My Pop Life #187 : Groovy Little Thing – Beres Hammond

Groovy Little Thing   –   Beres Hammond

*

It was around 4am on a Sunday morning at Club 61 and we were close to running out of vodka.  Paulette had been making caipirinha for the drinking of the 5000 since 8pm : crushed ice, lime, sugar and vodka instead of cachaça – the London way, the Club 61 way.  People were dancing, smooching, smoking, DJing, talking shit, talking love, arguing, sharing.  Beverley was there, Jenny was there, Elaine the sweet, David the intellectual, Eugene the cynic, Sharon the comic, Debbie & Jacqui & Attlee the cousins,  many others.  I was drunk, stoned, happy.  The Fatback Band were playing I Feel Lovin’ : hands and voices were raised, the heart and soul of the party, the centre of the sacred ritual.  But the loving was always short-lived because surely Louis Prima would be next with I Ain’t Got Nobody, which would be celebrated with even more gusto, just as a wake is more drunken and raucous than a wedding.

Miss P

The party breathes, the tide goes out, the phases of the moon.  In the next lull, Paulette and I are in the kitchen talking family.  She confides that her mum has taken a bad turn in Jamaica where she lives and probably won’t make it to Christmas.  We hug.  A proper squeeze.   The plan is to go out to Jamaica to bury her, when the moment comes.  I promise to go with her and Beverley when that moment arises.

London 2005

About a fortnight later we touch down in Montego Bay and get a taxi across the island to Treasure Beach on the southern coast.  Paulette and Beverley, with cousins Debbie, Jaqui & Attlee, and me.   I think I was sharing a room with Bev & P, and the other three were in a next room but I cannot remember.  We certainly all spent any hotel time in that one room, drinking rum & coca cola, rum & ginger, rum & orange or rum & sprite.

St Elizabeths parish, SW Jamaica

The days go like this : Jason the driver turns up after breakfast and we pile into the transport and drive off to see an auntie – either Magdelen, who lives halfway up the hill, Vadne who lives at the top of the hill or Vera who was on the family land.  Or Merline, or Loretta.  Aunties for days.  Greetings, hugs, an offering of drinks, some food perhaps.  Cigarette smoking outside on the porch.   Funeral arrangements being made – not by me (ever) but by the sisters from England and the aunties from Jamaica.  Family politics.  Where is the goat coming from? Who is carrying the coffin?  Who is singing?  After a while we drive off again, get some more food in a bar, watch the green sweep of the rural landscape as it tumbles over red earth down to the Caribbean sea.  A stunningly beautiful island, poverty everywhere.

Jason played the same tape in his transport pretty much every day.  It started with Beres HammondGroovy Little Thing‘ which is why this song reminds me so heavily of this trip.  We would be on the rum all day pretty much.  Driving around.  Kids would crowd round whenever we went to Miss Edna’s house – Paulette & Beverley’s mum lived in a two-room wooden house on some land near Pedro Plains, green green grass, red red earth, chickens, kids, people waving, coming to meet us, we were the English relations.  The size of the small house was important, as I will relate later.

This picture reminds me of Miss Edna’s house in Jamaica, but it may have been smaller than this

Enough room for a bed, some chest of drawers and a wardrobe, a table, a chair.  Outside the kids are amazing as kids always are… “him have coolie hair” is their greeting for me… “wass your name?“.  Not at any stage in Jamaica am I described or treated like a white person. There are plenty of white Jamaicans of course but the kids pick up on my Indian not-curly hair which was more interesting than my pale skin.  We meet a white Jamaican called Mas Ralph who insists that my actual name is Rolph. There is a photo of us somewhere, an actual photo, wherever photos live these days.

Lovers Leap

In fact there are plenty of actual photos of this trip, from before I had a digital camera.  I’m writing this in Charleston, South Carolina and all my pictures are in a box in the attic in Brighton, England.  I’ll do me best !  It is a very visual two weeks, faces mainly but we also do some stuff – go to Lover’s Leap on the coast – a huge clifftop walk, and same day inland to YS Falls where I jump into the waterfall off a rope swing and sit on a rock, both in St Bess parish where we are based.

