#source: vicar of dibley

[roseofithaca]

Alison: Carol was sweet enough to show me some old photos of you, Pat. I think these are from when you guys went on holiday?

Pat: Oh yes! That's me at the airport!

Alison: Who's this woman?

Pat: Ah, she was a lovely lady we met on the flight. She was a bit tired when we came back from Turkey and she had this heavy suitcase with her. So I thought I'd be a gentleman and offer to carry it through Customs.

Alison: Right...well that explains the next photo.

Pat: Yes, that'll be Customs opening the case.

Alison: Wow. How much cocaine is that?

Pat: If I remember right, they said it had a street value of £84,000,000.

Alison: Impressive.

Pat: But they let me go the moment they realised I was innocent.

Alison: Which was?

Pat: Fourteen months later.

[juminhandfs]

Jumin: Before we commence the meeting, are there any apologies for absence?

Zen: I've got one.

Jumin: From who?

Zen: Myself.

Jumin:

Jumin: But you're here.

Zen: I know I'm here, but I won't be here at the next meeting. I'll be rehearsing, remember?

Jumin: Then you don't have to apologize until the next meeting, Zen.

Zen: But I won't be here at the next meeting!

Jumin: Yes, I know. You send your apologies before the next meeting.

Zen: That's what I'm trying to do!

Yoosung: Oh! If that's how we're doing it now, I guess I better say sorry for the meeting in two weeks. I won't be around for that one. Got a great lolol party planned.

Seven: Oh, me, too, I'll be missing one in April. Saeran and I are going up to see Terrifier 3.

Jumin: This is ridiculous! I could apologize for missing a meeting next decade, for God's sake! Now--

Jaehee: Which meeting?

Jumin: What?

Jaehee: Which meeting in the next decade are you apologizing for, Sir?

Jumin:

Jumin: I'm not apologizing!

Seven: Well, you should!

Zen: What's the point in holding a RFA meeting at all if the RFA Leader himself is going to miss it?

Jumin: I'M NOT GOING TO MISS IT, YOU RAVING LUNATICS!

[incorrectclassicbookquotes]

Mephistopheles: I am not a lunatic. I have the psychiatric report to prove it. A slender majority of the panel decided in my favor.

[incorrectlooneytunesquotes]

Oh boy! Any more and we'll be able to stage a production of WATERSHIP DOWN!!

Bugs to Lola Bunny

[consanguinitatum]

DT talk throwback: my interview w/Steve Pang, writer/director/producer of SPACES

This post is the second in the series of posts I'm making to rescue my lost interviews with people who worked with David in his earlier years: you can find the first, with David Blair - the director of Takin' Over The Asylum - right here.

Over half a decade ago now I was a writer for David Tennant News/DT Forum, one of the bigger unofficial fan sites of DT's at the time (now sadly defunct). During my time there, I got the chance in July 2015 to interview Steve Pang - the writer/director/producer of SPACES, a short film David starred in back in 1993. I didn't want this interview to sink into the depths of the Wayback Machine and I thought y'all might enjoy reading it, so here is that interview in its entirety (and if you'd like to see it in its original form, click here.)

Screenshot of SPACES from Moving Image Archive / Steve Pang, Writer-Director-Producer (today, and in a 1993 interview)

--

Recently I was able to chat with Steve Pang, the writer, director and editor of SPACES. SPACES is a 1993 short film starring David Tennant as Vinny, a young man working a night shift in a car park in Edinburgh. The film depicts the characters Vinny meets over the course of the night: an older colleague with a troubled past, a bright young girl who uses the empty car park for her violin practice, and a young homeless boy.

Pang won a First Reels funding Award in 1993 from the Scottish Film Council and Scottish Television for the script he submitted for SPACES. First Reels was “a joint short film initiative from Scottish Screen (and its predecessor body the Scottish Film Council) and Scottish Television that was launched during 1991 by the Scottish Film Council in response to a perceived need for small grants to help young and first time film-makers to make or complete their first film or video project.”

Winning the award gave Pang the funds to make SPACES a reality. In the following years he decided to shift gears and move into film and television editing. He began in film as an assistant editor in the 1997 James Bond film Tomorrow Never Dies and on television in The Vicar of Dibley. Since then he has worked in various editing capacities on a lengthy list of projects including Wonka, Band of Brothers, The Da Vinci Code, Lord of the Rings: The Return of the King, The Hitchhiker’s Guide to the Galaxy, The 10th Kingdom, and Gravity.

