Color Me Addams Family

I love the old Addams Family episodes from the 1960s. They're elegant and subversive and – for my money – remain fresh and smart and occasionally laugh-out-loud funny in a way that few shows manage 50 years on. I recently colorized some of the show's opening titles for my own amusement, based on colour set photos and research, for reasons no more sinister than something done in the spirit of fun and to give an approximation of what that remarkable set and cast actually looked like in real life. Since it's attracted a certain amount of online comment – good and bad – I'd thought I'd explain some of the thinking behind it and how it was put together.



Had The Addams Family lasted another year, it would have gone into colour, no question. And, compared to the majority of its 60s TV peers, The Addams Family would have been a very different beast for making the transition. Without a doubt, black and white allowed the Addamses to be zany, yet retain a degree of elegance in their demeanor that belied some of the broader humour. It gave a visually wacky show an air of the sardonic and made what was, literally, a live action cartoon surprisingly graceful and sophisticated. Contrary to popular belief, the Addams house had been designed with colour in mind. For the unaired pilot – a few shots of which were used in the titles – the crew filmed on a re-dressed mansion set built for The Unsinkable Molly Brown. Decorated with bright red wallpaper, this was really the starting point for the show's visuals, and the soundstage built for the show proper at General Service Studios was heavily based on it. For the actual series, the funhouse aspect was ramped up considerably, but not without a degree of good taste. Looking at surviving colour photographs, the clashing wallpapers and bizarre props are outlandish, but display style and harmony, and possibly gave a whole generation a lingering penchant for eclectic interior design in the process.

After recently reacquainting myself with Adobe Creative Suite's video software, I thought I'd give colorizing the show's titles a go, having wondered for years how it might look. Throughout, I chose to keep my own creative intrusions to a minimum. Between colour publicity stills, ViewMaster reels and other sources, it's possible to accurately identify the majority of the colours, and I looked at other Filmways TV shows of the same era to see how they approached colour lighting to lend added authenticity. My main liberty taken was on the opening artwork of the mansion – an uncredited piece by Addams creator Charles Addams, fact fans. This had been executed in black and white and would likely have either been redone for a colour switch or replaced by the matte painting of the house used on the show's establishing shots. Since a black and white surround on the shots jarred horribly, I decided to colour it up, basing the design on Charles Addams' occasional colour paintings, taking the pink sky from the Homebodies cover, the Addams book of cartoons that inspired producer David Levy to pitch the TV show. This also had the advantage of reflecting the magentas and jade greens of the living room decor, and – like that set – I used yellow as an accent colour for things like the logo, actor credits and Morticia's roses, based on those distinctive drapes that hung in the doorways. Incidentally, a lot of opticals for early colour shows were done in yellow as it gave an extra colour 'hit' while still registering as white for those still watching in black and white.

The frames themselves were coloured one-by-one in Photoshop, in a process that was predictably labour-intensive and slow to complete. The entire 48-second opening sequence consists of 1409 individual frames and I colorized over 1100 of them. One breakthrough in the execution of the colour itself came when I realised that by aggressively grading shots using the Photoshop curves function, one could take relatively flat, undetailed areas of colour and inject them with a variation of tone which helped make things look much more convincing, particularly on skin tones and highlights. I'd tried this technique before when colorizing single still frames, but here I developed it further, using individual curves for each of the different RGB colour channels, which produced more sophisticated results. Another revelation came from using the master RGB curve on a colour-blend setting, which allowed me to push the intensity of colour across different areas of shading without altering the tonal range of the underlying black and white image.

All this helped make the workload much more manageable on a frame-by-frame basis. For example, the grading works well on neutral objects, such as the window frames in the conservatory, which display subtle variations of cream, pink and blue in their shading, but are actually coloured with a simple flat grey wash. I worked on the sequence, off and on, for a month or so in my spare time, and may well tackle the remaining frames some day. I made it midway through the shots of Lurch at the harpsichord and Gomez filing the gates, so an update may follow eventually.