We head back to Sunset Resort on Great Bay loaded up with snacks and drinks and download the day.  Sometimes we go out in the evening – one bar deep in the bush was memorable for the DJ dropping dancehall tunes and the varied clientele including ladies of the night, children, mums and grandads all gently moving to the reggae beat.  I loved it.

And as time slips by towards the Nine Night, family tensions surface as they do, and dip over my head, or round my backside, since they don’t involve me but only concern what is expected of people and what is delivered. And each night was counting towards Nine.

Treasure Beach is where it says Calabash Bay on the map

Miss Edna’s good friend is called Guilty and he lives not far from Treasure Beach, in Great Bay.  Paulette Bev and I ended up at his house one night.  The sun had set.  Cicadas.  A pale blue light on the porch as he rolled a giant cone of weed.  Guilty is a rastafarian.  He cooks us ital food – clean, vegetarian, naturality, Vital without the V, the I & I denoting I-man’s connection to the universe.  Ital = no salt, no chemicals, no flesh, no blood,  no alcohol, no cigarettes and no drugs (herbs are not considered drugs).
We smoked.  Even Bev and P smoked. The only time I have ever seen it.  There was rum too, but Guilty did not he drink it.  But another cone was smoked – and Bev and P decline this time around, because they are higher than the moon already, which is pretty high and casting a pale light across Guilty’s strange garden.  The music is fantastic  – a modest sound system, nothing fancy but the sounds are profound. Righteous.  I am baked.  I mean, frankly I am close to panic, the rising feeling inside my chest not to be suppressed, allowing it to flow, allowing yourself to know, allowing it to go up up and away as high as you can pray and trust.  You will not fall away.  I have never ever been so stoned in all my born days.  It feels appropriate.  Beyond high.  Brave.  To boldly go.  Posing the question : how long can you keep hold of the rope ?  And so on.  We walked back a couple of miles to the hotel, blissful and baked to a T.

The Nine Night is upon us.  It was up on the property on the red earth.  The sun has set.  Paulette and Beverley are inside the house for much of the time, with the aunties, and that means it is pretty crowded already.  I say hello to each auntie and back out into the night again where there are now hundreds of people under the starlight eating curry goat – the same goat I had not witnessed being bought – callaloo, breadfruit and plantain, rice and peas of course, red stripe beer, a sound system playing tunes further down the hill, older folk sitting under an awning with bibles, reading psalms and singing hymns as they are fed rum, a frenzy of eating, drinking and religion : it is quite extraordinary.

Paulette & Bev at Sharon’s wedding in 2005

A group of younger people have come from over the mountain – Ginger Hill – where Miss Edna spent some time earlier in her life and they remember her.  Dirt poor. They’ve made the journey.  They don’t know anyone here.  Neither do I.  Doesn’t matter.  Feels like I talk to everyone.  Sing a hymn.  Drink rum. Smoke weed.  Sway.  Feel sad, feel open.  Fight gently through the people trying to get into the house, impossible, but get in somehow, see Paulette and Bev again, surrounded by women, weeping together, we hug, we kiss.  Go outside again and find Jaqui & Debbie sat down on the porch, in awe at this community that I find myself among.   Then suddenly a drum-beat starts up, a shuffle and a chant.  It becomes louder and louder, and clearer.  It is coming from the Ginger Hill mob.  About thirty of them, drumming on trash cans, pieces of wood, buckets and drums they have brought with them, and they chant :

“…cyaan get inna Miss Edna house, cyaan get inna Miss Edna house…”

It is eerie and powerful and honest.  The house is too small and they’ve been politely turned away.  A shiver goes  down my spine and I force force my way back inside again to see Bev and P : “you’ve got to come out and see this” and so they do.

