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Coming to You Live Mention the Name Michael Bond and Images of a Small Bear in a Duffel Coat and Floppy Black Hat Immediately Spring to Mind

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Coming to You Live Mention the Name Michael Bond and Images of a Small Bear in a Duffel Coat and Floppy Black Hat Immediately Spring to Mind Nor MANY PEOPLE REMEMBER THAT Huw WHELDON CUT HIS TEETH ON A CHILDREN'S PROGRAMME, "ALL YouR OwN" BELOW: MICHAEL BOND Coming To You Live Mention the name Michael Bond and images of a small bear in a duffel coat and floppy black hat immediately spring to mind. It's not well known, however, that Michael emerged, not fr om Darkest Peru, but fr om a career as a Te levision Cameraman. For over a decade, during the industry's fo rmative era, he worked in London fo r the BBC at Lime Grove and The Te levision Theatre. It wasn't until reaching the grade of Senior Cameraman at the new Te levision Centre that he decided to move fr om White City to Paddington. PHOTO BY ANTHONY BARWELL Alan Coren once remarked that When I joined, seven crews television is more interesting than were responsible for almost the entire people. If it were not, we should have studio output in the UK and, apart people standing in the corners of our from films, almost everything went rooms. He could have said that out live. In those days it was an elite working in it was often much more job, not so very diffe rent from what it fu n than watching it. must have fe lt like being a pilot in the I count myself as fortunate to early days of fiying, and I never lost enter the industry when I did. It was the fe eling of excitement that came 1956 and ITVwas about to start up. over me whenever I entered a studio. The new companies were offering all manner of inducements to anyone If only they could speak, I with even a smattering of experience: wondered, what tales the kapok­ better pay, cars and interest-free covered walls of Lime Grove could mortgages to name but a fe w. tell ofThe Wicked Lady,Fanny by Consequently there was a big exodus Gaslight.The 39 Steps and all the of staff from the BBC's Lime Grove other films that had been made there studios and those aspiring cameramen in its heyday. Crossing the invisible line left behind found themselves thrown drawn between the red plush seating in at the deep end of a rapidly of the Te levision Theatre just around emptying pool. the corner on Shepherd's Bush 16 ZERB Autumn 1997 Green, and being able to mingle back­ enough, there was an ominous crunching fast as he could.There was a crash as we stage with the artistes waiting to go on noise from somewhere deep inside. landed on one end of the table. Making a never failed to give me a kick. It was in 'Another harpsichord,' came the sad grab for the opposite end in a vain the Te levision Theatre that Eamonn reply Then there was the time when an attempt to hold it down, Baron, who had Andrews uttered his immortal phrase interviewee brought along his two prize cultivated an upper class accent for 'This is Yo ur Life' and Danny Blanchfiower pets - a mouse and an eagle. Huw television, reverted to his humble begin­ replied 'Oh, no it isn't!'. That I was actually launched into a long dissertation about nings rather quicker than it normally took being paid to do something I enjoyed so how interesting it was that in the wild the him to recommend I /50th at fl I. much seemed almost too good to be one was the mortal enemy of the other, His cry of 'Gorblimey!' made next true. the morning's headlines. Studio H at Lime Towards the end of 1956 the Grove, the smallest of the government ended the so-called four studios, was where most To ddler's Truce -a blissful period cameramen started off.It was between six and seven every where you could do the least evening when screens went blank harm whilst gaining the most so that parents could put their experience in the shortest children to bed - and in February possible time. It was home to 1957, sandwiched between all the a multitude of programmes: other programmes, Studio H from Barry Bucknell - the became an important arena in the tame home handyman - who battle of the ratings when the did it almost entirely by formidable Grace Wyndham himself every other week, to Goldie launchedTonight.The early Percy Thrower the indefatiga­ evening news was still only ten ble gardening expert - who minutes long and To night was the regularly nailed his onions to equivalent of a daily newspaper's batons of wood in case they middle pages. fe ll over during transmission. Hosted by Cliff Michelmore, And from Studio H who had graduated from producing