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Bolton Evening News Article 3rd July 2004
Peter Kay's new show rolls into town
Last posted: Saturday 3 July 2004 12:34
BOLTON Evening News deputy editor Ian Savage got the chance to star for a day with comic Peter Kay filming a spin-off series of the hugely popular Phoenix Nights, and find out just how much hard-work is put into every scene.

IT'S 6.47pm. Peter Kay and his crew have been up since dawn and filming from early morning.

All the day's scheduled shooting for the Bolton comedian's next series, Road to Nowhere, has been completed.
 


Paddy : "We're back and we're hungry."

But Peter, who directs and stars in the new show, thinks there's time to slot in a brief shot that they couldn't fit in on an earlier day.

First assistant director Amanda Neal has her doubts, though. "We've only got 13 minutes, Peter," she says.

His response? "Thirteen minutes? Plenty of time! We're a team! Let's got for it!"

Twelve minutes later and a quick camera set-up inside the cramped Farmers Arms pub in Swinton, and the scene -- a simple shot of Peter's pal Patrick McGuinness drying his hands on an electric drier -- is in the can.

"OK everyone, that's a wrap," says Amanda. Then smiling at Peter: "OK, I admit you were right!"

The pair hug and the crew say their goodbyes for a two day weekend break.

It's the end of the second week filming the series, which follows the adventures of Max and Paddy, the loveable rogues who mind the door of the club in the hit series Phoenix Nights.

At the end of the second series the pair were last seen chugging off in their motorhome.

Road to Nowhere will chart what they get up to on their travels around the country -- and Peter is delighted with the way the shoot is progressing so far.

"Everything is going really well," he says during a break between filming at Swinton Civic Centre, which is doubling for a magistrates court.

"This is the best crew I have ever worked with. Everyone is focused and working as a team and that means everyone enjoys what they are doing, which makes for a good atmosphere on set."

Third assistant director Ursula Haworth, whose job it is to shepherd extras (or supporting actors as they are known) around the set and make sure everything runs as smoothly as possible to the tight schedule, agrees.

She says: "It is a joy to work on this. Peter is a great guy, but also the scripts are brilliant. We are in pieces every day -- it is very funny."

Peter has kindly invited me to spend a full day on the set and even allowed me to become a "supporting actor" in one brief, but unforgettable, moment.

The day's shooting began at 7.15am on a grass verge in the car park of Safeway in Breightmet.

Max and Paddy's motorhome is parked up -- complete with a clothes maiden on which hangs a large pair of underpants with a day of the week embroidered on them. Peter is setting up the shot with the director of photography, making sure that the camera is at exactly the right angle and keeping a watchful eye on the sky.

It is one of the few scenes from the series which requires some sun; the pair are meant to be catching some rays.

Peter, now shaven-headed and sporting his character's trademark goatee beard, uses a silver roasting tray to reflect the sun on to his face, as Paddy browses through a magazine.

After three hours filming in the car park and in the entrance to the store, much to the bemusement of early morning shoppers, the crew are ready to move to the next location, Swinton Civic Centre.

This is for a scene in episode five in which the two doormen walk out of court to be greeted by a small throng of waiting photographers and a reporter, which involves my big moment. (See panel opposite).

As we walk over to the set, Peter points out a phone kiosk incongruously placed right next to the civic building.

"Do you like our dummy phone box? It looks brilliant doesn't it? Some people have actually been trying to use it." On closer inspection we can see that the glass has been removed from one side of the kiosk to allow the camera access to film the occupants.

The fake kiosk isn't the only prop that fools the locals that afternoon. A little later one man asks me where the council offices are. "They're right here," I reply, pointing to the building.

"Well, it says magistrates courts on that sign," is the disgruntled man's reply before walking off with a look of confusion on his face. Patrick, Peter's best pal -- they went to Mount St Joseph's School together -- says he is having a ball.

He has co-written the new series with the comedian, and says filming has been great fun . . . apart from the early starts.

"Not long ago I would have considered 10am the crack of dawn," he says. Now I'm having to get up at 5-5.30. It's a killer! But having said that, it's good to see it all coming together. The scripts are very funny; there's some good stuff in there."

As Peter directs the action, pausing to play the footage back on a nearby video monitor, a crowd gathers.

Some shout the usual remarks: "Ave it! Garlic bread!" Others watch, smiling, hoping to get an autograph.

Some passing motorists honk their horns, drowning out the sound recording, leading to another "take" being set up, until Peter is satisfied that he has got all the angles he wants and is happy with the dialogue.

Schoolchildren on their way home chatter excitedly and Peter urges them to hush while the scene is being shot. After they ignore him and carry on noisily, he shouts over: "Oi . . . play the game please will you? Just be quiet for a minute . . . one whole English minute, please." The chatter stops and the scene is completed.

After three hours at Breightmet and a further five hours at Swinton, just over two and a half minutes of footage has been shot.

The average per day is around two to three minutes, depending on the complexity of the scene and how many set-ups are needed.

The final location of the day is just around the corner at the Farmers Arms pub. It is doubling as 'Beadle's Bistro' and Max and Paddy have popped in for a bite to eat.

One section of the pub is cordoned off for filming and the crew get to work setting up lights, sound and camera equipment, as the supporting actors are briefed about what they need to be doing for the background action.

After an hour or so filming in the pub, including the final 10 minute dash to shoot the hand drier scene, the day's work is over.

Peter thanks everyone for their hard work and within minutes the pub is empty. It's as if the crew had never been there.

Peter says: "I am very pleased with the new series. I obviously don't want to give away any surprises but there is lots for Phoenix Nights fans to enjoy and I have tried to inject more drama to mix with the comedy.

"We have assembled a fantastic cast and crew and everything's going great."

Road to Nowhere, which is being filmed all across the UK, is due to be shown towards the end of the year. Once the six week shoot ends, Peter will spend weeks in the cutting room, editing all the footage together.

Until then, fans will have to wait to see the finished version, but judging by the sneak preview I enjoyed, it should be well worth the wait.

Filming took place at Bolton town centre's Crompton Place shopping centre before moving to another location .

What it's like to be a star . . . almost

"YOU can be in shot if you like when you come down to see us filming. It'll be a laugh." Those were the words Peter used when he nonchalantly invited me to be an "extra" in his new series. So, a few days later both I and photographer Nigel Taggart found ourselves in a make-up trailer being prepared to appear on camera.

Our brief was pretty simple. We were to be (surprise, surprise) a reporter and photographer waiting outside court to interview Maxy and Paddy as they emerged. Assistant Director Ursula Haworth told us where to stand and when to move and after a couple of rehearsals we were filming.

The scene took four hours to complete -- but that wasn't down to Nigel and I making mistakes!

Perfectionist Peter likes to have as many different versions so he has a choice in the editing suite and the sun kept appearing and disappearing, spoiling continuity.

It will be shown in episode five, lasts just seconds and Nigel and I don't say a word. You'll most likely only be able to see our backs (no bad thing probably), but who cares? We were extras for a day and it was great fun.

It's unlikely, however, that Al Pacino will need to watch his back . . .

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