00:33:47,880 --> 00:33:51,320
No-one remembered that in a letter,
six months earlier,

674
00:33:51,360 --> 00:33:53,160
he said,
'By the way, it's in colour.'

675
00:33:53,200 --> 00:33:57,520
And then the Censor
realises the film is in colour,
and they immediately say,

676
00:33:57,560 --> 00:34:00,040
'You've got to show it to us.'
And there's a real problem.

677
00:34:00,080 --> 00:34:03,320
Because the Censor
has a terrible reaction to the film.

678
00:34:03,360 --> 00:34:05,280
That really was like, 'Argh!'

679
00:34:05,320 --> 00:34:08,160
They nearly had a heart attack. At
that point, the real battle started.

680
00:34:08,200 --> 00:34:12,440
And then they were able
to force through a few more things

681
00:34:12,480 --> 00:34:14,520
than they would ever
have got before.

682
00:34:14,560 --> 00:34:16,520
Hammer were really good at,
in the end,

683
00:34:16,560 --> 00:34:18,600
getting what they wanted onscreen,

684
00:34:18,640 --> 00:34:21,440
because Hammer would always...
they'd build in stuff they knew...

685
00:34:21,480 --> 00:34:24,640
was gonna get cut out, and
they'd put a little extra in too.

686
00:34:24,680 --> 00:34:27,000
So they'd go,
'Well, if we cut out...

687
00:34:27,040 --> 00:34:29,120
the bit that you don't like,
can we have this in?'

688
00:34:29,160 --> 00:34:32,360
And it'd become a bargaining point -
one of the examples you hear about

689
00:34:32,400 --> 00:34:35,240
is the disintegration of Dracula.

690
00:34:35,280 --> 00:34:38,520
There was a much longer version
that, for many years, was hidden,

691
00:34:38,560 --> 00:34:40,920
because the Censors at the time
thought it was too much.

692
00:34:40,960 --> 00:34:43,120
And they wanted to cut
some stuff out.

693
00:34:43,160 --> 00:34:45,360
And so they did, but they
still got a lot of stuff in

694
00:34:45,400 --> 00:34:48,520
because they'd piled
so much into that disintegration.

695
00:34:49,600 --> 00:34:51,760
(DRACULA SCREAMS, GASPS)

696
00:34:54,440 --> 00:34:56,440
(GRUNTS)

697
00:35:02,120 --> 00:35:05,320
Phil Leakey was
a remarkably talented make-up man.

698
00:35:09,720 --> 00:35:11,840
A very mild-mannered guy,

699
00:35:11,880 --> 00:35:14,440
very much in the background,
very quiet.

700
00:35:14,480 --> 00:35:16,280
Very skilled, though.

701
00:35:16,320 --> 00:35:18,600
So, of course, what they did
was they hung onto him...

702
00:35:18,640 --> 00:35:20,440
and hung on to him
for as long as possible.

703
00:35:20,480 --> 00:35:22,480
And they were very lucky
he was still around

704
00:35:22,520 --> 00:35:24,600
when the colour Gothic started up.

705
00:35:24,640 --> 00:35:28,000
All make-up artists study anatomy,

706
00:35:28,040 --> 00:35:30,440
and they study cuts and wounds.

707
00:35:30,480 --> 00:35:34,040
But with Phil Leakey,
I expect that he had...

708
00:35:34,080 --> 00:35:36,480
a more kind of
first-hand knowledge of it,

709
00:35:36,520 --> 00:35:39,080
because of his parents,
who were in the sciences.

710
00:35:39,120 --> 00:35:41,000
He knew exactly what to do...

711
00:35:41,040 --> 00:35:44,800
when he had to create a wound
on someone's face or a bruise.

712
00:35:44,840 --> 00:35:47,360
He'd know the bruise
doesn't stay the same colour.

713
00:35:47,400 --> 00:35:49,000
It can change colours.

714
00:35:49,040 --> 00:35:51,920
And I imagine that
that kind of medical background

715
00:35:51,960 --> 00:35:53,680
would have helped him no end.

716
00:35:53,720 --> 00:35:56,680
Though you think of him
as being a make-up artist,

717
00:35:56,720 --> 00:36:00,840
in fact, he was the very first
make-up effects artist.

718
00:36:00,880 --> 00:36:04,040
I think he was the first person ever
to get that title on film.

719
00:36:04,880 --> 00:36:06,920
What are you going to do?

720
00:36:06,960 --> 00:36:09,440
Take the head off.
It's no use to me, anyway.

721
00:36:09,480 --> 00:36:11,960
He crossed a lot of boundaries -

722
00:36:12,000 --> 00:36:14,320
for instance,
on Curse Of Frankenstein,

723
00:36:14,360 --> 00:36:18,360
he had to make a head that could
be dissolved in a tank of acid.

724
00:36:18,400 --> 00:36:20,560
Most make-up artists
would never be able to do this

725
00:36:20,600 --> 00:36:23,040
or be able to think about
it in the right way. But...

726
00:36:23,080 --> 00:36:26,120
that was Phil's job, and he said,
'OK, I can take that on.'

727
00:36:26,160 --> 00:36:28,600
Using a cast of somebody's head,

728
00:36:28,640 --> 00:36:30,520
he created it out of gelatine,

729
00:36:30,560 --> 00:36:34,120
and he put some kind
of latex film over the top of it.

730
00:36:34,160 --> 00:36:37,080
It had a skull in it,
a plastic skull,

731
00:36:37,120 --> 00:36:42,600
that was buried beneath layers of
gelatine muscles and gelatine veins,

732
00:36:42,640 --> 00:36:45,280
and even had a brain in the skull.

733
00:36:45,320 --> 00:36:48,840
And because it was gelatine,
they heated the tank up...

734
00:36:48,880 --> 00:36:50,800
so that it was basically
boiling water.

735
00:36:50,840 --> 00:36:52,680
And of course,
what happens to the gelatine

736
00:36:52,720 --> 00:36:55,080
when you put it
in boiling water is it melts.

737
00:36:55,120 --> 00:36:57,680
So they did this great effect
where they put the head in,

738
00:36:57,720 --> 00:37:00,280
and it looks like acid,
because the head just dissolves,

739
00:37:00,320 --> 00:37:03,440
and everything
starts to come apart,

740
00:37:03,480 --> 00:37:06,040
and the skin starts to melt.

741
00:37:12,880 --> 00:37:15,640
It's so good...
that it's not in the film. (LAUGHS)

742
00:37:15,680 --> 00:37:18,280
But to be able to think in that way,

743
00:37:18,320 --> 00:37:21,760
sort of lateral thinking
about how these things could work,

744
00:37:21,800 --> 00:37:24,200
and how the chemical compounds
of various things

745
00:37:24,240 --> 00:37:27,880
can be put together to achieve
an effect is very, very clever.

746
00:37:27,920 --> 00:37:31,480
The Curse Of Frankenstein
gave me nightmares,

747
00:37:31,520 --> 00:37:33,240
because of the...

748
00:37:33,280 --> 00:37:35,040
Phil Leakey's make-up.
Argh!

749
00:37:35,080 --> 00:37:38,120
A lot of people up until that point,
if they thought of Frankenstein,

750
00:37:38,160 --> 00:37:40,040
thought of
the Boris Karloff Frankenstein

751
00:37:40,080 --> 00:37:42,520
and the Jack Pierce make-up.

752
00:37:42,560 --> 00:37:44,640
We couldn't use the idea of a...

753
00:37:44,680 --> 00:37:47,720
the Boris Karloff-type monster
with a bolt through his neck.

754
00:37:47,760 --> 00:37:49,880
They had a copyright on the monster.

755
00:37:49,920 --> 00:37:53,440
In the tiny bit
of pre-production that they had,

756
00:37:53,480 --> 00:37:56,880
you had Phil Leakey
and Roy Ashton...

757
00:37:56,920 --> 00:38:00,000
tried just about everything
they could think of

758
00:38:00,040 --> 00:38:02,920
to make that creature -
you know, latex noses,

759
00:38:02,960 --> 00:38:05,920
and scars in different looks
and things.

760
00:38:05,960 --> 00:38:08,160
I did about three tests,
if I remember right,

761
00:38:08,200 --> 00:38:11,120
but they were quite dreadful - I
mean, one of them made look like...

762
00:38:11,160 --> 00:38:13,200
a combination between
a wolf and a pig.

763
00:38:14,120 --> 00:38:16,160
And the other...

764
00:38:16,200 --> 00:38:20,040
was actually, surprisingly,
quite close to the Elephant Man.

765
00:38:20,080 --> 00:38:22,680
Part of me, you know,
definitely does sympathise...

766
00:38:22,720 --> 00:38:25,560
with what Christopher Lee
was going through with those.

767
00:38:25,600 --> 00:38:27,880
And then I think it was I,

768
00:38:27,920 --> 00:38:30,280
or perhaps it was Phil Leakey,
the make-up man...

769
00:38:30,320 --> 00:38:32,320
We put our heads together, and...

770
00:38:32,360 --> 00:38:34,800
I think I said, 'Look.

771
00:38:34,840 --> 00:38:37,080
It's bits and pieces
of other people, so...

772
00:38:37,120 --> 00:38:39,120
it should be patched together.'

773
00:38:39,160 --> 00:38:42,560
So there were lumps and these scars,
and the one dead eye,

774
00:38:42,600 --> 00:38:45,240
and the stitch marks and everything,

775
00:38:45,280 --> 00:38:47,760
uh...which was pretty unpleasant.

776
00:38:47,800 --> 00:38:52,840
And the blind lens that he wore
over one eye as Frankenstein...

777
00:38:52,880 --> 00:38:54,600
..would have made him blind.

778
00:38:54,640 --> 00:38:56,080
Can't see anything!

779
00:38:56,120 --> 00:38:58,200
Remarkably,
on The Curse Of Frankenstein,

780
00:38:58,240 --> 00:39:02,000
Hammer, in one coup,
cast their two biggest male stars,

781
00:39:02,040 --> 00:39:06,160
who were going to see the studio
through all their great horror days.

782
00:39:06,200 --> 00:39:09,680
The simple pairing of Peter Cushing
and Christopher Lee was phenomenal.

783
00:39:09,720 --> 00:39:11,560
They were blessed with those guys.

784
00:39:11,600 --> 00:39:15,520
It's the kind of thing you dream
about. It's like RKO saying...

785
00:39:15,560 --> 00:39:18,520
'OK, we have this tap dancer
named Fred Astaire.

786
00:39:18,560 --> 00:39:20,560
He's sort of OK.
What are we gonna do with him?

787
00:39:20,600 --> 00:39:23,280
We have this ingenue, named Ginger
Rogers, who can kind of dance.

788
00:39:23,320 --> 00:39:25,320
What would happen
if we put them together?'

789
00:39:25,360 --> 00:39:27,360
You know, and what happens is magic.

790
00:39:27,400 --> 00:39:31,560
Peter Cushing, potentially
one of the greatest British actors.

791
00:39:31,600 --> 00:39:34,560
REYNOLDS: He was a lovely guy,
very approachable.

792
00:39:34,600 --> 00:39:36,920
Peter Cushing was the star.
He'd come from...

793
00:39:36,960 --> 00:39:39,120
1984 on the BBC.

794
00:39:39,160 --> 00:39:41,480
He was celebrated. He was handsome.

795
00:39:41,520 --> 00:39:44,560
(STAMMERS) You know,
he was the guy at Hammer.

796
00:39:44,600 --> 00:39:47,520
I think Christopher Lee
is a real legend.

797
00:39:50,480 --> 00:39:53,920
When I first met Christopher,
I was just hypnotised by Dracula.

798
00:39:53,960 --> 00:39:57,360
Like, he had such a beautiful,
amazing presence.

799
00:39:57,400 --> 00:40:00,200
Christopher Lee in terms
of charisma and...

800
00:40:01,040 --> 00:40:03,080
..sheer presence and...

801
00:40:03,120 --> 00:40:06,200
behaviour onstage was unbeatable.

802
00:40:06,240 --> 00:40:09,280
And Jimmy Carreras
needs to be very thankful...

803
00:40:09,320 --> 00:40:12,600
the day that someone looked over
and said, 'There's this tall guy,

804
00:40:12,640 --> 00:40:15,040
named Christopher Lee -
you think he could be our creature?'

805
00:40:15,080 --> 00:40:16,680
All they were looking for
was a big guy.

806
00:40:16,720 --> 00:40:18,640
It was nearly Bernard Bresslaw,
wasn't it?

807
00:40:18,680 --> 00:40:21,160
But they lucked out and got somebody
who was not only a big guy,

808
00:40:21,200 --> 00:40:24,480
a very impressive guy, but somebody
with great presence, who could act.

809
00:40:24,520 --> 00:40:28,160
They gave these solid performances.

810
00:40:28,200 --> 00:40:29,920
I tried to get...

811
00:40:29,960 --> 00:40:33,440
both Christopher Lee
and Peter Cushing in my movies.

