What links MI5, the Mafia, the Playboy Club, Lord Lucan and Charles Saatchi?

Did this man emigrate to Africa without his wife?

You meet people at parties.

They tell you things.

They may or may not be true.

I met a man at a party who works at a London gaming club – watching what goes on and making sure everything runs smoothly.

He told me he used to be a dealer at the Playboy Club in Park Lane in the 1960s. He also worked at Aspinall’s private gambling club and at a gaming club in Berkeley Square which was owned by Mafia-linked Hollywood actor George Raft until he sold it to Britain’s Barclay Brothers. The Saatchi & Saatchi advertising agency’s building later stood on the site. He also worked a club opposite the old MI5 building in Curzon Street (the latter had no windows on the ground floor, a bomb canopy at first floor level and windows for machine guns at the corners). There was an MI5 bunker underneath one of these clubs; stairs went down for several storeys.

He told me he believed missing peer Lord Lucan (a friend of John Aspinall) – the day after he killed the family nanny – fled with help from tycoon James Goldsmith who owned large areas of various countries in southern Africa into which someone could disappear without trace. Lucan was born in 1934. He is probably now dead from old age after a happy ‘retirement’.

So it goes.

The man at the party also had a story about the killing of a Playboy bunny and the disappearance of an Arab who was probably responsible. Another Arab had accidentally became an arms dealer and ended up in a mental home in the UK.

The Sultan of Brunei’s personal identity card for all occasions

And the Sultan of Brunei had once been asked for identification at the Playboy Club and took a Brunei banknote out of his wallet, pointing to the picture of himself.

In its heyday, he claimed, the Playboy Club in London made three times the total amount made by all the other clubs and the magazine profits combined so, when it closed, it brought down the then Playboy empire. At the Playboy Club in Park Lane in its heyday, a man (who is still alive) had closed-circuit TV monitors in his office showing various parts of the club, including a camera in Playboy Bunnies’ changing room.

The man at the party told me the only way he could stay sane among the unimaginable amounts of money moving around was to think of it all as plastic not money.

You meet people at parties.

They tell you things.

They may or may not be true.

There is footage of 1960s Playboy Bunnies on YouTube.

The poor Vietnamese woman, the Gilded Balloon & the millionaire Iranian

Yesterday evening, American comedian Lewis Schaffer (who, like all other self-obsessed comedians, likes to be name-dropped at every opportunity and to get a link) sent me a text message about my blog:

It’s amazing you can keep on doing it every day.

Well, I can tell him and you it ain’t always easy.

Yesterday, I moved a friend’s sofa from Essex to Greenwich and was helping clean up a house. Not a good subject for blogging.

So, this morning, I looked through my e-diary for what had happened around this date in previous years. These extracts are the results:

1989

In Hanoi, my local guide tells me:

“This is still a Socialist country – like Russia, da.”

He keeps absent-mindedly saying “da” instead of “yes”.

Fat woman of money in rickshaw in Hanoi, Vietnam, 1989

I think I now eventually have the economics worked out.

Beggars ask local people for money but they don’t ask me. They assume I am a Russian, because I am a white-skinned foreigner.

The Vietnamese have no time for Russians because they (a) don’t smile and (b) have no money. No-one wants roubles, only dollars and, even if they did want roubles, the Russians don’t have spare cash.

The problem with using travellers cheques here is the US economic embargo on Vietnam – US companies are banned from trading with the Vietnamese. (This does not stop the North Koreans accepting cheques, though – they deal with American Express via Moscow.) My Hanoi guide tells me credit cards here are “many many years” away because there are very few computers in Vietnam.

When we pass the very flash Hanoi Opera House, he tells me it was intended for the people, but only the very rich can afford it. This implies there is a group of very rich (as opposed to just very privileged) people.

At lunchtime, I took a walk and met Hanoi’s equivalent of a bag lady in ragged-sleeved jacket, the bottom half of her face entirely red. Her face was like a robin redbreast. Brown top half. Red bottom half. I think she must have been knocking-back some particularly brutal local equivalent of meths. She muttered (and probably cursed) at me a bit, then staggered away.

The ‘Hanoi Hilton’ prison – not taking foreign ‘guests’ in 1989

My local guide asked me if he could use the shower in my hotel room. Perhaps it is a perk of the job – a glamorous Russian shower. He told me he lives on his own in a Tourist Office room with no cooking facilities – presumably he can always eat in hotels……I think he agreed when I asked about this last bit.

I was writing a postcard on the balcony of my hotel when bits of brick started falling on me: they are building a new storey above me. I had to go to two separate buildings to send the postcard. One to buy a stamp and another to hand it in for sending. There was a power cut halfway through this process.

I had dinner tonight with the two Hong Kong Brits I met in Da Nang – plus a couple of Canadians. When he was in Da Nang, the Canadian bloke told me he had had a T-shirt printed saying in Vietnamese I AM NOT A RUSSIAN.