And we laugh.  Hug again and laugh.  Amid the hymns, the crying aunties, the freeloading anybodys, the foreign relatives, the kids, the gravediggers, casket carriers and Guilty the sweet rastafarian philosopher, it seems as fitting a tribute to Miss Edna as you could get.  For philosophically speaking, none of us could get into Miss Edna’s house anymore.

The next day is the service at the Christadelphian Meeting Hall in Round Hill, St Elizabeth parish.  It is hot hot. Everyone is now dressed proper, shirt, suit, tie, shoes. Hats.  Fans gently beating across aunty’s faces.  The pallbearers are six nephews – Clive, Neville and Nesbert Powell and George, Kenneth and Vernan Legister.  They carry her in and lay her down in front of us.  It is November 10th 2002, but the Order of Service programmes has the date September 11th, misprinted (rather spookily) by Mr Bolt the funeral director.

Paulette and Beverley both speak about their mum in the service.  They are brave. Cashell and Crystal are trying to speak, two little girls, but they are crying too much and abandon the attempt, have us all in floods.  The casket is hoisted onto the six nephews shoulders again and we travel back down the hill to the property where the night before such scenes had unfurled.  The kids keep us all real – Full Mouth who had a great deal of teeth, and unrepentant farter Force Ripe.  I suppose their name for me is Coolie Hair.

A cousin named Bones has dug the grave deep into the red earth, and we gather around the grave to sing once more and pray together.  More tears now, less restraint.  More Jamaica, less England.  People shouting goodbye as the coffin is lowered on ropes into the deep hole, men pass the shovel around and cover the coffin with earth, I join in, grateful for the physical effort to channel my quivering energy.  Did the sisters also shovel some earth into the grave ?  I may be confusing that detail from their father’s funeral which was a year or so earlier in London.  I become transfixed with the colour of the dirt and sequester a small black plastic bag full which I transport back to Brighton with me.  I’m not sure though that I have ever planted anything in it.  What a strange man I am.

Guilty painted the tomb for Miss Edna and subsequently disappeared, we don’t know where he is now.  Miss Vadne still lives up the hill in Southfield.  I haven’t been back to Jamaica but I will go one day.  It was my tenth Caribbean island trip.  They’re all quite different in many ways.  Cuba is extraordinary – I wrote about it in My Pop Life #173 –  and Trinidad & Tobago was an amazing trip in 1993 – My Pop Life #184.  I haven’t written about St Lucia yet – where Jenny’s parents come from, and we’ve visited three times together.  On one visit we took a boat to Martinique. We’ve also holidayed at different times in Barbados, St. Kitts & Nevis, Antigua and the Dominican Republic when my brother Paul was living in Santo Domingo.  It’s an incredible part of the world.  But Jamaica is the island where I felt most at home. Perhaps the intensity of the trip opened me up in a different way – or perhaps it just has a special kind of atmosphere which I picked up on.  I was in the bush – the countryside – and was with people whose relatives live there.  The same is true of St Lucia, and Trinidad of course.  I don’t know.       I just know that Jamaica cast a spell over me.

Beres Hammond is amazing by the way – this is an early cut from the 2nd LP –  a soulful purveyor of Lovers Rock through to more conscious styles on albums such as Music Is Life in 2001 which Jenny and I waxed and rinsed when it came out.  We saw him at the Greek Theatre in Griffith Park in 2003 on a reggae extravaganza night – a beautiful open air amphitheatre, we walked from our apartment on Live Oak Drive on a balmy July night, perched above Los Feliz, and there was Beres Hammond live onstage, what joy – supporting the legendary I-Three Marcia Griffith and the Marley boys Stephen, Kymani and Damian Marley – Junior Gong – who was showcasing his new album Welcome To Jamrock.  Quite a night.

