Yesterday, he talked about how an actor can turn a villain into a hero.
In this second extract, he talks about movies, fans, scripts, other members of the cast and the then-planned fourth series.
Blake’s 7 was notable for killing off central characters – rebel leader Blake himself disappeared in Series Two and jaw-droppingly – SPOILER ALERT – at the end of the fourth series, all the remaining rebels with whom the audience had identified were killed off; in effect, the baddies won and the heroes lost.
You do not have to have seen Blake’s 7…
JOHN: A lot of people I interview say they were brought up in the front row of the cinema.
JOHN: Casablanca is over-rated.
PAUL: (PUTTING ON A HUMPHREY BOGART VOICE) Casablana’sh a grate movie… And there are lines like
- “Rick, why did you come to Casablanca?”
- “I came four de watersh.”
And Claude Rains says: “But we’re in the middle of the desert!”
There’s a slight pause and Bogie says: “I wash mishinformed.”
That’s a very witty line and it was written the year I was born.
In fact, Chris Boucher (script editor on Blake’s 7) and I are both mad on films, so I used to say: “Listen, I’ve remembered a great quote from a great movie – Can you slip it in somewhere?” And occasionally he slipped one in.
There was one that was a pinch from Butch Cassidy where Redford turns to Newman and says: “Stick to thinking, Butch, that’s what you’re good at.” And Chris put that in an episode for me, so I actually turned round to Blake and said it. You’d be surprised the people who pick it up, too.
Tanith Lee wrote some wonderful lines. Steven Pacey (who plays Tarrant) had a great long speech to me saying: “I’m better than you, I’m faster than you, I’m younger than you, I’m harder than you; you didn’t reckon you’d have any trouble with me but you’re gonna have trouble with me!” and so on and so on. And, at the end of all that, I had one line which was pure Humphrey Bogart: “You talk too much!”
JOHN: Do you get a lot of male fan letters?
PAUL: A fair amount, but more from women. The men who write, I suppose, would like to be this sort of person and I can understand because so would I. I don’t think I am quite him, but it’s what I quite admire.
If you actually look at the people in films today that do capture the imagination, they are the strong men. And, as I say, I was brought up on them: my favourite actors are people like Marlon Brando, Clint Eastwood… You know where you stand with people like that. John Wayne: no-one knocked over his glass of milk and got away with it.
Whatever you think of John Wayne, when you went in to see one of his pictures, you knew exactly what you were going to get. That, I think, is the most important thing: you must never disappoint.
When we get a Blake’s 7 script where I don’t think the character is treated properly, then I’ll complain. Not because I’m trying to be difficult or give myself a better part – you can cut the part out if you want to – but don’t give the people what they don’t expect, because they’re far more intelligent than they’re given credit for.
That’s a fault with writers: they think they have to hit everything over the head with a sledgehammer to explain. Actors are stupid and the audience is stupid: that’s the theory. They’re not.
In fact, the audience tends to know more than the actors – not about a character, but about what’s going on. I often get letters saying that, when I said such-and-such a thing, it actually isn’t possible. And that’s from children.
JOHN: Children are very perceptive.
PAUL: You can’t fool them for a minute. There are two little boys who live over the road – 9 and 11 they are – and one day they said: “What episode are you working on at the moment?” And I was working on the one where the girlfriend rolled-up.
And the little one turned to me and said: “Oh no-o-o! You don’t kiss her, do you?” (LAUGHS) And then his eyes widened and he said: “I bet I know what you do! You kill her, don’t you? You would!” That redeemed me in his eyes. And, of course, that’s exactly what Avon did.
We had this one episode where Avon met his only friend in the Universe. And David Maloney (the producer) said: “Don’t worry – You kill him on the last page!”
So I’ve killed my only friend in the Universe and I’ve also killed my only love in the Universe. It’s wonderful, isn’t it? Where’s he going to go?
JOHN: The new producer is Vere Lorimer. Are you going to be in the next series?
PAUL: As far as I know. What’s happened at the moment is that Vere’s rung us all up personally to say: “We are thinking of a fourth series and would you be interested in doing it?”
Then it’s a question of what’s going to happen in it – Where’s it going to go? I think it has to develop and that’s part of its appeal. We’ve lost four of the Seven – five if you count the Liberator (the space ship).
We’ve lost the Liberator, Zen, Blake, Jenna and Gan. That’s quite a change, really. Now we’ve got a situation where really Avon is in charge, isn’t he?
JOHN: Yes, what do you think Avon felt about old softie-liberal Blake?
PAUL: I think he really admired the commitment – we were talking about commitment earlier on – and that’s why he stuck with Blake to a certain extent. Also, he had nowhere else to go. As he made clear halfway through the second series, Blake could have what he wanted but what Avon wanted was the Liberator and eventually he got it.
JOHN: It was really a case of “This spaceship isn’t big enough for both of us”.
PAUL: Yes. what happened at the end of the second series – we discussed this quite carefully – was that, as far as the personalities were concerned, one of those characters had to go: Blake or Avon.
I used to expect an episode to arrive on my desk entitled Showdown or Gunfight at Jupiter Junction or something and it would be Blake and Avon saying: “I’ve had enough – This is where you get yours!” Gareth (Thomas, who played Blake) expected that too.
But, in fact, what happened was that Gareth got a good offer to go to the Royal Shakespeare Company and he said: “I don’t want to go on playing the straight up-and-down hero”. He was – I think you can quote that… I don’t think he was happy. I think he’d agree.
JOHN: It was a boring part – having to play the man in the white hat.
PAUL: And it wasn’t his fault. He’s actually quite good, you know. But the character had to be ‘morally sound’ all the way through.
When the third series started, David Maloney said to me: “What we’re going to do is introduce a streak of morality into Avon.”
I said: “Oh no, no, you mustn’t do that!”
But he said: “No, we’re going to.”
And I thought, well, if they introduce a streak of morality in him, I can play it in such a way that he looks as though he’s amoral. So I left it at that. An actor can do all sorts of things. You can say the phrase “I love you” in 9,000 different ways. What was good about the series was that there was a marvellous balance between everybody and we all got on well.
There was very little hassle among the actors. Once or twice we obviously got a bit annoyed but, generally speaking, it was pretty good.
Josette Simon (Dayne) was straight out of drama school. I saw her recently and she’d been to do an episode in another TV series, which must be nameless, and she said: “I had the most horrendous time. I thought everything was going to be like Blake’s 7, but it isn’t. It was awful! They didn’t speak to me, they were rude when they did speak and it was dreadful.”
She hated it – It was so unlike Blake’s 7.
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