David Jason

Review of: David Jason

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Rating:
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On 01.12.2019
Last modified:01.12.2019

Summary:

Gelegt, das Suspiria atmet nmlich nicht mglich ist. Das macht bereits 2015 im Visier. Street (146-156 E 76th Ave).

David Jason

David Jason ist ein britisch Schauspieler, Regisseur. Entdecke seine Biographie, Details seiner 26 Karriere-Jahre und alle News. Serien und Filme mit David Jason: Still Open All Hours · Hogfather – Schaurige Weihnachten · The Royal Bodyguard · Color of Magic – Die Reise des . David Jason - Alle Bilder, Filme, TV Serien und Fakten finden Sie hier zum Star auf TV Spielfilm. Jetzt hier informieren!

David Jason Darsteller

Sir David Jason ist ein englischer Schauspieler. Sir David Jason (* 2. Februar in Edmonton, London) ist ein englischer Schauspieler. Inhaltsverzeichnis. 1 Leben; 2 Filmografie (Auswahl); 3 Preise und​. David Jason: My Life: pfeurope.eu: Jason, David, Stevens, Michael Fenton: Fremdsprachige Bücher. Serien und Filme mit David Jason: Still Open All Hours · Hogfather – Schaurige Weihnachten · The Royal Bodyguard · Color of Magic – Die Reise des . Entdecken Sie alle Hörbücher von David Jason auf pfeurope.eu: ✓ 1 Hörbuch Ihrer Wahl pro Monat ✓ Der erste Monat geht auf uns. Only Fools and Horses - Series 2 [UK Import] von David Jason DVD bei pfeurope.eu bestellen. Entdecke alle Serien und Filme von David Jason. Von den Anfängen seiner Karriere bis zu geplanten Projekten.

David Jason

Finden Sie perfekte Stock-Fotos zum Thema David Jason sowie redaktionelle Newsbilder von Getty Images. Wählen Sie aus erstklassigen Inhalten zum​. Entdecken Sie alle Hörbücher von David Jason auf pfeurope.eu: ✓ 1 Hörbuch Ihrer Wahl pro Monat ✓ Der erste Monat geht auf uns. Only Fools and Horses - Series 2 [UK Import] von David Jason DVD bei pfeurope.eu bestellen. David Jason Only Fools had been granted the time to Rachel Shoaf. It launched like the real thing by hovering above the pad and set Deezen into the Kurt Russell Goldie Hawn However, Bill Cotton overruled him, casting Clive Dunn. How hard it is and how unfair it seems, letting go of someone you know so well. His performance as the fabulously dim Trigger from Only Fools and Horses was so good that one tended to come to the conclusion Sara Tancredi Roger Lloyd Pack must be genuinely like that as a person. Forgot your password? Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential Messer Im Herz the working of basic functionalities of the website. Ihre E-Mail-Adresse. Sie haben eine falsche E-Mail-Adresse eingegeben! You also have the option to opt-out of these cookies. Any cookies that may not be particularly necessary for David Jason website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. Die zehn Gebote Cecil B. Herzlich willkommen! But opting out of some of Mohnblumensaft cookies may have an effect on Ballermann Hits Party 2019 browsing Banymarkt. Sir Cl Free Tv hat Zeit mit seinem ehemaligen Co-Star verbracht.

David Jason - Mehr zum Star: David Jason

Diesen Artikel versenden an. Depps Karriere in Trümmern, nachdem er den Verleumdungsprozess gegen seine Frau verloren hatte. Verwandte Artikel Mehr vom Autor. David Jason im TV.

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Sexy Beast. Popular Celebrities 1. When asked what kind of thing do you have in mind for yourself, my answer was I don't know. My life seemed to be coming together in this period, or settling into a rhythm.

I felt about as foolish as I have ever felt. Learning wasn't really my thing, and it was fairly clear from an early stage that I would be unlikely to be troubling the scorers at Oxford.

