I think I suddenly sort of did a lot of kind of history/science stuff with offline, and we did a thing called Savage Skies, which was the making of… we had a kind of history/science department then, people like Bill Jones and Liz McLeod in particular, suddenly realised that we had a real talent for doing this stuff, you know, and it was weather porn really, that’s how it started, but really well done, lots of people’s experiences with you know, being in the middle of a hurricane and describing it. It was mostly Americans saying, you know, “Well, it was just like a locomotive driving through my house,” or something, or, “It was awesome.” It was nothing… there was no description other than “awesome” to do with any sort of weather. And yes, Bill Lyons, I worked with Bill Lyons, who was a terrific director as well, and we developed a kind of a style in our programme, but interestingly, in another cutting room, doing a completely different style of programme was Julian Farino, who’s become a great mate, and I will mention Julian shortly. He was doing something else, and to this day I think he probably made the better programme about monsoons in India and what have you. But anyway, the style that Bill and I had created carried on. There was Savage Skies, Savage Earth, Savage Seas, Savage Planet, a whole series of all these programmes, and they are all a sort of similar style to the style of Bill and I, who kind of created.
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And kind of along the way, you know, because I was sticking out for doing documentary work, I think eventually, Chris Malone and I worked together on his first film, which was a Down to Earth… that was actually on film, so I had actually already worked with Chris, then fast-forwarding to when all things were offline, I think I did another film of his which was a thing called Missing Lynsey, about a murder that took place in Southport, where he had access to the murderer, because he hadn’t been arrested. Everyone had decided it was him, that he had done this murder… his wife went missing, and it was… Mitchell Quy was his name, Lynsey Quy was his wife. And Chris knew that… it was a difficult programme for Chris to make, because he spent months with him, and this guy was just trying to pull the wool over everybody’s eyes about not having done what he’d eventually… what was discovered that he’d done. And then eventually, the police had enough evidence to arrest him. When they arrested him, he took them to where her remains were in Southport, and they were in a number of places, because he’d managed to cover up… awful, awful story. But Chris and I worked on that for quite a number of months. And it was just one of those projects that you can sort of say in your career that you will never work on anything like it ever again. I think Chris sees it that way as well. And then Chris and I worked, we had pretty much worked on everything that he’s ever done, with few exceptions, so he’s had quite a lot of different sort of genres that he’s had a go at, you know, he’s done a lot of kind history/science stuff that the department was still making.