812
00:40:34,280 --> 00:40:38,280
In Halloween, I wanted Peter Cushing
to be the Psychiatrist.

813
00:40:38,320 --> 00:40:40,440
Christopher Lee complained
he didn't have any lines

814
00:40:40,480 --> 00:40:42,960
in Curse Of Frankenstein,
and Cushing said,

815
00:40:43,000 --> 00:40:44,800
'Well, you're lucky.
I've read the script.'

816
00:40:44,840 --> 00:40:48,080
You're quiet. Cat got your tongue?

817
00:40:51,160 --> 00:40:53,440
I think Jimmy Sangster
was of the opinion...

818
00:40:53,480 --> 00:40:58,360
that the success of a screenplay
was down to 85% construction.

819
00:40:58,400 --> 00:41:00,760
Construction, it's 85%.

820
00:41:00,800 --> 00:41:02,840
Dialogue's not important.

821
00:41:02,880 --> 00:41:05,000
I think he may have said that
because he was well aware

822
00:41:05,040 --> 00:41:07,600
actors tended to rewrite
his dialogue.

823
00:41:07,640 --> 00:41:09,680
The actors kind of change
the dialogue, anyway.

824
00:41:09,720 --> 00:41:11,840
Peter Cushing in particular
did not like...

825
00:41:11,880 --> 00:41:14,560
Jimmy Sangster's dialogue...at all.

826
00:41:14,600 --> 00:41:18,080
At my early film classes at school,

827
00:41:18,120 --> 00:41:22,160
we were given a script that had
Peter Cushing's annotations on it,

828
00:41:22,200 --> 00:41:24,160
where he corrected the script.

829
00:41:24,200 --> 00:41:25,960
I think he was
looking at lines, going,

830
00:41:26,000 --> 00:41:27,920
'I wouldn't say it that way.
I wouldn't...

831
00:41:27,960 --> 00:41:29,960
This needs changing round.'

832
00:41:30,000 --> 00:41:31,800
Christopher Lee's scripts
are hysterical.

833
00:41:31,840 --> 00:41:35,880
They're like,
'No! I will not speak! Absurd!'

834
00:41:35,920 --> 00:41:37,760
And Peter Cushing was...

835
00:41:37,800 --> 00:41:41,160
did, indeed,
rewrite the majority of it...

836
00:41:41,200 --> 00:41:43,520
and the results were great.
So, the sort of...

837
00:41:43,560 --> 00:41:46,360
Sangster-Cushing collaboration,
if you like,

838
00:41:46,400 --> 00:41:49,160
you know, was a good one.

839
00:41:49,200 --> 00:41:52,560
But, yes, Sangster was well aware
that Cushing didn't like his work.

840
00:41:52,600 --> 00:41:56,280
Despite the creative differences,
tensions and challenges,

841
00:41:56,320 --> 00:41:58,480
the Hammer team
managed to make one of

842
00:41:58,520 --> 00:42:02,280
the most financially successful films
of all time.

843
00:42:02,320 --> 00:42:05,320
The success of The Curse
Of Frankenstein led to a...

844
00:42:05,360 --> 00:42:09,440
an explosion of period pictures
that were inexplicably...

845
00:42:09,480 --> 00:42:12,120
accepted by kids,

846
00:42:12,160 --> 00:42:15,000
who, ordinarily,
would be watching hot-rod movies.

847
00:42:15,040 --> 00:42:17,520
And obviously, they...

848
00:42:17,560 --> 00:42:19,800
realised that they had found
lightning in a bottle

849
00:42:19,840 --> 00:42:23,440
and decided that they'll go
through the old Universal catalogue

850
00:42:23,480 --> 00:42:25,440
and revisit all the monsters...

851
00:42:25,480 --> 00:42:28,280
except all gussied up
with great photography,

852
00:42:28,320 --> 00:42:31,600
and classy looking sets,
and good actors.

853
00:42:31,640 --> 00:42:33,800
And, of course,
the even bigger hit...

854
00:42:33,840 --> 00:42:37,120
came the next year,
which was Dracula.

855
00:42:37,160 --> 00:42:40,480
I remember seeing Dracula,
or The Horror Of Dracula,

856
00:42:40,520 --> 00:42:42,440
as we called it America,
for the first time,

857
00:42:42,480 --> 00:42:44,640
and it's this lurid colour...

858
00:42:44,680 --> 00:42:48,720
that even the title
has this Kensington Gore blood

859
00:42:48,760 --> 00:42:51,320
splattering all over Dracula's name.

860
00:42:51,360 --> 00:42:54,480
It was a very, very shocking moment.
It seems so hokey now.

861
00:42:54,520 --> 00:42:56,840
But in that moment,
it was just genius.

862
00:42:56,880 --> 00:42:58,880
Dracula was like...

863
00:42:59,800 --> 00:43:02,480
..it sort of became
a sort of thing with me.

864
00:43:03,360 --> 00:43:05,640
Because I just thought it
was rather fabulous,

865
00:43:05,680 --> 00:43:08,040
except that it was a bit bloody.

866
00:43:08,080 --> 00:43:12,720
It...pretty much cemented
the entire run

867
00:43:12,760 --> 00:43:15,880
of what the studio was
gonna be doing for the next decade.

868
00:43:15,920 --> 00:43:18,560
RIGBY: Jimmy Sangster was given
Dracula to adapt.

869
00:43:18,600 --> 00:43:21,120
What I remembered the most
about Dracula,

870
00:43:21,160 --> 00:43:23,320
there's no wasted time.

871
00:43:23,360 --> 00:43:25,160
It's smart.

872
00:43:25,200 --> 00:43:28,120
And over the years, Jimmy was always
saying that people would ask him,

873
00:43:28,160 --> 00:43:30,520
'Why did I write Dracula
in that way?

874
00:43:30,560 --> 00:43:32,800
Why did I adapt the novels
in the way I did?'

875
00:43:32,840 --> 00:43:34,520
And it was all down to money.

876
00:43:34,560 --> 00:43:38,320
And he knew exactly
what he was typing...

877
00:43:39,160 --> 00:43:40,640
..would cost.

878
00:43:40,680 --> 00:43:43,200
If you read the novel,
if you see the Lugosi film,

879
00:43:43,240 --> 00:43:45,720
it all starts in Transylvania.

880
00:43:45,760 --> 00:43:47,800
And they jump on a ship,
and they come to England.

881
00:43:47,840 --> 00:43:50,880
Sangster was well aware that Hammer
couldn't possibly afford that,

882
00:43:50,920 --> 00:43:53,400
and that if they used stock footage,
it would look rubbish.

883
00:43:53,440 --> 00:43:56,640
So he cut it all together.
Hammer's version of Dracula is...

884
00:43:56,680 --> 00:43:59,240
to me, getting on
for the definitive one.

885
00:43:59,280 --> 00:44:01,080
And yet it takes huge liberties.

886
00:44:01,120 --> 00:44:03,560
I am Dracula,
and I welcome you to my house.

887
00:44:03,600 --> 00:44:06,160
At this point,
the Censor was waiting.

888
00:44:06,200 --> 00:44:08,760
They knew what to expect.

889
00:44:08,800 --> 00:44:12,320
And Audrey Field, the implacable
opponent of Hammer, says,

890
00:44:12,360 --> 00:44:14,360
'Right. We've seen this
in black-and-white.

891
00:44:14,400 --> 00:44:18,120
There are six scenes missing, and
it's in colour. Show it to us now.'

892
00:44:18,160 --> 00:44:20,000
So they did.

893
00:44:20,040 --> 00:44:22,840
And there was, again,
horrific reaction.

894
00:44:22,880 --> 00:44:26,440
Argh!The Censors
definitely asking for cuts.

895
00:44:26,480 --> 00:44:30,080
Hinds putting things in
that he could then take out.

896
00:44:30,120 --> 00:44:32,800
And it all boils down
to this moment...

897
00:44:32,840 --> 00:44:35,920
when the Censor
says they cannot have Mina Harker...

898
00:44:35,960 --> 00:44:41,440
looking at Dracula in this immensely
sexual way. We just can't have it.

899
00:44:41,480 --> 00:44:44,120
And, basically,
it comes down to two shots -

900
00:44:44,160 --> 00:44:47,320
Dracula approaching...
and her looking.

901
00:44:48,240 --> 00:44:51,960
And Hinds and Carreras
desperately wanted it.

902
00:44:52,000 --> 00:44:54,040
They desperately wanted
these shots in there,

903
00:44:54,080 --> 00:44:56,360
because they knew
this would change everything.

904
00:44:56,400 --> 00:44:58,640
I've seen some of
those Censor notes, going

905
00:44:58,680 --> 00:45:01,360
'He can't lean over that way.
This is outrageous,'

906
00:45:01,400 --> 00:45:03,480
and they push it and go,
'Well, no, he's a vampire -

907
00:45:03,520 --> 00:45:06,200
he's gonna bite her neck.
Nothing else is going on.'

908
00:45:06,240 --> 00:45:08,200
But to the audience member,

909
00:45:08,240 --> 00:45:11,320
of course they're feeling
the sexual power of those moments,

910
00:45:11,360 --> 00:45:13,480
and that's what
makes the film so strong.

911
00:45:13,520 --> 00:45:16,480
And then Hinds sprang his surprise.
He said...

912
00:45:16,520 --> 00:45:18,560
'When you saw this
in black-and-white,

913
00:45:18,600 --> 00:45:22,320
you gave me to understand that
maybe you'd be able to pass this.

914
00:45:22,360 --> 00:45:24,680
I can't see
it's any worse in colour.

915
00:45:24,720 --> 00:45:27,000
And I'm sorry - I scored it.

916
00:45:27,040 --> 00:45:30,920
I've set up an orchestra,
I've edited it, I've dubbed it.

917
00:45:30,960 --> 00:45:33,080
It's gonna cost me
a fortune to change.'

918
00:45:33,120 --> 00:45:35,120
There was a panicky meeting.

919
00:45:36,120 --> 00:45:39,240
Hinds stuck to his guns. He said,
'It's gonna cost me a lot of money.

920
00:45:39,280 --> 00:45:41,080
Censor was set up to protect them

921
00:45:41,120 --> 00:45:42,960
from local authorities
banning films.

922
00:45:43,000 --> 00:45:46,400
It was meant to save the industry
money, not create costs.

923
00:45:46,440 --> 00:45:49,560
And he said, 'In this instance,
we're gonna let it go.

924
00:45:49,600 --> 00:45:51,680
But don't do it again.' (LAUGHS)

925
00:45:51,720 --> 00:45:54,120
And so Hinds had his shot.

926
00:45:54,160 --> 00:45:56,600
And the extraordinary thing is,
you might say,

927
00:45:56,640 --> 00:45:59,160
'Well, it was just an accident,
the looks.'

928
00:45:59,200 --> 00:46:02,040
No. Fisher, on the set,
actually said to her,

929
00:46:02,080 --> 00:46:04,520
'I want you to look at this...
this guy coming towards you

930
00:46:04,560 --> 00:46:06,320
as if he's the greatest love
of your life.

931
00:46:06,360 --> 00:46:08,840
You can't wait for him to be back.'
And he got a performance.

932
00:46:08,880 --> 00:46:11,760
He was very pleased
with the performance
he got from Melissa Stribling.

933
00:46:11,800 --> 00:46:13,680
It's gone down
in movie history, actually.

934
00:46:13,720 --> 00:46:15,680
This is a really crucial moment,

935
00:46:15,720 --> 00:46:18,880
because this was the point
at which the vampire becomes erotic.

936
00:46:18,920 --> 00:46:22,440
There is no going back after that -
the floodgates had opened.

937
00:46:24,481 --> 00:46:29,320
Three hits in a row had led Hammer
to concoct a winning formula,

938
00:46:29,360 --> 00:46:31,640
a specific blend of the Gothic,

939
00:46:31,680 --> 00:46:34,480
the violent and the teasingly erotic.

940
00:46:35,360 --> 00:46:37,320
But while the discovery
of this formula

941
00:46:37,360 --> 00:46:39,480
may have been somewhat accidental,

942
00:46:39,520 --> 00:46:41,760
this serendipity would
never have happened

943
00:46:41,800 --> 00:46:43,800
without the right people...

944
00:46:43,840 --> 00:46:46,320
in the right place at the right time.

945
00:46:47,120 --> 00:46:50,640
Their creative achievements
were the result of collective effort

946
00:46:50,680 --> 00:46:52,520
and hard work.

947
00:46:52,560 --> 00:46:55,640
The success of Hammer's
early Gothic horror films

948
00:46:55,680 --> 00:46:58,560
was very much founded on the team...

949
00:46:59,480 --> 00:47:01,680
..that Hammer had got together.

950
00:47:01,720 --> 00:47:05,240
They were...
like minds, if you like.

951
00:47:05,280 --> 00:47:09,400
You had Terence Fisher directing,
Jimmy Sangster writing,

952
00:47:09,440 --> 00:47:11,640
Tony Hinds producing.

953
00:47:11,680 --> 00:47:14,360
Very often, James Bernard scoring.

