The Mars Bar Incident

Y

ou might remember Mr Skinner as the teacher who had helped to soothe my bloodstained face following my run-in with the brick wall in Class 5, but he was also our PE and swimming teacher. And a pretty cool one at that. He wasn't particularly old - junior to the beardless Mr Miller by ten or fifteen years - nevertheless Mr Skinner sported a great full-face beard, which not only projected strength but also suggested the ability to grow hair out of your face. He was tall as well which made him physically imposing for us little people, although that was never his intention.

He had a no-nonsense air about him and his default demeanour was usually one of intense seriousness. What stopped him from being terrifying and served to make him that much cooler was the fact that he was funny, really funny. His approval or his amusement were achievements to be savoured because he always made you feel as though you had earned them. Such was the edifying power of his laughter, I all but forgot I had just scraped half my face off as we filled the sinks with blood in the boys' toilets on the day Denise Miller drove me to destruction. And the final piece in the jigsaw of cool that made Mr Skinner so hip in our young eyes: he looked great in a tracksuit. It's perhaps more superficial than some of his other winning attributes but it cemented the physical aspect of his authority. He was clever and sporty, what is often referred to as an all-rounder, and this Clark Kent/Superman duality really upped his stock.

Although not a fan of either playing or watching league football (I half-heartedly supported Liverpool as a kid), I clearly recall the first football lesson I ever attended as a child and a piece of sage advice given to us by Mr Skinner that has stayed with me to this day, which was ‘remember the rope'. This spatial awareness aid served to remind us to consider the proximity of opposing players when passing the ball to fellow team members. We were asked to imagine a fictional rope, stretching between the player we intended to pass the ball to and ourselves. If a player from the opposing team is able reach the rope, then the ball is vulnerable to interception. It makes complete sense and I keep meaning to include it in a letter, which begins, ‘Dear England . . .'

I don't play football myself but I do use the strategy when kicking balled-up socks across the kitchen to my wife while Minnie tries to intercept. I have also used the expression when watching national games, yelling at a player whose lazy pass has been foiled by a defender. ‘Remember the rope, you fucking prick!' I will scream with a mouthful of lager and dry-roasted peanuts. This is just one of a number of Mr Skinner-based incidents that have inspired me throughout my life, the biggest of which was the day we both performed an elaborate comedy sketch in front of the entire school.

I wasn't enjoying swimming lessons at school, and although I had displayed a certain amount of aptitude for a nine-year-old, my aforementioned wariness of swimming pools had rather slowed my progress. Nevertheless I had moved from the beginners group taught by Mrs Hortop, through to the intermediate group taught by Mr Miller, and eventually, and reluctantly, to the advanced group, which was of course taught by Mr Skinner.

My first lesson as an aquatic A-lister didn't go so well. The group was populated by the kind of sporty kids who had been swimming since they were babies and possessed cool goggles, nose clips, bathing caps and unusually broad shoulders. The lesson required us to swim an alarming number of widths, wearing a pair of nylon pyjamas, which was exhausting and tiring and in my mind pointless, since I usually made an effort not to sleepwalk near large bodies of water.

Psychologically speaking, I couldn't shake flashbacks to that all-consuming sense of panic I had felt struggling, rubber-ringless, beneath the surface of Gloucester Leisure Centre's ‘big pool'. After a few lessons of feeling exhausted and literally out of my depth, I approached Mr Skinner and asked him if I could return to the intermediate level. I felt a little pathetic; it was hard to ask for voluntary demotion from a teacher whose respect I craved, but I didn't really have a choice. Mr Skinner considered my earnest expression for a moment, and obviously detecting something other than laziness in my entreaty, granted my wish. He did, however, make one proviso, this being to buy him a Mars bar as compensation. He smiled at me and sent me off to change, unaware that I had taken his condition very seriously.

But I didn't want to just hand him the Mars bar like a normal person; I wanted to use the opportunity to play a practical joke on him. The previous Christmas, the object of my desire had been a digital watch. Not the kind with a calculator or the super-slim model that played ‘Scotland the Brave' or ‘The Yellow Rose of Texas', but the kind with a seemingly blank ruby face which would display the time in glowing red if you pressed a button on the side. It wasn't entirely practical and its supersession by the grey-faced, silver, ditty-playing next wave of digital timepieces is understandable, since surely the convenience of the wristwatch is that it requires only a glance and does not require any assistance from other digits or limbs. Despite its super-modern feel, in practical terms it was a return to fob-watch fiddliness. At the time, however, the novelty was sufficient to make it highly desirable, and the idea seemed awfully futuristic to this pint-sized sci-fi fan. Also, nobody else in my class had one, making me at the vanguard of new-wave timepiecery.

Christmas drew nearer and presents began to stack up beneath the tree. Every day I would survey the packages, attempting to identify the one that must surely contain my brand-new digital watch. However, the elusive little box failed to materialise and on Christmas morning, having scored an impressive haul of toys and games (that I now wish I'd kept boxed and never played with), I came to my main gift. This last remaining package represented the grand finale to the day's gifting; the crescendo to which all the other presents had been building. But, the box was big and, although still exciting, couldn't possibly contain a digital watch. I hastily tore off the wrapping to find a nondescript box, inside which was another wrapped box. This happened several times until I eventually got down to a small square box.

I was buzzing with excitement, and inside, just as I had hoped, was the watch, all the sweeter for coming as a complete surprise. I remember thinking what a clever way to deliver a shock and still give me exactly what I had asked for. It was this cunning practical joke that I borrowed from my parents the following year when delivering Mr Skinner's Mars bar. I wrapped it in a box and placed the box within a box, then wrapped up that box. I repeated the process several times until the chocolate bar was housed at the heart of six boxes and appeared to be something far bigger. I inscribed the gift card: To Mr Skinner, Just like I promised.

I took the gift into school, snuck into Mr Skinner's classroom when he was off somewhere else being cool in a tracksuit, and left it on his desk. That lunchtime he found the gift and began to open it. I watched through the glass in the door as he negotiated his way through box after box. Mr Miller was in the classroom with him and I remember seeing him hooting with laughter, slapping his good knee as each new box presented itself. I ran back to my classroom before they emerged and sat in my seat the very picture of well-behaved innocence.

Mr Miller entered the room shaking his head and laughing and asked if any of us had given Mr Skinner the present. I remained silent. A few moments later, Mr Skinner entered the room and playfully demanded to know who had left him the cryptic offering. Still, I didn't say a word. I realise now, looking back, that I slightly overestimated Mr Skinner's recollection of his own jokey stipulation, which had meant so much to me. To him it was more of an offhand comment intended to make a young boy feel better about not being a confident swimmer.