For now, I'm happy for it to stand as a little glimpse of Addams Family in colour and hopefully something that brings the original show to mind with fondness. Put simply, it's a tribute, not a replacement. Having scrutinised the shots to an almost forensic level, I've loved noticing little details like Carolyn Jones' playful little smirk on her second finger snap or John Astin counting down to his cue under his breath for his close-up. The people flicker into life and the shots themselves reveal little surprises, such as Morticia's African strangler lurking in the Kitty shot (yes, Cleopatra really was red), many of which which simply don't register in black and white. I prefer the original too, but I do think it's intriguing – albeit briefly – to see the actors live and breathe without the veil of black and white and glimpse that fabulous set in all its pop art glory. I've tried to do something respectful, authentic and hopefully a little fun too. I hope it's taken in the spirit in which it is intended.

Away from colouring old TV, I work as a designer and illustrator. You can see more of my work on my Facebook and Flickr pages

South London at Christmas

Here are some photographs from a stroll I took around south London this week. I like the patchwork parts of the area – the little eccentric fixes and make-do repairs that become invisible in time, but viewed in isolation are either strange, resourceful or inventive. The last picture is a nativity scene made from toys that I found in a window on a street in Deptford. I've walked past it dozens of times and I'm still not sure what the building is – is it a shop, a business or someone's home?

Retro Doctor Who

Just before Christmas, I designed some wallpapers for the BBC's Doctor Who website, which have just gone live. I love retro typography and creating pastiche designs, so being able to put a classic spin on some of the recent stories was a dream job.

The idea was to produce imaginary movie posters in styles that reflected aspects of the stories. So, the online story Snowfall received a painterly Brief Encounter-style 40s look; the comic tone of The Lodger lent itself to a 70s sitcom spin-off treatment, and so on. The Hungry Earth was a deliberately lurid Hammer horror pastiche, based on a brilliant classic poster for Dracula, Prince of Darkness, and finally Victory of the Daleks had a touch of pop art, reflecting the new Dalek designs and the 60s Peter Cushing movies.

The designs can be downloaded as desktop wallpapers and as a screensaver by clicking here.

Newly Discovered Dr Who Telesnap

Goodbye City Life

Green Acres is the place to be, apparently. It's a 1960s US sitcom and a little TV gem that had otherwise passed me by until now. I guess it was shown in the UK at some time, but over here it's a show which has pretty much fallen under the collective radar.

On the surface, Green Acres is a pretty humdrum reversal of The Beverly Hillbillies, produced by the same studio. Uptight lawyer Oliver Wendell Douglas, tiring of city life and the rat race, leaves Manhattan for rural Hooterville and and a new calling as a farmer. Along the way, he's accompanied by his glamorous Hungarian bride, Lisa, and a ragbag bunch of local eccentrics. So far, so good...

I'm assuming that was the pitch, but the show itself is something altogether different. It's very funny, until you start thinking about any of it. My mistake. Watched on the insomniac late shift, Green Acres resembles an episode of The Prisoner with a laugh track. Rather than finding nirvana, instead poor Oliver is trapped in an unsettling world of lunatics, fighting to retain his sanity as the local residents sleepwalk through a maze of mind games.

Two seasons in, and I'm now genuinely troubled by Oliver's plight. Whether it's wife Lisa reading him the episode's writer credits off of a hotcake, or characters listening suspiciously to the incidental music, Oliver's the last sane man standing, fighting an inexorable losing battle. His catchphrase is an exasperated "Whaaat?!?!" delivered unfailingly as he's presented with the latest assault on his sanity.

Luckily, the show has Vic Mizzy providing the score, which prevents it from being totally harrowing; That man could make an abbatoir sound welcoming. Cute musical riffs aside, I still can't work out if it's all brilliantly surreal or just deeply disturbing. Case in point are the Ziffels, an elderly childless couple, bringing up Arnold the pig as a substitute son. Very droll, but something in Fred's sad, rheumy eyes tells a different tale. What strange, untold tragedy befell this pair?

Watched during daylight hours, I imagine it all seems much cheerier. In the meantime, I await more troubling developments from this strange community.

Belatedly...

...Merry Christmas! Bit of a Mad Men vibe this year, so best enjoyed with a hi-ball and a soundtrack by Peggy Lee.

Cuckoo

Here's a digital doodle I did this week for a friend's birthday, inspired by Mathias Malzieu's novel The Boy with the Cuckoo-Clock Heart. The book is a wonderful twisted adult fairy tale, featuring an outcast child kept alive by clockwork, with plenty of dark humour and a gleeful gothic bent. Quite unwittingly, my version seems to feature a Harold and Maude era Bud Cort in the title role, but since he'd have been pretty much perfect casting, I don't mind that at all.

