PP2 (part 2)

Left: Gordale Scar
Right: Charles recording water
Friday morning, and after an excellent breakfast (fried variety recommended by Charles, who has tested one or two in his time) we set off once again for Gordale Scar, this time somewhat wimpishly driving as near as we could to the site since we had the full gear to carry - large film camera, sound recording equipment, stills cameras x 2, tripod, huge umbrella, bags of extraneous extras. I use the word WE advisedly, since it is usually I (i.e. Libby) who is the beast of burden. For example, on the walk to the gorge from the car, I was encumbered overmuchly whilst Charles dallied with a light meter - and a lady we passed remarked, 'that's serious equipment, are you the porter?'. So now I have yet another job description - official bag carrier.
Meanwhile Charles was darting around photographing dead umbrellas - such activities no doubt have a cult following. And much recording of water - streams, waterfalls, rivulets, you name it, he 'done' it.












Left: Dead Umbrella at Malham Cove
Right: Parrot style dead umbrella at Gordale Scar
Luckily no climbers today, weather marginally improved, few people to mar the view, not a bad session - and Janet's Foss as beautiful and magical as yesterday promised. Lining up Piper's views somewhat difficult - I think artistic license may have been involved.
I found the only way I could possibly recapture the awe felt by those early pioneers was to view the Scar and waterfall upside down, make the cliffs crowd down upon me, force them to appear anthropomorphic.
We finally finished filming and photographing mid afternoon and decided to plot our own scenic route home via Skipton and Ilkley to the A1 which took no longer than the polluted and tedious AA version.
Tomorrow I return home - but only after insisting on the kipper brunch!

Janet's Foss - upside down! Even more magical, n'est ce pas?

PP2 (part 1)

Above: Malham Cove

Today we set off from Film Farm in bright sunshine, our hopes high at the prospect of visiting the renowned Gordale Scar.
Things went swimmingly until we realised that the AA routing through Leeds/Bradford/Huddersfield area was not the easiest or the most scenic. Charles however successfully ignored the problem by chattering away gaily about this and that. Just before Junction 24 Libby (who as well as being the chief researcher is also the chauffeur) happened to enquire which exit she was looking for '25, must be the next one' - but of course it wasn't - the next junction was 23 and for some unknown reason we carried on to junction 22 before retracing our steps. The rain started to fall, increasing in volume as we neared our destination, and somewhere near Kirkby Malham we appeared to enter a black hole, where each signpost indicated that the distance to Malham increased in inverse proportion to the actual proximity. We finally arrived at the River House Hotel, placed the piles of equipment bags in the rooms, and set out with minimal equipment for a recce.
But first, a quick bite - c/o The Old Barn Cafe, a tiny place where muddy boots are always welcome and serving excellent home made soup, cakes and sandwiches - recommended.
Thence our walk to Malham Cove and over the top where the limestone pavement forms strange abstract shapes, divided by narrow gullies, and polished silky smooth - a trifle scary for Libby who hasn't the best sense of balance and does not wish to have a second hip replacement any time soon. Across the fields and on to Gordale Scar, a natural feature which awed the romantic poets and artists. Oddly enough we weren't as stunned as we expected to be by the ancient limestone gorge and waterfall. Or at least not until one of the two rock climbers who were busily abseiling at the precise point where the best viewpoint of the waterfall could be gained, happened to start showering rock on our intrepid filmmaker. Terrified of breaking his Super 8 camera (with which we film period looking shots of each location) he stumbled on the wet rocks and fell, tearing his trousers but luckily saving said camera in the process.
Why the climbers were allowed in that spot in the first instance, and why they are allowed to break the fabric of this 15-16 million year old natural feature defeats me. Answers on a postcard (or email would suffice).
We carried on, bruised and battered and exceedingly wet, were delighted by Janet's Foss, a fairy dell worthy of a Shakespearean setting, and finally returned to Malham where a cuppa, c/o The Old Barn of course, slightly revived the senses.
Charles, obviously never a Boy Scout, was sartorially unprepared and apparently had to dry his trousers with a hair dryer in order to appear for the evening meal! He'd have rued not drying them, because dinner at River House Hotel was superbly cooked, and incredibly good value. The rooms were clean but could be improved by some revamping - but the food - in another league altogether. Again, highly recommended.

Left: Limestone pavement aka Moore sculptures atop Malham Cove.