It became obvious that he hadn't got the joke at all, assuming one of us was just having a bit of fun. He singled out a boy in the class who looked the guiltiest and asked him to step to the front. I could see I was going to have to do a little of the work myself, so I raised my hand and confessed, at which point Mr Skinner feigned outrage. I can't remember exactly how things transpired at this point but I seem to remember him threatening me with some sort of corporal or even capital punishment before asking me if I had any last requests. I asked if he would permit me to sing ‘One Million Green Bottles'; he accepted and sent me down to the hall, where I stood in the corner singing for about an hour.

Eventually he came to see me and I explained the specificities of the joke and what had inspired me to perpetrate the prank, which he found amusing if perplexingly detailed. Term was coming to an end at this point and the relaxed atmosphere inspired him to push the joke a little further, suggesting I make an impassioned public confession in front of the whole school. He played the stern teacher, while I played the penitent villain as he wheeled me from class to class to make my plea.

I'm not entirely sure why I was being painted as the bad guy; I had after all bought him a Mars bar with my own money and gone to the trouble of elaborately wrapping it up; but I played along because it was fun and because it was Mr Skinner. After the confession in front of my class, we had a little

confab in the corridor and came up with the next part of our charade. He told me to wait a few minutes, then burst into his classroom and beg for forgiveness, like a prisoner begging a hanging judge for clemency. This was more nerve-racking than messing around in front of the younger children. Class 7 was the top class and was full of really ancient kids, some as old as eleven. They were aloof and wise and slightly taller and barely ever paid any attention to the juniors, unless it was to belittle them or else send them hurtling into a corridor wall.

Everyone in Class 7 was infinitely cooler than me, just by being in Class 7. Standing outside Mr Skinner's classroom, waiting nervously to perform my little improvisation in front of the high council of cool kids at Castle Hill Primary School, I was suddenly infused with an unexpected and enormous sense of excitement and pride.

I burst in with a thespian wail and threw myself on Mr Skinner's mercy, in a performance which included fake tears and dramatic supplication, much to the one part bemusement, two parts amusement of the assembled class. Even Mr Skinner was at a slight loss in the face of my histrionics. When I had finished my act, I flung the door open with a dramatic flourish, unaware that my own classmates were outside pressing their ears against the door. A huge heap of them fell into the room, much to the further amusement of the class, although I seem to remember Mr Skinner shouting at them angrily, signalling an end to the frivolities.

For a time afterwards I was adopted by some of the older kids, like an amusing puppy; I was famous for being the funny kid and I relished it enormously. My enjoyment of the attention wasn't motivated by insecurity or a deficit of affection at home. I'm sure psychoanalysis would probably identify some sort of desire for approval in the light, or rather darkness, of my father's departure, but I think I was always like that, even before I could possibly comprehend the abstractions of my own ego. In wordy psychoanalytical terms, my parents' divorce and my attempts to rationalise a degree of abandonment may have exacerbated an existing compulsion to perform but does it really matter? And what the hell does exacerbate mean anyway?

The point is, this incident remains firm in my memory as a key moment in the evolution of my interest in performance and comedy. Having won over a tough crowd - a potentially very tough crowd - the success of the impromptu show left me with a sense of accomplishment and confidence that compelled me to do more. I felt confident and assured. Swimming pools? I shit 'em.

Not in them obviously, that's against the rules.

Nerd Rising

N

ow that you know all about me and my once toxic relationship with chlorinated H2O, let's return to Gloucester and the business of my mother and father - literally. Shortly after Pendulum broke up, Mum and Dad let the music shop on St Aldate Street go. We moved in with Dad's parents (lovingly referred to as Mama and Pop-Pop) and lived with them for a year.

At some point towards the end of that year, Mum and I moved to Nan's house (Mum's mum) on Clegram Road in south Gloucester. My grandfather Albert (Grampy) had died a few months earlier and Nan was alone in the house for the first time in forty years. I don't remember the process of uprooting from Mama and Pop-Pop's to Nan's; I didn't even notice that my dad didn't come with us. I remember waking up one morning, going into the middle bedroom where Mum slept and asking her where Dad was, to which she replied, ‘He's gone away for a bit.' The truth was, for various reasons, they had decided to separate. I took it pretty well, considering.

A few weeks later, Dad walked up the side passage to Nan's back door wearing a check shirt and I ran into his open arms. We saw each other regularly from then on, thanks to my mum's typically selfless goodwill, and developed a relationship closer to friends than father and son. In that respect, I look back on my parents' divorce as a good thing, at least for me. It galvanised my relationship with both of them, forming a powerful bond with my mother and facilitating the removal of the kind of male tension that causes rival stags to lock antlers.

Shortly after that, Mum embarked upon a relationship with a man called Richard Pegg, whom she knew from the GODS. His father, John Pegg, another regular at the Olympus Theatre, worked in the Lloyds Bank on Westgate Street, central Gloucester. Whenever my mum and I went into this austere establishment, which was deathly quiet but for the echoing thump of rubber stamps, I would shout at the top of my voice. ‘Where's John Pegg?', completely unaware that a few years later, I would call him Grandpa.

Pegg Junior worked in Terry Warner Sports, some five doors down from what used to be John's Music on St Aldate Street. While living at Mama and Pop-Pop's, I had become obsessed with The Six Million Dollar Man± and, subsequently, The Bionic Woman (although my love of the latter was mainly because Lindsay Wagner's Jaime Sommers gave me a funny feeling in my tummy). In a pre-Star Wars world, Steve Austin was my ultimate hero; a cool, handsome, cyborg astronaut, everything I was looking for in a friend at the time. I was actually slightly jealous when Barney Miller, the Seven Million Dollar Man, appeared in one of the show's story arcs and distinctly recall feeling a certain amount of Schadenfreude when Barney found himself emotionally incapable of accepting his new super-strong prosthetic limbs and went rogue, only to be apprehended by Steve in a thrilling bionic showdown. Eat that, Barney, I thought to myself as his bionic arms and legs were conveniently dialled down to a ‘normal' setting, Steve's my friend, not yours.

The Christmas of 1976 was a clear material reflection of my love for Colonel Austin. It was the first Christmas we had spent at Nan's without Dad, and perhaps out of some unnecessary sense of guilt, Mum really pushed the sleigh out. Presumably through a combination of credit cards and self­deprivation, she made sure I didn't want for anything that Christmas morning and woke to a plethora of Six Million Dollar goodies. A Steve Austin rocket ship, for the Steve Austin action figure I already owned, which transformed into a bionic repair station, complete with magnifying window and multiple pipes and switches. I also received a Maskatron action figure, the multiple-faced, bionic nemesis and mad scientist I had never heard of but really wanted.