I appreciate and give thanks for all my blessings, all my friends, all my musical experiences, for my life has been rich and full of joy.  Even the tragedy and sorrow of the death of my beautiful friends Paulette and Beverley’s mother turned somehow into a thing of such great beauty.   We are separate but always connected.

Advertisements

My Pop Life #146 I Just Wasn’t Made For These Times – The Beach Boys

I Just Wasn’t Made For These Times  –   The Beach Boys

…they say I got brains, but they ain’t doin’ me no good.  I wish they could…

Late August 2003.   On the set of Red Light Runners, Harvey Keitel kneels by the altar. Mike Madsen walks slowly up the aisle and kneels next to him.  Keitel is first to speak.

Have you come to kill me dyood ?   he says

That’s how he says it.  Dyood.  The word I wrote is dude.   It’s my screenplay and we are in The Church Of Our Most Holy Redeemer, Exmouth St, Clerkenwell.  I cannot believe my ears.  The scene continues and finishes with Madsen walking back out.  The line-up is finished and the actors go back to their trailers while the lights are assembled and the camera positions established.  Nick Egan the director and I have a quick conflab.  Did you hear what he said ?  Dyood ??   What is going on ?  Nick decides that as the writer, I will go back to Harvey’s trailer and ‘discuss his problems with him’.  So a message is sent via a runner, and five minute later I’m knocking on Keitel’s wagon.

the church interior in Exmouth St

His PA invites me in.  Within a minute it is very clear that Harvey has not read the script. He thinks he is playing an Englishman, and he thinks we talk funny.  We clear that up.  It’s dude.  DUDE.  He asks me about another line.  I explain that his character, Sandy, an ex-CIA priest with a Fagin-esque gang of street kids at his beck and call, is gay.  He is horrified.  It gets weird.  I decide to leave and get myself some breakfast.

Director Nick Egan

I report back to Nick and Michael Wearing and we at least have Mike Madsen on our side. Eventually we get a decent scene, after much huffing and puffing.  I don’t think we turned over until just before lunch though.  By now Harvey is looking over at me after they cut each take and asking “was that OK?“.  It is all quite surreal.   But Red Light Runners was a very strange experience.  See earlier blogs My Pop Life #144 and My Pop Life #145 for the early part of the story.  Nick Egan was very cool and allowed me to sit by the monitors with headphones on, despite the producer Nigel whispering in his ear “Why are you letting Ralph sit there?  It looks weak”.  Nick told him to fuck off.  The central creative team, me, Nick and Michael Wearing were tight, and we weren’t about to be split up.  Various weird things were happening, some of which I knew about and some I didn’t.  But day by day, we were making a film.  It was thrilling.  Jenny was cast.  I was staying in Nick Egan’s flat a couple of days each week rather than slog down to Brighton every day.

           

 Mike Madsen   &   Harvey Keitel

The following day we had to shoot a later scene – Madsen killing Keitel by shooting him through the confession box grille.  It was now clear that one of Harvey’s techniques was to extend the rehearsal part of the day for as long as physically possible, for literally hours at a time, so that we would go over schedule and he would get an extra day’s wages.  It’s an old shitty trick and he was running with it.  So tedious.  Madsen was getting irritable too, but he held it down.  The other issue was very simple : Harvey didn’t want to die onscreen.  He was trying to talk his way out of it at one point and we had to stand firm on the script – we’re shooting this scene, now.  Oh yes we are !  It was truly mental.  Eventually we got it in the can, a day later than scheduled.  Later, much later when Harvey had wrapped and fucked off to Italy while the hotel bill for Claridges was run up – he’d left all his stuff in there – we were shooting another scene in a hotel when Madsen talks to Harvey on the phone.  On one take Madsen lost it and said something along the lines of “I’m glad you’ve wrapped Harvey because you’re a fucking pain in the ass, not only that but I killed you and everybody is gonna know that I killed you, so fuck you.”

