More Questions Answered.

When it comes to films and TV productions in which I have appeared, is much more difficult to select my most enjoyable.

According to information gleaned from the WWW and IMB I have been credited in more than one hundred and fifty TV shows and film productions so, as you can imagine it would be almost impossible to select one to put at the top of my favourites list.

Do I select from my most bizarre locations like the jungles of Malaysia when I filmed Who am I? with Jackie Chan?

Or do I go back to my first TV job when I appeared in Dixon of Dock Green way back in the early seventies? 

The central character was a mature and sympathetic police constable, George Dixon, played by Jack Warner in all the 432 episodes, from 1955 to 1976.

This famous police drama, voted second most popular programme on British TV in 1961, was filmed at the BBC White City studios and as an actor almost straight out of drama school it was certainly eventful and terrifying. Just to be working alongside Jack Warner who played the title role was a huge honour. The character Dixon was the embodiment of a typical "bobby" who would be familiar with the area and its residents in which he patrolled and often lived there himself.

In Warner’s auto-biography he tells of a visit by the Queen to the studios, where she commented "that she thought Dixon of Dock Green had become part of the British way of life".

Warner's success as Dixon was also popular amongst various police forces. He was made an honorary member of both the Margate and Ramsgate Police Forces in the 1950s. Warner said of Dixon of Dock Green: "It has been a very good meal ticket for twenty-one years—although the taxman has never been far behind."

Or, do I select the mountains of land-locked Lesotho, where I played a fanatical Arab, Sheik Maksood, one of the first of many Muslim militants who was planning to use a suitcase-nuke to erase New York from the face of the earth. This was in the filming of American Ninja 5 with David Bradley and Michael Dudikoff?

I do have some very pleasant memories of shooting Shaka Zulu and later in the eighties the story of John Ross. Both these were shot with the base camp in Eshowe, declared the capital of Zululand in 1887, and was visited by the British Royal family in 1947. It is in central Zululnd near the Dlinza Forest, in central Qua-Zulu-Natal.

Shakaland, now a major international tourist hotel was originally built for the filming of Shaka Zulu. It is now a living monument to Zulu culture.  It is from here that people from all over the world come to experience the lifestyles, social systems and rich culture of the Zulu nation.  It is said that a visit to South Africa is not complete without a visit to Shakaland.  It is a traditional Zulu “Umuzi” or homestead, dividing the homes of the local Zulu people and the hotel rooms.

Most of our filming for both these shoots was about 70 kilometres away in a pace called Disappointment Bay just south of the Tugela river mouth and I had a glorious time there eating freshly caught mussels and crayfish.

And, I must admit that Munich holds a desire to be revisited just for the German beer and multitude of sausages I consumed while filming a movie that I can’t remember the name of, probably because I never got paid for it, but I do remember sipping ice cold beers in the English Gardens.

I also remember being trapped in a Range Rover when an unexpected tropical storm hit the location, we were filming near the Olympic stadium when the heavens opened and half of Munich was suddenly under three feet of water, The whole crew and cast that was on call that day were stranded until the flash flood had subsided. Luckily, I had a book of Suduko puzzles with me and Toddie was full.

Another project on which I and another ten actors were stranded was a French movie called, as the working-title Crime in the Gabon, it was shown as “Le Crime de monsieur Stil”, directed by Ms Claire Devers. We were left marooned in the one-horse town of Poffadder which is near the Namibian border after the final day of the shoot.

The crew and the transport manager had all scarpered forgetting to collect us, we made ourselves at home in the Poffadder Hotel, until the owner decided we were going to drink his establishment dry, He loaded us into his Kombi van and drove us like a demented-Schumacher to Upington airport where we flew back to Johannesburg,

This was an eventful shoot as all us local English-speaking actors had to speak French. I was an arduous affair and even with the help of a dialogue coach in French we once took over 70 takes to shoot a night scene. It would have been hard enough in English as the French director wanted the whole scene in one hand help tracking shot, the poor cameraman darted between nine actors trying to pick up each conversation in the bar. It was a memorable occasion and the film won an award in France!

I have already written about my shoot with Jackie Chan in a couple of previous posts. I spent over six weeks in Rotterdam while Jackie kept postponing the scenes I had with him as they were full of dialogue, he preferred the action scenes where he cold display his magnificent ability by sliding down glass-built skyscrapers and defeating his opponents with Dutch wooden clogs on.

I spent most of my time befriending the local Dutch production drivers who were send weekly to numerous other towns with a briefcase full of cash to pay the local companies who were hired on the production. I accompanied them to Amsterdam, Utrecht, Eindhoven, and even crossed the border once to the Hague in Belgium. Otherwise I toured Rotterdam on their excellent tramway system with my “Plonkie”, a ticket one could buy weekly which allowed you to hop trams to various destinations in the far reaches of the city.

The trams were a cheap delight for my wanderings, far more enjoyable than riding a motor bike with a side car attached. I had to learn to do this when I filmed in the late seventies on a TV drama called my friend Angelo,

I was taught by the great stuntman the late Janie Wienand who had me careering down open tarmacked roads and across the open veld steering past rocks, boulders and up and down dongas in no time. I became so versatile that the director David Lister, with whom I shoot my movies, let me do my own stunts apart from the dangerous ones.

At times I had a young actor who played my second in command as the passenger in the sidecar. He too had to have lessons as the swinging from right to left in a sidecar is crucial when taking corners.

So, as you can see from the over 150 productions I have been in it is very difficult for me to choose the most enjoyable, but I can say that as regarding erring an income I still receive a repeat fee from airings of a job I did way back in 1972. The piece, Pendas Fen still gets shown across the world today and because of the stringent British equity laws a few pounds finds its way into my bank account.

So, I’ll pick that one. I think its available on U-tube so have a look and help keeping those payments into my account. Thank you.

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