It's fair to say I was Austined up to the bionic eyeball(s). It's interesting to note that two years later, my main Christmas present was a Doctor Who action figure, complete with Tardis and talking Dalek. I was a huge fan of the show, and in 1978 I was lucky enough to meet the fourth Doctor, Tom Baker, at a book signing at Merrits newsagent in Gloucester city centre. He gave me a jelly baby and inscribed my copy of the The Talons of Weng Chiang, a novelisation of one of the television stories. His inscription read: To Simon 8, from Tom Baker, 888.

I still remember drifting away from the signing table, staring at the ink drying on the page and attempting to process the experience of seeing my hero in the flesh. Before the next person could step up to the table, I cut back in line and proudly informed Tom that I been given an effigy of his likeness for Christmas. I recall our conversation clearly.

Me: I've got an action man of you.

Tom: That's marvellous. Have another jelly baby.

I accepted the extra helping of character-based confectionery and walked away a very happy little boy. Twenty-five years later, in the guise of the Editor, evil human nuncio to a bizarre creature called the Mighty Jagrafess of the Holy Hadrojassic Maxarodenfoe, I faced off against the ninth Doctor, Christopher Eccleston, in a moment of circularity that would have floored my eight-year-old self, had I appeared with the news from the electro-static time ball (ESTB), or perhaps more appropriately a Time And Relative Dimension In Space (Tardis).

Getting back to The Six Million Dollar Man, it was my love for this earlier sci-fi hero that in some respects led to my mother and Richard Pegg getting together. Having already been bought a Steve Austin-style red tracksuit, I asked Mum if I could have a pair of red-and-white Adidas trainers to complete the look. She knew there was a sports shop near where we used to live, and that John Pegg's son Richard worked there, so we'd have a friendly face to help us locate the correct pair of bionic shoes. In the summer of 1976, we dropped in to make the purchase. The style was in stock but the size was not. Richard promised to order them in and bring them round to my nan's house, which, a few weeks later, he did. He also asked Mum out on a date. They got married six months later. We moved out of Nan's house and into 10 Castle Hill Drive, a small semi-detached house in Abbotswood, Brockworth, directly opposite Castle Hill Primary School. Wait, divorce, marriage, emotional turmoil . . . Minnie, come back with my sock!

Castle Hill Primary School in Brockworth, Gloucester, was (and probably still is) separated into seven classes, handily referred to as Class 1, Class 2, etc. Back when I was there, each class had a teacher with whom you would spend a year of your school life. I joined Class 4, halfway through the spring term of 1977. I liked the school immediately. It was bright, clean and exciting. In my recollection, the colours seem more vivid, the light brighter, the air somehow sweeter. It may have been the contrast between my new environment and the grim urbanity of Calton Road Juniors that I had left behind, but I attribute the sensation of freshness associated with those memories to the emotional experience of starting a new life in a slightly more rural setting.

My Class 4 teacher, Mrs Hortop, was a wonderfully maternal and skilled teacher who possessed a killer stare if you were naughty but offered endless encouragement and praise if you applied yourself. Her style of teaching was a far cry from the grim, mean-spirited instruction of my previous teacher; a stern woman with a cloud of dry grey hair who had once blankly informed my mum that I had no academic potential and was somehow at fault arriving at the school with an existing knowledge of cursive handwriting, thanks to my previous place of education. I think she childishly resented me for being something of a smarty-pants, just because I had transplanted from the slightly posher King's School. Her bitter resentment towards me had actually reduced my mother to tears after one parents' evening. Mum already felt guilty for removing me from a school I enjoyed attending and suffered deeper insecurities that her divorce may have affected me more than had first been thought. I disliked this teacher almost instantly and consequently had little motivation to meet her twisted standards, sinking into a cycle of insubordination. Fortunately I had an impeccable taste in ‘old school' trainers (although at the time, they were just ‘school') and my bionic red-and-white shoes initiated a chain of events that would facilitate the much-needed change of lifestyle.

I made friends quickly in my new environment. I wasn't particularly shy as a child and had always done well when it came to integrating with other youngsters in parks or on holiday.

As the new boy, I was briefly a point of interest and palled up with two of the more naughty boys, one of whom I later discovered was my second cousin. That happened twice during my time at Castle Hill; both occasions I was already friendly with the person before I found out. Small towns are like that. Occasionally you will discover a person you have known socially for years is your uncle or your cousin. Sometimes they're both.

Eventually I forged the lasting friendships I would sustain throughout my school career and indeed into my adult life. A boy called Lee Beard caught my interest on my very first day. When I arrived that morning, I was late into the class, having spent time with Mum and the headmaster, getting welcomed and orientated. I walked into Mrs Hortop's classroom and was introduced to my classmates, who greeted me with that slow, mechanical voice children collectively employ when saying ‘good morning' or ‘hello' or ‘join us'. I sat down at my new desk, noticing Meredith Catsanus's attractive fringe, and got on with whatever fun task we had been set that morning.

Presently, Mrs Hortop asked for a volunteer to go down to the headmaster's office. Before I could raise an overeager hand, Lee Beard leapt up, causing my stomach to perform a small involuntary somersault. Lee's right leg was encased in a complex caliper splint made of metal and thick leather, which forced the limb into permanent, enforced extension at an obtuse angle to his body. The shoe at the end of the apparatus had an oddly angled sole, enabling Lee's foot to make even contact with the ground when he walked, which he did awkwardly but at great speed. I later learned that Lee had a condition called Perthes' disease, which softens the femoral head of the thigh-bone due to an interruption in the flow of blood to the hip joint. I was extremely shocked that first time I saw Lee's bionic leg. Half thrilled, half appalled, he seemed to me the living embodiment of those little boy charity recepticles often seen outside supermarkets.

Despite this initial shock, I felt an immediate affinity with Lee. For the first six weeks of my life I had worn a splint to restrict movement in my legs due to my hip joints not being properly formed. This, combined with Lee's infectious exuberance and obvious sense of humour, inspired me to make a friend of him. I regularly volunteered to carry a chair down to the assembly hall for Lee to sit on (essential, since Lee could not sit on the floor with his mad robot leg) and we developed a closeness that has kept us in contact to this day.