There is a Hollywood actor pecking-order of those who have killed, and those who have been killed.  And by whom.  Think about it.

the green dome of the British Museum from Centrepoint roof

Earlier Mike Madsen and I had shot a scene on the balcony at the top of Centrepoint at the bottom of Tottenham Court Road overlooking the British Museum, where we’d planned a major heist  (I was also in the cast).  We’d done car chases through central London, down the Embankment, Blackfriars all the way to the Millenium Dome, then an unused leftover from the celebrations.  We’d flown helicopters over the gherkin building and the river.  We’d shot the White Cube Gallery in Hoxton at a swanky art opening with the cognoscenti, a Turkish arms dealer off Green Lanes in Haringey, and a council block in Southwark with yardie gangs.  I’d had a long chat with Tricky on the top of a London bus (see My Pop Life #61) discussing Chuck D, Public Enemy and Elvis Presley (Elvis was a hero to most but he never meant shit to me) before I offered him my headphones and played him Todd Rundgren‘s  Just Another Onionhead from A Wizard, A True Star one of my top ten LPs.  I told you Red Light Runners was strange.

We’d had a Red Light Runners heist meeting in Centrepoint too, on the day when the bond company sent a man onto the set.  An interesting mix of actors : me, Madsen, Cillian Murphy, Kate Ashfield, Tricky,  Joe Van MoylandHeathcote Williams.  The DP Nick Knowland was great but (like Brian Wilson) deaf in one ear.  The Bond man was obsessed with the two Nicks not apparently communicating properly and demanded that one of them had to go.  We carried on and went to another bond company.  All films need a bond company to insure against loss, otherwise…well.  Let’s say it was a warning.

Chiswick – the CIA headquarters.  My friend Doreene Blackstock did a set visit.  Jonathan Ross and Film 2003 were there, filming interviews with the main cast and director.  Wossy was a big supporter of the project, and there was a buzz around the film by now.  We’d been filming for four weeks with two units: the main unit, and the car and stunt unit.  We had eight weeks of stuff in the can.  Roy Scheider was in town playing the CIA chief and lending an air of gravitas and utter professionalism to a scene with Madsen, Crispin Glover and Rich Hall in the HQ.

Roy Scheider, Rich Hall, Crispin Glover – the CIA

Crispin had his raw foods thanks to a lady from Birmingham we’d found specially.   But the producer Michael Casey wasn’t happy.  Stuff was going on behind the scenes, some kind of power struggle.  We still weren’t bonded.  Casey and his wife decided that day that they were personally taking over the funding of the film, and sacked all the co-producers.  They started talking about actors using the tube to get to work, sacking all the drivers, cutting corners.  Meanwhile none of us had been paid yet.  Normally on a movie the principles – the director, designer, writer, producers – get paid their fee in full on the first day of principal photography.  That day had come and gone.  It was four weeks ago in fact.  And Chris the designer decided that he wasn’t coming in on Monday unless he was paid.  It became clear that the caterer had been feeding the unit with his own money.  The word went round the set – we wouldn’t be shooting on Monday, but on Wednesday.  The schedule meant that Monday was in Salisbury, blowing up a church in the Iowa cornfields, the opening sequence and Jenny’s scenes.   Jenny had cancelled her last week on the Vagina Monologues in order to be in Red Light Runners.  We also had Peter O’Toole lined up for Salisbury Cathedral.  Now it wobbled.

Tuesday another phone call came – we wouldn’t shoot on Wednesday but the following Monday.  Then another call.  Then another.  Then another.  After two months of this Nick Egan flew back to Los Angeles, leaving his suits and luggage in the rented flat where he’d been staying and which was now locked by the landlords because they hadn’t been paid either.

Each time things start to happen again, I think I got something good going for myself and what goes wrong ?