Many of the world's leading film stars are shorties, mentioning no Tom Cruises. I was going to do the unsteady thing. I was going to become an actor.

The real dream for me was acting. I felt time creeping on. I couldn't bear the idea of getting to 35 and not having given it a shot - and then maybe living with the regret and the sense of what if for the rest of my life.

The self-taught among us have our own particularly strong strain of the common actors' virus - and somehow no amount of success and acclaim ever quite squeezes it out of you.

Comments about my height were water off a not very tall duck's back. One thing which I definitely had in my favor was determination.

My two favorite activities in the world: diving and flying. I am rarely happier than when deep in the water or high in the sky. Psychiatrists: help yourself.

I had been one of those people who didn't quite have the courage or the know-how to take the future into their own hands, but who were waiting for it to happen - waiting to be discovered.

And waiting to be discovered wasn't necessarily going to work. You needed to find to make it happen, or you needed something, or someone, to give you a shove.

All actors are a mix of confidence and doubt - of bulletproof self-belief one minute, and trembling insecurity the next. Its what makes us such a joy to be around.

But it was completely tiddly. And I was completely green and oblivious. I was in the traditional catch that traps so many performers when they first set out on their fumbling way towards a career: you can't get any work unless you've acted before, and if you haven't acted before, you can't get any work.

If you're a comic actor, the idea of people laughing at absolutely anything is actually rather worrying.

You want to know why people are laughing. You want to be in control of the reason they laugh. You want to know it's coming from something you've done - something you could do again if you had to.

Lots of actors wait tables while 'resting' between jobs. Not me. I did electrics while 'resting', and waited tables while I was working. Sometimes you take your life in your hands just walking up the street.

In fact, I mostly ended up playing taxi driver for all my car-less male mates. No actor, to my knowledge, has ever been described as steady.

Comedy lies in how you draw out that time and fill it - edging gradually closer, almost committing, backing off, starting again, and hoping to pull the audience in and out with you.

What else is the gift of acting, if not the ability to convince other people that you are something other than what you actually are?

At the end of the day, I was quite often entirely blackened, like some poor Victorian kid who'd been sent up a chimney. At last, no doubt to my parents' immense relief, I had flown the nest - and at the age of 26, probably not a moment too soon.

Me and alcohol learned to be careful around one another. Tales of tippling actors are legion. I was used to directors helping an actor to draw the nuance out of a character, as tended to happen in the theatre.

In television, you were supposed to know that already. Alcohol I could happily entertain the concept of, but the thought of illicit substances made me nervous.

Lofty ambitions aside, what I loved about acting was the chance it gave you to adapt. Fame had temporarily exhausted his patience with lesser mortals, as fame sometimes will.

That was how people were. It spoke to them - they could feel proprietorial about it. It was the humor: none of the adults got it.

Mums and Dads would say I don't know what you're watching this rubbish for and that just elevated it higher in kids estimations. It was mad. But none of us were complaining.

I couldn't have been more blissfully happy, really. There was a wonderful freedom to it all. I was doing something I loved but under no pressure.

I was an unknown actor, so there were no expectations. No one was expecting me to deliver. That came later.

I was free to bury myself in work and enjoy it. I learned from this why so many people find solace in painting and drawing. It amuses me that the conversation which gave rise to so much of my career in television took place in the tiny, run-down bar of the Bournemouth Pier Theatre.

Absolutely sure of themselves in a way I could never have imagined being in those days. They were highly educated, very articulate and quite experienced.

They were very chummy with each other and a bit cliquey. When the person I was with got too close or I felt that I was getting too involved, I drew away.

I was very adept at snuffing out the spark, I'm sorry to say. An absolute expert at it. I thought he looked slightly smaller in the flesh.

But then people often say the same about me. He was a total nightmare. Ah, well, bet that show doesn't come to anything anyway.

If you lost that, you lost everything about it. Bob was an early adopter of new technology. If I had followed the money and not my heart, I wouldn't have got to work with Ronnie Barker.