Why is this relevant to my journey towards becoming an actor? Well, Lee and I took two key roles in the first school production I participated in that didn't involve shepherds. Two years before I performed my Dicky Bird news report with a grazed face, Mrs Hortop cast me as the eponymous and indeed ambiguous hero of Robert Browning's version of ‘The Pied Piper of Hamelin' (the same version my nan had committed to memory so many years before), which we performed in front of the school as part of an assembly in 1977. Lee played the little ‘lame' boy, who cannot keep up with the rest of the village children, as they are led away by the disgruntled Pied Piper, and fails to enter the wondrous portal in the mountain. I remember watching Lee playing out his disappointment at being left alone, eliciting a huge wave of sympathy from the assembled children, and being aware that he had somewhat stolen the show.

By this time Lee's condition had improved and he no longer wore the rigid brace. Instead his heel was attached to a leather strap around his waist that kept his leg bent up behind him at all times, necessitating the use of crutches. It was the last phase of his treatment before he dispensed with the corrective contraptions completely and embarked upon a mad spurt of energy that lasted about a year before he finally settled down to being a normal little boy.

At the time of the ‘Pied Piper', he was perfectly cast and cut an affectively poignant figure as he limped away from the closed cave entrance/sports utility cupboard. I remember feeling a little jealous as the audience hung on his every step, but I also felt admiration for his skilful portrayal of rejection and isolation and couldn't help feeling it was coming from the heart, even then at the tender age of seven, and I never once thought him to be a jammy little fucker.

Performing the show and seeing how it affected the audience made me want to act more, to do something that would make an audience vocalise their emotions the way they did at Lee Beard's lost little boy - jammy little fucker.

Old School

M

oving up to Class 5 in my second year at Castle Hill Primary, we graduated into the combined tutelage of Mr Miller and Mrs Harvey, the latter having only recently joined. She was younger than Mrs Hortop and for this reason alone she seemed very cool. Whereas Mrs Hortop was the very embodiment of the wise, authoritative schoolteacher, Mrs Harvey possessed a distinct, summery laid-backness, which hinted at the possibility that a teacher could be as much a friend as an educator. She wasn't the only such teacher at Castle Hill.

Another young, female teacher called Miss Eglise, who taught us music, possessed a similar casual amiability. I had the unsettling experience of seeing Miss Eglise out of school once, playing Tuptim, in a production of The King and I staged by the CODS in their native Cheltenham. In the show, Tuptim is given to the King of Siam as a gift and potential wife, but Tuptim is in love with Lun Tha, the young man who delivers her to the palace, and (SPOILER ALERT) eventually tragedy ensues. It was strange seeing Miss Eglise in a non-school setting, let alone portraying a beautiful young woman with frailties and desires. Towards the end of the show, Tuptim is severely reprimanded for staging a play, which plainly reflects her dismay at being forced to marry someone she doesn't love. She escapes with her lover but is captured and faces corporal punishment administered by the King himself.

Seeing Miss Eglise play out these emotions, in silky oriental garb, was fairly intoxicating for me. I was fascinated to see her after the show socialising in the bar. She came over to say hello to my mum (and me) and I told her how much I had enjoyed the show, at which point she gave me a playful hug (an act that was still legal back then). She was glowing with post-performance exhilaration and I remember she smelled lovely. The emotion of the play and the unusual interaction with this suddenly exotic and attractive teacher left me with something of a crush on her and I spent the following Sunday sighing heavily and dreaming of Siam.

When I walked into the assembly hall on the Monday, my heart was racing, I felt as though I knew her better than any of the other children in the school; it was as if we had had some kind of an affair, not that I knew what an affair was. I hadn't enjoyed any masturbatory fantasies about showering together in a bed and breakfast just off the A40, Shurdington Road. I was pre-masturbatory at the time, although I did regularly pore over the pages of a Lovebirds magazine that I kept under a caravan in an alley near my house (pore over was perhaps the wrong choice of words there).

I saw her across the room standing by her piano in a cream cardigan and blue dress and walked towards her, hoping she would notice me. Sure enough, she glanced across and spotted me, smiling broadly back at her. I placed my hands together as if in prayer and bowed to her like a Siamese prince, at which point all my dreams came true as she reciprocated with a bow that turned into a curtsey. This little in-joke meant the world to me in that moment, it was an acknowledgement of a connection we had forged outside school and as such made us more than teacher and student: we were sort of friends. She married that year, which vaguely disappointed me, I think. She changed her name to something I don't remember, my lack of recall in this matter being significant perhaps since my strongest memories are as a single woman with an exotic French-sounding name.

I didn't have quite the same feelings towards Mrs Harvey, although I liked her enormously and looked forward to seeing her every day. She was the first teacher I ever accidentally called ‘Mum', much to my enormous embarrassment, but I think this was due to the relaxed, informal atmosphere she engendered in the classroom. She was also a slightly softer touch than Mrs Hortop, and the rowdier boys, the ones that befriended me on the first day, pushed their luck a little more forcefully with her, trying to look up her skirt and asking asinine questions like ‘What's love juice, Miss?'

One of the key factors in my appreciation of Mrs Harvey was that she was something of a nerd. She didn't look like one particularly. She was pretty with a fuzz of curly black hair and dressed in loose blouses and flowing skirts that you had to lie on the floor to look up. Not that I did, nor in fact needed to. I have a vague memory of being able to see her legs through the material when the sun shone through the classroom window and giggling breathlessly about it to whoever was next to me, probably Sean or Lee or Matthew Bunting, a boy I eventually drifted apart from due to conflicting feelings about sport (he liked it, I didn't).

Mrs Harvey's nerdiness extended mainly from her fascination with the paranormal. She had a grandmother who was reputedly psychic and Mrs Harvey would regale us with stories of how her granny participated in regular conversations with dead relatives. These stories would simultaneously thrill and terrify us and inspired us to sit at her feet (trying not to look up her skirt) or gather round her desk at any given opportunity.

It wasn't just the spirit world that fascinated Mrs Harvey; we had long discussions about Big Foot and the Loch Ness Monster as well as other aspects of parapsychology. She particularly nurtured in me a fascination with UFOs and even gave me a book on the subject called Mysterious Visitors by Brinsley Le Poer Trench, which featured a pictorial supplement, illustrating how certain biblical conceits, such as the luminous cloud/pillar of fire that accompanied the Israelites, or the ‘wheel' witnessed by the prophet Ezekiel, may have actually been visiting spacecraft. I still believed in God at the time, as children tend to do, and this made stuffy old religion ten times more interesting.