954
00:47:14,400 --> 00:47:16,800
The thing that I know
about the Dracula score,

955
00:47:16,840 --> 00:47:19,040
and how the Dracula theme
came about.

956
00:47:19,080 --> 00:47:22,720
It was James Bernard,
and Paul Dehn the Writer...

957
00:47:22,760 --> 00:47:26,400
who suggested to James,
who was stuck on a theme,

958
00:47:26,440 --> 00:47:30,840
'Why don't you just say...
"Dra-cu-la" musically?'

959
00:47:30,880 --> 00:47:32,320
(SINGS) Dracula.

960
00:47:32,360 --> 00:47:34,760
I mean, those big chords
would come in.

961
00:47:34,800 --> 00:47:36,800
(BOMBASTIC MUSIC)

962
00:47:44,720 --> 00:47:46,760
(SINGS) Dun-da-da.

963
00:47:46,800 --> 00:47:49,440
That's the score.
I can still hear it in my head.

964
00:47:49,480 --> 00:47:52,000
And then he builds
the rest of the theme on that.

965
00:47:52,040 --> 00:47:54,600
And that went all the way through
a lot of his scores.

966
00:47:54,640 --> 00:47:57,920
You could always hear the name
of the film being stamped out.

967
00:47:57,960 --> 00:48:00,960
(DRAMATIC CHORDS FOLLOWING VISUALS)

968
00:48:11,080 --> 00:48:14,800
The film scores were just
one of the creative facets

969
00:48:14,840 --> 00:48:17,280
that Hammer was becoming famous for.

970
00:48:17,320 --> 00:48:21,160
The visual and design aspects
were also drawing in audiences

971
00:48:21,200 --> 00:48:22,960
ever more deeply.

972
00:48:23,000 --> 00:48:25,800
Other members of the team
were making their mark.

973
00:48:25,840 --> 00:48:28,400
The real stars of Hammer,
in my opinion...

974
00:48:29,200 --> 00:48:32,720
..were people like Bernard Robinson,
the Art Director.

975
00:48:36,560 --> 00:48:39,080
Bernard was
quite a thrifty person at heart.

976
00:48:39,120 --> 00:48:42,880
Hammer loved that
because it meant he didn't
squander the art direction budget.

977
00:48:42,920 --> 00:48:46,360
But I guess some of that thrift
was a hangover from the war days.

978
00:48:46,400 --> 00:48:48,800
You've got to remember
that a lot of people...

979
00:48:48,840 --> 00:48:51,080
working for Hammer
had just come out of the war

980
00:48:51,120 --> 00:48:53,400
and had brought their experiences
with them.

981
00:48:53,440 --> 00:48:57,760
The Camera Operator Len Harris
was filming the beaches of D-Day

982
00:48:57,800 --> 00:48:59,640
the day after the landing.

983
00:48:59,680 --> 00:49:02,320
Harry Oakes the Focus Puller
was one of the first person

984
00:49:02,360 --> 00:49:04,960
to go into Auschwitz
when the doors opened.

985
00:49:05,000 --> 00:49:09,040
One classic example is Les Bowie,
special effects pioneer.

986
00:49:09,080 --> 00:49:12,160
Now, Les was a POW during the war.

987
00:49:12,200 --> 00:49:15,720
He could draw like life.
He used to forge passports.

988
00:49:15,760 --> 00:49:19,800
So in Dracula, Hammer built
the downstairs of Castle Dracula.

989
00:49:19,840 --> 00:49:22,440
When you see those turrets
and the mountains in the background,

990
00:49:22,480 --> 00:49:26,880
that's a glass painting, which
has been produced by Les Bowie.

991
00:49:26,920 --> 00:49:30,600
Bernard Robertson started
in the film industry in 1935.

992
00:49:30,640 --> 00:49:34,280
During the war, he became
a camouflage and deco expert

993
00:49:34,320 --> 00:49:36,480
at Shepperton Studios.

994
00:49:36,520 --> 00:49:39,320
And after the war, he met...

995
00:49:39,360 --> 00:49:42,520
a chap called Tony Keys.

996
00:49:42,560 --> 00:49:46,600
And Tony Nelson Keys later became
an Associate Producer at Hammer.

997
00:49:46,640 --> 00:49:49,800
I think he started
on a Tod Slaughter film in 1939,

998
00:49:49,840 --> 00:49:51,840
called Crimes At The Dark House.

999
00:49:51,880 --> 00:49:55,320
And if you watch that film, you can
see the sort of nascent Hammer sets,

1000
00:49:55,360 --> 00:49:58,280
you know, nearly 20 years too soon,
as it were.

1001
00:49:58,320 --> 00:50:01,400
Hammer learnt very early on
that it was cheaper...

1002
00:50:01,440 --> 00:50:03,280
to rent a country house...

1003
00:50:03,320 --> 00:50:06,680
and shoot the films in the rooms,
and in the gardens,

1004
00:50:06,720 --> 00:50:10,360
than renting out expensive space
at the established film studios.

1005
00:50:10,400 --> 00:50:13,480
And the most famous one
was Oakley Court in Bray.

1006
00:50:13,520 --> 00:50:15,520
MAN: Oakfield Tower...

1007
00:50:16,800 --> 00:50:18,600
Right next door to Oakley Court...

1008
00:50:18,640 --> 00:50:21,080
was another country house
called Down Place.

1009
00:50:21,120 --> 00:50:24,160
And in January 1951,
Hammer move into Down Place

1010
00:50:24,200 --> 00:50:27,560
and convert it into Bray Studios.

1011
00:50:27,600 --> 00:50:29,520
COURT: There was
a terrible thunderstorm.

1012
00:50:29,560 --> 00:50:31,880
Oh, God.
The rain came down in sheets.

1013
00:50:31,920 --> 00:50:34,840
The roof's leaking,
everything's leaking.

1014
00:50:34,880 --> 00:50:37,080
And Terry Fisher says, 'Carry on!'

1015
00:50:37,120 --> 00:50:39,760
I feel, already, this is my home.

1016
00:50:39,800 --> 00:50:42,320
The first proper home of my life.

1017
00:50:42,360 --> 00:50:45,280
Bernard Robinson was able
to revamp a lot of his sets,

1018
00:50:45,320 --> 00:50:48,520
both in a production
and between productions.

1019
00:50:48,560 --> 00:50:51,000
They had that studio to themselves.

1020
00:50:51,040 --> 00:50:53,080
So he could build things,
leave them up,

1021
00:50:53,120 --> 00:50:54,840
and that's what saved them money.

1022
00:50:54,880 --> 00:50:56,880
Bernard Robinson's genius...

1023
00:50:56,920 --> 00:51:00,920
in so many Hammer films,
was to reuse elements,

1024
00:51:00,960 --> 00:51:03,560
to redress them, reposition them,

1025
00:51:03,600 --> 00:51:06,120
redesign them, but nevertheless,

1026
00:51:06,160 --> 00:51:10,120
very cost effectively use the same
stuff again and again and again.

1027
00:51:10,160 --> 00:51:12,520
When you look at Hammer films...

1028
00:51:12,560 --> 00:51:15,040
in, like, a series...

1029
00:51:15,080 --> 00:51:17,720
you see it's all Bray. And...

1030
00:51:17,760 --> 00:51:22,440
you see how cleverly
they keep using the same rooms.

1031
00:51:22,480 --> 00:51:24,760
The classic example of this
is in Dracula.

1032
00:51:24,800 --> 00:51:26,440
There was one particular set,

1033
00:51:26,480 --> 00:51:29,360
and they used it six times
just by redressing it.

1034
00:51:30,840 --> 00:51:34,520
It started as a graveyard,
and they redress it as a garden.

1035
00:51:34,560 --> 00:51:38,720
They then redressed it into the hall
and stairs of Castle Dracula.

1036
00:51:38,760 --> 00:51:42,360
Mr Harker.
I'm glad that you've arrived safely.

1037
00:51:42,400 --> 00:51:44,640
And by shooting
from a slightly different angle,

1038
00:51:44,680 --> 00:51:48,520
they manage to get an entrance lobby
and the second flight of stairs.

1039
00:51:48,560 --> 00:51:50,800
And then after that,
they redressed it totally, again,

1040
00:51:50,840 --> 00:51:53,280
to the library
where Dracula dies at the end.

1041
00:51:54,640 --> 00:51:56,880
And then, believe it or not,
that library turns up,

1042
00:51:56,920 --> 00:51:59,240
practically the same,

1043
00:51:59,280 --> 00:52:01,280
in The Revenge Of Frankenstein.

1044
00:52:01,320 --> 00:52:03,120
..was sentenced to death
on the guillotine.

1045
00:52:03,160 --> 00:52:05,000
It's impressive, actually.

1046
00:52:05,040 --> 00:52:08,040
There's a funny story of Bernard,
about his thrift.

1047
00:52:08,080 --> 00:52:10,240
Sometimes, he would...
he would be a bit cheeky

1048
00:52:10,280 --> 00:52:12,640
and order
an extra roll of wallpaper.

1049
00:52:12,680 --> 00:52:15,760
And at the end of the production, he
would take that home and use it...

1050
00:52:15,800 --> 00:52:17,680
in his own house.

1051
00:52:17,720 --> 00:52:21,520
He got busted when he made a film
called The Two Faces Of Dr Jekyll.

1052
00:52:21,560 --> 00:52:24,480
He went to the premiere with his
wife, and his wife was not happy,

1053
00:52:24,520 --> 00:52:28,560
and wanted to know
why the new lounge wallpaper...

1054
00:52:28,600 --> 00:52:31,800
was deemed fit to be
the prostitute's bedroom wallpaper

1055
00:52:31,840 --> 00:52:33,840
in The Two Faces Of Dr Jekyll.

1056
00:52:36,920 --> 00:52:39,680
A lot of the success
of those early Hammer films

1057
00:52:39,720 --> 00:52:43,760
is down to the way
his sets were lit by Jack Asher.

1058
00:52:47,480 --> 00:52:50,160
And it was often said
that Asher painted with light.

1059
00:52:50,200 --> 00:52:52,120
And the films look gorgeous.

1060
00:52:53,560 --> 00:52:57,600
When you look at even a still from
the pictures that Jack Asher shot,

1061
00:52:57,640 --> 00:53:01,240
the lighting is so subtle
and so colourful.

1062
00:53:01,280 --> 00:53:03,080
He was a perfectionist.

1063
00:53:03,120 --> 00:53:06,080
The dreadful shame about it
is that, eventually,

1064
00:53:06,120 --> 00:53:08,120
they felt he was too slow -

1065
00:53:08,160 --> 00:53:11,440
or, rather,
he wasn't quick enough for Hammer.

1066
00:53:11,480 --> 00:53:15,320
And behind the scenes, the Hammer
bean counters didn't like that.

1067
00:53:15,360 --> 00:53:18,680
Eventually, unfortunately,
they brought in another chap
called Arthur Grant.

1068
00:53:18,720 --> 00:53:20,480
He was a lot more commercial.

1069
00:53:20,520 --> 00:53:24,320
Still very good results,
but he was faster than Jack Asher.

1070
00:53:24,360 --> 00:53:27,160
Which is a shame because the only
time that Hammer ever got...

1071
00:53:27,200 --> 00:53:29,560
a BAFTA nomination
for colour photography

1072
00:53:29,600 --> 00:53:32,600
was in a film called The Scarlet
Blade that Asher did for Hammer,

1073
00:53:32,640 --> 00:53:35,280
which was his second-from-last film.

1074
00:53:35,320 --> 00:53:39,360
At the end of the day, time mattered
and the schedules mattered.

1075
00:53:39,400 --> 00:53:42,640
Even in the face
of financial constraints,

1076
00:53:42,680 --> 00:53:47,120
Tony Hinds and Michael Carreras
had sculpted the perfect team,

1077
00:53:47,160 --> 00:53:50,280
which was working
like a well-oiled machine.

1078
00:53:50,320 --> 00:53:54,200
Now the studio's challenge
was to continue turning out films

1079
00:53:54,240 --> 00:53:56,040
that had the Hammer magic...

1080
00:53:56,080 --> 00:53:59,640
while keeping up with
a global audience's shifting tastes.

1081
00:53:59,680 --> 00:54:02,400
Success was not guaranteed.

1082
00:54:02,440 --> 00:54:05,480
The right choices needed to be made,

1083
00:54:05,520 --> 00:54:10,240
or all Hammer had worked for
could quickly come crashing down.

1084
00:54:10,280 --> 00:54:12,120
The notion of sequels
was going to be...

1085
00:54:12,160 --> 00:54:14,680
terribly important for Hammer
down the road,

1086
00:54:14,720 --> 00:54:18,400
and that was what, actually,
James Carreras loved.

1087
00:54:18,440 --> 00:54:22,760
He loved a pipeline. That's what
he wanted - a pipeline of product.

1088
00:54:22,800 --> 00:54:24,640
And he would just roll it out.

