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Wookey Hole Caves in Somerset It Was Fairly Predictable That Firstly, It Wasn’T Going to Be Easy and Secondly Things Probably Weren’T Going to Go to Plan

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Wookey Hole Caves in Somerset It Was Fairly Predictable That Firstly, It Wasn’T Going to Be Easy and Secondly Things Probably Weren’T Going to Go to Plan Photo by Gavin Newman It is a well known fact that water and electronics don’t mix. It’s also a well known fact that caves trash nice shiny diving kit – we are talking real caves here not the Florida/Mexico holiday diving variety. So two years ago when I decided to make a film about Wookey Hole Caves in Somerset it was fairly predictable that firstly, it wasn’t going to be easy and secondly things probably weren’t going to go to plan. The idea first reared its head as so often is the case during alcohol-fuelled conversations in the pub. Back in 1985 my good friend Leo Dickinson had made a film about Rob Parker’s attempt to push on beyond Martyn Farr’s limit at the end of Wookey. I knew Rob at the time as we were both members of the South Wales Caving Club, but not well, and so I wasn’t involved in the film. I was only just venturing into the world of cave diving and was concentrating much more on still images than film work. I later got to know both Rob and Leo very well and they became my mentors in their respective areas of expertise. Rob taught me to cave dive, initially to join him and others on an expedition to Northern Spain in 1986. The expedition needed a vehicle to carry all the diving equipment and I owned a Range Rover at the time so I was co-opted onto the team! At the end of Leo’s 1985 film Rob swims off alone into the darkness to try to push the end of the cave and we never see where he actually went. Small underwater video cameras did not exist then, and lights were large and heavy. It simply was not practical for a diver, making what was one of the first sport dives ever on mixed gases, to film himself at the same time. After Rob’s death on a cave dive in the Bahamas my quest began with the simple idea to go and have a look at the end of Wookey for myself. I had no thought that I was going to push it further but I wanted to see where Rob had been and if possible film it so others could see. Talking through the idea with Leo, he suggested that we re-edit his old film, adding in footage of the end of the cave and making it into a tribute to Rob, as in spite of several attempts no-one had since managed to push the cave any further. In fact due to the changing nature of the gravel choke at the end of the cave, no- one had even reached Rob’s line reel which, like Martyn’s before him, remained buried somewhere in the gravel. So the idea was born that I would try to get footage from as deep a point at the end of the cave as I could and re-edit it into Leo’s old film. That at least was the plan but plans have a habit of developing… Before going to the end of the cave I needed to refine all the filming equipment that I would use so I started by filming in the easily dived sumps leading from the end of the show cave. The summer of 2001 was unusually dry and it was also during the foot and mouth crisis that closed many of the caves on the hills above Wookey. Whether the lack of cavers in the feeder caves made the difference is hard to tell, but the visibility in the cave during those few months was extraordinary. It 321 WOOKEY HOLE - 75 YEARS OF CAVE DIVING & EXPLORATION very quickly became apparent that with the combination of the fantastic conditions and modern video equipment we were getting footage far better than anything in the earlier film. I soon decided to reverse the plan and make my own film that would include footage from Leo’s film. It was a daunting prospect. I was a professional cameraman and stills photographer but all my filming work had been done for other people’s productions, I just shot what they asked me to shoot. My cave diving work was almost entirely based around stills photography and apart from small projects at college, I had never made my own film. Not being made as a commission, the film had no budget, but fortunately many of the Somerset cave diving community rallied round and gave an extraordinary amount of help without which the project would have never even got started. This was not going to be an exploration cave diving film as there was apparently nothing left to explore in Wookey, but I wanted to make a film that would appeal to a wide audience and maybe try to explain why people go cave diving, as well as showing as best as I could the spectacular cave that lies beyond the show cave. I approached the owners of Wookey Hole Caves who were very supportive and gave us unlimited access to the caves and, with the full support of the Cave Diving Group, the project was underway. I had decided to base the story around the exploration of the caves right from the earliest cave men through to Rob’s exploration and my attempt to film where he had been. The trouble with cave diving is that it is not a great spectator sport – in order to engage with the audience, I decided to use a presenter. Not a super-hard cave diver, but someone who could experience the cave for the first time and convey their own feelings and emotions on a level that the audience would relate to. This was going to be a difficult balancing act; to find someone experienced enough to be safe in the environment and happy to make the dives, but Fig. 27.1 Mike Thomas, also sufficiently unfamiliar with conditions at Wookey Hole to be able to Chamber 24. convey those experiences to the audience. Film Still by Gavin Newman Roger Whitehead was a diver I had met a couple of years earlier whilst filming sharks in Africa, a safe competent diver who had done a certain amount of caving and continental cave diving but never anything like Wookey. British, but now living permanently in the US where he’s a lecturer in psychology at Denver University, I hoped that his academic background would bring an interesting angle to the question – why explore caves? I approached Roger and he agreed to take on the role of presenter – although he was obviously nervous about the dives involved. Meanwhile filming began in earnest, working most weekends throughout the summer to fit in with work commitments and the availability of assisting divers both in front of and behind the camera. Because of his own commitments Roger was only available for a three- week period, so we had to shoot much of the background material without him – that meant filming most of the big scenic sections of the cave and then inter-cutting Roger’s sequences later. It has often been a feature of cave films that they are not filmed where they say they are. To make filming easier, locations are substituted for harder ones and a certain amount of poetic licence is used. I decided early on that we would NOT do this. With the equipment available today, there 322 MAKING ‘WOOKEY’ was no excuse not to film everything where we said it was, so that’s what we set out to do. We succeeded apart from three shots. Two are 5 second close-up shots, which were filmed in different parts of the cave from the sequence in which they appear and were not visually location-specific in any way. The third was an explosion sequence. This appears in the film as Sump 1 in Swildon’s Hole, which is a very easy place to get to, but not very diplomatic to blow up. At the time, however, part of our team was exploring and blasting at Sump 12 in the same cave, an altogether much harder place to get to. So we dragged all the filming gear down through Sump 1, our actual location, and on down to Sump 12 where we filmed the explosion. The picture was flipped in the computer and run in slow motion and ‘hey presto!’ we had our Sump 1 explosion. I doubt if there are many film productions that deliberately use much harder locations as a double for easier to reach ones! Fig. 27.2 Jo Wiseley and Roger Whitehead in Chamber 3, dressed in 1930s gear when playing the parts of ‘Mossy’ Powell and Graham Balcombe. Photo by Gavin Newman Part of the Wookey story involved the first dives done in the caves using Standard Navy Diving Dress. As Sid Perou had done earlier in his series of films illustrating the history of cave diving, we wanted to recreate these dives and film the divers underwater in the very passages they explored. With the help of the Historical Diving Society, Roger and Jo Wisely were able to make a series of dives from the original dive base in Chamber 3, recreating the 1935 dives of Graham Balcombe and ‘Mossy’ Powell. The Historical Diving Society put a lot of effort into ensuring the equipment was as it should be and with Leo filming on the surface and me filming underwater we managed to get a real flavour of what those early dives must have been like.
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