came All Yo ur Own - a All Yo ur Own, it went on the air at programme devoted to ten to seven every weekday children who showed a evening and quickly established particular talent in one way or itself a regular audience of eight another.Although in later million. It brought together a years he chose to ignore the formidable array of talent and in fact, it was here that Huw retrospect the credits read like a Wheldon first cut his teeth as Who's Who? of television. a presenter. He had a brisk, no-nonsense PAT KIRKWOOD AS MARIE LLOYD IN manner which went down well with the "THE PASSING SHow". Donald Baverstock was the pro­ viewers. Once, in an unguarded moment PHOTO COPYRIGHT BBC ducer and studio interviewers included over coffee in the canteen, he let slip that Derek Hart, Geoffrey Johnson Smith, if any of the participants showed signs of yet there they both were, getting on like Kenneth Allsop, Christopher Brasher, being difficulthe threatened them with a a house on fire. At that moment, almost Julian Pettifer, Brian Redhead and Po lly quick Chinese burn.The recollection inevitably, the eagle gobbled up the Elwes. Fyfe Robertson, Alan Whicker, prompted one of his inimitable guffaws of mouse! MacDonald Hastings.Trevor Philpott and laughter. It was in Studio H one evening, John Morgan provided outside reports; aftertra cking in over a trestle table in film cameraman Slim Hewitt contributed Whether his story was true or order to show a close-up of a piece of dead-pan cockney pieces written by To ny tongue in cheek, there were occasions equipment being demonstrated by Baron, Jay, and the film editor was To ny Essex. when even he didn't have the last word. the Society photographer,tha t the Having interviewed a small boy who had producer called forme to crane down. For a time it was directed by the built a life -size harpsichord out of match­ The camera was mounted on one of the urbane and supremely unfiappable Ned sticks, he turned all avuncular and posed earlyVinten dollies and it was part of the Sherrin. He needed to remain calm, for the obvious question: 'And what do you tracker's job to raise or lower the arm by more ofte n than not the programme was plan to make next?' means of a wheel. My tracker, who'd literally put together on the air while film already shown a remarkable lack of reports were being biked across London, While waiting for an answer, he aptitude for the job when he managed to or the sound was being dubbed else­ placed one hand on the instrument - get the dolly jammed into a corner of the where in the building. rather heavily it seemed to those of us studio and couldn't extricate it, panicked watching through our viewfinders. Sure and began blindly turning the wheel as Chaos wasn't confined to the ZERB Autumn 1997 17 gallery.The old Marconi cameras had completely filled three six-foot rails and losing the performance fe e, started seen better days and breakdowns were she spent half the time dashing wildly hissing 'Higher! Higher!' Despite Peter frequent. Almost unbelievably insensitive about the studio, stripping offas she went Bull's protestations, the combination of by present day standards, they required in order to be made-up and ready for her Mammon and Mama was a force not to so much light it wasn't unknown for the entrance in the following scene. be denied and the baby must have grown heat from the lamps to set the sprinkler up with a nervous tic. system off.Another hazard was that if There were over I 00 different sets they weren't kept moving, pictures had a stored in the adjoining scene dock and On Sunday; February 2 1958, nasty habit of sticking to the tube and had the huge sound-proof doors leading to it another Grace Wyndham Goldie pro­ to be burnt offby pointing the lens at the were permanently manned, opening and gramme went on the air.It was called nearest bright light. Conversely, catching a closing like Harrods during the Spring Monitor and it marked a fu rther step up bright refiection in shot would cause the sales. At one stage things became so the ladder of fame for Huw Wheldon. A picture to peel. frantic a group of scene hands suddenly film school in its own right, it gave many found themselves part of the action, but directors such as John Schlesinger and Camera cables were many times since the setting was a working class Ken Russell a chance to hone their thicker than they are today and weighed a parlour where there was a party taking talents. ton.They were attached by string to the place, no one noticed a few extra guests base of the old Eclair pedestals and since with their sleeves rolled up.
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