An American Werewolf In London - Revision history

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Dave williams2: Created page with "1st Broadcast 1997 on BBC Radio 1 == Producer == Dirk Maggs == Adapter == Dirk Maggs == Writer == Dirk Maggs == Director == Dirk Maggs == Based on Ori..."

2020-12-05T16:00:27Z

Created page with "1st Broadcast 1997 on BBC Radio 1 == Producer == Dirk Maggs == Adapter == Dirk Maggs == Writer == Dirk Maggs == Director == Dirk Maggs == Based on Ori..."

New page

1st Broadcast 1997 on [[BBC Radio 1]]

== Producer ==
[[Dirk Maggs]]

== Adapter ==
[[Dirk Maggs]]

== Writer ==
[[Dirk Maggs]]

== Director ==
[[Dirk Maggs]]

== Based on Original screenplay By ==
[[John Landis]]

== Produced By ==
[[Audio Movies Ltd]] for [[BBC Radio 1]]

== Synopsis ==
Updating and expanding the story told in the 1981 film of the same name, this drama features the stars of the film in their original roles. Two American backpackers suffer a frenzied attack on the Yorkshire moors. One survives, and he soon discovers that the assailant was more animal than human.

How does a Werewolf get onto the Yorkshire Moors?
Why do the citizens of a remote village allow two American backpackers walk to their doom?
What is like to be undead?

John Landis' 1961 movie remains an unforgettable cinema experience. And in this newly expanded version some twenty minutes of new story has been added, leading up to the violent and emotional climax on the streets of London.

Or

Jenny Agutter, who starred in the original movie of the same name, and Brian Glover star in a radio dramatisation of the Oscar winning 1983 classic An American Werewolf in London.

American college boys Michael and Robin are on a walking holiday on the Yorkshire Moors when, on a dark night, they encounter a terrible fate. Months later Michael is lying in a London hospital bed, being treated for shock after falling into a coma. He has strange marks on his body as if he's been attacked by a wolf...

His friend Robin is dead, but something else is wrong with Michael. He must confront an astonishing and terrifying reality in order to find out what really happened on that dreaded night on the moors.

Or

Updating and expanding the story told in the 1981 film of the same name, this drama features the stars of the film in their original roles. Two American backpackers suffer a frenzied attack on the Yorkshire moors. One survives, and he soon discovers that the assailant was more animal than human.

== Cast ==
Alex Price[[Jenny Agutter]]

George Hacket [[Brian Glover]]

The Kid [[Mark Lowin]]

Seageant McManus [[Mervyn Stutter]]

Inspector Villiers [[David Bannerman]]

Larry Talbot [[Michael Roberts]]

Nurse Gallagher [[Eve Karpf]]

Jack Goodman [[William Dufris]]

David Kessler [[Eric Meyers]]

Doctor Hirsch [[John Woodvine]]

== Recorded & Mixed at ==
[[The Soundhouse]] Ltd

[[Paul Deeley]]

== Music composed & Arranged Performed ==
[[Wilfred Acosta]]

== Comments by Dirk Maggs ==
Despite evidence to the contrary I try to avoid doing work with a direct filmic equivalent but I could not refuse the opportunity to rework a classic by one of my favourite movie directors. The fact that [[John Landis]] was also enthusiastic to have An American Werewolf In London reworked for radio was the key. He was kindness personified and got personally involved to see that we got permission to make this.

The sound effects we used to build the wolf effects included a pig and English badger! We recorded [[Eric Meyers]] using a stereo capsule on a boom so he could throw himself around the studio and we could follow - he had no voice and a lot of bruises afterwards

This one had nothing to do with the cinematic release of An American Werewolf in Paris, that was pure coincidence. Eric Meyers suggested the idea to me very early on, about 1995, but it took two years to clear. The concession to the nature of the beast was that it aired in the Mary Ann Evans (? apologies to the DJ, I can't remember the name) show, late nights weekdays. I do remember I sensed we were coming to the end of our Radio 1 heyday; the people at the show didn't seem crazy about having to play a three-minute episode every night. Later on they warmed up a bit when they heard it. But Matthew Bannister was leaving the network and I had a feeling - which turned out to be correct - that the new regime was going to dump us. Which was a pity because we were one of the good things they had at that time... we were going places, then they stiffed us.