O cuando sere? Un dia sere” (“When will I be? One day I will be”)

Sometimes I feel very sad…

Originally I chose 2+2=5 for this story, because that was the feeling, and it was a 2003 song.  But it’s a Thom Yorke song about society, about passivity and 1984 so it was rejected for an ironic Hey Ya by Outkast, also a 2003 hit.  But it wasn’t right either.  Next up was Bowie’s Quicksand because that line

Don’t believe in yourself, don’t deceive with belief…

was my primary feeling to emerge from this fiasco.  But that song doesn’t line up either and deserves better than this story.  I didn’t want to write another film, or a play, or anything.  My friends in StompLuke Cresswell and Steve McNicholas actually did commission a script in November from me, like a soft landing, that’s for another story, and after that another half-hearted film which flickered briefly and fell.  But my heart wasn’t in it, and in many ways still isn’t.  How easily discouraged I am.  How fragile the ego.  Where’s the resilience, the iron will, the inner strength.  No idea.  I squashed it I think.  I felt weak, I felt destroyed to be honest.  Devastated.

In the end I’ve gone for a Pet Sounds song from 1966, a very personal brave lyric from Tony Asher and Brian Wilson about Brian feeling that he was too advanced musically for his band The Beach Boys and that he was literally living in the wrong era.  It doesn’t fit either, but many of the lines kill me to this day, and the feeling is right.   It’s a mournful, rich, delicate ethereal song that is somehow true.   By then the Brighton Beach Boys, my beautiful tribute band were learning this number and preparing to unleash it with string quartet and horns and full harmonies.  It’s a tricky beast to learn but when we committed to it, it was and is glorious.  A mighty tune about disappointment, with oneself, with life, and everything.

Can’t find nothing I can put my heart and soul into…

I had the golden ticket but it was fake.  No film.  No money.  No explanation.

The American actors got paid – Mike Madsen, Harvey Keitel, Roy Scheider, Crispin Glover. The Screen Actors Guild deal protects actors from this kind of thing, which isn’t actually that rare sadly.  Equity, the British equivalent of SAG, is hopeless.  Since living in the USA I have found that the Unions here have far more power than their British counterparts.

Michael Wearing

I was told by Michael Wearing later as the phone calls became fewer that Casey and his wife had decided to take over, sack the entire crew and re-employ them on worse rates.  As a hotel builder,  which is what he did before becoming a “Film Producer”- sorry a little bit of sick just came into my mouth – this was his mode-d’emploi – sack the workforce and undercut their wages.  It might work in the building trade in Portugal but it wasn’t going to wash in the film industry.  Then they started hawking the film around to other co-producers but if you collapse a film half-way through without paying key personnel, you essentially own a debt.  Who wants to buy that ?  It was over and the hope dwindled week by week, like water wearing down a stone.  It was a tunnel with no light at the end.

But things could always be worse.  The designer, Chris, clearly had other issues.  He was involved in a messy divorce apparently, and within weeks of the film closing down he had set light to a set building in our base at Three Mill Island, fire brigade were called but it was destroyed.  He then shot and killed his son, and himself.  Tragic.

The rest of us just carried on living, a little more cynical, a little more beaten down, a little more angry inside, but we carried on.  Anyone working in the film industry – this business we call ‘show’ – has dozens of stories like this.  I have at least a dozen.  This one perhaps the worst.  I still feel bitter about it.   But it’s just a film after all.   And I’m still here.

London now from the top of Centrepoint

And somehow matching this beautiful sad song with this moment of devastation makes me feel a little more healed.  This is the power of music.  If anyone knows and practises the healing power of music it is the fragile genius of Brian Wilson.  This may be his best piece of work.   In 2011, Brian said: “It was like saying: ‘Either I’m too far ahead of my time’ or ‘I’m not up to my time.’ … [The feeling has] stayed the same … a little bit, in some ways not … [but now] I do feel I was made for these times.