We discussed how the immense geoglyphs carved into the Nazca Desert floor, which can be seen only from a great height, could be messages intended for extraterrestrial visitors. I loved talking about this kind of thing. I had been fascinated by unexplained phenomena from a very early age. I avidly watched television shows such as Arthur C. Clarke's Mysterious World and In Search of . . . presented by Leonard Nimoy (a man I would eventually meet on an ice planet called Vega 4). I subscribed to The Unexplained,5 a monthly magazine about the paranormal, which could be collected into volumes and housed in an attractive binder, available gratis if you purchased all twelve issues.

Looking back, this fascination was formative in my journey towards geekdom, further inspiring an existing love of all things alien and unknown that compelled me to close the curtains whenever I watched The Clangers,6 or enjoy spending time underwater. Thirty-five years after Mrs Harvey handed me Mysterious Visitors, I found myself in the deserts of New Mexico with my best friend Nick, making a film about an alien called Paul, who enlists two British nerds to help get him back to his spaceship, idly wishing I could fizz off back to 1978 and let me know.

Around this time of fantastic, inspiring teachers, we were lucky enough to also be taught by the limping, storytelling genius that was Mr Miller. Stern yet avuncular, he inspired a similar desire for approval as his predecessors but somehow made that approval even more of a mission to attain. Maybe male approval was more important to me because of latent abandonment issues brought on by the creeping realisation that my father had walked out on me as well as my mother, although I never really thought of their divorce in those terms, at least not until I was older and even then I didn't regard it in such a self- pitying, egocentric way.

Still, these experiences do manifest themselves in our behaviours and it's fair to say I looked for fathers for a while, despite having a brand-new step model at home. But perhaps the desire to please Mr Miller was keener, simply because he was enormous fun when he was pleased and quite scary when he was cross. He was the first teacher to make me stand in the corner and it made me cry with shame and disappointment. For some reason the whole class had collectively decided to make the popping sound achieved by putting your index finger in your mouth and firing it out against the inside of your cheek. We've all done it to demonstrate how the weasel goes at the end of that bizarre nursery rhyme. The Class 5 popspasm inevitably got out of hand and Mr Miller sternly proclaimed that the next person to emit a finger-assisted explosive would be in big trouble. Without thinking, I called his bluff. He wasn't bluffing.

I realised I had been quite literally cheeky, the moment I felt the air on my wet finger. Mr Miller ignored the wave of suppressed tittering that skidded across the room, and zeroed in on the transgressor, me. The order to stand in the corner was given with what I can only describe as disappointed indifference, as if in that one second he had given up on me completely. I sobbed remorsefully in the corner until he took pity on me and relieved me from my position of shame. I can't remember exactly what he said to me (something like ‘try not to be such a silly billy¹), but he said it comically from the corner of his mouth and accompanied every other syllable with a painless kick up the backside, which was harmless and affectionate but today he would be fired for.

I remember Mr Miller with great fondness; his natural air of authority was gently undermined by the pronounced limp, which gave him an appealing

vulnerability. He had a wonderful way with words, regularly using antiquated phrases such as ‘by jove' and ‘by jingo', and referred to our schoolbooks as ‘goods and chattels'.

He was undoubtedly the best storyteller I had ever encountered (perhaps second to my dad who I still recall reading me The Hobbit when I was just four). At the end of each day, we would all put our heads down on our folded arms and listen to Mr Miller read from a variety of books which continue to exist in my memory because they were all read to us with such passion and vigour. Tom’s Midnight Garden, The Little Captain and the Seven Towers were delivered in daily, nail-biting instalments, and I attribute any understanding I have of the importance of drama in narrative storytelling to Mr Miller and what was clearly his and our favourite part of the school day.

The other significant recollection I have of him is far less salubrious but remains fixed in my memory as one of those occasions where laughter segues into great heaving sobs, indistinguishable from hysterical crying and emotionally not that dissimilar.

There are two more occasions on which I recall this happening during early childhood. The first occurred while watching Morecambe and Wise perform a sketch in which Eric, dressed as a Cossack, was repeatedly pulled off the front of the carriage he was driving by a disobedient horse, while Ernie sang a love song to a female guest. With each successive ‘giddy up', Eric would leap out of shot and the level of my hysteria would increase, until I was helpless on the living room floor.

The other transpired as a result of a game I was playing with Sean Jeffries, which involved running towards one another in the dark at high speed, wearing vampire fangs, illuminated only by torchlight, presumably to try to elicit some sort of visceral scare. On the fourth or fifth iteration of the ‘my turn/your turn' cycle, Sean came haring round the corner of his house and fell over on his arse. It doesn't sound particularly funny in the recounting but it crippled me with laughter at the time. I folded up into a breathless heap on the floor for about five minutes and howled uncontrollably at the night sky. I wrote about the event in my schoolbook the following week, as part of an essay about my weekend activity, complete with a drawing of Sean, bearing his fangs, mid-skid.

However, neither occasion quite matched the levels of hilarity that ensued on the day Mr Miller sat on the corner of his desk and farted it to pieces. Bear in mind, I was a typical eight-year-old, for whom bodily functions, slapstick and the humiliation of authority were among the most amusing things on the planet. Now imagine, if you will, this triple threat of child-spazzing rib-tickling comic factors being unleashed on a class of thirty-five eight-year-olds, all of whom were likely to be buzzing on sugar and tartrazine from all the Space Dust they had ingested at break time. It was comparable to a bomb going off, a blast wave of gut-busting hilarity that spread through the room in a microsecond from Mr Miller's red-faced ground zero at the front of the class.

It happened in tiny increments as I remember. Mr Miller sat on the edge of the desk, which shifted slightly; the sudden exertion of the correction he had to make to regain his balance resulted in a double blow-off; two little rasping braps, accompanied by an expression of amused shame on his face, before the table suddenly lurched, cracked and then collapsed on to the floor with Mr Miller on top of it. There must have been a nanosecond of disbelief and amazement at the confluence of this combination of farcical ingredients before the class exploded into frenzied, screeching giggles, which Mr Miller simply had to allow, since his embarrassment and indignation would have only made it worse.

The ramifications continued long after the event, with random class members suddenly bursting out laughing, the result of post-comedic stress disorder. Mr Miller himself grew used to the odd light-hearted raspberry, which would erupt behind his back, accepting the reminder with a reluctant nod of the head. He actually moved up with us from Class 5 to 6, so that we enjoyed his company for nearly two years. I'm sure he privately lamented not getting to teach a new group of kids, one who hadn't witnessed the calamity.

However, the incident in no way undermined his status among the children; such was his reputation, it could withstand any ignominy, even a furniture- destroying guff. The first thing I think about when he comes to mind is resting my head on my arms, closing my eyes and listening to him read us those classic stories. It's only after further reminiscence that a smile twists itself across my face and my shoulders start to shake at the thought of his marvellous, impromptu and entirely unintentional comic coup de grace.