Of the original cast I only ever went for [[Jenny Agutter]], [[Brian Glover]] and [[John Woodvine]]; they were the important characters and they were accessible. I knew that Eric Meyers and [[William Dufris]] would play David and Jack really well. Jenny told me she did it only because John Landis told her I was a good bloke, which was sort of reassuring! Jenny was delightful - obviously she's still dead sexy and all that, but she has a great sense of humour and was enormous fun to have around, which isn't true of all actresses who are also big stars. John Woodvine had a very dry sense of humour. One time I apologised for a slightly clumsy line I had written for him and he said, 'Don't worry Dirk, I'm sure I can improve it somehow!' Of course it was Brian Glover's last ever acting job (I believe), he died a couple of months later. He was terrific, sick as he was; he came to the studio on the bus, refusing a car, said he needed the exercise. And he turned in a very powerful performance. I dedicated the Talkie Award we won to him. A lovely man and a truly great actor.

For the additional scenes I was looking for a backstory for the werewolf. Who was he before he was killed on the Moors? Why were the villagers in The Slaughtered Lamb protecting him? Brian's character was so vehement about protecting the secret. I reasoned he must have a family connection. But at the same time I thought that Dr Hirsch must have some kind of secret knowledge of the situation. He is such an establishment figure, yet believes in werewolves. How could I reconcile those elements? I though maybe he too came from the area, and I wondered if maybe there could be some kind of Eastern European settlement there - in the style of Transylvanians coming here ... not exactly relatives of Count Dracula, but from the village! And blow me down, as I was starting to write the scripts, on the Today programme there was a piece about Eastern European migrants to the North of England in the 18th Century - perfect! So that gave me a link, which I followed up. It was fun to try and tie these element up a bit.

== Running Time ==
Episode 1 No detail known.

Episode 2 No detail known.

Episode 3 No detail known.

Episode 4 No detail known.

4 Episodes 30 Minutes each, 120 Minutes in Total

== Other Items ==
Audio Tape

== Review ==
By Ty power

== What Others have said ==
“Like Dirk Maggs’ previous Radio 1 dramatisations, the pace and production values are simply terrific.”
'''KEN GARNER, The Express, 7 April 1997'''

“The beast was brought triumphantly back to life ... thanks to expert direction from Dirk Maggs ...”
'''STEPHANIE BILLEN, The Observer, 13 April 1997'''

“The hip language, vivid sound effects, insistent music and Dolby Surround bear witness to Dirk Maggs.”
'''PAUL DONOVAN, Sunday Times 7 April 1997'''

“... Dirk Maggs adds new twists and grizzly sounds to John Landis’s movie ... Recommended.”
'''RADIO CHOICE, Daily Mail, 7 April 1997'''

“... an excellent job - congratulations!”
'''JOHN LANDIS (An American Werewolf In London, The Blues Brothers) April 1997'''
[[category:1997]]