1089
00:54:24,680 --> 00:54:26,520
And then we can do more,
and we can do more,

1090
00:54:26,560 --> 00:54:28,880
and let's saturate the world
with it.

1091
00:54:28,920 --> 00:54:32,320
And, obviously, that is
the law of diminishing returns.

1092
00:54:32,360 --> 00:54:35,760
It was, ultimately,
very, very positive,

1093
00:54:35,800 --> 00:54:38,440
and it was ultimately the beginning
of the creation of the brand.

1094
00:54:38,480 --> 00:54:42,840
But that was, perhaps, in there,
a slight harbinger of doom.

1095
00:54:42,880 --> 00:54:45,240
(NOISY CLATTERING)
I'm sorry, something's wrong here.

1096
00:54:45,280 --> 00:54:49,320
Not all of the Hammer team
believed in James Carreras' strategy

1097
00:54:49,360 --> 00:54:52,000
of creating a succession of sequels.

1098
00:54:53,160 --> 00:54:57,520
James's own son was questioning
some of his father's choices.

1099
00:54:57,560 --> 00:55:00,480
I think Michael had a difficult
relationship with horror films.

1100
00:55:00,520 --> 00:55:03,600
Michael Carreras was very keen
to get beyond the Gothic,

1101
00:55:03,640 --> 00:55:06,200
or when he was making a Gothic film,

1102
00:55:06,240 --> 00:55:09,880
he wanted to add other...
other spices, other elements.

1103
00:55:09,920 --> 00:55:13,960
PIRIE: And he really,
desperately, wanted to create.

1104
00:55:14,000 --> 00:55:17,080
He wanted to be an artist,
and he never quite succeeded

1105
00:55:17,120 --> 00:55:19,320
on the level
that he would have liked, I think.

1106
00:55:19,360 --> 00:55:21,480
I liked to diversify.

1107
00:55:21,520 --> 00:55:23,280
If I couldn't diversify the company,

1108
00:55:23,320 --> 00:55:26,200
I certainly liked
to diversify my own...

1109
00:55:26,240 --> 00:55:28,400
participations where possible.

1110
00:55:28,440 --> 00:55:30,440
But James wasn't interested
in that at all.

1111
00:55:30,480 --> 00:55:35,840
Sadly, some of the other streams
that I tried to instil...

1112
00:55:35,880 --> 00:55:39,160
into the company's product line
just didn't work.

1113
00:55:39,200 --> 00:55:42,360
And some of those
were just dreadful.

1114
00:55:42,400 --> 00:55:44,480
Oh, Lord, they hurt.

1115
00:55:44,520 --> 00:55:46,440
They hurt to watch.

1116
00:55:46,480 --> 00:55:48,480
(EXAGGERATED SCREAMING)

1117
00:56:08,880 --> 00:56:12,280
Oh, can't you leave me alone?!
I'm doing the best I can!

1118
00:56:12,320 --> 00:56:15,080
Then I went off and did my thing
for a couple of years -

1119
00:56:15,120 --> 00:56:17,120
made a...I did a musical.

1120
00:56:17,160 --> 00:56:19,240
ALL: (SINGING) ..crazy world
we're living in.

1121
00:56:19,280 --> 00:56:22,080
Things I would never have
been able to do at Hammer.

1122
00:56:22,120 --> 00:56:25,320
ALL: (SINGING) ..we're living...

1123
00:56:25,360 --> 00:56:27,640
And that would be...

1124
00:56:27,680 --> 00:56:32,040
Things were beginning to go a little
bit pear-shaped for the company.

1125
00:56:32,080 --> 00:56:35,240
Bray was shut down for a short time
in the early '60s,

1126
00:56:35,280 --> 00:56:37,400
and people had to go off
and get other jobs.

1127
00:56:37,440 --> 00:56:41,920
And then, of course, Hammer actually
moves out of Bray Studios...

1128
00:56:41,960 --> 00:56:45,520
in September 1966, I think it was.

1129
00:56:45,560 --> 00:56:48,960
A very particular feature
of that Bray flavour...

1130
00:56:49,760 --> 00:56:51,440
..is lost at that moment.

1131
00:56:51,480 --> 00:56:55,560
Once they left Bray, you're making
films like any other company does

1132
00:56:55,600 --> 00:56:57,720
at Pinewood, Elstree
or anywhere else.

1133
00:56:57,760 --> 00:57:01,000
The last film at Bray
was The Mummy's Shroud in 1966,

1134
00:57:01,040 --> 00:57:03,960
and the films they made afterwards
at Elstree...

1135
00:57:04,000 --> 00:57:06,320
don't look a patch
on the Bray films.

1136
00:57:06,360 --> 00:57:08,960
The reason they had to move
to Elstree was a lot of their films

1137
00:57:09,000 --> 00:57:12,520
were being released
by the ABC Cinema company.

1138
00:57:12,560 --> 00:57:14,840
And ABC owned and ran Elstree,

1139
00:57:14,880 --> 00:57:17,320
and they were saying,
'If we're gonna release your films,

1140
00:57:17,360 --> 00:57:19,480
you've got to make
the films at our studio.'

1141
00:57:19,520 --> 00:57:22,840
They were starting to make
exterior sets on interior stages,

1142
00:57:22,880 --> 00:57:25,480
with a painted backlot
outside Castle Dracula,

1143
00:57:25,520 --> 00:57:27,400
which just looked fake
and looks awful,

1144
00:57:27,440 --> 00:57:29,160
and they started to look cheap.

1145
00:57:29,200 --> 00:57:31,880
External forces
began to affect Hammer.

1146
00:57:31,920 --> 00:57:33,760
With its move from Bray,

1147
00:57:33,800 --> 00:57:37,440
the iconic production company
had lost its spiritual home.

1148
00:57:37,480 --> 00:57:42,080
The things that imbued Hammer with
its magic were starting to erode.

1149
00:57:42,120 --> 00:57:44,640
Its previously confident steps...

1150
00:57:44,680 --> 00:57:47,880
were now beginning to become
stumbles in the dark -

1151
00:57:47,920 --> 00:57:50,040
stumbles that only worsened

1152
00:57:50,080 --> 00:57:53,480
as key crew members
began to move on as well.

1153
00:57:53,520 --> 00:57:56,800
The team that's headed
into the depths of the 1960s

1154
00:57:56,840 --> 00:57:58,560
was a little bit different.

1155
00:57:58,600 --> 00:58:02,120
And the moment some of them
are moving on to doing other things,

1156
00:58:02,160 --> 00:58:04,640
and it starts being diluted,

1157
00:58:04,680 --> 00:58:06,960
it's easy to lose your identity
at that point.

1158
00:58:07,000 --> 00:58:09,960
It had such
a strong identity, and...

1159
00:58:11,160 --> 00:58:13,160
..I don't know
where it kind of went.

1160
00:58:13,200 --> 00:58:15,560
WOMAN: My father had
broken his leg just after...

1161
00:58:15,600 --> 00:58:19,000
Frankenstein Created Woman, I think
it was, and it became difficult,

1162
00:58:19,040 --> 00:58:22,240
for insurance purposes,
to be on the set.

1163
00:58:22,280 --> 00:58:24,240
And he was getting older.

1164
00:58:24,280 --> 00:58:27,480
When Phil Leakey
was asked to work for Hammer,

1165
00:58:27,520 --> 00:58:29,360
they put him on a retainer,

1166
00:58:29,400 --> 00:58:32,440
which I think was pretty much
unheard of at that time.

1167
00:58:32,480 --> 00:58:34,280
And then he discovered, one day,

1168
00:58:34,320 --> 00:58:36,720
that they'd taken it away,
and he didn't have it any more.

1169
00:58:36,760 --> 00:58:39,560
And so he decided
that he was gonna part company.

1170
00:58:45,480 --> 00:58:47,840
But Phil Leakey and Terence Fisher

1171
00:58:47,880 --> 00:58:50,440
were not the only ones
to depart from Hammer.

1172
00:58:50,480 --> 00:58:52,520
Over the next few years,

1173
00:58:52,560 --> 00:58:55,800
many more of the key members
of the team also moved on.

1174
00:58:55,840 --> 00:58:59,640
Each exit dealt a damaging blow
to the company,

1175
00:58:59,680 --> 00:59:03,840
but no departure shook the
foundations of the house Hammer built

1176
00:59:03,880 --> 00:59:06,480
as much as the one
that was still to come.

1177
00:59:06,520 --> 00:59:10,080
VOICEOVER: Prepare yourself
for the greatest shock of all.

1178
00:59:10,120 --> 00:59:13,480
The loss of Tony Hinds
was a blow to Hammer.

1179
00:59:13,520 --> 00:59:16,280
The reason he left Hammer
was because of two events.

1180
00:59:16,320 --> 00:59:18,440
In 1968,

1181
00:59:18,480 --> 00:59:20,640
Hammer has collaborated on...

1182
00:59:20,680 --> 00:59:23,000
a TV series
called Journey To The Unknown.

1183
00:59:23,040 --> 00:59:26,760
ABC decided they wanted
to have a named producer above him,

1184
00:59:26,800 --> 00:59:30,360
which was Joan Harrison, who was
Alfred Hitchcock's assistant.

1185
00:59:30,400 --> 00:59:34,160
And Tony Hinds nose
was put out of joint quite a lot,

1186
00:59:34,200 --> 00:59:36,320
because he found himself,
effectively,

1187
00:59:36,360 --> 00:59:39,400
working almost as her assistant.

1188
00:59:39,440 --> 00:59:42,280
And she took all control from him.

1189
00:59:42,320 --> 00:59:47,080
Now he had to make every decision
with her, and she had to agree.

1190
00:59:47,120 --> 00:59:50,200
And he found that very frustrating,
and it disenchanted him.

1191
00:59:50,240 --> 00:59:53,240
A year after that, in 1969,

1192
00:59:53,280 --> 00:59:55,920
he writes the script for
Taste The Blood Of Dracula.

1193
00:59:55,960 --> 00:59:59,800
The son of Freddie Francis
had submitted a script to Hammer

1194
00:59:59,840 --> 01:00:02,360
called Dracula's Feast Of Blood.

1195
01:00:02,400 --> 01:00:05,000
Now, there was some talk...

1196
01:00:05,040 --> 01:00:07,160
that Hinds had lifted two scenes

1197
01:00:07,200 --> 01:00:09,200
from someone else's script
and put it in.

1198
01:00:09,240 --> 01:00:12,680
If that ever happened,
I can only suppose he assumed...

1199
01:00:12,720 --> 01:00:16,080
that the script was fair game,
that they owned it.

1200
01:00:16,120 --> 01:00:19,240
Tony Hinds was obviously
quite upset, and he'd had enough.

1201
01:00:19,280 --> 01:00:22,200
And so he took retirement at the...

1202
01:00:22,240 --> 01:00:24,760
enviably early age of 48.

1203
01:00:24,800 --> 01:00:26,680
Creatively, that was a blow.

1204
01:00:26,720 --> 01:00:29,920
I think he left
at just the point when...

1205
01:00:29,960 --> 01:00:32,720
things were becoming
more permissive.

1206
01:00:34,768 --> 01:00:37,000
As Tony Hinds departed Hammer,

1207
01:00:37,040 --> 01:00:41,040
the wider world was changing,
particularly in the film industry.

1208
01:00:41,080 --> 01:00:45,600
The British film censors relaxed
their outlook on the horror genre,

1209
01:00:45,640 --> 01:00:47,560
drastically reducing the power

1210
01:00:47,600 --> 01:00:50,520
of Hammer's shock
and titillation armoury.

1211
01:00:50,560 --> 01:00:52,760
If Hammer wanted to keep
the proud badge

1212
01:00:52,800 --> 01:00:54,840
of an X certificate on their films,

1213
01:00:54,880 --> 01:00:58,120
they would need to step up
the levels of violence,

1214
01:00:58,160 --> 01:01:00,600
gore and sex on screen.

1215
01:01:00,640 --> 01:01:04,760
But doing so could threaten
to disrupt Hammer's magic formula.

1216
01:01:04,800 --> 01:01:06,840
Hammer had an elegance,

1217
01:01:06,880 --> 01:01:10,560
and no matter what kind
of bloodletting went on,

1218
01:01:10,600 --> 01:01:13,440
there was always backed up
by an elegance...

1219
01:01:13,480 --> 01:01:18,120
until they started ripping off all
the clothes and showing everything.

1220
01:01:18,160 --> 01:01:20,160
The mystery had gone.

1221
01:01:20,200 --> 01:01:23,640
Their films had
always been teasingly erotic

1222
01:01:23,680 --> 01:01:25,680
as far as the Censor would allow.

1223
01:01:25,720 --> 01:01:28,360
But now that
censorship barriers were collapsing,

1224
01:01:28,400 --> 01:01:30,520
the eroticism was stepped up.

1225
01:01:30,560 --> 01:01:32,960
GORE: You could put
a lot more nudity on screen.