He lives in an apartment in Calgary with a one-metre long iguana which, he says, craps in a sandbox behind the television set. He feeds it on cat food and says it can sense when he is about to go away because it pines and goes off its food. The iguana has its own dead tree – “well, it’s dead now,” the Canadian said – in the apartment, so it can climb occasionally. It normally sleeps on its own heated pad although once the Canadian found it curled inside his pillowcase. The only problem is it likes to climb up the Canadian’s leg and has sharp claws.

In the same apartment block, a neighbour keeps a pet boa constrictor.

I must remember to avoid Calgary.

2000

A taxi driver told me that lap dancers at Stringfellows nightclub in St Martin’s Lane pay £200 per night to work there, then make the money back by commission on drinks bought by punters and tips from punters. Competition among the girls is cut-throat… not surprisingly, given that they have to make £1,000 in a five-day week just to break even.

2001

I went round to an interesting Iranian woman’s home. She is thinking of writing her autobiography… but will probably not.

“I am not rich,” she tells me. “If I get £100,000, I spend £25,000 here and £25,000 there. It soon goes.”

She has what appears to be a part-time Kosovar maid, pale, white skinned, hook nose, melancholic hang-dog expression, cavernous eyes with black lines in the skin underneath as if on drugs.

Also there was a Kosovar translator from Pristina.

The Iranian has a British and (as of two years ago) an Iranian passport. She is thinking of publishing her autobiography when her son is 21 because he will be “more able to take things” then. He is now 16. Her family is related to the former Prime Minister of Iran assassinated by Khomeini’s agents in  Paris. Her grandmother was a Mossadeq – as in the Mossadeq who was overthrown by the CIA to install the last two Shahs of Iran.

She lived in Dubai with first husband. She once had to go to China to buy a plane – she knew the Chinese general who was selling it.

If it gets around that she is writing about her life, she says, there will be panic calls from Dubai, Abu Dhabi and Saudi offering her millions not to publish. She has lots of dirt on the Saudi royal family.

A former Swedish boyfriend found oil in Texas and she spent one year in LA after her son was born (by her second husband). She has stories of the Playboy Mansion and Hugh Hefner’s parties.

“I always went for the wrong men,” she told me.

Once, she says, she lost £5 million in a London casino.

She has a tiny and very amiable shih tzu dog which came from the US. She flew with it to Paris, then drove to the UK, hiding the dog under her armpit to avoid the six-month quarantine restrictions aimed at stopping rabies.

2002

I heard a radio report that a big fire in Cowgate, Edinburgh, had destroyed the Gilded Balloon venue last night. I phoned comedian Malcolm Hardee, who phoned his Edinburgh friend Maurice The Fireman. When Malcolm phoned him, Maurice was still fighting the fire.

The bestselling hardback version of Janey Godley’s autobiography

2003

Comedian Janey Godley is writing her autobiography. I have a terrible cold. My advice to her today was:

DON’T DON’T DO NOT GO BACK AND RE-WRITE THAT BIT. YOU CAN SORT IT OUT IN THE NEXT VERSION YOU WRITE. KEEP GOING EVER FORWARD LIKE THE SNOT DOWN MY NOSE. 

But just remember I am either a man living in New Zealand who has never seen the building you are writing about nor heard your life story… Or I am a housewife in Gloucester reading the book in bed at night before she goes to sleep. And, frankly, the way I feel I would prefer to be a housewife in Gloucester. Lead me to the sex-change shop. Bring on the Rabbi with the meat-cleaver.

I will read tonight’s (I’m sure excellent) piece tomorrow. If I live. Which seems unlikely. I don’t so much shiver as wobble around the waist and shoulders while an invisible Grimm giant takes an axe to my throat. Childbirth? Pah! NOTHING compared to the suffering of men with slight chills.

Write it as Art, sell it as baked beans… How to publicise stage shows, movies, books, TV and Shakespeare

Sit back, relax and have a cup of tea.

Throughout my life, whenever I’ve been asked what I do, I have never been able to give any understandable answer because the truth is I’ve really just bummed around doing overlapping this, that and sometimes the other.

One thing I used to do was review and write feature articles about movies, so I saw previews a week or a month before the films were released, having read little or nothing at all about them.

I saw them ‘cold’ as they were structured to be seen.

That blissful ignorance happened again last night with the movie The Adjustment Bureau. I had read nothing at all about it. I knew it starred Matt Damon, was based on a short story by Philip K Dick (who wrote the stories on which Blade Runner, Total Recall and Minority Report were based) and, on the poster, Matt Damon and a girl in a red dress were running away from people chasing them in a city.

That was it.

So last night I saw The Adjustment Bureau cold and thought it was a fascinating film – quite often totally doolally, but fascinating. It is severely weird for a commercial film and it is well worth seeing.