My Pop Life #145 : Crazy In Love – Beyoncé

Crazy In Love   –   Beyoncé

May 2003.  I’m back from the Cannes Film Festival hobnobbing and bullshitting in a villa with the producers of Red Light Runners.  Director Nick Egan, Producer Michael Wearing and I fly back to London and have 3 more days talking in Claridges to thrash out some plot issues in the treatment I’ve successfully pitched.  We receive the important information that the money available for this project will not be there for long.    In other words, I have to write fast.  Jenny and I fy to LA and set up a writing room in our apartment, overlooking our landlord’s back garden one floor below.  In a reasonably concentrated mode I produce a screenplay and deliver it.  (see My Pop Life #144). Within days, it is greenlit and we are go.  It will shoot later in the summer – in a minute in other words !

Now the hustle begins.  Director Nick lives up the road in Beechwood Canyon, a few blocks from us in Los Feliz.  We have a couple of meetings, and a few drinks before he heads back to England for pre-production.  The first deal I secure is like a bonus :  Jenny and I are both cast, me playing Hancock, a Welsh forensics expert and Red Light Runner team member, Jenny playing Sharyce who opens the story and unwittingly becomes the first muslim suicide bomber on US soil since 9/11.

Offers are being made to actors.  Mike Madsen is already attached as Killian.   Harvey Keitel is offered MacNeill one of the CIA double-act but his people insist that he play the role of Sandy, the gay Fagin-esque priest (ex CIA).  I’d really seen Greg Kinnear in that role.   We’re shuffling now, Jina Jay is on board as casting director, it’s money v taste.  For once I’m behind the curtain looking out.  Sometimes in life things just fall into place. Yes !

Summer 2003 was Beyoncé’s.  The mighty single Crazy In Love was everywhere with it’s bouncy beyoncé pumping brass riff, salsa congas, uh-oh uh-oh uh-oh you know hook and ridiculous video showcasing Beyoncé’s dancing.  It was the first single off of her first solo LP and was widely anticipated since Destiny’s Child had been a huge hit in our house, and we’d followed them through various incarnations from Destiny’s Child (1998) through Writing On The Wall (1999) to Survivor (2001).  They were the biggest girl group since The Supremes, and Beyoncé was destined, as destiny’s actual child, for stardom.  The complete package – voice, face, eyes, body, moves.  Managed by her father Mathew Knowles for years her rise from Houston child star to global superstar has seemed inevitable, effortless and meant to be.  Inevitably, of course, things are never that simple. I wish.  But surely this was my time too at last ?

Beyoncé wrote Crazy In Love with Rich Harrison, who’d been saving up the cracking horn sample from The Chi-Lites 1970 song Are You My Woman (Tell Me So).  She was the first artist to respond to the blast of French Horn which creates that giant fanfare sound, and while she listened in her apartment, looking at her untidy hair and unmatched clothes in the mirror, singing I’m looking so crazy right now, they stumbled on the lyrics.  Beyoncé though, was actually crazy in love for real with her new boyfriend Jay-Z.  I know, none of us could believe it either.  But this was the moment when she and her new love were hot on fire and it was pouring out of her, a pure juice chilli shake, an eruption of love, and the result was as intoxicating as being a teenager again.  Yes !

Beyoncé and Shawn Carter (Jay-Z) in 2003

It’s hard to describe the feeling of that summer.  How quickly I got used to talking about other actor’s careers in a judgemental way, seeing them or not seeing them in certain parts.  My only IN to the process was via Nick and Michael since it was deemed from the other producers that I was not to be consulted.  But I was in there all right.  It felt like a rollercoaster ride, strapped in and ready to go, who will be the passengers?  Thrilling mainly.  For all the disappointments of my acting career (notably Seven and Speed), my first feature New Year’s Day, my 2nd screenplay High Times, my 2nd stage play The House That Crack built, now suddenly it had all seemed to come together, all the experience added up to being in the right place at the right time with the right people. There was vindication, excitement but lots of relief, because it appeared that I actually WAS who I thought I was.  The evidence had appeared scattered up to that point.