1226
01:01:33,000 --> 01:01:35,680
A lot of the things that Hammer
were brilliant at suggesting,

1227
01:01:35,720 --> 01:01:40,280
and not having to say, almost like
existing within their own code,

1228
01:01:40,320 --> 01:01:42,280
suddenly became permissible
in everything.

1229
01:01:42,320 --> 01:01:45,240
And I think they started pursuing
that level of filmmaking,

1230
01:01:45,280 --> 01:01:47,560
and, probably,
they shouldn't have done that.

1231
01:01:47,600 --> 01:01:49,880
According to Tony Hinds,
Jimmy Carreras said to him,

1232
01:01:49,920 --> 01:01:52,800
'It's incredible, Tony,
you can do anything now.'

1233
01:01:52,840 --> 01:01:55,360
Tony Hinds said,
'I'm not sure that doing anything

1234
01:01:55,400 --> 01:01:57,560
is what it's all about.'

1235
01:01:57,600 --> 01:02:03,120
Their push to more nudity,
I think, was the demise of Hammer.

1236
01:02:03,160 --> 01:02:05,480
They wanted to keep
and X certificate on the film,

1237
01:02:05,520 --> 01:02:09,120
so they had to boost up
a bit more of the gore...

1238
01:02:09,160 --> 01:02:11,320
and a bit more
of the sex and violence generally,

1239
01:02:11,360 --> 01:02:13,520
to make it to get that certificate.

1240
01:02:13,560 --> 01:02:18,120
They're losing their identity
more in a quest to remain relevant

1241
01:02:18,160 --> 01:02:21,040
than in the quest
to remain shocking, I think.

1242
01:02:22,200 --> 01:02:24,480
The real monster that emerges

1243
01:02:24,520 --> 01:02:28,160
is the sexploitation nature
that the films turn to.

1244
01:02:28,200 --> 01:02:30,680
All these films,
the more nudity in it,

1245
01:02:30,720 --> 01:02:33,160
and more sex in general, I think -

1246
01:02:33,200 --> 01:02:36,000
they threw it in
whether the story needed it or not.

1247
01:02:36,040 --> 01:02:38,840
I mean, no, sorry. No.

1248
01:02:38,880 --> 01:02:41,280
Those lesbian vampire films.

1249
01:02:41,320 --> 01:02:43,400
Lust For A Vampire, Vampire Lovers.

1250
01:02:46,200 --> 01:02:48,200
It was Jimmy Carreras who...

1251
01:02:49,040 --> 01:02:51,600
..was keen to jump on that.

1252
01:02:51,640 --> 01:02:55,280
But at the same time, they were
bringing in independent producers.

1253
01:02:55,320 --> 01:02:57,760
And those were,
in fact, made by Harry Fine

1254
01:02:57,800 --> 01:03:00,360
and Michael Style of Fantail Films.

1255
01:03:00,400 --> 01:03:02,000
Just abominable.

1256
01:03:02,040 --> 01:03:05,040
VOICEOVER: Welcome
to the finishing school...

1257
01:03:05,080 --> 01:03:08,720
where they really do finish you.
(SCREAMS)

1258
01:03:08,760 --> 01:03:11,440
I was on set when Michael Styles
was walking around

1259
01:03:11,480 --> 01:03:14,600
with these short stockings, and
he's walking around pulling them.

1260
01:03:14,640 --> 01:03:17,520
The next minute,
the Assistant Director had them.

1261
01:03:17,560 --> 01:03:19,760
And I said, 'What's going on?'
And he says, 'Oh.

1262
01:03:19,800 --> 01:03:22,440
He wants one of the girls
to be pulling these on,

1263
01:03:22,480 --> 01:03:25,200
but she's got to be topless
in one of the bedrooms.'

1264
01:03:26,400 --> 01:03:29,760
I'm gonna mention one monster -
Michael Style...

1265
01:03:29,800 --> 01:03:32,640
imported from who knows where.

1266
01:03:33,480 --> 01:03:36,160
With his sausage on set.

1267
01:03:37,000 --> 01:03:39,440
His portfolio of pornography.

1268
01:03:40,640 --> 01:03:42,880
His whispering in my ear...

1269
01:03:44,280 --> 01:03:47,720
..all sorts of uh...obscenities.

1270
01:03:48,680 --> 01:03:51,160
His unkindness.

1271
01:03:51,200 --> 01:03:53,400
And so he disgusts me.

1272
01:03:56,560 --> 01:04:00,880
Michael Style, in particular...
had a very different approach

1273
01:04:00,920 --> 01:04:04,160
to the rather gentlemanly
Hammer approach of old.

1274
01:04:04,200 --> 01:04:06,480
I'm dying in the bed,

1275
01:04:06,520 --> 01:04:09,880
because the lesbian vampire
has bitten me.

1276
01:04:09,920 --> 01:04:13,800
And Michael Styles comes up to me
and he whispers in my ear,

1277
01:04:13,840 --> 01:04:15,840
'You better hot this up,

1278
01:04:15,880 --> 01:04:19,320
because everybody will be
falling asleep in the aisles.'

1279
01:04:19,360 --> 01:04:21,560
And Roy Ward Baker got hold of him

1280
01:04:21,600 --> 01:04:24,440
and pulled him off the set,
quite literally.

1281
01:04:24,480 --> 01:04:27,600
I mean, he was vicious to me,
and I didn't know what he meant.

1282
01:04:27,640 --> 01:04:31,920
But what it actually meant was I was
meant to writhe about in the bed,

1283
01:04:31,960 --> 01:04:34,480
have orgasm after orgasm.

1284
01:04:34,520 --> 01:04:37,760
Of course, I didn't know what
that was. I was so, so innocent.

1285
01:04:37,800 --> 01:04:40,480
Nobody can believe it.
Roy Wood Baker came up to me.

1286
01:04:40,520 --> 01:04:42,720
And he said,
'Maddy, forget all that.

1287
01:04:42,760 --> 01:04:46,280
Just pretend you're having
a nightmare.' And that's what I did.

1288
01:04:47,280 --> 01:04:49,280
(SCREAMS)

1289
01:04:50,440 --> 01:04:52,080
So that's Vampire Lovers.
MAN: Yes.

1290
01:04:52,120 --> 01:04:54,640
Which I think was
a smashing little film, actually.

1291
01:04:54,680 --> 01:04:56,720
We could have done without
the bare...

1292
01:04:56,760 --> 01:04:59,680
I th... In my personal view,
I think everybody would have

1293
01:04:59,720 --> 01:05:02,640
been quite happy without that,
but there we are.

1294
01:05:02,680 --> 01:05:05,520
Hammer didn't really
entertain these guys for very long.

1295
01:05:05,560 --> 01:05:09,760
But nevertheless, it's a...
that sort of reputation stuck.

1296
01:05:09,800 --> 01:05:12,920
While some within Hammer
were looking to exploit women,

1297
01:05:12,960 --> 01:05:16,760
others wanted to give female actors
more significant roles

1298
01:05:16,800 --> 01:05:19,160
that they could really
get their teeth into.

1299
01:05:19,200 --> 01:05:21,840
I think that
when they chased the certificate

1300
01:05:21,880 --> 01:05:25,680
and moved from blood to sex,

1301
01:05:25,720 --> 01:05:29,520
one of the things they did
that was really interesting is
they gave women a much bigger part.

1302
01:05:29,560 --> 01:05:32,040
BURTON: The female parts
all very striking, you know?

1303
01:05:32,080 --> 01:05:35,200
It's quite an amazing repertoire.

1304
01:05:35,240 --> 01:05:37,280
They allowed women to be villains,

1305
01:05:37,320 --> 01:05:40,080
and not just because
they're controlled by Dracula,

1306
01:05:40,120 --> 01:05:42,280
but they have their own agency.

1307
01:05:42,320 --> 01:05:46,160
It gave rise to characters
like Ingrid Pitt's characters,

1308
01:05:46,200 --> 01:05:48,720
you know,
villains who are in control.

1309
01:05:48,760 --> 01:05:51,000
And that's not something
you see very much,

1310
01:05:51,040 --> 01:05:54,320
those femme fatales,
in the history of cinema.

1311
01:05:54,360 --> 01:05:56,800
You have Barbara Shelley,
Caroline Monro.

1312
01:05:58,560 --> 01:06:02,440
I was a very shy girl.
I suffered a lot with um...

1313
01:06:03,440 --> 01:06:06,200
Well, I suppose, not...
Would you call it anxiety now?

1314
01:06:06,240 --> 01:06:10,200
But not very much confidence.

1315
01:06:10,240 --> 01:06:12,240
Martine Beswick, Ingrid Pitt.

1316
01:06:12,280 --> 01:06:14,440
My favourite was Ingrid Pitt.

1317
01:06:14,480 --> 01:06:16,880
Of course, she was lovely
on The Vampire Lovers.

1318
01:06:16,920 --> 01:06:20,200
I gave her a piggy back at one time
to get her up to the set.

1319
01:06:20,240 --> 01:06:22,040
And that was lovely.
(SCOFFS)

1320
01:06:22,080 --> 01:06:24,040
They were like,
'Well, if we need more nudity,

1321
01:06:24,080 --> 01:06:27,000
at least let's give those actresses
something to do.'

1322
01:06:27,040 --> 01:06:30,560
And that was entirely motivated by
the fact they were trying to shock.

1323
01:06:31,440 --> 01:06:33,400
I did three films with Hammer.

1324
01:06:33,440 --> 01:06:36,120
First one was One Million Years BC.

1325
01:06:36,160 --> 01:06:38,640
You know, that was impressive.

1326
01:06:38,680 --> 01:06:42,120
I definitely remember in Burbank
going to the theatre,

1327
01:06:42,160 --> 01:06:44,720
you know,
to see One Million Years BC.

1328
01:06:44,760 --> 01:06:47,280
There was a big line
around the block. (CHUCKLES)

1329
01:06:47,320 --> 01:06:50,440
We went down the line - you see all
the kids talking about the dinosaurs

1330
01:06:50,480 --> 01:06:53,080
and all the teenagers
talking about her. You know?

1331
01:06:53,120 --> 01:06:55,880
The conversation would go
up and down

1332
01:06:55,920 --> 01:06:59,120
compared to what the age group
of the person in line was.

1333
01:06:59,960 --> 01:07:04,520
And the second was
the brilliant film...

1334
01:07:06,080 --> 01:07:08,880
Why did you come?
I can only believe...

1335
01:07:08,920 --> 01:07:12,600
the Fates brought me here.
And they brought you to me.

1336
01:07:12,640 --> 01:07:14,800
(CHUCKLES) One of the greats.

1337
01:07:14,840 --> 01:07:17,880
And the third was
Dr Jekyll And Sister Hyde.

1338
01:07:17,920 --> 01:07:20,200
Dr Jekyll and Sister Hyde is,

1339
01:07:20,240 --> 01:07:23,440
in large part, perhaps, because
it was scripted by Brian Clemens,

1340
01:07:23,480 --> 01:07:27,320
Dr Jekyll And Sister Hyde
is an enormously witty film.

1341
01:07:27,360 --> 01:07:31,760
I think the responsibility
for expressing bolder genre ideas

1342
01:07:31,800 --> 01:07:34,440
and bolder carnality
in the Hammer movies

1343
01:07:34,480 --> 01:07:37,560
can almost entirely be...

1344
01:07:37,600 --> 01:07:39,840
put at the door of Brian Clemens.

1345
01:07:44,840 --> 01:07:48,840
Brian Clemens was a visionary.
He was cheeky. He was saucy.

1346
01:07:48,880 --> 01:07:51,840
And he said, 'Well, in my script,
Dr Jekyll And Sister Hyde,

1347
01:07:51,880 --> 01:07:54,080
Yeah, I'll give you
some exploitation,

1348
01:07:54,120 --> 01:07:57,400
but damn, is it gonna have meaning.
Damn, is it gonna be cool.

1349
01:07:57,440 --> 01:08:00,440
It's gonna be as cool
as goddamn Emma Peel.'

1350
01:08:00,480 --> 01:08:02,480
He happened to be, I think,

1351
01:08:02,520 --> 01:08:04,960
in the restaurant in the studios.

1352
01:08:05,000 --> 01:08:06,960
Jimmy Carreras
was at the next table.

1353
01:08:07,000 --> 01:08:09,360
Brian suddenly writes down
on a scrap of paper

1354
01:08:09,400 --> 01:08:11,480
at the table...
Dr Jekyll And Sister Hyde.

1355
01:08:11,520 --> 01:08:14,920
Jimmy said,
'Come see me in my office tomorrow.'

1356
01:08:14,960 --> 01:08:16,880
By the time Brian
gets back to his office,

1357
01:08:16,920 --> 01:08:18,880
they've already
commissioned a poster.

1358
01:08:18,920 --> 01:08:22,640
He hadn't put one word on paper
at that point.

1359
01:08:22,680 --> 01:08:24,560
One of the classic stories
about Hammer,

1360
01:08:24,600 --> 01:08:28,040
you know, is Jimmy Carreras'
fondness for commissioning posters.

1361
01:08:28,080 --> 01:08:30,320
He would go over to New York.
He would meet...