But the poster bears no relation at all to the basic content of the movie – to the extent that it even implies The Adjustment Bureau is in one particular type of movie genre when it is actually a totally different movie genre (I don’t want to give it away).

So that’s an example of a misleading movie poster successfully attempting to get bums on seats. It’s a potentially counter-productive strategy because word-of-mouth soon gets round.

I’m interested because another thing I did – for over twenty plus years – was make on-screen TV promotions – ‘trailers’.

I was a writer or producer or director or writer-producer or writer-director or whatever it took a company’s fancy to call the job.

So I am interested in how creative products are ‘sold’ to the audience.

A couple of days ago, someone asked me about their 40-word show entry for the Edinburgh Fringe Programme.

My advice was the same advice I give on anything creative.

Write it as Art.

Sell it as baked beans.

If the content is high quality in itself, it won’t be demeaned by a tabloid headline type of publicity.

There’s nothing wrong with being populist.

The opposite of popular is unpopular.

The creative work itself is what you want people to read, hear or see. It can be as subtle and/or as sophisticated as you want. Publicity is another matter. Publicity is like someone standing outside, in a busy street, with lots of other audio distractions, yelling through a megaphone to try to get people to notice you and your creation exist.

If it fails, no-one will see what you have struggled to create. So don’t knock it.

If you are in Piccadilly Circus or the High Street in Edinburgh amid 150 other people yelling about what they’ve done, then you need to be loud to be heard and you need to wear bright colours to be seen.

I’ve also written books. In standard publishing contracts, the author gets total control over the text inside a book – the publisher cannot change it without the author’s permission. But the publisher has total contractual control over the design of and text on the cover. There is a reason for this.

What is inside the book is the artistic creation you want people to experience. What is on the cover is advertising and promotion aimed at intriguing potential readers into picking up and buying the book and its unknown content.

Publicity is persuading as many people as possible to buy an invisible pig inside a bag.

In its own way, it is equally creative. But it is different.

Content is a different form of creativity from publicity.

In television, the last thing you want is for a director to make the promotion for his own TV programme. The result is almost always shit. For one thing, he or she is too close to it to be objective. Also, he or she may be able  to make a great 30 or 60 or 90 minute TV programme, but, trust me, he or she knows bugger all about selling a programme to the viewer in 20 seconds in the middle of other promos amid forests of £500,000 adverts for soap powder, cars and insurance companies.

There is a difference between creating something which will give a pastel-wearing theorist at the Arts Council a creative hard-on and creating something which will get people en masse to pay out money and/or spend time to read-hear-watch it.

Repetition is also not always bad.

There is nothing wrong with populism.

The opposite of popular is unpopular.

‘Populist’ is just a word meaning ‘popular’ made up by people who can’t create anything popular themselves and want to save their egos by trying to seem culturally superior.

Shakespeare was never less than populist.

Macbeth was written by Shakespeare because the new English King James I was actually King James VI of Scotland who was interested in witchcraft and the supernatural. So what better way to suck up to the new King and revived public interest in the supernatural than to write a Scottish play with witches and ghosts in it? And bung in death, destruction, gore and swearing.

The best Shakespeare film I have ever seen is Baz Luhrmann‘s movie William Shakespeare’s Romeo + Juliet – a movie so untraditional and in-yer-face that, the first time you see it, it takes about five minutes to adjust to the OTT style.

The second best Shakespeare film I have ever seen is Roman Polanski’s Macbeth, financed by Playboy magazine, with Lady Macbeth nude in the sleepwalking scene and awash with more blood than the Colosseum on a bad day for Christians. It was the first film Polanski directed after his wife Sharon Tate was butchered.

I’m sure Shakespeare would have loved both movies because they are real audience pleasers. Once you get people in and watching, you can communicate any in-depth piece of philosophical seriousness you want.

Reverting to my chum who wrote 40 words on their Edinburgh Fringe show… The first version was ineffective because it described the plot rather than push the unique selling points of the show.

I asked: “Don’t tell me what’s IN it, tell me what it’s ABOUT.”

You want to say what it is ABOUT – what made you want to create the thing in the first place. And that, in fact, is how to promote bad productions too.

My rule of thumb in TV promotions was never to mislead or lie about a programme to the audience. If it was shit, I tried to figure out what the original concept was that got the producer, director and cast keen to make it.

No-one intends to create a shit book, play, comedy show, TV series, movie or whatever.

In promoting anything, part of what you want to communicate is whatever made the people involved keen to create it in the first place. If the audience can be interested in the concept as much as the failed creators originally were, then you may get an audience and they won’t feel too let down because what they have been told is there actually IS there. Even if it’s not very good.

If the creative product is good – as The Adjustment Bureau is – then that’s even better.

Pity their poster was so misleading.

Of course, some things are so shit, the only thing to do is to get in and get out fast before the word-of-mouth gets round.