Like most riads, Pegg's consisted of a living space built around a central garden or courtyard, with the majority of the building's windows focusing inwards on the central outdoor space so as to give the residents protection and privacy.

The transition from the featureless mud-brick exterior to the often ornate atria proved an inevitable surprise to those unfamiliar with this introspective architectural style, but how much greater would that surprise be if the unwary visitor witnessed a sleek black stealth aircraft lower itself gracefully into the centre of the building, as the zellige-tiled fountain folded in on itself and the citrus trees, heavy with fruit, parted to allow the silent aircraft to further lower itself into its subterranean hangar? They would probably shit themselves.

The hangar had been built by previous resident Sean Connery back in the seventies in order to house the personal helicopter he assumed would be commercially available to the general public by 1981, but alas it did not materialise until 2006, by which time Connery had sold the riad to Pegg and moved to a delightful property in Spain with two tennis courts and a weather-changing laser cannon which he sold to the comedian Jimmy Tarbuck who gifted it to his daughter Liza.

The hangar remained intact until Connery vacated it in 1995, used mainly for storing wine bottles and mountain bikes. On his purchase of the property, Pegg had the hangar tastefully restored to house his experimental aircraft. He had to smile to himself when he went to see the first X-Men film at the Canon, Frogmore Street, in Bristol, and noticed that the students of Professor Xavier's school for gifted youngsters had a similar hangar in their basement but there was no way he had stolen the idea because his was built when Bryan Singer was just a gay baby (gaby).

‘Power down,' said Pegg, easing the hefty bird to a perfect landing. ‘Secure the tethers.'

Canterbury's metallic digits flickered over a bank of instruments and the sound of clamps, closing around the landing gear, resonated through the plane as it released a final, breath-like whine.

‘Welcome to Morocco,' said Pegg like he always did when they landed in the riad, usually around Easter and the last half-term break before Christmas.

‘Should we start looking for her?' enquired Canterbury.

‘Let's get some rest,' said Pegg. ‘You need to recharge and I didn't really get any sleep on the plane because The Shawshank Redemption came on the TV and I was only going to watch the first ten minutes but I ended up watching it all.'

‘Get busy living or get busy dying,' mused Canterbury.

‘Look, I'll be a mess if I don't get at least six hours,' snapped Pegg. ‘It's all right for you, you're a robot.'

‘It's a quote from The Shawshank Redemption, sir,' said Canterbury apologetically.

‘Oh, yeah.' Pegg inwardly cursed his failure to pick up on the reference. ‘I'm tired, I told you,' insisted Pegg. ‘Otherwise I would have definitely got the quote and probably quoted the next line back to you. Give me another one.'

‘You know what the Mexicans say about the Pacific?' asked Canterbury in a perfect imitation of the actor Tim Robbins.

‘Not a general knowledge question,' said Pegg testily. ‘Give me a quote from The Shawshank Redemption.’

Canterbury's neural servos whirred quietly as he considered his options. His vocal capacitor crackled very slightly before he spoke.

‘Brooks was . . .'

‘Here!' screamed Pegg triumphantly. ‘Brooks was here. I love that bit when the old man hangs himself because he can't hack it in the real world. It's so funny!'

Pegg's hysterical laughter echoed around the hangar as he performed a short self-congratulatory dance.

‘Ysee, Canterbury?' trilled Pegg, ‘You have to be firing on all cylinders to catch me out when it comes to quoting The Shawshank Redemption.’

‘Indeed you do, sir,' conceded Pegg's lovable robotic counterpart, ‘indeed you do.'

Pegg stretched the ache of confinement from his toned body, snapping a crackle of pops from his crispy joints. He was in the best shape of his life, but as he had wittily attested when his Raiders of the Lost Ark vHs had become unwatchable due to overuse, ‘It's not the age, honey, it's the mileage.' To say Pegg had seen action would be a gross underestimation of his exploits and adventures over the years and his body was worn from too much brawling and having it off. Despite the wear and tear, he was still well fit in both senses and looked genuinely good in skinny jeans, which is rare for someone in their thirties.

Pegg stabbed at a button on the dash and a ramp extended silently to the ground beneath the jet. Pegg disembarked with his faithful robotic assistant, butler and acupuncturist in tow and took a lungful of the warm night air.

‘Let's hit the medina first thing,' Pegg suggested. ‘If the Scarlet Panther is here, we'll find her, and when we do, she'll wish she'd never set foot in the Museum of Egyptian Antiquity.'

‘Do you think she'll be easy to find, sir?' enquired Canterbury.

‘That depends on whether or not she wants to be found,' said Pegg knowingly. ‘If she's in the mood to remain inconspicuous, we could be eating couscous for days. If she's feeling playful, she'll come straight to us. In which case, there's a Wimpy out near the airport; I'll probably grab myself an eggy bender.'

‘She will come to us?' said Canterbury, confusion in his synthetic voice.

‘If I know the Panther like I think I know the Panther, then yes, we just need to make our presence known. Should have brought the personal helicopter rather than the stealth jet,' Pegg mused. The pair were silent for several moments. About eight.

‘Will that be all, sir?' enquired Canterbury, aware he was due to recharge his power cells.

‘If you've got enough juice, can you nip over to that vending machine by the bus station and get me a Coke Zero?' said Pegg with childlike hope.

‘Of course, sir,' Canterbury replied immediately and without complaint. ‘I'll use the usual disguise.'

As Canterbury pottered off to prepare for his errand he stopped and turned back to his master. ‘You think we'll definitely find her then?' He faltered slightly. ‘The Scarlet Panther that is.'

‘I hope so,' replied his handsome creator, pausing dramatically before saying it again. ‘I hope so.'

Canterbury nodded. ‘Remember, Red,' he said, once again quoting Frank Darabont's much-vaunted prison saga, ‘hope is a good thing, maybe the best of things, and no good thing ever dies.'

‘Who the fuck's Red?' enquired Pegg.

Fabulousity

I

n 1979, the news that there was to be a Star Trek movie proved immensely exciting to me. Thanks to the renewed interest in science fiction generated by George Lucas, BBC2 had started showing the original series again at 6 p.m. so that I would invariably find myself wolfing down my evening meal so I could leave the table and rush to the living room in order to boldly go.

Prior to this (and of course Star Wars), my budding inner nerd had been serviced by a variety of sources. Like most young boys, I became obsessed with dinosaurs at a very early age and can recall roughly sticking together a model Allosaurus long before I should have ever been permitted to wield powerful glue.