1362
01:08:30,360 --> 01:08:32,720
all the bosses of all the majors -

1363
01:08:32,760 --> 01:08:35,560
20th Century Fox, Columbia, Warner.

1364
01:08:35,600 --> 01:08:38,240
And he would ask them for ideas,

1365
01:08:38,280 --> 01:08:40,680
and they would feed him with ideas.

1366
01:08:40,720 --> 01:08:43,160
He would then come back to England
with those ideas,

1367
01:08:43,200 --> 01:08:46,640
and he would cherry-pick
which ones he thought were good.

1368
01:08:46,680 --> 01:08:50,800
And then he would get his poster
artist to make a teaser poster.

1369
01:08:50,840 --> 01:08:53,960
And took it to America and said,
'That's our next movie.'

1370
01:08:54,000 --> 01:08:56,560
And everybody
fell over themselves to...

1371
01:08:56,600 --> 01:08:58,360
put money into it.

1372
01:08:58,400 --> 01:09:00,680
I said, 'You wanna see a script
or know who's in it?

1373
01:09:00,720 --> 01:09:02,840
'Don't bother about that.
This is a Hammer film.

1374
01:09:02,880 --> 01:09:04,680
And we know it will be alright.'

1375
01:09:04,720 --> 01:09:06,480
And he came back to me and said,

1376
01:09:06,520 --> 01:09:10,040
'That's our next movie. You've
gotta go away and write it now.'

1377
01:09:10,080 --> 01:09:13,160
I said, 'What do you mean?' He said,
'We start shooting in six weeks.'

1378
01:09:13,200 --> 01:09:15,200
And that's really
how they operated.

1379
01:09:15,240 --> 01:09:18,480
He would sell an idea
based on a teaser poster

1380
01:09:18,520 --> 01:09:20,480
before a word of script
had been written.

1381
01:09:20,520 --> 01:09:22,640
There's a wonderful
treasure trove of...

1382
01:09:23,480 --> 01:09:26,920
..wildly lurid posters...

1383
01:09:26,960 --> 01:09:30,080
for films that very often
turned out to be...

1384
01:09:30,120 --> 01:09:32,600
much more sedate
than those initial posters.

1385
01:09:32,640 --> 01:09:35,880
But Dr Jekyll And Sister Hyde
is an example of a movie

1386
01:09:35,920 --> 01:09:39,440
examining gender within genre.

1387
01:09:39,480 --> 01:09:42,600
VOICEOVER: Dr Jekyll, Sister Hyde.

1388
01:09:42,640 --> 01:09:44,760
Man or woman.

1389
01:09:45,640 --> 01:09:47,240
Or both?

1390
01:09:47,280 --> 01:09:50,640
When I read the script, I thought,
'This could be really interesting.'

1391
01:09:50,680 --> 01:09:54,400
I am one who believes that all of us
have male and female in us.

1392
01:09:55,360 --> 01:09:59,040
And I would like to have
explored it more, actually.

1393
01:09:59,080 --> 01:10:03,080
But at that point, they were
so busy trying to get me to be...

1394
01:10:03,960 --> 01:10:07,480
..um...full nudity,
which was not in the script.

1395
01:10:07,520 --> 01:10:10,200
I was quite happy
to show my breasts,

1396
01:10:10,240 --> 01:10:14,040
because the point is
that if he turns into her,

1397
01:10:14,080 --> 01:10:16,800
she's gonna have to figure out...

1398
01:10:16,840 --> 01:10:19,480
what is the power?

1399
01:10:21,240 --> 01:10:23,680
And that was
very interesting to do.

1400
01:10:23,720 --> 01:10:25,840
That was really interesting to do.

1401
01:10:27,360 --> 01:10:31,240
And I wish we had gone deeper
into it and kind of done...

1402
01:10:31,280 --> 01:10:34,560
because we would have...
should have had more confusion...

1403
01:10:34,600 --> 01:10:36,520
from both sides.

1404
01:10:37,320 --> 01:10:40,840
It is I who exists, Dr Jekyll.
Not you.

1405
01:10:42,120 --> 01:10:44,480
LOGAN: Brian Clemens
was able to bring a sort of...

1406
01:10:44,520 --> 01:10:47,440
different kind of sexuality to that.

1407
01:10:47,480 --> 01:10:50,800
And Martine Beswick
was so commanding and so powerful,

1408
01:10:50,840 --> 01:10:53,120
that even though she is exposed,

1409
01:10:53,160 --> 01:10:57,360
it is fitting for the script
as the character learns about

1410
01:10:57,400 --> 01:11:00,440
what her new identity,
her new gender identity is.

1411
01:11:00,480 --> 01:11:03,160
Clemens was on the cusp
of taking Hammer

1412
01:11:03,200 --> 01:11:05,760
in a bold and exciting new direction,

1413
01:11:05,800 --> 01:11:10,720
but the company was about to be dealt
yet another devastating blow.

1414
01:11:10,760 --> 01:11:14,600
In 1969, the American studios
begin to withdraw,

1415
01:11:14,640 --> 01:11:18,000
because they're suffering
bruising losses at home,

1416
01:11:18,040 --> 01:11:20,120
and it's no longer
financially viable...

1417
01:11:20,160 --> 01:11:23,240
to be quite so heavily invested
in the British film industry.

1418
01:11:23,280 --> 01:11:26,520
James Carreras runs to his friends
at the Variety Club,

1419
01:11:26,560 --> 01:11:29,400
principally Bernard Delfonte at EMI,

1420
01:11:29,440 --> 01:11:33,160
and he agrees to finance
Hammer's films in the '70s.

1421
01:11:33,200 --> 01:11:35,440
But now the budgets are tiny.

1422
01:11:35,480 --> 01:11:37,920
The budgets are £100,000 for a film.

1423
01:11:37,960 --> 01:11:40,760
To put it in context,
12 years before,

1424
01:11:40,800 --> 01:11:43,040
The Curse Of Frankenstein
was £80,000.

1425
01:11:43,080 --> 01:11:45,560
In 1957, Dracula was £90,000.

1426
01:11:45,600 --> 01:11:49,320
12 years on, with inflation, they've
now gotta make a film for £100,000.

1427
01:11:49,360 --> 01:11:51,640
And the budget doesn't
stretch as far at Elstree,

1428
01:11:51,680 --> 01:11:53,520
where they were making
these films now,

1429
01:11:53,560 --> 01:11:56,240
than they did it at Bray Studios.

1430
01:11:56,280 --> 01:11:58,200
In autumn 1970,

1431
01:11:58,240 --> 01:12:02,080
James Carreras invited his
son Michael back into the company

1432
01:12:02,120 --> 01:12:04,440
in his old role
as executive producer.

1433
01:12:04,480 --> 01:12:06,640
Michael doesn't
want to do that again.

1434
01:12:06,680 --> 01:12:08,680
He's done it, so he says no.

1435
01:12:08,720 --> 01:12:11,840
And this causes another major rift
between father and son.

1436
01:12:11,880 --> 01:12:14,720
Of course, Jimmy Carreras
was well aware of the straits

1437
01:12:14,760 --> 01:12:17,920
Hammer was heading into by 1970.

1438
01:12:17,960 --> 01:12:21,160
I mean, he was there
doing the deals, and by 1970,

1439
01:12:21,200 --> 01:12:24,400
they tended to be non-existent deals
with American studios.

1440
01:12:24,440 --> 01:12:27,240
And now James actually says,

1441
01:12:27,280 --> 01:12:29,680
'Why don't you come back?
But you can be managing director.'

1442
01:12:29,720 --> 01:12:33,120
And Michael starts
on 4th January 1971

1443
01:12:33,160 --> 01:12:34,960
as the Managing Director of Hammer.

1444
01:12:35,000 --> 01:12:38,600
As soon as Michael Carreras
takes over, things look up.

1445
01:12:38,640 --> 01:12:43,480
They decide to completely abandon...
the sexier films they'd been making,

1446
01:12:43,520 --> 01:12:45,600
with Frankenstein
And The Monster From Hell.

1447
01:12:45,640 --> 01:12:48,640
They bring Terence Fisher back
to make his last film.

1448
01:12:48,680 --> 01:12:50,920
Peter Cushing's
last go as the Baron.

1449
01:12:50,960 --> 01:12:54,920
It's a kind of callback
to the older Hammer Gothic mode.

1450
01:12:54,960 --> 01:12:58,040
And then they started
trying to mix the Gothic horror

1451
01:12:58,080 --> 01:13:01,360
with the Satanic panic elements.

1452
01:13:01,400 --> 01:13:04,440
Hammer had to hustle
to try to stay relevant,

1453
01:13:04,480 --> 01:13:08,400
and they become kind of 'throw it
at the wall' kind of movies.

1454
01:13:08,440 --> 01:13:11,840
One that stands out to me
is Dracula AD 1972.

1455
01:13:11,880 --> 01:13:15,440
I'm one of those many people who
have a lot of patience for that one.

1456
01:13:15,480 --> 01:13:18,480
It's something that I've just
always been interested about,

1457
01:13:18,520 --> 01:13:21,480
cos there was something
very transitional about it.

1458
01:13:23,960 --> 01:13:26,840
But you can tell that they're
starting to lose their way

1459
01:13:26,880 --> 01:13:28,880
and moving into something that...

1460
01:13:28,920 --> 01:13:32,120
is quite different from what
they used to be really good at.

1461
01:13:32,160 --> 01:13:34,800
They're no longer
based on classic stories.

1462
01:13:34,840 --> 01:13:37,600
Once they didn't know
where they were going any more,

1463
01:13:37,640 --> 01:13:41,400
the spirit of adventure
that had marked the early '60s

1464
01:13:41,440 --> 01:13:43,640
was nowhere to be found,

1465
01:13:43,680 --> 01:13:46,800
because a lot of the personnel
were nowhere to be found.

1466
01:13:48,845 --> 01:13:52,360
The celebrated creatives
that had crafted Hammer's success

1467
01:13:52,400 --> 01:13:55,520
through the 1950s and early 1960s

1468
01:13:55,560 --> 01:13:57,480
had all but disappeared.

1469
01:13:57,520 --> 01:14:02,040
Only Michael Carreras and his father,
James, remained...for now.

1470
01:14:02,080 --> 01:14:06,280
James was on, I think,
a sea cruise or a vacation,

1471
01:14:06,320 --> 01:14:09,680
and Michael learnt his father was
trying to sell the family company.

1472
01:14:09,720 --> 01:14:12,400
APPLETON: James Carreras was
in discussion with this company

1473
01:14:12,440 --> 01:14:15,680
called Studio Film Labs
for a while about a merger.

1474
01:14:15,720 --> 01:14:19,560
At the same time, James was talking
to Tony Tenser from Tigon Films

1475
01:14:19,600 --> 01:14:23,040
about Tony potentially
taking over Hammer

1476
01:14:23,080 --> 01:14:25,720
and engulfing it into Tigon.

1477
01:14:25,760 --> 01:14:28,760
Michael knew about
the first discussion,

1478
01:14:28,800 --> 01:14:30,920
but he didn't know about
the discussion with Tony.

1479
01:14:30,960 --> 01:14:34,920
Michael, obviously, was very annoyed
that this decision

1480
01:14:34,960 --> 01:14:37,400
was taken out of his hands,
especially at the point...

1481
01:14:37,440 --> 01:14:40,560
that he was the Managing Director,
and he wasn't even consulted.

1482
01:14:40,600 --> 01:14:43,200
So he launched his own bid
to buy the company.

1483
01:14:43,240 --> 01:14:47,280
They went to the PFS, which is
the Pensions Funds Subsidiary,

1484
01:14:47,320 --> 01:14:50,480
and asked for a £400,000 loan,

1485
01:14:50,520 --> 01:14:52,520
which they granted,

1486
01:14:52,560 --> 01:14:57,240
on top of £200,000 extra
to make two films...

1487
01:14:57,280 --> 01:14:59,160
to set them going.

1488
01:14:59,200 --> 01:15:02,960
So he was able to hustle enough
money to make a counteroffer...

1489
01:15:04,160 --> 01:15:06,560
..waited for the boat to dock.

1490
01:15:07,600 --> 01:15:11,680
His father walked off the boat,
and he handed him the contract.

1491
01:15:11,720 --> 01:15:13,720
So it was a fait accompli...

1492
01:15:13,760 --> 01:15:16,400
with no communication
between them.

1493
01:15:16,440 --> 01:15:20,440
It's almost like the cold war
had just calcified

1494
01:15:20,480 --> 01:15:22,400
everything in that relationship.

1495
01:15:22,440 --> 01:15:26,840
James took the bid.
And Michael became the Director.

1496
01:15:27,880 --> 01:15:32,680
The irony is Michael Carreras thinks
he's buying a solvent company.

1497
01:15:32,720 --> 01:15:35,760
He thinks he's buying
Hammer Films backed by EMI,

1498
01:15:35,800 --> 01:15:38,400
you know, so the bank account's
gonna be full.