@@ Line 13: / Line 13: @@
 [[Dirk Maggs]]
-== Based on Original screenplay By ==
+== Based on Original screenplay by ==
 [[John Landis]]
@@ Line 32: / Line 32: @@
 or
-[[Jenny Agutter]], who starred in the original movie of the same name, and [[Brian Glover]] star in a radio dramatisation of the Oscar winning 1983 classic An American Werewolf in London.
+[[Jenny Agutter]], who starred in the original movie of the same name, and [[Brian Glover]] star in a radio dramatization of the Oscar winning 1983 classic An American Werewolf in London.
 American college boys Michael and Robin are on a walking holiday on the Yorkshire Moors when, on a dark night, they encounter a terrible fate. Months later Michael is lying in a London hospital bed, being treated for shock after falling into a coma. He has strange marks on his body as if he's been attacked by a wolf...
@@ Line 43: / Line 43: @@
 == Cast ==
-Alex Price[[Jenny Agutter]]
+Alex Price [[Jenny Agutter]]
 George Hacket	[[Brian Glover]]
@@ Line 72: / Line 72: @@
 == Comments by Dirk Maggs ==
-Despite evidence to the contrary I try to avoid doing work with a direct filmic equivalent but I could not refuse the opportunity to rework a classic by one of my favourite movie directors. The fact that [[John Landis]] was also enthusiastic to have [[An American Werewolf In London]] reworked for radio was the key. He was kindness personified and got personally involved to see that we got permission to make this.
+Despite evidence to the contrary I try to avoid doing work with a direct filmic equivalent, but I could not refuse the opportunity to rework a classic by one of my favourite movie directors. The fact that [[John Landis]] was also enthusiastic to have [[An American Werewolf In London]] reworked for radio was the key. He was kindness personified and got personally involved to see that we got permission to make this.
 The sound effects we used to build the wolf effects included a pig and English badger! We recorded [[Eric Meyers]] using a stereo capsule on a boom so he could throw himself around the studio and we could follow - he had no voice and a lot of bruises afterwards
-This one had nothing to do with the cinematic release of An American Werewolf in Paris, that was pure coincidence. Eric Meyers suggested the idea to me very early on, about 1995, but it took two years to clear. The concession to the nature of the beast was that it aired in the Mary Ann Evans (? apologies to the DJ, I can't remember the name) show, late nights weekdays. I do remember I sensed we were coming to the end of our Radio 1 heyday; the people at the show didn't seem crazy about having to play a three-minute episode every night. Later on they warmed up a bit when they heard it. But Matthew Bannister was leaving the network and I had a feeling - which turned out to be correct - that the new regime was going to dump us. Which was a pity because we were one of the good things they had at that time... we were going places, then they stiffed us.
+This one had nothing to do with the cinematic release of An American Werewolf in Paris, that was pure coincidence. Eric Meyers suggested the idea to me very early on, about 1995, but it took two years to clear. The concession to the nature of the beast was that it aired in the Mary Ann Evans (? apologies to the DJ, I can't remember the name) show, late nights weekdays. I do remember I sensed we were coming to the end of our Radio 1 heyday; the people at the show didn't seem crazy about having to play a three-minute episode every night. Later on they warmed up a bit when they heard it. But Matthew Bannister was leaving the network, and I had a feeling - which turned out to be correct - that the new regime was going to dump us. Which was a pity because we were one of the good things they had at that time... we were going places, then they stiffed us.
-Of the original cast I only ever went for [[Jenny Agutter]], [[Brian Glover]] and [[John Woodvine]]; they were the important characters and they were accessible. I knew that [[Eric Meyers]] and [[William Dufris]] would play David and Jack really well. Jenny told me she did it only because [[John Landis]] told her I was a good bloke, which was sort of reassuring! Jenny was delightful - obviously she's still dead sexy and all that, but she has a great sense of humour and was enormous fun to have around, which isn't true of all actresses who are also big stars.
+Of the original cast I only ever went for [[Jenny Agutter]], [[Brian Glover]] and [[John Woodvine]]; they were the important characters, and they were accessible. I knew that [[Eric Meyers]] and [[William Dufris]] would play David and Jack really well. Jenny told me she did it only because [[John Landis]] told her I was a good bloke, which was sort of reassuring! Jenny was delightful - obviously she's still dead sexy and all that, but she has a great sense of humour and was enormous fun to have around, which isn't true of all actresses who are also big stars.
-[[John Woodvine]] had a very dry sense of humour. One time I apologised for a slightly clumsy line I had written for him and he said, 'Don't worry Dirk, I'm sure I can improve it somehow!' Of course it was Brian Glover's last ever acting job (I believe), he died a couple of months later. He was terrific, sick as he was; he came to the studio on the bus, refusing a car, said he needed the exercise. And he turned in a very powerful performance. I dedicated the Talkie Award we won to him. A lovely man and a truly great actor.
+[[John Woodvine]] had a very dry sense of humour. One time I apologised for a slightly clumsy line I had written for him, and he said, 'Don't worry Dirk, I'm sure I can improve it somehow!' Of course, it was Brian Glover's last ever acting job (I believe), he died a couple of months later. He was terrific, sick as he was; he came to the studio on the bus, refusing a car, said he needed the exercise. And he turned in a very powerful performance. I dedicated the Talkie Award we won to him. A lovely man and a truly great actor.
-For the additional scenes I was looking for a backstory for the werewolf. Who was he before he was killed on the Moors? Why were the villagers in The Slaughtered Lamb protecting him? Brian's character was so vehement about protecting the secret. I reasoned he must have a family connection. But at the same time I thought that Dr Hirsch must have some kind of secret knowledge of the situation. He is such an establishment figure, yet believes in werewolves. How could I reconcile those elements? I though maybe he too came from the area, and I wondered if maybe there could be some kind of Eastern European settlement there - in the style of Transylvanians coming here ... not exactly relatives of Count Dracula, but from the village! And blow me down, as I was starting to write the scripts, on the Today programme there was a piece about Eastern European migrants to the North of England in the 18th Century - perfect! So that gave me a link, which I followed up. It was fun to try and tie these element up a bit.
+For the additional scenes I was looking for a backstory for the werewolf. Who was he before he was killed on the Moors? Why were the villagers in The Slaughtered Lamb protecting him? Brian's character was so vehement about protecting the secret. I reasoned he must have a family connection. But at the same time, I thought that Dr Hirsch must have some kind of secret knowledge of the situation. He is such an establishment figure yet believes in werewolves. How could I reconcile those elements? I thought maybe he too came from the area, and I wondered if maybe there could be some kind of Eastern European settlement there - in the style of Transylvanians coming here ... not exactly relatives of Count Dracula, but from the village! And blow me down, as I was starting to write the scripts, on the Today programme there was a piece about Eastern European migrants to the North of England in the 18th Century - perfect! So that gave me a link, which I followed up. It was fun to try and tie these elements up a bit.
 == Running Time ==