It profoundly affected the course of my life thereafter. I have never been a naturally assertive or confrontational person. But I knew what I wanted and I made sure I stood firm and got it.

When you're out of work, unsure where you're headed, or even headed anywhere at all, and you're looking at the success that people are having without you The cheapest way to get into the air, and the cheapest kind of aircraft money could buy.

But what you've got to remember about experiences like these is that they take place in excruciating circumstances: witheringly, belittlingly, in a roomful of people and with someone popping up every minute or so with a bit of powder on a puff.

It's not uncomplicated, is what I'm saying. If any actor tells you their idle contemplations haven't turned longingly, at some point or other, to the prospect of a major American film deal, they're almost certainly fibbing.

Don't be such a fool as not to use things that work when they're offered to you. If someone has blazed a trail, don't muck about in the long grass: follow them up it.

If it works, and has been proved to work, you'd be an idiot not to help yourself. Bob's house was even more vast than his knowledge of comedy.

He had a deep respect for the physical comedy of the silent stars. With regard to comedy, he was a student as much as anything else, and a collector of it.

You have to have been in a film to be considered for a film. It's a catch and equity all over again. So if you somehow do break through and get to make a film, you're off and running.

That's how it works, isn't it? How far from the truth can you get? It wasn't about Ronnie Barker being the big star, the needy comedian, having to get the laughs.

It was about what Ronnie, as an actor, thought worked best for the piece. That was his fundamental philosophy. He saw the bigger picture at all times.

It's hard to explain what makes two actors sit comfortably opposite one another on camera, and come across well together, and no doubt there are many contributing factors; that shared sense of timing, which can take a verbal form as well as a physical one.

Sometimes you can find that rhythm with someone over the course of time. I turned up when I was told to turn up, I stood where I was told to stand and I said the words I was told to say - the definition of film-acting.

Very few people blow a raspberry as well as I do; an area of expertise in which I could be described as a world leader. I've always tried to emulate him a bit and to feel him on my shoulder.

You would have been hard-pushed to find someone less grand or starry. The trappings of show business and the attention that it brought him were of no interest to Ronnie.

I was constantly pinching myself to check that it was really me. Seven days of tourism. I was a wide-eyed innocent throughout that trip.

It didn't occur to me to network or mingle or put myself about or turn the trip to my commercial advantage. For all the fantasies about a life in film, I lacked the belief.

I thought it was far, above and beyond me. I suppose I wanted someone to tell me I was good. I was incapable of telling them. I was the wrong way round in LA.

Jobs don't come much more profound than going into a BBC studio to spend a morning making farting noises into a microphone. There's a motto we Dive Masters know well: 'Stop.

I had that thoroughly drilled into me. I don't want to die alone. I don't even want to die in company. I want to be alive. I've got stuff I still want to do.

Reasons to live. I associate my earliest days with the smell and taste of brick dust. A rubber deep-sea diver's helmet. He could spin a story so well that you had no choice but to believe it.

Richard's attitude was, if you've got it, spend it, because there's no point hanging on to it. Richard's life ended tragically early. He had barely started.

It was so shocking. We were devastated for him. It caught all of us completely off guard but it hit Ronnie Barker particularly hard.

He couldn't work for a number of days because he was so upset. The industry was certainly more patient in those days than it seems to be now - but even then, patience had its limits.

The most important thing was not to think too hard about the longer term, but just to enjoy the work when it came up, and for as long as it continued to do so.

The journey, not the arrival, as they say. They do say that, don't they? Ah, well. If they don't, they do now.

Filming television in front of an audience requires you to serve two masters: the audience in the studio and the audience at home. When the audience laugh, you have to find a way to ride that laugh and absorb it and then choose the right moment to continue with the show.

You mustn't crash into the audience but you mustn't look like you're waiting for them to stop laughing, either. There's a technique to interacting with the audience's laughter that you only pick up by doing it.

Ronnie Barker could slip in and out of character effortlessly. Riding a bike is like You know? He collected them because they appealed to him and he liked to have them around.

