IT has taken a long time between takes, but it is happening twice over
-- a double take in filming adaptations of the literary works of one
William McIlvanney -- and, coincidentally, it will all be happening at
once.
During the month of October there will be a distinct danger of rival
camera crews bumping into each other, because of this sudden sense of
urgency about getting McIlvanney in the can. BBC Scotland and Scottish
Television are both deeply involved in different ways.
For BBC2 there is a 75-minute adaptation, with music and lyrics
written by McIlvanney, of Dreaming, one of the short stories in his
book, Walking Wounded. And Scottish Television is pumping a six-figure
sum into the production of The Big Man, starring Liam Neeson as the
actual big man, a bare-knuckle fighter, and Billy Connolly, who in real
life is called the Big Yin, as his manager (if you follow me). And in
there swinging, too, will be Joanne Whalley-Kilmer, who was Christine
Keeler in the film Scandal.
The Big Man is being made by Palace Films, which made Scandal. For its
investment, which has enabled the production to hit the road, Scottish
will get the UK non-satellite television rights. British Satellite
Broadcasting, up but not away yet, will be beaming it down by the
heavenly route.
To fully appreciate the build-up to getting McIlvanney on screen, you
have to go back nearly 10 years to when A Gift from Nessus, his only
other work to have been adapted, was seen in the BBC Play For Today
series. Before that, when Laidlaw, his novel about a hard-nosed Glasgow
cop (HNGC) came out in the Seventies, Sean Connery approached him with
the idea of appearing in a film as Laidlaw. But Connery, always in big
demand, was waylaid with other demands on his time.
Then, at the start of the Eighties, independent producer Iain Smith
(who was to work for David Puttnam on Chariots of Fire, Local Hero and
The Mission, and who now oversees Scottish Television's film
diversification) and director Mike Alexander (now directing Dreaming)
were all set to make Laidlaw with Connery in the part. McIlvanney wrote
the screenplay. Connery was keen, but. . .
There were delays with the big money, emanating from New York. The
big-money brokers were concerned that the story of a HNGC might not have
global box-office appeal. This was, of course, long before Glasgow was
considered a culture capital.
Mike Alexander works independently with cameraman Mark Littlewood out
of the Glasgow-based company, Pelicula. He said: ''We had to wait
forever. That was really what killed the thing. Eventually Connery, who
still wanted to do it, couldn't say yea or nae.''
The only screen thing that happened for William McIlvanney during this
waiting game was A Gift From Nessus, adapted by Bill Craig. After its
success, either at No.1 or No.2 in the audience appreciation ratings for
the series, he was wooed by London to write something specifically for
television, but was more interested in getting on with his commitment to
writing books. He did write for the Glasgow Herald about television, not
quite the same thing.
Alexander, one of the great unstoppable forces in the ranks of the
indies, had been given the book, Walking Wounded, with the idea of
making a series of short films. But at the BBC, producer Andy Park
(Tutti Frutti, Down Where the Buffalo Go) picked up on the one story,
Dreaming, with the idea of making it into a major TV film.
Says Alexander: ''Dreaming is about a teenage boy who dreams his way
through a day. It's not a way of escaping reality. It's his way of
dealing with it. Whenever he comes up against something that's hard to
deal with he fantasises. There are a fantasised series of characters he
meets. He twists them all round into either the caricatures as he sees
them, or whatever . . . It's very funny, with a strong, serious,
satirical commentary on society today.''
The latest on Laidlaw, by the way, is that a Toronto-based company has
bought the rights to it. ''But whether it gets made it or not is another
matter,'' says McIlvanney, by now philosophically laid-back about
Laidlaw.
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