My love of big creatures and dinosaurs and films like The Valley of Gwangi and The Land That Time Forgot was further sated when I discovered David Attenborough presenting a TV show called Fabulous Animals. The show aired as part of the BBC's afternoon children's programming schedule, and covered such famous myths as the Loch Ness Monster and the Abominable Snowman, as well as examining the more classical creatures from Greek and Roman mythology. I watched it avidly; not entirely certain that it wasn't a documentary about creatures that might exist or in fact did exist at some point. I remember desperately wanting to believe in the Sphinx and Phoenix and being certain that these histories must have some foundation in truth. It was the beginning of my love for unexplained phenomena at a time when I was far more Mulder than Scully.

I remember being annoyed at my mum for interrupting my viewing of Fabulous Animals one winter evening, then promptly forgetting about griffons and centaurs, as she informed me that my grandfather had died. I was six years old at the time and that memory will always be inextricably linked to David Attenborough's soft, breathy voice. It's interesting that I should recall so precisely what I was watching on TV at the time. I'm not sure whether it was the shock of my first bereavement that imprinted the moment so vividly in my memory or the sharp contrast between the fantasy of the show and the reality of my mother's tears. I certainly didn't understand the concept of death, and as such, I didn't truly experience a great sense of loss, I just remember feeling guilty that I had complained about missing my show, as I witnessed Mum struggling to give me the news, a sight far scarier than the Abominable Snowman or the Fiji Mermaid.

A much happier monster memory involved going to see Sinbad and the Eye of the Tiger at the ABC on St Aldate Street with my dad. We walked the five or six doors down from our shop to the cinema, where two years later I would see Star Wars and where five years before I had entered my first ever theatre. Witnessing Ray Harryhausen's marvellous animations on the big screen was amazing and I watched open-mouthed, even more than I had done at my grandmother's house a year or so before, when Dad had introduced me to Jason and the Argonauts. I look back at both films as seminal moments in my development towards geekdom. Jason and the Argonauts had a particularly significant effect on me, becoming the focus of much of my art and stories for some time afterwards. Dad and I would re-enact scenes from the film with me as Jason and Dad as the bronze giant Talos. He would kneel very still then crane his neck round making a loud creaking noise, at which point I would erupt into giggling screams and attack him with a plastic sword. Earlier this year, director John Landis invited Ray Harryhausen to cameo in Burke and Hare. Ray signed a copy of his book for me and gave it to John to pass on. To be honest, I'm quite relieved he didn't give it to me in person: I probably would have erupted into giggling screams and attacked him with a plastic sword.

My other nerdy pre-Star Wars interests included the television series of Planet of the Apes, Lost in Space (for which John Williams provided the score), The Invaders, Gerry Anderson's marionation classics, Thunderbirds, Captain Scarlet and Joe 90, Jon Pertwee as Doctor Who and the animated series of Star Trek. The cartoon version of the classic live-action TV series ran from 1973 to 1974 and featured original cast members providing their voices. As a pre-schooler, I found the live-action show a little scary and I much preferred the animated adventures. It wasn't until after Star Wars, as my interest in the genre became more sophisticated, that I started to lap up the live-action adventures of Kirk, Spock and that Scottish guy. Even then some of the episodes would give me a serious case of the creeps.

An episode called ‘The Corbomite Maneuver', in which Clint Howard, star of Gentle Ben and brother of the more famous Ron, plays an alien child, who uses a terrifying alter ego to put the shits up the Enterprise crew, gave me an equal if not more intense case of the space willies. The scary proxy's name was Balok and his appearance was deeply troubling to me as a child. A dome-headed, blue-tinged humanoid with piercing slanted eyes, his glare was so intense it forced me to hide behind my hands and make squeaking noises. It was a triumph of model-making at the time and the programme-makers made good use of it by featuring his image in the closing-credits stills montage of the show, so that even if I hadn't been frightened by the episode, I'd get a dose of Balok all the same. The montage wasn't always the same though, so watching it would amount to a game of visual Russian roulette. Would it be the green Orion slave girl caught in the middle of her sexy dance, or would it be Balok with his terrifying death stare? Interestingly my daughter makes the same face now, when she's filling her nappy. Maybe that's what Balok was doing.

By the time Star Trek: The Motion Picture rolled round, I considered myself a proper fan and felt abuzz with excitement when my Uncle Greg picked me up and took me to the ABC. The movie was criticised for its solemnity and for being a little wordy and grown-up, but I don't remember being disappointed at all. With the absence of a weekly budget big enough to afford spell-binding effects, the series had compensated by concentrating on character rather than setting. The stories, though fantastic, often boiled down to basic conflicts of emotion and morality. The Motion Picture did the same, only with the aesthetics the series never had. By the second and arguably best Star Trek movie instalment, the film-makers had got the mix right for commercial success, but the first movie remains an enjoyable cinematic outing for the characters.

Star Trek: The Motion Picture came with a lot of pre-existing mythological weight, having already established itself culturally. Although not a massive success on its first airing, the series had proved a cult favourite in syndication and found fans around the world. The film-makers exploited this familiarity, reintroducing us to the characters and settings as if they were old friends. Seeing the Enterprise for the first time on the big screen felt special because we knew it so well from the television. The sight of Spock with long hair gave me a thrill as a kid because he had always been so immaculately groomed in the TV show, so seeing him all unkempt was very cool.

In some respects, this was my first experience of intertextuality, something that would become very important to my own creative output in later life. Although basic scene-setting to the untrained eye, these dramatic touches in Star Trek: The Motion Picture were gifts to the faithful and could be truly appreciated only by them. That frisson of enjoyment at seeing scruffy Spock could not possibly be experienced without a pre-existing knowledge of his spirit-level fringe. One might have simply thought, ‘Who is that scruffy guy with the pointy ears?', not ‘Wow, Spock's really let himself go' or ‘Hey, Leonard Nimoy looks good with a shoulder-length bob'.

As I sat there in the darkness of the ABC, I was of course totally oblivious to the personal significance the event had for me. I was witnessing the commencement of a series of cinematic adventures that would one day include me. As I witnessed Spock step from his shuttle on to the Enterprise, I was unaware that one day that character, not just the actor but that character, would look me in the eyes and say, ‘You are Montgomery Scott.' It's a little indulgent, I know - though a memoir is after all the height of indulgence - but it blows my mind to consider the circularity of these events. It is hard to describe being in your late thirties and acting with a character you have known almost all your life. It's exciting enough to meet actors you have long admired, but to be transported into a fictional universe that you have witnessed countless times from afar is really something else.