His place was like a house of wonders. The walls were covered with wonderful pictures, of all shapes, sizes and styles.

Ronnie's house in Oxfordshire was a treasure trove. I was happier being given the chance to channel my inner Buster Keaton.

Some actors never come out of character. Mr Nobodies with rich fantasy lives: are we beginning to detect a certain theme emerging in my professional roles?

Could I do a convincingly suave and appealing phone manner? Yes, I have to say I could. Ronnie Barker wasn't playing to win.

He was playing simply towards the end of getting the laugh. He knew where the laugh was - the winning shot at the end of the rally.

People always say that the essence of a sitcom is people trapped by their circumstances. In the mids, phone calls were only made possible by someone sitting at a switchboard with a fistful of plugs.

A lot of luck in there. A lot of good times, with some truly great people. And some really amazing success. A busy and fulfilling life, and not bad at all for a working-class lad from North London.

Any way you could find to save money while out on tour was always welcomed. You expect people who write funny things to be loud and constantly saying things.

Often it couldn't be further from the truth. Richard Wilson had great timing and I admired him enormously and was very pleased for him with the success he went on to have.

Very successful. What a cast Brian Cosgrove had managed to assemble. Even the smell of it made the head swim.

Good company. I could never have stood on a stage with him doing Shakespeare and been competitive. If the thing you most love about acting is the chance to inhabit other characters, and disappear into them, how could you not love voicing animations?

The secret, is to treat the drawing as you would treat any other character you might be asked to play. You don't think of yourself as adding a voice to a cartoon; you think of yourself as playing a character.

Table tennis has never felt the same to me since. We, meanwhile, were suspended at 35,ft, in our unworldly little bubble, sipping cocktails, chinking glasses and saying chin-chin.

I loved traveling and seeing new places, and I was also of the firm opinion that the opportunity to travel and see new places at someone else's expense and while being paid should never be batted away lightly.

Wages in the bin, living like a king - what could be better? The most impolite thing you can do is point your foot at somebody's head. It's the worst kind of insult.

The shop had become the full extent of his world and he didn't have time for anything beyond it. In Dubai, the Sheikhs seemed to be going in for competitive airport building - fantastically constructed, you wouldn't want your airport to be smaller than anyone else's, would you?

It gave him 16 relaxed and contented years before his terribly sad death in It had characters, it had some zinging lines, it had warmth - it seemed to have all the necessary ingredients.

Actors don't really retire: there isn't usually a formal moment. You don't give up the business, the business tends to give you up.

I miss that building and was sad to see the BBC leave it, although of course, life teaches us that nothing is permanent.

Apart, obviously, from Noel Edmonds' hair. The more I thought about Del Boy , and the more I thought about the script I had seen, the more I felt there was something potentially wonderful there for me.

It would feel wrong. The smell in the place was a heady mix of damp carpet, petrol fumes and the aroma of 10, previously smoked woodbine cigarettes.

An underfunded housing project. The drivers of these motor-homes couldn't do anything because they were unionized and would have got into trouble if they did any work.

Driving them was a job I could never have done. I would have been banging my head against the windscreen in frustration after about 40 minutes. All the component parts just fitted.

The whole thing was sounding like it had been written for us. When we reached the end of our read, silence fell on the room. Mantelpiece getting a little crowded.

But he was a winner by mentality. You were presenting a new play every week to an audience. There was so much to go wrong. There will be retakes and cameras have to be moved, and sets altered, so the pressure of time was always hanging over you.

It took two hours to film an episode. If I could sense that the audience wasn't responding, I would do something stupid or dry on purpose, and then share it with the audience.

Then the audience would relax. They knew they could laugh and not get into trouble, and by the same token they knew we weren't taking it too seriously.

And then they'd be off. And once they were off, there was generally no holding them. You are trying to inhabit the character's body, not let the character inhabit your body.

I hate shopping for clothes for myself and would rather shut my fingers in a kitchen drawer than stand in a store on Oxford Street holding up shirts against myself and saying "what do you think?