How did you hear about the First Reels project? 

The scheme was announced whilst I was at Napier University in Edinburgh studying for my degree. As it was open to students, pretty much everyone on the course applied as it was a rare opportunity to get funding to make films.

It’s my understanding the First Reels project gave filmmakers grants to help them realize their projects, but that the projects didn’t have to be finished films to be submitted.  What stage in its development was SPACES at when you submitted it? Did the grant you won help you film and complete the work or had it already been completed in a rough form? 

As I recall I submitted a script and a supporting application form. Had we not won the grant, I think the film would have still gone ahead in some form but we would not have been able pay the cast or equipment suppliers – which would have undoubtedly had a detrimental effect on the film, in my opinion.

Was SPACES your first film? Take us through its development from idea to reality. How did you decide on it as your submission for First Reels?

It was probably my second or third short, but certainly the most ambitious (everything else before that was really more just fooling around and experimenting with a camera). The goal was to ‘keep things simple’ and come up with an idea that could be shot in one location with a small cast. I had worked part time in a 24hr car park in the past and my experiences in that job were the source material for the film.

SPACES is set in a car park and tells the story of one young man’s night shift. What were your inspirations for the story line?  he ending? Can you share a bit more about what you hoped people would take away from the film?

The short is essentially a dramatisation of a number of real life experiences I had working part time in a 24hr car park in Edinburgh. It sounds like a pretty mundane job, but I worked with some very interesting people and there were one or two unusual incidents. I thought collating everything into a single night would make an interesting short film. I’ve always found night time in cities really fascinating and I thought SPACES would be an original way of depicting that kind of atmosphere and mood. 

Screenshots from SPACES

Were the actors you chose initially the ones that actually appear in the film? How involved were you in choosing the talent, and how did the actors you chose come to your attention? 

We contacted a number of local actors agencies and as I recall the actors in the film were all our first choices for each role. At the time I had no idea who David was or that he was about to become a big star. Looking back, I think he was already making a name for himself as an up-and-coming actor within the industry but as a lowly, newbie film student I didn’t have that ‘inside knowledge’. All I knew was that he seemed remarkably in tune with the character I’d written and came across as incredibly natural in the first audition. The role was his immediately. It was only after the film was completed and submitted that I started hearing comments along the lines of ‘wow you had David Tennant in your short.’

Speaking of actors — David was very young when you worked with him (it’s listed as only his 4th credited role). Was there something that impressed you about this young unknown actor? What about the experience of working with him still stands out for you all these years later?

Working with him – from rehearsal to shoot – was great. We had a tiny budget, a cold, dark location, and it was a night shoot. In hindsight, given that we were a bunch of newbie students and he was about to break through as a major actor, I’m grateful that he was so tolerant of the unsociable hours, the unglamorous location and facilities we had!

I have information that SPACES was shown on television sometime in the latter half of 1993, when Scottish Television ran three half-hour documentaries showing excerpts of the winners from the First Reels. Do you recall if it was shown, and if so, how did you feel seeing your film broadcast?

An excerpt was shown yes, along with a short interview with me. I remember being wracked with nerves on the night of the broadcast and kind of being in shock afterwards. It was probably only a couple of minutes of screen time in total.

Do you have any interesting behind-the-scenes sorts of recollections about working on the short?

I remember our equipment causing a short circuit at the location that required us to completely re-order the schedule. And I think our catering consisted of soup and bread for everyone. It was all very basic.

How do you think working on First Reels influenced you in developing your career?

It was an invaluable boost and a great learning experience. Who knows what would have happened had I not received that grant.

For Further Reference:

View Mr. Pang’s IMDb or his extensive CV.

Synopsis from entry on SPACES from the full film record at the Scottish Screen Archive.

A copy of SPACES is held at the Moving Image Archive and can be viewed at the National Library of Scotland. Private and research viewing only.

--

And that's that! I hope you all enjoyed this unique insight into SPACES and DT's work with Steve Pang!

[awritingotaku]

Solomon: Question is whether I should bring along the snails for my new recipe.

Simeon: Oh- What recipe is that?

Solomon: Bread and butter pudding surprise.