@@ Line 80: / Line 80: @@
 Of the original cast I only ever went for [[Jenny Agutter]], [[Brian Glover]] and [[John Woodvine]]; they were the important characters and they were accessible. I knew that [[Eric Meyers]] and [[William Dufris]] would play David and Jack really well. Jenny told me she did it only because [[John Landis]] told her I was a good bloke, which was sort of reassuring! Jenny was delightful - obviously she's still dead sexy and all that, but she has a great sense of humour and was enormous fun to have around, which isn't true of all actresses who are also big stars.
-John Woodvine had a very dry sense of humour. One time I apologised for a slightly clumsy line I had written for him and he said, 'Don't worry Dirk, I'm sure I can improve it somehow!' Of course it was Brian Glover's last ever acting job (I believe), he died a couple of months later. He was terrific, sick as he was; he came to the studio on the bus, refusing a car, said he needed the exercise. And he turned in a very powerful performance. I dedicated the Talkie Award we won to him. A lovely man and a truly great actor.
+[[John Woodvine]] had a very dry sense of humour. One time I apologised for a slightly clumsy line I had written for him and he said, 'Don't worry Dirk, I'm sure I can improve it somehow!' Of course it was Brian Glover's last ever acting job (I believe), he died a couple of months later. He was terrific, sick as he was; he came to the studio on the bus, refusing a car, said he needed the exercise. And he turned in a very powerful performance. I dedicated the Talkie Award we won to him. A lovely man and a truly great actor.
 For the additional scenes I was looking for a backstory for the werewolf. Who was he before he was killed on the Moors? Why were the villagers in The Slaughtered Lamb protecting him? Brian's character was so vehement about protecting the secret. I reasoned he must have a family connection. But at the same time I thought that Dr Hirsch must have some kind of secret knowledge of the situation. He is such an establishment figure, yet believes in werewolves. How could I reconcile those elements? I though maybe he too came from the area, and I wondered if maybe there could be some kind of Eastern European settlement there - in the style of Transylvanians coming here ... not exactly relatives of Count Dracula, but from the village! And blow me down, as I was starting to write the scripts, on the Today programme there was a piece about Eastern European migrants to the North of England in the 18th Century - perfect! So that gave me a link, which I followed up. It was fun to try and tie these element up a bit.

@@ Line 103: / Line 103: @@
 '''KEN GARNER, The Express, 7 April 1997'''
 “The beast was brought triumphantly back to life ... thanks to expert direction from Dirk Maggs ...”
 '''STEPHANIE BILLEN, The Observer, 13 April 1997'''
 “The hip language, vivid sound effects, insistent music and Dolby Surround bear witness to Dirk Maggs.”
 '''PAUL DONOVAN, Sunday Times 7 April 1997'''
 “... Dirk Maggs adds new twists and grizzly sounds to John Landis’s movie ... Recommended.”
 '''RADIO CHOICE, Daily Mail, 7 April 1997'''
 “... an excellent job - congratulations!”
 '''JOHN LANDIS (An American Werewolf In London, The Blues Brothers) April 1997'''
 [[category:1997]]