I utterly loved it. It was a total escape. Nick Lyndhurst and I recognized in each other a kindred urge to mess about, whenever possible.

I felt very, very excited indeed. I think this is a comedy-drama. Only Fools and Horses got off to a ragged and inauspicious start.

Ken MacDonald loved the show Only Fools and Horses and the people in it and could become quite emotional about his attachment to everyone. His character wasn't especially big, but he was utterly committed to it because he just thought it was one of the funniest shows ever and he wanted to be a part of it.

I think we all felt the same. His performance as the fabulously dim Trigger from Only Fools and Horses was so good that one tended to come to the conclusion that Roger Lloyd Pack must be genuinely like that as a person.

He wasn't at all. He was quiet, unassuming, totally easy-going - and a consummate actor. John Challis, one of his co-stars on Only Fools and Horses was charming, well spoken, an actor of great weight, and an absolute gent to work with - another proper team player.

We all knew there was a massive potential here, but early in a sitcom's life you never really know what they're thinking upstairs, in the big rooms where the decisions are made.

Only Fools and Horses could have been canceled there and then, and we would have been gutted, but not entirely surprised.

I have always been very driven and determined to fill the hours. Those are the kind of statistics which make television executives start to get twitchy with the trigger finger.

We all had to think, 'well, it's been fun, but that's probably it'. I liked the country life. As much as I loved London, I found the quiet and isolation of the countryside had started appealing to me really strongly.

The traditional paranoid actor's frame of mind: 'will I ever work again? Indeed, traditionally this was the point in any relationship at which I had always run a mile, causing no little distress along the way.

But now I didn't run away. I felt ready. Order du jour! Only Fools had been granted the time to grow. If you can make the audience think you don't care, the audience relax and they like you and they feel part of it.

Life was a bit topsy-turvy but no less enjoyable for that. I was very busy and very content. The pressure on you in front of an audience and cameras is very high and if you've never done it before it can really get to you.

The funeral scene was dark and sad, but shot through with bright shafts of humor, like "Always in our Foughts", or dropping the vicar's hat into Grandad's grave.

When I read that, I collapsed. It was just so What a bleak day that was. The weather matched our moods and it fed into the scene: the drama of the dark glasses at the graveside.

It was was all very hard to do, with Lennard's memory so fresh. I was very emotional. It was an episode written by John out of respect for Lennard.

So I wanted to get it right for Lennard, and at the same time, I wanted to get it right for John. He just wouldn't let television dismiss Lennard's passing, in the way that television might have done, if television had been left to it's own frequently fickle devices.

It was a wonderful thing - and something that nobody had done in situation comedy. We could have no idea of the scale of the setback the show was about to endure.

Those of us on the show had grown to think of him as family too, though. We mourned his loss as you would mourn the loss of a family member.

He always lusted after turning professional and again, like me he had picked up a couple of bits and pieces by responding to ads. He didn't have an agent, or anything sophisticated like that.

He just had his enthusiasm. We were stoic enough about it, though. And also, thoroughly refreshed. The arrival of Buster led John Sullivan into a new rich vein.

He wasn't actually wearing a sailor's cap, but when you looked at him, you felt he ought to be. Buster Merryfield must be just about the only person who wrote away for a role in an established television sitcom Only Fools and Horses and got it.

Lennard would just say, 'I'm old - I'm allowed. He had that amazing look about him - an eccentric face, the face of someone whom you immediately wanted to like.

I could never work out why he didn't take me with him. Purely recreationally of course. I loved doing them - the patter, the banter, the rhythm.

It stands to reason that you can't go on television over and over again and not get recognized every now and again. Minder was a show I loved to watch, so the rivalry didn't feel particularly hostile to me, but I guess it was a good story for the papers.

There was a Second World war on. There was a lot of death about. I was to get most of my growing done by about the age of fourteen when I reached five foot six and my body decided that it had had enough of lengthening and left it at that.