The first time I set foot on the bridge of the Starship Enterprise,7 I tapped director JJ Abrams on the shoulder and smiled, knowing as a fellow fan he would appreciate the significance as I took my one small step on to the impressive set housed in one of the sound stages at the Paramount Studios lot in Los Angeles. This was the culmination of a lifetime's fandom. A journey which had started with a cartoon, continued through the gaps in my fingers as I waited for Balok's terrifying face to appear, and had drawn ever closer the day JJ sat down to watch Shaun of the Dead. Eventually, as I touched down in London, having spent a month in New York shooting the exteriors for How to Lose Friends & Alienate People, I switched on my phone and noticed I had

received an email from JJ. We had become friends a couple of years earlier after he had telephoned me at my London office and asked outright if I wanted to be in Mission: Impossible III. Of course I said yes;s I knew JJ from his hit show Alias and was extremely flattered that he had contacted me so forthrightly. Eighteen months later I opened the email from JJ and found it to be similarly forthright. ‘Do you want to play Scotty?'

A Long Time Ago .

S

tar Wars was released in the UK in December 1977 and it's fair to say, like the peaceful planet of Alderaan, I was totally blown away.

It wasn't just the effects either, far from it in fact. The chemistry between the actors was genuine and irresistible, the comic touches were subtle and well pitched, and John Williams's brilliantly emotive score was a hair-raising stroke of genius in an age when orchestration was unfashionable. The caption that preceded the first orchestral blast of score was hugely intriguing and immediately hinted at the story's mythic weight: ‘A long time ago in a galaxy far, far away . . .' A frown flickered across my face in the darkness of the ABC cinema in Gloucester, that same building that until a few years earlier had been the venue for the annual GODS musical production. So this is science fiction but it isnt the future? Also, whether it was intended to do so or not, the fact that this first outing for the franchise was billed as Episode IVgave it instant historical presence, as though the story was already a classic tale, we just hadn't been aware of it.

I left the cinema in a daze of excitement, deliriously enthused by what I had just witnessed. I wanted to go back and see it again immediately and I envied the long line of people waiting to go in as we left.

I bought a poster at a merchandise stand in the foyer and brandished it like a light sabre, all the way back to the car, which became a landspeeder and X-wing fighter as we drove home. I can distinctly recall the sensation I experienced directly after seeing the film. I had entered the cinema in daylight buzzing with excitement and re-emerged into the night charged with joyous satisfaction. Everything had changed, not just the fact that the sky was now a deep blue but that it seemed bigger and more full of potential than ever before.

My first intimation of Star Wars in any shape or form was at a friend's birthday party in 1977. He had received a Star Wars Letraset9 action transfer kit, which consisted of a cardboard diorama depicting what I later learned to be the Death Star hangar bay and two sheets of dry transfers to be rubbed on at your discretion. I had no idea who these characters were but they fascinated me.

There was an old man in a cloak carrying a glowing blue sword, a man dressed entirely in black with a helmet like a dog's face and a glowing red sword, a young blond boy in pyjamas, a cool-looking guy in a waistcoat firing a big pistol, a similarly armed girl in a white dress, a gorilla, a dustbin with legs and a gold homosexual. There were also loads of guys in white suits, all carrying guns and in varying action poses. I had no idea who was who, although apparently the blond boy was called Han. Already, even before I had seen the film, I found myself seduced by a marketing campaign based heavily on merchandising. I was playing with these characters and growing ever more desperate to actually meet them.

The film was not released in the UK for a full seven months after its release in the US, so that by the time it reached our shores, it was already being heralded by an awesome juggernaut of extraordinarily positive pre-publicity. Seven months earlier, in the States, it had been a completely different matter. The inside word on Star Wars was extremely negative and a nervy Twentieth Century Fox even moved the release to avoid a trouncing from other summer movies. When it was released, it opened on only about forty screens. To give you an idea of how few that is for such a significant film, in 2004 Shaun of the Dead, a small, low-budget comedy horror film from the UK, opened on eight hundred screens across the USA. Lucas had, however, been extremely smart in his personal efforts to promote the film, having retained the merchandising rights (an act of stupendous short-sightedness on the part of the studio) and taking on genre whizz Charles Lippincott as marketing director. Lippincott was able to establish a core buzz about the movie with the science-fiction fan base at events such as the San Diego Comic-Con.

At that time, the event was nothing like the industry behemoth it is today, but it was still a nexus for the film's key audience and Lucas and Lippincott cannily identified that these enthusiasts could be the touch paper required to set Star Wars alight. A novelisation of Lucas's original story was released in 1976 and by the time the movie was released on 25 May 1977, half a million copies had been sold. Despite uncertainty about the film's potential, even from those within Lucasfilm itself, Star Wars smashed the house box-office record in every theatre it played at and started a chain reaction which would propel it into the history books and make it one of the most successful films of all time.

The enthusiasm was contagious. The American cinema-going public, desperate for some positive, life-affirming entertainment, embraced it with hysterical enthusiasm. Not only did it entertain and amaze, it promised something the nation had been reluctant to address: a future. A future that was bright and exciting and full of good-looking young Americans.

Ground zero was the famous Grauman's Chinese Theatre at 6925 Hollywood Boulevard, Los Angeles, where the premiere for the movie took place. As news stories filtered across to the UK about the success of the movie, TV reports often featured shots of the ornate building, with crowds of fans wearing Star Wars T-shirts and ‘May the Force be with you' badges lined up outside waiting to see the film. It seemed so magical and exciting to me, sat in front of the television. It may have been happening there before my eyes but it seemed like a galaxy far, far away to me then, like something other-worldly and untouchable. If there was a bright centre to the universe, Gloucester was the town it was farthest from, particularly for a young enthusiastic country boy, dreaming of escape to a place of excitement and adventure.

You see what I'm doing here, right? I'm comparing myself to Luke Skywalker. Interestingly, I did always assume the role of of Luke when playing Star Wars on the fields and building sites of my youth, and not the infinitely cooler Han Solo. Maybe I identified with him a little more, maybe his predicament as a dreamer in a quiet uneventful place did strike a chord with me, even at that tender age. Maybe it was just because I had the same haircut. Whatever the reason, it was a powerfully poetic and ESTB-craving event, when, thirty-two years later, I pulled up outside Grauman's Chinese Theatre in a big black limousine to attend the premiere of a different science-fiction blockbuster. Sure the T-shirts and badges read ‘Trek' and not ‘Wars', but I have my own affectionate history with that other most famous of space sagas, so the poetry of the moment was layered with several boyhood dreams.

W

Date: 2015-12-17; view: 748