Youfilm - has the Internet killed film and music as a career choice?

'Flying Squad'  a Tin Hat films production -

a retro film similar to the Sweeney series of the 70's -

in my opinion, this 'youfilms' approach is the future.

Then there was YouTube

YouTube is a great resource for old videos of things gone by, but at what cost is the Internet killing off future talent?

I can remember in the 1980's when I was in a pub band with some friends I was at school with, that all we needed was to go to a pub where an A&R man from a record company was likely to go and see if we could get lucky and get signed. 

Much the same had been the case since the late 1950's when luminaries like Tommy Steele, Cliff Richard and Marty Wilde had been talent spotted.

I remember going to music shops and seeing someone trotting out a note perfect rendition of something on a guitar and likely that was all they were good for, the music shop player I called them.

Fast forward about 30 years and we got television shows like the X factor and the like. It hasn't surprised me to see that some of the performers have been outed as semi professionals or even professionals who are looking to make it bigger. Not the amateur performer who does it and thinks they might have a chance.

Going on youtube you can see countless people copying note for note music performances, but then you don't get the same amount of original material.

The music industry took a real hit when applications such as ITunes and Spotify started up, bands could circumvent the old A&R circuit and get 'discovered' on the Internet and then sign a contract when they had an established audience and greater pull. And get a better deal in the round.

The advent of the digital music download has hit the big companies who sold CDs, DVDs and the media packaging cases too. But, the trend for 'Big Noting' your CD and DVD collection by having it on show in your front room, has meant an upsurge in physical media unit sales.

The future of film

So how will films fare in the future? You can find any number of films on youtube and under a 'fair use' policy, it seems getting around copyright issues?

Films today are big business and big money. The cost has always been there, but is there not now a trend for the 'art house' film making its presence felt?

About twenty years ago, I was involved with a group of 1940's scene enthusiasts and we made a short video on a preserved steam railway, they later wanted to do a film set in the winter of 1944, but there were changes in the group membership, so it never got much further.

Recently I came across a company called Tin Hat films, who were making self financed small films. I saw their 'Flying Squad' film, a sort of version of the Sweeney for want of a better description.

It was impressive, they had the 'right' cars, the right sets and proved that a small independent unit of enthusiasts could turn out a quality, professional film for little finance. The problem is how to get the investment back. Would 'the industry' support these people or see them as some sort of 'black leg labour' taking away jobs from the 'established' arena?

With an episode of something like 'Morse' or 'Lewis' likely to cost a million pounds an episode to make, quality productions clearly cost, but only the large television networks have the pockets deep enough for them. True, these get sold around the world, but is there not also a place for the smaller players?

This 'youfilm' type of product is not new, but in my view, it is the way forward - that is a gathering of people with the resources and talent to come together and create good films. Essentially a script, players, film, locations, props is the recipe to start with. 

Having written books for stage and film adaption, planning is also a big and important part of the project. 

With many actors out there already, is there the room for these independent productions? Indeed, Euston films that filmed the Sweeney was such a company and that was over 40 years back. 

My parents both worked for the BBC in the heyday of the organisation and I have been out on location to see the creative process taking place. The difference is the money. 

The small, 'youfilm' units need some money, but by a collective process and gathering, they can and do achieve results as good as some mainstream broadcast providers.

The question remains - in the 'youfilm' future, how do these smaller players fit in and can they make sufficient living from it?

I think they can. 

In the next 12 years one in three jobs is likely to be lost to automation, this is going to leave some people without livelihoods. This is where a Basic Income Guarantee payment will have to come in and will start a new 'cottage industry' situation - films will be a part of that.

The BBC as a publicly funded broadcaster is an anachronism now, in a world where there are countless commercial channels.

The BBC model will have to be rethought, it is a poll tax on viewing and should commercialise as much as possible to compete.

I thought twenty years ago that demand viewing would be the future, this has now come to pass.

The genius of The Sweeney

Dennis Waterman and John Thaw in the Sweeney

Having nicked a gang of hardcore slags enjoy a post-pagga Players No6

In 1974, the television portrayal of the Police took a new turn. Gone were the cosy days of Z Cars and Dixon of Dock Green, BBC TV's stalwarts of tea-time level television and suitable for all. The era of bumbling Bobbies on the beat pushing bicycles was on the verge of becoming all over, lost in soft focus nostalgia and wouldn't be revived until the Heartbeat series of the mid 1980's.

ITV's Armchair Cinema productions in 1973, spawned 'Regan' -

the prototype of what would become 'The Sweeney.'

In came something new, more exciting, grittier and hard edged. The Sweeney.

The Sweeney evolved from an Ian Kennedy-Martin script called 'Regan,' a 90 minute ITV Armchair Cinema episode screened in 1973, that starred John Thaw as 'Regan', A Detective Inspector of the Metropolitan Police Flying Squad.

What is interesting to observe, is that if you stand back from it and analyse it, that the acting is superb as is the production. It is pretty much a seamless transition, when you compare it to the later 'Sweeney' series made from 1974-1978. It is like they walked off the 'Regan' set and on to the 'Sweeney' set.