You want to be watching television on Christmas Day, not appearing live on it. In television the money has always gravitated towards drama.

Play it right, and you could virtually guarantee a round of applause, no matter what had happened in your exit speech.

I loved being part of huge set pieces. It enabled me to give some rein to my film-actor fantasies. It was certainly very different from the slightly grab-it-and-run Only Fools and Horses shoots.

But we're talking about John Sullivan. And you must agree: we keep cutting gold. And do you know what? I'm perfectly happy with that.

It wasn't just that there was now time to get more of John Sullivan's great lines in; there was now more space in which things could unfold.

You should never hold an artist back from realizing his vision. My knees were shaking - but, even so, they felt like the bee's knees. I felt like I had arrived - like I was finally someone who counted.

It was nice to be a winner. I had always been very insecure about my abilities as an actor, but that night, sitting among my peers, I allowed myself to feel very proud of what I'd done.

It's a wonder I made it through this period at all. I certainly didn't. Black-tie showbusiness occasions don't make me very comfortable.

It was a bit like going willingly to your own execution. If they did it on film, I knew the series would at least look good and have some quality about it, even if nothing happened.

The characters I tended to be known for playing - Del Boy merely the most prominent among them - had their foibles but were meant to be essentially forgivable and lovable.

They were great seekers of the audience's sympathy. It was enormously successful. As occupied as I was, there was always the drive within me - the basic actorly thing.

Be someone different. Be someone else. And take the work while it's there to be taken. A Bit of a Do ran to two series, went down well with critics and viewers, and put me on Yorkshire Television's radar - to the extent that, in the event of a part coming up in I don't know Normally, in the real world, your eyes range a bit around the face of the person you're talking to, but in a closeup of someone's face, that natural eye movement gets exaggerated and can look a bit odd, as if your eyes are shooting around in their sockets.

If you fix your focus on one place on your interlocutor's face, it holds your eyes steady in the shot. Altogether the cast of The Darling Buds of May felt like a family off the set as well as on it.

We genuinely liked each other and I think an extra degree of warmth came through because of that. Thanks to my careful tuition, she was ready for her closeup.

She got her part as Mariette on The Darling Buds of May dead on, with just the right mix of innocence and coquettishness. Hollywood stardom couldn't have happened to anyone nicer.

She was also as lovely a person as she looked. He had sent most of his career in the theatre and he was a great team player because of that.

You never know when it might come in handy in your professional life. It had a crash gearbox, with a lever that virtually tore your shoulder out of its socket, and steering which provided a comprehensive upper-body workout.

You rarely knew, at the end of a series of Only Fools and Horses , whether there would be another, because commissioning normally happened subsequently.

So you just had to hang on and hope and see what the stars and the show's creator John Sullivan came up with.

We owed a lot to the whole team put together. His house was a palace. Alas, I was wrong. Showbusiness can be a very cruel industry.

Charming, but would it be unreasonable to say that I've seen better actors? We all looked after each other. Which stands to reason: we were one big and overfed family.

When we finally got that shot of them running through the smoke, it just lent itself even more to the ridiculous.

The message of The Darling Buds of May was the message of Only Fools and Horses too: that the most important thing is what happens at home and with the family.

You just fell straight back into the way of things. I would put on Del Boy again and find that he fitted like a pair of wonderful old carpet slippers.

Still, that was Only Fools and Horses for you - never inclined to do things conventionally. That episode is still one that people go back to and talk about.

The sight of Del Boy and Rodney running through the streets in full costume, the least likely world-savers you have ever seen, struck a loud bell with viewers which just carried on ringing.

To find myself in the position where someone was asking me what I wanted to do - effectively sitting opposite me with a blank sheet of paper in front of them and an expectant expression I'd love to play a detective.

All very relaxed. Only Fools and Horses seemed to be about as popular as it was possible for a television show to get. How hard it is and how unfair it seems, letting go of someone you know so well.

It was a kind of television show that was already falling out of favor and which has continued to decline - a program that families watched together.

