“We live our lives in a fugue state. Blissfully or painfully unaware of ourselves”
Broadcast 29 June 2016
“Look, I know the BBC’s really short of money but not to have the travel or the weather. I mean that’s….just… your budget must be really tight! Here is the traffic and here is the weather. The traffic is heavy. What a surprise! The weather is cloudy, threatening to drizzle. A typical summer’s day.”
“That explains why you moved to America for so many years, does it?” replies Sarah.
Dept. F&D, Uni of Reading, 24 November, 1998.
I’ll begin with the usual disclaimer. The Cops is like any other show, collaborative and social, so if I use the first-person this afternoon, you should regard it as just ‘shorthand’.
Increasingly now, I get young people around me who are long on talent and long on enthusiasm but very short on experience.
Sight and Sound
Tony Garnett is one of British television’s most experienced and successful producers. After a short career as an actor, he made his name as a programme-maker with a series of seminal television plays for the BBC, with such directors as Ken Loach, Jack Gold, Roland Joffe and Les Blair, among them Loach’s ‘Cathy Come Home’. With Loach he then made ‘Kes’ and with Blair the ‘Law and Order’ series,
I worked on four films with Barry. We began our friendship in the mid-sixties. It survived intact through his last long illness.
His character and his writing were all of a piece. Direct, simple and honest. HIs simplicity was hewn out of a close analysis of others and their place in a society riven by class interests.
To the end, he knew which side he was on. He had been born to the sound of clogs,
27th October 1989
The British film industry is a colony of Hollywood. If it is ever to have a life of its own, film-maker Tony Garnett argues, Britain has to subsidise it, as every comparable country does.
Batman and Indiana Jones are smash-hit boffo biz movies. In their first weekend, in North America alone, the box office gross was $70 million. Over the years, these movies will return hundreds of millions of dollars to their distributors,
A conference at Birkbeck, University of London.
May 14 2013
In the old Variety Theatres only the lowly performers opened the bill. The audience would be still noisily taking their seats, or arriving late, and needed warming up. Perhaps it is different in academia. You look well behaved. If this were the Glasgow Empire I would be fearing for my life. Anyway, this slot gives me the opportunity to ask the questions,
The man who first came into my office was not friendly. He was guarded, suspicious and aggressive. For three hours we sparred and danced around each other: he trying to convince me that he wanted to write entertainment and blanking all talk of politics, and me telling him that all I wanted was drama about class conflict and socialist ideas.
He had been writing for Coronation Street, was looking for work and was wary of revealing his true self in a meeting at the heart of the establishment,
For those who missed it, here’s the speech I gave at Banners Held High today.
I want to rehearse some history, history familiar to everyone here, history showing a remarkable similarity between the miners’ battle with the Tory government in 1926 and in 1984. I want to do this as a way to analyse the true role of the BBC. And why that is politically important.
In 1925 there were 1.2 million miners;
This glancing look at some of the productions over the decades gives the impression that every idea was easily green lit. If only. I still mourn the ones that were shot down at the last moment. It would be too painful to rehearse more than a few examples.
Neville Smith wrote a sharp, warm comedy set in Liverpool about the take over of a local firm by the Japanese. The Scouse workers were obliged to do keep fit and sing the company song each morning.
Vanessa Thorpe, Arts Correspondent: The Observer Sunday October 10, 1999
The sons of actress Carol White, who starred 30 years ago with their mother in Ken Loach’s Cathy Come Home, have joined calls for the video of the BBC’s groundbreaking television film to be released.
Its release was cancelled at the eleventh hour last month after a dispute between the writer, Jeremy Sandford, and the BBC, which licensed the release without gaining his consent.
STEWART LANE talks to Tony Garnett, the producer of tonight’s B.B.C.- 1 play. (1966)
TONY GARNETT, producer of “Cathy Come Home”, tonight’s play on BBC 1 began his career as an actor, appearing in several television plays.
In 1964 he joined the B.B.C. as a script editor, assisting in the work on the Wednesday play series.
I had known Susanna Capon for decades and had been the main speaker at her wedding to Barry Hanson, called upon at the last minute because the appointed speaker, David Mercer, was dead drunk on the floor. After a lifetime in television she had become an academic in the Media Arts Department at Royal Holloway College, London University. All her life she had been a highly organised, competent doer, full of energy and optimism with an admirable capacity to cut to the core of a problem.
‘I’ve never got locked up in the idea of “art cinema”. That’s masturbation.’ Never mincing his words, producer Tony Garnett reflects back over his groundbreaking work in television and film, as a two-month celebration of his career – from Cathy Come Home to This Life – plays at BFI Southbank.
Provost and Vice Principal, Pro-Vice Chancellor, Members of the University, Graduates, Graduands and guests.
I was born and brought up in this city, in Erdington. As a boy in the early fifties I talked to my granddad. He was a Victorian, born in Aston. A highly skilled man, in the 1890s he became redundant. Disruptive technology is nothing new. For the rest of his life he was a common labourer, in the parlance of the day.
In the Swinging Sixties, nobody wanted to finance a gritty northern drama about a boy and his kestrel. But the makers of Kes persisted and the result was a British classic. Akin Ojumu discovers the inside story
First published in The Guardian, Sunday August 29, 1999
Tony Garnett: I had read Barry Hines’s first book, The Blinder, about a young footballer and liked it. I was producing the Wednesday play at the BBC and I asked him if he fancied doing one.