Right: Libby finding the right direction in life

KIPPERS with everything

It has been agreed on high that John Betjeman and John Piper could never have achieved their remarkable Shell Guides without the aid of kippers for breakfast and we have therefore resolved to partake of such at least once each and every time we embark upon a Piper Perambulation. Indeed such is the resolve of the team, that Chef Charles, the renowned proprietor of Hare in the Gate, has, on our behalf, imported and laid down in his freezer, dozens of the beasts, and not your everyday kipper, but MANX kippers no less, a pair of which are illustrated (before being happily devoured).

Piper Perambulation 1

Alias PP1. Well, we're on the road - and the first point of call is, suitably enough, the Goldmark Gallery in Uppingham, where we interview the artist Rigby Graham about his memories of Piper and his critique of Piper's printmaking. Fascinating as always - Rigby is as ever erudite, articulated and insightful. And we had a corner of the gallery which is always devoted to Piper's work, so wall to wall prints and even a ceramic.

Lunch at the Gallery is a given if you happen to be in the vicinity - lots of good fresh food, buffet style on the table, staff and visitors all sitting down and chatting together - a ragout of philanthropy, democracy and hospitality - try it some day.

Followed by a visit to Oundle School to film the chapel windows designed by Piper, executed by Patrick Reyntiens - our host the inimitable Rev Ian Browne, who gathered together studies the school owned, then led us on an illuminating guided tour of the stained glass in the chapel (not just Piper but Hugh Easton and Mark Angus) and then chatted to camera about the symbolism of Piper's windows, a magical afternoon.

The Chapel, Rev Ian Browne and the Piper windows, Ian and Charles outside the chapel

business as usual

The last couple of weeks have been spent flat out contacting people to see, places to go, images needed, weighing budgets, poring over maps, working out itineraries and reading books in scanning mode, for specific items mode and then just in depth - and I feel we've actually got somewhere, reached a suitable place in the vista. For one thing the first four Piper Perambulations (as we have decided to term the outings and interviews) have been planned in fine detail and the remainder are awaiting tuning, sifting and sieving.

Piper Perambulations

Visited Charles on the way back from the monthly parental visit. We were supposed to be editing FBSG but I think we both realised that would be an impossibility, and concentrated instead on Piper. Out came the books and the images and the maps and the stickers whilst we charted Piper's 'favourite places' - far too many and all far too flung. We finally narrowed it down to 10 possible filming and interviewing trips, including Gordale Scar, Snowdonia, Portland Bill, Brighton, Romney Marshes, Coventry of course, Renishaw Hall, Henley area - and all to be accomplished before the onslaught of the dreaded short dark days. And all to be accomplished round already busy schedules, my monthly trip to Thornton etc etc. We finally co-ordinated dates but whether our interviewees will be available then is another matter. The delicate edifice could easily crumble, and with possible perambulations every 2 weeks from now until late September, this could prove a logistical nightmare. Watch this space! We also worked out responsibilities - I'm doing the research, sorting out itineraries etc. Charles has the onerous task of charging the batteries! Plus managing the budget - and with ten scheduled locations this will be thinly spread - or possibly just charge out of the window. Since Charles was due to film the potter Phil Rogers at Goldmark's on Friday, we also decided to mock up a flier which I finally completed about 10 minutes before Charles left for Uppingham. Phew. Talk about strong work ethics.
The photo shows the production team hard at work in the editing suite!
Meanwhile I've just read Piper's British Romantic Artists. I loved the description of Blake:
'Blake never obeyed rules made by anyone else. He broke ordinary rules all his life ... He was rare simply in his capacity to live fully.'
I've always been something of an iconoclast, a wild child, but life is so restrictive. I've felt the desire to live FULLY the last few years, be true to myself, but how can one without being free, without the responsibilities of family, and yet with financial stability. Answers on a postcard.
'To Generalize is to be an Idiot. To Particularize is the Alone Distinction of Merit. General Knowledges are those Knowledges that Idiots possess.' (Blake)

Visualisation

I've always considered myself a pretty visual person - I can recall thousands of Brangwyn works if shown a study(another useless asset), at school I could recall the words on a page when trying to think of a relevant quote during an exam, I dream in colour, I daydream events to such an extent that half the time I can't really remember if they were in real time, I see life in filmic short shoots - but compared with Charles - I'm a mere novice. Having sent him my ideas for the film outline, he foraged around for a mere day, if that, and came up with a brilliant idea for the film opening, involving the entire cast watching the opening of the definitive version of Edith Sitwell's and William Walton's Facade behind a screen painted by Piper. But to give you all the details would be too much of a give away!

I find myself thinking the words and adding graphics to film but appreciate I ought not to be so word driven. It's probably the result of recent academia and having written so much and striven to be 100% accurate in the last few years - I'll have to relax more and allow the creative imaginative side more access!