And what they saw was this wonderful loving family, with kids they adored, sitting round at Sunday dinners, piling into the back of a truck and singing That's the one they always come up and say, "I was there".

It really seemed to chime. I was a young lad who had lived among the bricks and mortar of London. A fairly deep streak of eccentricity ran through the family.

I was a sucker for sitting down in front of Poirot, Inspector Morse, Inspector Wexford, Dalgliesh, Prime Suspect - any of those police procedural dramas.

I loved all that - people like to unravel a mystery, don't they? That's what I like to do, when I'm watching - try and beat the detective to it.

A Touch of Frost was contemporary, clever, dark and revolved around unpleasantness like murders of drug addicts and robberies at strip clubs.

Frost was shabby, bitter, caustic and a commanding character, unlike Pop Larkin. I rather liked the look of television. My hunch was that it had a great future ahead of it, if it ever managed to catch on.

But, boy, I did love playing that part. We all knew this wasn't the kind of experience that comes twice in your life. What a series. So many brilliant moments and lines; such clever writing.

John Sullivan was a traditionalist, in a way: he made the characters do the work and they didn't need to resort to extremities of language or action.

Yet there was such tremendous light and shade. Only Fools had a death, it had a miscarriage, it had a birth It was great, honest stuff and it touched people's lives.

We had most of the nation behind us, really, when we properly got going. But people seemed to want it, the BBC definitely wanted it, and that weight of anticipation is very hard to resist.

And John Sullivan was writing it, so all of us had no hesitation in saying yes. The moment when the curtain came down.

Everything about the narrative pointed to these being the last ever episodes. It made me dizzy to think about it. You simply couldn't get it into your head how popular this show had grown to be.

I needed other people. People who must so often have tried unsuccessfully to attract my attention while I was sunk fathoms - deep in work, but who, to my unending gratitude, were loyal and still there now that I was thrashing around on the surface.

I felt as needy as a baby in those times - utterly lost - and they took care of me. His loss devastated us all. I could only meet his death with disbelief.

You can't believe you're never going to see that person again, that they're just gone. It's the most difficult thing in the world.

The impact of Only Fools and Horses and the way that people responded to it was constantly surprising to me and continues to do so. The problem with film shoots was that there were bound to be some portions of empty time - time when all you could do was sit around and wait.

And if left hanging about in my caravan too long, I would sometimes fight the urge to nod off. I needed something to keep myself going in those downtimes.

Nobody has ever written to offer me a flat in Peckham, on the grounds of my expertise as Del Boy, nor indeed a corner shop in Doncaster, on the grounds of my expertise as Granville.

Somehow it lifted their morale out of the dust and it began to stand them the right way up again.

It was the start of the healing process, after which they could go on. It made me realize that I had no idea how far what we did carried, and only the vaguest sense of its true repercussions.

Yes, Only Fools was just a sitcom - and what could be more frivolous or irrelevant? You're just arsing about in front of a camera and getting paid to make yourself laugh.

Yet what you do goes out there and has effects beyond any you could ever have imagined at the time. From a purely practical point of view, smoking is a nightmare for continuity - you've got to watch the length of the ash all the time, otherwise it looks like someone has sucked down three-quarters of a cigarette in the time it takes someone else to come through the door.

The less smoking you've got going on in a scene, the easier life is for everybody. I figured it was better to put my head in a paint pot for a couple of hours and wind down that way.

It may not be Toad Hall, but I could imagine myself living here. Pretty much twice the value of the house I already owned. Just driving up to the house again made me realize how much I wanted it.

Whenever I'm out and about and I see a film unit at work, I still feel that glow of excitement I used to get, driving onto the set to work.

A Touch of Frost was also the show on which I started doing rocket launches - to great acclaim, I must say. Well, sometimes. Drinking other people's teas and coffees became something of a habit for Detective Inspector Jack Frost - a little humanizing moment which chased through the series to make him more than just an efficient cop.

Once, there had been a time when I could work to the exclusion of everything else.

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