 The part of Spitzbergen, chief of the CIA, required an actor with cynical gravitas and an ability to be a switching predator.  We were thrilled to bits when the Chief of Police of Amity Island (the mythical beach town in Jaws) Roy Scheider accepted an offer. Crispin Glover, perhaps best known for his work on Back To The Future and River’s Edge is cast as Hammett and his side kick MacNeill goes to Rich Hall, an American comedian based in London.  The gallery was looking exciting.  Next to sign up were Cillian Murphy a young Irishman tipped for greatness, and Kate Ashfield a young brit ditto.  Then the casting started to get decidedly fizzy.  I’d come across fizzy casting when my film New Year’s Day was being made in 1999.  Fizzy casting is like pop stars, presenters, people with a different “audience”.  Can they act ?  Does it matter ?  Will the fizz last longer than an average glass of Coke ? Nobody worries about these questions.  The casting directors, who spend their spare time watching TV and going to the theatre now suddenly have to keep an eye on the charts and daytime TV.  Or Youtube ratings.  Whatever my private feelings about this as an actor, I had to acknowledge that we scored a good one with the casting of Tricky, erstwhile Bristol triphopper, as the getaway driver.  Names being bandied around included Vinnie Jones (who I’d already worked with in 2000 on Mean Machine), Gary Kemp (also an old buddy), Mickey Rourke (who wanted a brand new Land Rover among other things), Eddy Izzard, Chris Penn, Dennis Hopper.  It’s like top trumps actors all day long.

Beyoncé in 2003

The highlight for me was getting interest from Peter O’Toole to play the role of Baptiste, a mysterious highly moral character who meets Killian outside Salisbury Cathedral to discuss the Shroud of Turin.  We’re never sure who Baptiste works for, but he is both religious and a scientist.  One scene.  One conversation.  O’Toole wanted to talk rewrites on what he had read – so I had a call one morning from Mexico.  It was Peter.  He was concerned with the reality of his character’s words first, then with believability.  He was straight to the point.  It’s a complex scene and the plot changes as a result, one of those scenes that spins the film around, but he liked it and after 40 minutes on the phone with Lawrence Of Arabia, I hung up and crossed my fingers.  And then I went back to the computer.  The only time I’d seen him in the flesh was an infamous production of Macbeth at the Old Vic with Brian Blessed as Banquo, the worst reviews ever written and it sold out in minutes.   Later that day a rewritten scene was pinged off to Michael Wearing, the artistic producer, and thence to O’Toole’s agent.  A few days later Peter O’Toole was on board.  Yes !

I think we skipped around a bit that night.

Further rewrites came and went.  We went to see Tori Amos live at The Greek Theatre, a marvellous open-air venue in Griffith Park.  I think we walked there from our treetops apartment.  Ben Folds was in support.  Jenny’s sister Mandy came over for a holiday and stayed with us.  It was a glorious summer, sunbathing on the roof terrace with swallowtail butterflies flitting about, and others that resembled the Camberwell Beauty.

We did the touristy stuff, Venice, Malibu, Melrose and Santa Monica and went for a meal in Topanga Canyon at The Inn Of The Seventh Ray, sitting outside in the balmy California night air. We also did that great drive up Highway One from LA to San Fransisco, through Santa Barbara, The mental Madonna Inn, Carmel, Monterey, California at its finest… 

Madonna Inn, San Luis Obispo, California  

And we made plans to fly back to England for the shoot of Red Light Runners.  Jenny was offered a short series of The Vagina Monologues in the West End. She would take the last week off now that we had a schedule – her character worked in week five in Wiltshire and now everything was in place, the designer, the director of photography and his team, the editor, the costume designer, make up, locations were scouted, and the money and the cars and the P&A provided by Audi.  We had a ten million pound budget.  Huge for a British film.  We were shooting in London and Salisbury Plain (for the Iowa cornfields).  It was exciting yes, OF COURSE IT WAS EXCITING but I also felt ready.  Happy.  Yes.

Play That Tune !   Crazy right now.