[nerevar-quote-and-star]

Balgruuf the Greater: Dragonborn, you wouldn’t help me with this, would you?

Leara Rose-blade: What’s in it for me?

Balgruuf: Er . . . my eternal gratitude?

Leara: Anything a bit less . . . nebulous?

Balgruuf: . . . some candy? 

Leara: LET'S DO IT!

[kinda-not-really-dutp]

Kahir: Light, you wouldn’t help me with this, would you? 

Light: What’s in it for me? 

Kahir: Er... my eternal gratitude? 

Light: Anything a bit less... nebulous? 

Kahir:... Some candy? 

 Light: LET’S DO IT!

[incorrectmerlinquotes]

Arthur: Before we commence the council, are there any apologies for absence?

Lancelot: I've got one.

Arthur: From who?

Lancelot: Myself.

Arthur:

Arthur: But you're here.

Lancelot: I know I'm here, but I won't be here at the next council. I'll be out on patrol, remember?

Arthur: Then you don't have to apologize until the next council, Sir Lancelot.

Lancelot: But I won't be here at the next council!

Arthur: Yes, I know. You send your apologies before the next council.

Lancelot: That's what I'm trying to do!

Gwaine: Oh! If that's how we're doing it now, I guess I better say sorry for the council in two weeks. I won't be around for that one. Got a great bender planned.

Elyan: Oh, me, too, I'll be missing one in April. Gwen and I are going up to see Father.

Arthur: This is ridiculous! I could apologize for missing a council next decade, for God's sake! Now--

Leon: Which council?

Arthur: What?

Leon: Which council in the next decade are you apologizing for?

Arthur:

Arthur: I'm not apologizing!

Gwaine: Well, you should!

Percival: What's the point in holding council at all if the King himself is going to miss it?

Arthur: I'M NOT GOING TO MISS IT, YOU RAVING LUNATICS!

[roseofithaca]

Alison: That storm is horrible outside.

Robin: Me known worse. Like the Great Storm. When old Harold got blown into quarry.

Humphrey: No, that was the Great Wind. Great Storm has to have rain. That was just a windy night.

Captain: That reminds me, do any of you remember the Great Snow?

Pat: Oh yes. Froze ya balls off.

Mary: Poor old Gladys.

Robin: ...What 'bout her?

Mary: Well she died, didn't she, in the Great Snow. Froze to death one Friday.

Robin: No, that was Great Frost. It were the Bottle twins who froze to death in Great Snow of '53!

Thomas: Bawlderdash! The Bottles died in the Great Freeze of '48.

Alison: And I'm about to die in the Great Bore of 2024!

-the lights go out-

Kitty: Oooh how exciting! It's like Great Eclipse of '99!

Everyone: SHUT UP!

[incorrectpoldarkquotes]

George: Oh Valentine, you wouldn't help me with this, would you?

Valentine: What's in it for me?

George: Er...My eternal gratitude?

Valentine: Anything a bit less... nebulous?

George:... A chocolate biscuit?

Valentine: LET'S DO IT.

[incorrectstation19quotes]

Vic: Do you want the short answer or the long answer?

Travis: Both, please.

Vic: Well, the short answer is no.

Vic: And the long answer is noooooooooo.

[incorrectlooneytunesquotes]

[Daffy is on stage, doing an incredibly boring "impressions" routine]

Elmer: [to his wife] I've got my shotgun in the van.

Mrs. Fudd: Woad both bawwels.

[salty-ironstrange-shipper]

Stephen: How’s married life then, Christine? Everything all right in the bedroom, if you know what I mean?

Christine: Yes, it’s all good. I mean, I’ll admit, there was a bit of trouble to begin with. We couldn’t quite agree on what went in where.

Stephen:

Tony:

Christine: But once we bought separate wardrobes, we were fine.

Tony: Oh thank God.

[hitchell-mope]

Cat: I do hate you all very deeply.

[incorrectbbcsherlockquotes]

Lestrade: How’s married life then, John? Everything all right in the bedroom, if you know what I mean?

John: Yes, it’s all good. I mean, I’ll admit, there was a bit of trouble to begin with. We couldn’t quite agree on what went in where.

Lestrade: 

John: But once we bought separate wardrobes, we were fine.

Lestrade: Oh thank God.