In three recent blogs, I have published parts of a chat I had with writer-producer Brian Clemens in 1979. It was published in issues 29 and 30 of Starburst magazine.
In Part One, he talked about his background and the early Avengers TV series. In Part Two, he talked about the style of The Avengers. In Part Three, he talked about directing and about vampire films. This is the final part of that interview – on the trials and tribulations of producing. Remember it all took place in 1979 …
Today, Clemens is an executive as well as a creator; a producer as well as a writer. So does it cause problems being a producer and a writer and a sometime director?
“Well, it’s not as difficult for me as for some,” he says. “I’ve always been a co-producer, so Albert (Fennell, his business partner) is my conscience. He’s very good at editing and I think I am too, but it’s silly when you get too omnipotent. I think that’s destroyed a lot of good people; it destroys stars. How many people have said I’m going to produce my own film and it sits on the shelf? I think you need objectivity. I think that’s very, very important.”
It is a lesson he probably learnt from bitter experience on The Avengers. A lot of TV and film production decisions are a matter of internal politics and personal whim. For instance, Diana Rigs was not the original choice to play Emma Peel in The Avengers. The original actress cast for the role was Elizabeth Shepherd who, most unusually, was not screen-tested.
“That wasn’t my decision,” says Clemens. “That was Julian Winkle’s choice because he was executive producer. Liz Shepherd had done something on television and she was undeniably very beautiful and it wasn’t until we did one and a half episodes… She’s not a bad actress, but she just doesn’t have a sense of humour at all and it was essential in The Avengers. So we scrapped what we’d shot and got rid of her and then tested – which is what we should have done in the first place – and out of the tests came Diana Rigg. We tested a lot of people, like Moira Redmond and that sort of person and one or two unknowns like Sarah Brackett – whatever happened to her? – and Diana Rigg was head and shoulders above everybody else.”
Clemens worked for a total of six years on various Avengers series and then, when Diana Rigg left the show, he was suddenly thrown out.
“I was sacked at the beginning of the Linda Thorson ones,” he says. “It was internal politics. The Avengers was owned by ABC Television and there was a great deal of back-biting because they’d brought in outside boys to make probably their greatest hit ever. Still is. If you go to America with Patrick Macnee, you can’t walk down the street even now – I promise you. In New York and California, you really cannot move if you’re with him and they’re all saying Hello Steed! His impact, internationally, is enormous.
ABC resented outside boys and thought it was easy. So they got rid of us and brought in some of their own boys and, within one and a half episodes, they asked us to come back because it really was going to fail. Unfortunately (the producer) had brought in his girlfriend, Linda Thorson, whom I would never have cast. And so we were stuck with her. Which is why I brought in the character of Mother – because she (Thorson) had no sense of humour either. I brought in Mother so Patrick Macnee could at least have jokes with somebody.”
Even so, the series proved unsalvageable and ended in 1968. Almost a decade later, Clemens, Albert Fennell and composer Laurie Johnson formed The Avengers (Film & TV) Enterprises Ltd. British financiers were not interested, so The New Avengers was produced with £3-4 million in French and later Canadian money.
This time, there was no chance taken with the female lead. Before Joanna Lumley was cast as Purdey, Clemens says he seriously considered 700 girls, interviewed 200, read scripts with 40 and screen tested 15.
“Most Avengers fans,” he admits, “don’t like The New Avengers as much as the old ones, but it did actually get a bigger audience.”
Although costing £125,000 per episode to produce, it was also financially successful. The irony was that, although Clemens could sell the finished product with ease, he was unable to get the initial finance in Britain. When I talked to him last year, he had been trying to finance another series of The New Avengers. He told me:
“London Weekend Television will put up half the money and CBS in America want to pay us $140,000 an episode and we’re short $50,000 an episode and we can’t get it anywhere – otherwise we’d make more Avengers – and The Avengers is really like printing money, because it just goes on forever and it’s got assured syndication – They’ve already got 87 of the first one.”
So far, new financing for The New Avengers has not materialised.
“I don’t know why it is,” Clemens tells me. “I mean, why didn’t Britain put up the money for Star Wars and Superman? They were made here but the money wasn’t put up here. Most of our film industry’s run by people who just don’t care much. At least Sam Goldwyn cared and Lew Grade (of ATV/ITC) cares. At least he’s making movies. You may not like them – some I don’t like – but he’s making them.”
The Professionals TV series started out costing £115,000 per episode but is now costing £150,000. It was sold to Canada, although its scripts make no concessions to foreign audiences. The first offer of US syndication was turned down because it was too low – $50,000 per show (about $25,000 at that time). Recently, a million dollar deal was negotiated by Clemens’ Mark One Productions and London Weekend Television (who co-finance the series) for the showing of 39 episodes on US cable TV. The deal also includes “substantial” American money for the production of future episodes and Clemens is also “hopeful” that a Professionals feature film will be made, probably with American financial backing.
It is astonishing that Clemens, with his extraordinarily successful track record, has had so much trouble raising finance in Britain. He is an international success. His original episodes of The Avengers are still showing in America and were networked again recently by CBS. The New Avengers series has been networked twice across America. And he is still trying to keep one step ahead of the trends.
“All drama goes in cycles,” he says. “If it’s been kitchen sink for four years, don’t think kitchen sink. I wanted to do The Magnificent Seven story as knights in armour – indeed, I was commissioned by EMI and then it all fell through – and now I see Ridley Scott’s project Knight (now to be directed by Walter Hill and re-titled The Sword). That could well open up that area and it would then be too late for me to follow because, by the time I get in, there’ll be lots of them – Return of The Knight and so on. The same with science fiction – it must come down again. If you can be the innovator or number two, you’re alright.”
So what sort of projects has he in mind? Well, there’s Bamboo Martini, which Rank planned to shoot before they collapsed. And there was a Vincent Price comedy-thriller which has also had problems.
“What’s it about? “ I asked.
“Well,” replied Brian Clemens, “it’s about transporting a dead body from one bed to another across the whole of America. If you can imagine that President Jimmy Carter is having an affair in Boston and is supposed to be in Washington and has a heart attack and his mistress then comes to Vincent Price and says: He’s got to be found in his own bed on Monday morning… Well that’s it.”