COSFORD TALKS: BRIAN JOHNSON

The first guest speaker on the Sunday was Brian Johnson, who’d appeared the day before with Martin Bower. As Martin could only make the Saturday, this talk was just Brian on his own.

He was asked what it was like to work in the studio at the Slough Trading estate.  Brian described it as an old World War One shed that had previously been used to store tanks. It was right next to the railway line in Ipswich Road.

The sound of the trains thundering past didn’t really affect the studio as they weren’t shooting sound.

The conditions in the studio were a little uncomfortable though. There was no air conditioning and when one of the special effects team were precariously balanced high up near the ceiling on a couple of planks, the heat from the lighting was horrendous. There was a fan, but that was like something out of the Ark.

He was asked about the scourge of the workplace these days – Health & Safety.   In those days people relied on common sense, Brian replied. There were fire extinguishers all over the place, and there was an explosives safe which was on wheels. That could be quickly removed in case of a fire. But that was about it – Health & Safety not for them.

Brian talked about his time after leaving the Air Force and meeting up with another special effects wizard, Les Bowie. Brian had already worked with Les, who’d got him a job at Anglo Scottish Pictures at Shepperton studios prior to him doing his National Service with the RAF.

His first job was working on the feature film, The Day the Earth Caught Fire. During this time he was contacted by Derek Meddings whom he’d met at Anglo Scottish. Derek offered him a job, and with Les Bowie’s blessing Brian Joined A.P. Films towards the end of the filming of Supercar, and continued up to Thunderbirds.

Brian recapped on the time he left A.P Films which was by that time Century 21, after being offered the job working on 2001.

Brian had been called into the main office. All the directors were assembled, Gerry Anderson, Reg Hill, David Elliot and John Read,  all looking rather uncomfortable. Gerry stood up smoking a huge ‘ Lew Grade’ cigar. He said the company is prepared to offer you three times your weekly salary if you stay. At that time Brain was paid thirty quid a week.

Brain, of course turned them down.  Gerry, angrily plunged his cigar into an ashtray and blurted out, ‘You’ll never work in the film industry again!’

Brian did work in the film industry again. Following 2001, he got a call off  Gerry Anderson asking him if he'd do the practical effects on The Protectors and then on to Space 1999. He also worked for Gerry on the ‘Into Infinity’, pilot and the ‘Alien Attack’ Jif commercial.

Brian was asked what had inspired his design for the Eagle.

He said, he and fellow effects man, Doug Trumbull had worked on the design for the 2001 Moon Bus.

Brian had gone back and revisited that design, eventually coming up with the Eagle. Although his original idea wasn’t as long as the Eagle we’re familiar with, that was down to a draughtsman and production designer, Michael Lamont to iron out the details.

Brian was asked about Sylvia and how important was her input. He said Sylvia was the key to everything working properly.  By then, the effects were being shot at Bray, away from Pinewood were the live action was being filmed. This was simply because it was a cheaper option,  but Sylvia was the only one who visited Bray regularly, that was until Gerry noticed Brian’s secretary, a lady called Mary Robins who, as we know, Gerry eventually married in 1981.

So that was Brian, always good to listen to, and I have to say, he’s genuinely pleased that people are still interested in his work, and he really does take it as a big compliment.

You can hear me talk about Brian, and lots of other things that went on at Cosford, tonight at 8.00 PM UK time, as I reflect on the recent Flight of Fantasy event. On Demand and only on Celtica Radio.