1499
01:15:39,320 --> 01:15:43,320
And he finds out that that bank
account went with James Carreras.

1500
01:15:45,960 --> 01:15:49,080
When Michael took over
the company in 1972,

1501
01:15:49,120 --> 01:15:51,640
the one thing that happened
straight away was all the...

1502
01:15:51,680 --> 01:15:54,280
the American studios
pulled their financing.

1503
01:15:54,320 --> 01:15:57,680
This is potentially due to...

1504
01:15:57,720 --> 01:16:00,880
James's advice.

1505
01:16:02,560 --> 01:16:05,680
Or, I mean, I think
it's also to do with the fact

1506
01:16:05,720 --> 01:16:07,640
they were really
good friends with James,

1507
01:16:07,680 --> 01:16:09,880
and they just
didn't really have a...

1508
01:16:09,920 --> 01:16:12,360
relationship with Michael
in the same way.

1509
01:16:12,400 --> 01:16:15,240
RIGBY: I have the impression
that Michael had no idea...

1510
01:16:15,280 --> 01:16:18,440
just how...of the paucity
of Hammer's resources at that point,

1511
01:16:18,480 --> 01:16:20,880
whereas his father was well aware,

1512
01:16:20,920 --> 01:16:24,600
and nevertheless, still handed
the company over to him.

1513
01:16:25,600 --> 01:16:28,560
I need some money, Father.
You can't have any.

1514
01:16:28,600 --> 01:16:31,520
I think James had
a real disdain for his son.

1515
01:16:31,560 --> 01:16:35,480
I think he was ferocious, and tough,
in a way he didn't need to be.

1516
01:16:35,520 --> 01:16:37,360
He basically...

1517
01:16:37,400 --> 01:16:39,640
left him on a sinking ship.

1518
01:16:39,680 --> 01:16:42,560
Seemingly deceived by his own father,

1519
01:16:42,600 --> 01:16:46,320
Michael was determined
to keep the family business alive.

1520
01:16:46,360 --> 01:16:48,800
Following his deal
to take over Hammer,

1521
01:16:48,840 --> 01:16:52,080
he put the business ahead
of any personal vendettas,

1522
01:16:52,120 --> 01:16:54,520
hoping to recapture the Hammer magic.

1523
01:16:54,560 --> 01:16:57,840
He immediately went into production
on a vampire film,

1524
01:16:57,880 --> 01:17:02,280
a feature that had been commissioned
by the very man he felt betrayed him.

1525
01:17:02,320 --> 01:17:06,480
Captain Kronos is a really
interesting watershed moment,

1526
01:17:06,520 --> 01:17:09,040
I think, in Hammer,
and what could have been

1527
01:17:09,080 --> 01:17:10,800
and what might have been,

1528
01:17:10,840 --> 01:17:14,400
because Brian Clemens wrote
and directed a very sort of...

1529
01:17:14,440 --> 01:17:17,800
quirky, cheeky, interesting...

1530
01:17:17,840 --> 01:17:21,680
vampire movie unlike any vampire
movie that had ever been made.

1531
01:17:21,720 --> 01:17:24,920
Brian was very much in charge
of that because it was his baby.

1532
01:17:24,960 --> 01:17:26,960
He'd written it.
He was gonna direct it.

1533
01:17:27,000 --> 01:17:28,960
To be honest,
he was thrilled to bits.

1534
01:17:29,000 --> 01:17:31,680
I mean, he desperately
always wanted to direct.

1535
01:17:31,720 --> 01:17:33,560
LOGAN: It was a little folk horror.

1536
01:17:33,600 --> 01:17:37,440
It was a little, like, 'I don't get
what's going on in this, exactly.'

1537
01:17:37,480 --> 01:17:41,160
It had sword fights.
It was genre blending...

1538
01:17:41,200 --> 01:17:43,000
in a way that's very popular now.

1539
01:17:43,040 --> 01:17:45,960
So it was a really exciting
piece of work.

1540
01:17:46,000 --> 01:17:48,200
I enjoyed that film very much,

1541
01:17:48,240 --> 01:17:50,280
partly because
it was all shot outside.

1542
01:17:50,320 --> 01:17:53,880
And my passion is to be outside.
Got to be outside.

1543
01:17:53,920 --> 01:17:57,400
And it was great,
because I'd turn up in the morning,

1544
01:17:57,440 --> 01:17:59,360
and I remember
the hairdresser saying,

1545
01:17:59,400 --> 01:18:02,200
'You haven't washed your hair, have
you?' 'No, you told me not to.'

1546
01:18:02,240 --> 01:18:05,560
'Don't wash it for a week.
We need it kind of yucky.'

1547
01:18:05,600 --> 01:18:09,040
I said, 'OK, alright, then.
I won't. Great.'

1548
01:18:09,080 --> 01:18:11,640
And Michael Carreras
should have been smart enough

1549
01:18:11,680 --> 01:18:15,880
to realise that was an exciting way
to keep building his brand,

1550
01:18:15,920 --> 01:18:18,640
to keep the Hammer brand going.

1551
01:18:18,680 --> 01:18:21,920
Maybe he felt threatened. Maybe it
just wasn't his sensibility.

1552
01:18:21,960 --> 01:18:25,880
It was a bit too esoteric. It was
basically ahead of its time, really.

1553
01:18:25,920 --> 01:18:29,320
He was very sniffy about Brian
Clemens, you know, in terms of...

1554
01:18:29,360 --> 01:18:32,760
'He's not quite understanding
our style or what we do here,'

1555
01:18:32,800 --> 01:18:35,200
you know, as if he's his father,

1556
01:18:35,240 --> 01:18:37,360
you know,
putting his old school tie up.

1557
01:18:37,400 --> 01:18:40,160
And I'm like,
'Michael, no. Don't do this.'

1558
01:18:40,200 --> 01:18:43,400
There was
a great opportunity there...

1559
01:18:43,440 --> 01:18:46,920
for Brian Clemens
to become the new Jimmy Sangster,

1560
01:18:46,960 --> 01:18:49,640
the new Terence Fisher, the new...

1561
01:18:49,680 --> 01:18:52,560
idea man behind Hammer.

1562
01:18:52,600 --> 01:18:55,200
Michael Carreras should have
gotten so behind that movie

1563
01:18:55,240 --> 01:18:59,240
and said, 'Look what Hammer
can do now. This is different.

1564
01:18:59,280 --> 01:19:01,160
Here's the man who made it,
Brian Clemens.

1565
01:19:01,200 --> 01:19:03,400
He's an artist.'
But he didn't do that.

1566
01:19:03,440 --> 01:19:06,200
It just sort of...crept out.

1567
01:19:06,240 --> 01:19:08,000
And it wasn't given
a proper release.

1568
01:19:08,040 --> 01:19:11,240
It came out, apparently,
about a year or so later.

1569
01:19:11,280 --> 01:19:14,400
Brian's directorial debut,
in essence,

1570
01:19:14,440 --> 01:19:18,360
was sort of...shoved at
the back of a cupboard, basically.

1571
01:19:18,400 --> 01:19:20,280
How stultifying that must have been,

1572
01:19:20,320 --> 01:19:22,520
how debilitating
it must have been to an artist.

1573
01:19:22,560 --> 01:19:26,000
If I could go back into Hammer
history and arrange a meeting,

1574
01:19:26,040 --> 01:19:28,440
I would sit down Michael Carreras...

1575
01:19:28,480 --> 01:19:31,560
and Brian Clemens and say,
'Boys, work it out.'

1576
01:19:32,800 --> 01:19:36,800
Company politics, and the absence
of any new creative vision,

1577
01:19:36,840 --> 01:19:38,880
were beginning to suffocate Hammer.

1578
01:19:38,920 --> 01:19:41,640
Meanwhile, other filmmakers
around the world

1579
01:19:41,680 --> 01:19:44,680
were breathing new life
into the horror genre.

1580
01:19:44,720 --> 01:19:47,160
Problems for Hammer...

1581
01:19:47,200 --> 01:19:49,240
probably started with The Exorcist.

1582
01:19:50,160 --> 01:19:52,160
(SCREAMING, CLATTERING)

1583
01:19:56,280 --> 01:20:00,360
Suddenly no-one's interested
in what's going on
in Transylvanian castles.

1584
01:20:00,400 --> 01:20:02,520
People want to see what's
going on next door,

1585
01:20:02,560 --> 01:20:04,480
down the street, inside your house.

1586
01:20:04,520 --> 01:20:06,440
That's where horror moved,

1587
01:20:06,480 --> 01:20:10,200
and that's where horror still is to
this day, whether it's The Exorcist,

1588
01:20:10,240 --> 01:20:14,720
or another big hit that they're
trying to emulate, it's too late.

1589
01:20:14,760 --> 01:20:17,600
Michael, even as much
as he was being creative

1590
01:20:17,640 --> 01:20:20,320
and trying to diversify
the Hammer output,

1591
01:20:20,360 --> 01:20:22,320
I'm not sure even he knew

1592
01:20:22,360 --> 01:20:24,600
the direction it was
going to go in in the '70s.

1593
01:20:24,640 --> 01:20:27,920
I think what we were
seeing then in the '70s

1594
01:20:27,960 --> 01:20:30,640
was the decline
of the British film industry.

1595
01:20:30,680 --> 01:20:32,920
Within a few years,

1596
01:20:32,960 --> 01:20:34,800
British commercial filmmaking,

1597
01:20:34,840 --> 01:20:37,720
at the end of the 20th century,
would be more or less wiped out.

1598
01:20:37,760 --> 01:20:41,000
It's always the challenge
with art...

1599
01:20:41,040 --> 01:20:43,840
to make money, to stay solvent.

1600
01:20:43,880 --> 01:20:47,680
And Hammer,
like every other British studio,

1601
01:20:47,720 --> 01:20:49,520
was at the mercy of the marketplace.

1602
01:20:49,560 --> 01:20:52,440
To Michael Carreras's credit,
he kept the thing going...

1603
01:20:52,480 --> 01:20:57,720
when, obviously, they were not
on the same track as the audience.

1604
01:20:57,760 --> 01:20:59,760
And so...

1605
01:20:59,800 --> 01:21:02,400
even the movies that were supposed
to be good, like...

1606
01:21:03,640 --> 01:21:06,040
..which on paper, looks like
it would be a pretty good movie.

1607
01:21:06,080 --> 01:21:10,360
It was trying so desperately
to be The Exorcist...

1608
01:21:10,400 --> 01:21:12,520
that it lost its own individuality.

1609
01:21:12,560 --> 01:21:14,960
And not only don't they work,
they don't make any money.

1610
01:21:15,000 --> 01:21:17,400
It's like any studio,
whether Disney or any of them,

1611
01:21:17,440 --> 01:21:19,800
they try to move with the times.

1612
01:21:19,840 --> 01:21:22,040
It's easier said than done.

1613
01:21:22,080 --> 01:21:25,440
Despite this significant downturn
in creative output

1614
01:21:25,480 --> 01:21:27,840
during the mid-1970s,

1615
01:21:27,880 --> 01:21:30,800
which led to disappointing
financial outcomes,

1616
01:21:30,840 --> 01:21:34,400
Hammer's legacy
has remarkably endured.

1617
01:21:34,440 --> 01:21:38,560
The magic forged over the prior
two decades managed to persist.

1618
01:21:38,600 --> 01:21:41,480
Lesser studios
would have faltered sooner,

1619
01:21:41,520 --> 01:21:45,360
and lesser leaders might have
let the company fade away.

1620
01:21:45,400 --> 01:21:49,920
But Michael Carreras' unwavering
never-say-die attitude...

1621
01:21:49,960 --> 01:21:52,440
kept the Hammer flames burning.

1622
01:21:52,480 --> 01:21:56,720
Michael Carreras's tenacity during
the '70s in keeping Hammer alive,

1623
01:21:56,760 --> 01:21:59,120
I think, is key to the fact
that it's still alive now.

1624
01:21:59,160 --> 01:22:01,280
And he made movies,
which is, let me tell you,

1625
01:22:01,320 --> 01:22:04,960
it's no mean feat to get movies made
and released - it's a big deal.

1626
01:22:05,000 --> 01:22:09,560
The fact the last Hammer film was
a remake of a Hitchcock picture...

1627
01:22:09,600 --> 01:22:11,160
VOICEOVER: Now you see her...

1628
01:22:11,200 --> 01:22:13,680
(TRAIN WHISTLE BLOWS)

1629
01:22:13,720 --> 01:22:15,200
..now you don't.

1630
01:22:15,240 --> 01:22:17,280
Never a good idea, by the way.

1631
01:22:17,320 --> 01:22:20,360
And it's not such a bad movie,
but nobody wanted to see it.

1632
01:22:20,400 --> 01:22:22,960
And it doesn't have
anything Hammer-esque about it.

1633
01:22:24,600 --> 01:22:28,440
APPLETON: And Michael really thought
that Hammer would come back to life.

1634
01:22:28,480 --> 01:22:30,480
I'll give you life again.