@@ Line 23: / Line 23: @@
 How does a Werewolf get onto the Yorkshire Moors?
 Why do the citizens of a remote village allow two American backpackers walk to their doom?
 What is like to be undead?
 John Landis' 1961 movie remains an unforgettable cinema experience. And in this newly expanded version some twenty minutes of new story has been added, leading up to the violent and emotional climax on the streets of London.
-Or
+or
-Jenny Agutter, who starred in the original movie of the same name, and Brian Glover star in a radio dramatisation of the Oscar winning 1983 classic An American Werewolf in London.
+[[Jenny Agutter]], who starred in the original movie of the same name, and [[Brian Glover]] star in a radio dramatisation of the Oscar winning 1983 classic An American Werewolf in London.
 American college boys Michael and Robin are on a walking holiday on the Yorkshire Moors when, on a dark night, they encounter a terrible fate. Months later Michael is lying in a London hospital bed, being treated for shock after falling into a coma. He has strange marks on his body as if he's been attacked by a wolf...
@@ Line 36: / Line 38: @@
 His friend Robin is dead, but something else is wrong with Michael. He must confront an astonishing and terrifying reality in order to find out what really happened on that dreaded night on the moors.
-Or
+or
 Updating and expanding the story told in the 1981 film of the same name, this drama features the stars of the film in their original roles. Two American backpackers suffer a frenzied attack on the Yorkshire moors. One survives, and he soon discovers that the assailant was more animal than human.
@@ Line 70: / Line 72: @@
 == Comments by Dirk Maggs ==
-Despite evidence to the contrary I try to avoid doing work with a direct filmic equivalent but I could not refuse the opportunity to rework a classic by one of my favourite movie directors. The fact that [[John Landis]] was also enthusiastic to have An American Werewolf In London reworked for radio was the key. He was kindness personified and got personally involved to see that we got permission to make this.
+Despite evidence to the contrary I try to avoid doing work with a direct filmic equivalent but I could not refuse the opportunity to rework a classic by one of my favourite movie directors. The fact that [[John Landis]] was also enthusiastic to have [[An American Werewolf In London]] reworked for radio was the key. He was kindness personified and got personally involved to see that we got permission to make this.
 The sound effects we used to build the wolf effects included a pig and English badger! We recorded [[Eric Meyers]] using a stereo capsule on a boom so he could throw himself around the studio and we could follow - he had no voice and a lot of bruises afterwards
@@ Line 76: / Line 78: @@
 This one had nothing to do with the cinematic release of An American Werewolf in Paris, that was pure coincidence. Eric Meyers suggested the idea to me very early on, about 1995, but it took two years to clear. The concession to the nature of the beast was that it aired in the Mary Ann Evans (? apologies to the DJ, I can't remember the name) show, late nights weekdays. I do remember I sensed we were coming to the end of our Radio 1 heyday; the people at the show didn't seem crazy about having to play a three-minute episode every night. Later on they warmed up a bit when they heard it. But Matthew Bannister was leaving the network and I had a feeling - which turned out to be correct - that the new regime was going to dump us. Which was a pity because we were one of the good things they had at that time... we were going places, then they stiffed us.
-Of the original cast I only ever went for [[Jenny Agutter]], [[Brian Glover]] and [[John Woodvine]]; they were the important characters and they were accessible. I knew that Eric Meyers and [[William Dufris]] would play David and Jack really well. Jenny told me she did it only because John Landis told her I was a good bloke, which was sort of reassuring! Jenny was delightful - obviously she's still dead sexy and all that, but she has a great sense of humour and was enormous fun to have around, which isn't true of all actresses who are also big stars. John Woodvine had a very dry sense of humour. One time I apologised for a slightly clumsy line I had written for him and he said, 'Don't worry Dirk, I'm sure I can improve it somehow!' Of course it was Brian Glover's last ever acting job (I believe), he died a couple of months later. He was terrific, sick as he was; he came to the studio on the bus, refusing a car, said he needed the exercise. And he turned in a very powerful performance. I dedicated the Talkie Award we won to him. A lovely man and a truly great actor.
+Of the original cast I only ever went for [[Jenny Agutter]], [[Brian Glover]] and [[John Woodvine]]; they were the important characters and they were accessible. I knew that [[Eric Meyers]] and [[William Dufris]] would play David and Jack really well. Jenny told me she did it only because [[John Landis]] told her I was a good bloke, which was sort of reassuring! Jenny was delightful - obviously she's still dead sexy and all that, but she has a great sense of humour and was enormous fun to have around, which isn't true of all actresses who are also big stars.
 For the additional scenes I was looking for a backstory for the werewolf. Who was he before he was killed on the Moors? Why were the villagers in The Slaughtered Lamb protecting him? Brian's character was so vehement about protecting the secret. I reasoned he must have a family connection. But at the same time I thought that Dr Hirsch must have some kind of secret knowledge of the situation. He is such an establishment figure, yet believes in werewolves. How could I reconcile those elements? I though maybe he too came from the area, and I wondered if maybe there could be some kind of Eastern European settlement there - in the style of Transylvanians coming here ... not exactly relatives of Count Dracula, but from the village! And blow me down, as I was starting to write the scripts, on the Today programme there was a piece about Eastern European migrants to the North of England in the 18th Century - perfect! So that gave me a link, which I followed up. It was fun to try and tie these element up a bit.

@@ Line 93: / Line 93: @@
 == Other Items ==
 Audio Tape
 == What Others have said ==