That they got so much of Regan 'right' is testament to the quality of the actors as well as the script. This was the golden era of British television and with directors like Ted Childs used on the episodes. Ted Childs would later go on to the Morse series also starting John Thaw.

Having worked with the real Squad a couple of times when I was in the Police service, I can say that they are a different breed of officer. John Thaw's portrayal of a Flying Squad DI additionally far removed from that of the well dressed senior Detective,say someone such as Len 'Nipper' Reed of the Krays era, from only a few years back from the 70's.

Of course Len Reed was factual, whilst Regan was a representation, but likely drawn from the actors observing the real thing at hand. The service did need a good news story as there was a major anti-corruption drive in the early 1970's which often made headlines, for the wrong reasons.

The Flying Squad Ford Consul -

frequently driven hard in pursuit of the Scrotes

It wasn't just the suits that were different, it was the cars. Gone was the softly, softly approach of the Ford Anglia or Morris Minor Panda car, more a grab the collar unmarked 2 litre Ford Granada. The cars were driven hard, the chases more dangerous and often the outcomes were often not good.

Jack Warner as Sgt George Dixon -  a world away from the Sweeney

But this was a reflection of the way that things were in reality. This wasn't the cosy and chummy George Dixon world, this was the world of hardcore slags who often used weapons and drove to get away at any cost.

Hardcore Slags intercepted by the Sweeney

The era was notorious for armed robberies. With much cash carried to pay weekly wages, these were the days long before electronic banking was as widespread to the degree it is today. Any armoured (likely) Ford Transit van was therefore a Golden Goose, just waiting to be cornered by some hardcore slags, likely in a Mk2 Jaguar. Which was probably nicked.

There was more cash about in those days, bank notes were also destroyed after a set length of use and often these shipments for the incinerator were targeted by the armed blaggers of the day.

But going back to the series:

The Sweeney worked on a number of levels, a top quality cast that fitted together well, great acting, excellent script writing, exciting action, great camerawork, in fact every aspect was there. But, it was all done on a shoe string budget, with little flexibility for a take 2.

Often the episodes packed more into the first 5 minute 'taster' section than many progams did in 30 minutes. Each program sector was shot to provide a 15 minute or so window, between commercial breaks, as this series was shot for the ITV market, which was then Britain's only commercial TV station. Seems so long ago.

Jack Regan often came into conflict with his superiors

The Sweeney (and Regan) also showed something new, disrespect for authority in the job. Jack Regan was forever falling foul of his superiors and bending the rules to get results. The thing was that we were all on his side. We wanted him to rough up the blaggers, to nick them, to see the law was upheld. They didn't always win of course, like real life, but you know the types and they'll always come back for another go.

The series attracted some well known actors - like Diana Dors, here

and often gave the spotlight to then lesser known young actors, such as Ray Winstone

Hardcore action as in the episode 'thou shalt not kill'

one of the best episodes in my opinion

It was years later that I watched the Sweeney, as it was deemed 'unsuitable' when I was young and first shown. Funnily enough, a number of locations where I lived at the time of filming were often only a couple of streets away from where I was living or at school.

Indeed, when I was in the Police service years later, I had the job for about an hour to keep the traffic away from outside of a betting shop where ITV were filming a scene for Minder with Dennis Waterman, in about 1993 I recall. I felt like going up to him and saying 'You're nicked Sunbeam' for a joke, but he didn't look too happy, probably because it was chucking it down with rain, so I didn't.

Me doing some film extra work for television

The Sweeney has become a landmark of British television which also spawned two feature films. Looking back at some of the old episodes, we often see unknowns credited or not making appearances in the episodes, along side the seasoned actors, many of whom are now household names.

Although the Sweeney franchise finished in 1978, it could have done another season I feel. The acting was strong, the writing was consistently good, but perhaps John Thaw and others did not want to become typecast? Having been at it for four years of almost constant filming, I suppose we have to accept that they felt the series had come to its end.

We cannot go back and change that, but we do have a wealth of good episodes to watch. It is interesting to look at those old episodes and see how the world has changed, along with the fashions and the cars. Some of it is dated. Well, it all is really. But that gives it some nostalgic charm. Some may yearn for those uncomplicated days, some don't.

John Thaw later had a successful run as Inspector Morse

In this case, he drove a Mk2 Jaguar, rather than chased them

Post Sweeney, the big name actors had perhaps little trouble finding work in the post Sweeney years, the series has been repeated and likely continues to find appeal abroad. The quality of acting and the success of the episodes over 4 years guaranteed work and was a good line on the actor's CV.

Dennis Waterman went off to do the Minder series and other successful series mostly for ITV, John Thaw then starred in the legal drama Kavanagh QC, before his long run in the Inspector Morse series.

John Thaw played the Inspector Morse character differently to his Regan of the Sweeney days. Although, Morse still retains his ability to go off piste and ignore authority, frequently exasperating poor old Superintendent Strange in the process.

Sadly John Thaw succumbed to cancer, but the Morse series metamorphosed in to Lewis, with Morse's sidekick Kevin Whateley playing Sgt Lewis, promoted to Inspector Lewis and continuing the good work around Oxford.

Forty years on, the series still look good.