1635
01:22:31,840 --> 01:22:34,200
He literally thought
that he would be able

1636
01:22:34,240 --> 01:22:36,240
to save Hammer
right up to the very end.

1637
01:22:36,280 --> 01:22:39,320
That's what I admired most
about Michael Carreras,

1638
01:22:39,360 --> 01:22:44,640
that with everything falling apart,
without the support of his father,

1639
01:22:44,680 --> 01:22:46,680
he hustled like crazy.

1640
01:22:46,720 --> 01:22:48,440
He won't give up.

1641
01:22:48,480 --> 01:22:50,200
Can't you see?

1642
01:22:50,240 --> 01:22:52,880
Michael didn't want to give up
because apart from anything else,

1643
01:22:52,920 --> 01:22:54,640
it was his family business.

1644
01:22:54,680 --> 01:22:57,800
And I think nobody wants
to admit defeat, ultimately.

1645
01:22:57,840 --> 01:23:01,160
Maybe he wanted
to prove something to his dad,

1646
01:23:01,200 --> 01:23:03,200
who never really
believed in him, particularly.

1647
01:23:03,240 --> 01:23:06,480
In the '70s, Hammer is surviving
on British finance.

1648
01:23:07,360 --> 01:23:09,160
Almost exclusively.

1649
01:23:09,200 --> 01:23:11,320
My name is Mitch Wicking.

1650
01:23:11,360 --> 01:23:13,880
And I'm the son
of Christopher Wicking.

1651
01:23:13,920 --> 01:23:18,320
I wrote screenplays for Hammer
in the mid-'70s.

1652
01:23:21,640 --> 01:23:25,400
So it seems to be, from Dad's
diaries, a long catalogue of...

1653
01:23:26,360 --> 01:23:29,440
..Michael spending money
to raise money.

1654
01:23:29,480 --> 01:23:32,200
There was tales of waiting for...

1655
01:23:32,240 --> 01:23:36,360
the fat man, as he calls him.
I think it's Michael Klinger.

1656
01:23:36,400 --> 01:23:39,560
It was a German
who was ready to fund projects,

1657
01:23:39,600 --> 01:23:42,440
but they wait and wait,
and there'd be a telex.

1658
01:23:42,480 --> 01:23:44,280
'He's on his way.
He's on the plane.

1659
01:23:44,320 --> 01:23:46,200
He'll be coming with
a suitcase of money,'

1660
01:23:46,240 --> 01:23:48,800
as Dad puts it in the diary.

1661
01:23:48,840 --> 01:23:51,600
And then right at the last minute -
it's always the last second...

1662
01:23:51,640 --> 01:23:54,160
(EXHALES) ..doesn't turn up.

1663
01:23:54,200 --> 01:23:56,720
So he ploughed a lot of money,
including some of his own,

1664
01:23:56,760 --> 01:23:59,160
into building up a number of...

1665
01:23:59,200 --> 01:24:03,720
big budget films, such as Nessie,
Vampirella, Vlad The Impaler,

1666
01:24:03,760 --> 01:24:06,000
which, of course,
didn't see the light of day,

1667
01:24:06,040 --> 01:24:07,840
and all that money was lost.

1668
01:24:07,880 --> 01:24:09,800
Apart from Nessie and Vampirella,

1669
01:24:09,840 --> 01:24:14,600
there were three or four, five, six,
seven different smaller movie ideas.

1670
01:24:14,640 --> 01:24:16,920
And there was the big one.

1671
01:24:16,960 --> 01:24:19,440
They approached Stan Lee
at Marvel Comics

1672
01:24:19,480 --> 01:24:21,680
with the idea of doing a franchise.

1673
01:24:21,720 --> 01:24:25,400
You've got Iron Man in there,
and Doctor Strange,

1674
01:24:25,440 --> 01:24:27,440
and quite a few others.

1675
01:24:27,480 --> 01:24:29,760
Stan's reply is, 'Oh, yeah. Great.

1676
01:24:29,800 --> 01:24:32,640
Lovely. Let's take the next step.'

1677
01:24:32,680 --> 01:24:36,440
And then there's some reason
why they couldn't do it.

1678
01:24:36,480 --> 01:24:38,360
So you can imagine...

1679
01:24:38,400 --> 01:24:41,600
what kudos that would have been
if that had have come off.

1680
01:24:41,640 --> 01:24:43,920
Michael can't carry on any longer,

1681
01:24:43,960 --> 01:24:46,320
and the Official Receiver
takes charge.

1682
01:24:46,360 --> 01:24:50,240
So the fact that Hammer
goes under definitively in 1979...

1683
01:24:50,280 --> 01:24:54,480
for a time, is not
entirely surprising, because...

1684
01:24:54,520 --> 01:24:57,840
most other sectors of the British
film industry are doing so as well.

1685
01:24:57,880 --> 01:25:00,680
He kept the company alive
and enabled all this stuff,

1686
01:25:00,720 --> 01:25:03,240
decades later, merely by...

1687
01:25:03,280 --> 01:25:05,720
by that dog-with-a-bone quality
that he had.

1688
01:25:05,760 --> 01:25:09,320
And it was a dog-with-a-bone quality
that was largely based on,

1689
01:25:09,360 --> 01:25:11,400
you know, a sentimental reaction
to the fact

1690
01:25:11,440 --> 01:25:15,280
that his whole life had been Hammer,
and he didn't want to see it die.

1691
01:25:15,320 --> 01:25:20,120
When you make something that's
so specific and so idiosyncratic,

1692
01:25:20,160 --> 01:25:22,120
it's not gonna work for 40 years.

1693
01:25:22,160 --> 01:25:25,440
I suppose I wasn't in tune.
I have to take the blame for this.

1694
01:25:25,480 --> 01:25:28,680
I was in charge.
We should have had new thinking.

1695
01:25:28,720 --> 01:25:30,680
We should have had
completely new writers.

1696
01:25:30,720 --> 01:25:33,640
We should have had new directors. We
should have had all sorts of things.

1697
01:25:33,680 --> 01:25:38,200
Michael Carreras passed away
in 1994 from cancer,

1698
01:25:38,240 --> 01:25:41,200
just four years
after the death of his father.

1699
01:25:41,240 --> 01:25:45,840
All of the men who'd steered Hammer
through its golden years were gone.

1700
01:25:45,880 --> 01:25:49,240
For many, it marked
the final curtain for a company

1701
01:25:49,280 --> 01:25:53,760
that had brought so much fear,
wonder and excitement to the screen.

1702
01:26:12,640 --> 01:26:15,240
As we look back,
decades after his death,

1703
01:26:15,280 --> 01:26:19,080
Michael Carreras stands tall
against the Hammer backdrop.

1704
01:26:19,120 --> 01:26:23,720
A man whose fingerprints were across
nearly all of the Hammer films,

1705
01:26:23,760 --> 01:26:26,040
having worked in so many departments

1706
01:26:26,080 --> 01:26:29,240
and taking on so many
different responsibilities.

1707
01:26:29,280 --> 01:26:32,280
In a world of heroes,
legends and monsters,

1708
01:26:32,320 --> 01:26:35,840
Michael Carreras
was a very human being.

1709
01:26:35,880 --> 01:26:38,840
At the end of this chapter
of the Hammer story,

1710
01:26:38,880 --> 01:26:42,680
one man's struggle
kept the Hammer name alive.

1711
01:26:42,720 --> 01:26:45,720
Michael Carreras succeeded.

1712
01:26:45,760 --> 01:26:47,880
The fact that
Michael Carreras was able

1713
01:26:47,920 --> 01:26:49,880
to keep the company
through that period...

1714
01:26:49,920 --> 01:26:53,440
I'm sure is why we're able
to still talk about it today.

1715
01:26:53,480 --> 01:26:57,120
In the years since
Hammer's near-death experience

1716
01:26:57,160 --> 01:26:59,160
at the end of the 1970s,

1717
01:26:59,200 --> 01:27:02,200
it has been kept alive
in various iterations,

1718
01:27:02,240 --> 01:27:04,640
producing films
and television series...

1719
01:27:04,680 --> 01:27:06,520
from the Hammer House Of Horror

1720
01:27:06,560 --> 01:27:09,720
to blockbuster films
like The Woman In Black.

1721
01:27:11,120 --> 01:27:15,760
Despite all of the trials and
tribulations the company has faced,

1722
01:27:15,800 --> 01:27:20,080
Hammer has risen to legendary status
in the world of film.

1723
01:27:21,360 --> 01:27:25,240
Those films were made by people
who cared. They loved them.

1724
01:27:25,280 --> 01:27:27,560
They made them
with great care and attention.

1725
01:27:27,600 --> 01:27:29,320
Those films will last forever.

1726
01:27:29,360 --> 01:27:31,240
I get asked time and time again,

1727
01:27:31,280 --> 01:27:34,160
in letters and interviews
and things,

1728
01:27:34,200 --> 01:27:37,160
'When is Hammer gonna return
or will Hammer return?'

1729
01:27:37,200 --> 01:27:39,960
and certainly the answer
doesn't lie with me.

1730
01:27:40,000 --> 01:27:42,760
But I would be very happy
to see it return.

1731
01:27:42,800 --> 01:27:44,520
Definitely.

1732
01:27:44,560 --> 01:27:47,840
It is the desperate irony
that Hammer, as a company,

1733
01:27:47,880 --> 01:27:52,320
now reflects its most
famous character, Count Dracula.

1734
01:27:52,360 --> 01:27:57,400
You can never kill it. It just has
a way of reviving again and again.

1735
01:27:57,440 --> 01:28:00,800
And, boy, have we seen some
convincing deaths in the films.

1736
01:28:00,840 --> 01:28:02,800
And yet, somehow,

1737
01:28:02,840 --> 01:28:04,760
it always comes back.

1738
01:28:04,800 --> 01:28:06,960
(DRAMATIC MUSIC)

1739
01:28:09,680 --> 01:28:13,360
Life after death. Indestructible.

1740
01:28:13,400 --> 01:28:15,560
(MUSIC SWELLS)

1741
01:28:29,680 --> 01:28:31,560
MAN: Cameras rolling.
WOMAN: All good.

1742
01:28:31,600 --> 01:28:34,800
Yeah.Hammer, Hammer.
(LAUGHTER)

1743
01:28:34,840 --> 01:28:37,440
So we'll do... We'll do an easy one
to start with.(LAUGHS)

1744
01:28:37,480 --> 01:28:41,440
Just try.We'll start and work it
out.We'll see how easy it is.

1745
01:28:41,480 --> 01:28:43,840
And all we ever did
was dissect bunnies.

1746
01:28:46,480 --> 01:28:49,000
A little higher.Happy there?
A bit higher.

1747
01:28:49,040 --> 01:28:52,360
Cool. Mark it.
Yeah. Joe Dante, take 1.

1748
01:28:52,400 --> 01:28:54,480
It says John Carpenter.

1749
01:28:54,520 --> 01:28:57,320
(LAUGHS)
You can pretend.

1750
01:28:57,360 --> 01:28:59,200
You know, it's like Howard The Duck.

1751
01:29:00,000 --> 01:29:03,640
Didn't anyone see that
little duck suit, you know?

1752
01:29:03,680 --> 01:29:05,680
What a great question.

1753
01:29:05,720 --> 01:29:10,040
I'd like it noted that was two
great questions.Yeah. Within one.

1754
01:29:10,080 --> 01:29:12,720
In forty-five minutes, that
makes two great questions.Yeah.

1755
01:29:12,760 --> 01:29:17,000
It's like an Old Spice commercial.
You know, it really changes.

1756
01:29:17,040 --> 01:29:21,720
So, yes, my mum gave me
this pamphlet with penguins in it.

1757
01:29:21,760 --> 01:29:25,360
(LAUGHTER)Oh, no, stop it!
I'm gonna have to get up.

1758
01:29:25,400 --> 01:29:28,320
(LAUGHTER)

1759
01:29:29,280 --> 01:29:31,280
WOMAN: It's got worse!

1760
01:29:32,080 --> 01:29:33,920
It's like The Godfather.

1761
01:29:33,960 --> 01:29:36,280
Just when you're out,
they drag you back in.

1762
01:29:36,320 --> 01:29:39,720
So you and Edna read the book.
Read the pamphlet.Pamphlet.

1763
01:29:39,760 --> 01:29:42,880
Well, week after week, she'd always
come over on a Sunday morning.

1764
01:29:42,920 --> 01:29:46,680
She lived at the bottom of
my garden, as did Nigel and Jeremy.

1765
01:29:46,720 --> 01:29:49,240
Just stop it! (GIGGLES)

1766
01:29:49,280 --> 01:29:52,240
You had somebody
living in your garden? (LAUGHS)

1767
01:29:52,280 --> 01:29:54,280
But I did!

1768
01:29:55,360 --> 01:29:57,400
(LAUGHS)

1769
01:29:57,440 --> 01:30:01,120
Right. Can we cut?
Cos I can't chat to her any more.

1770
01:30:03,520 --> 01:30:07,360
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