Trick or Treat

Vic Mizzy

Golden age TV composer Vic Mizzy died on Saturday. He should be as famous as Henry Mancini, but he isn't. Life's unfair like that sometimes. So maybe not everyone knows his name, but they very likely know his music.

I love Vic Mizzy's stuff. No one did comic film scoring better than him. Every composition crackles with eccentric flair and good old-fashioned chutzpah. That patented Mizzy mixture of loungy jazz rizzs and fidgety percussion is as distinctive as a thumb print, and his offbeat orchestration and playful tongue-twisting lyrics are second to none.

I first heard Vic Mizzy's work on The Addams Family when I was a child and was hooked by the end of the opening titles. I think my love of that show initially stemmed almost entirely from his music. I remember thinking that someone with a name as mad as Vic Mizzy just had to be a fun person to be around, and by all accounts he was. I taped the theme on a cassette player and played it endlessly. Like all his jingles, it's effortlessly catchy and instantly welcomes you into the show.

In the 1960s, Mizzy was the go-to guy for a killer theme tune. From Green Acres to The Pruitts of Southampton, more than any of his contemporaries, he understood that special fusion of words and pictures that sell a show to a first-time viewer, and he pitched each one with economy and an engaging best buddy warmth. Take Mizzy's masterpiece Addams Family theme... "So get a witch's shawl on... A broomstick you can crawl on, we're gonna pay a call on, the Addams Family." Simple, no nonsense stuff, but there's a touch of pure genius in literally inviting the viewers to come along for the ride. And what kid watching didn't picture themselves haphazardly weaving through the night sky towards the Addams mansion? With few words, that static sitcom was suddenly transformed into an adventure. It's that childlike exuberance that marks Mizzy out. His lyrics are cheeky and conspiratorial – not many people can make "museum" and "scream" rhyme effortlessly, but he could – and they're delivered with the kind of unselfconscious gusto that television could use a lot more of.

Percepto Records have done a great job of making Mizzy's music available commercially in recent years, but his best work is the long out-of-print Original Music from The Addams Family soundtrack LP. It's a winning mixture of mordant melancholy and pure sixties kitsch – all cooing female backing singers and catchy refrains. Someone really needs to re-issue that album.

The Addams Family, The Ghost and Mr Chicken, Green Acres – have a listen... they're all still brilliant. So here's to Vic Mizzy. A bona fide talent and owner of the best showbiz name ever.

Marple Most Foul

Literary adaptations are tricky things – a good property can be so easily derailed by a piece of daft casting or a heavy hand, bringing tears before bedtime and dark mutterings about the folly of filmmakers. All quite right and justified, but once in a while something comes along which gets it joyously, brilliantly wrong... A case in point is the series of 1960s Miss Marple films, which I've just recently been watching. 

Agatha Christie was famously appalled by Margaret Rutherford's powerhouse performance as the elderly sleuth. Suffice to say, her misgivings went unheeded and Rutherford happily blustered and harrumphed her way through four films before the plug was pulled. The poster for Murder Ahoy, featuring a cartoon Marple on a surfboard, pretty much sets the tone, which encompassed burlesque flights of fancy, broad slapstick and some fourth-wall-busting name-checks. The nadir is reached when Marple proudly reveals that her sleuthing skills have been honed by avidly reading Agatha Christie novels. Who knew?

Despite this, the films are utterly delightful, with their crisp black and white photography and musty Britishness exuding an air of cosy noir, albeit with a definite whiff of HP sauce. Rutherford bulldozes through her scenes with gurning indignation and hangdog frowns, ruthlessly upstaging all around her. It's an astonishing, baffling performance. Picture a transvestite version of Sherlock Holmes played by Michael Horden in a fright wig and you're more or less there. 

This Miss Marple enjoys a bottle of beer, can wield a pistol with the best of them and – uniquely amongst the screen Marples – goes about her business with unashamed glee. We're never in any doubt that she's having the time of her life. Accompanying her throughout is Ron Goodwin's brilliant offbeat music. The Miss Marple theme is nothing short of a masterpiece, with its cheeky harpsichord and quivering strings conjuring up the quaintness of middle England and tongue-in-cheek derring-do. 

The best of the bunch is 1964's Murder Most Foul, which sees Marple going undercover as an actress in rep theatre to unmask a murderer. Following a satisfying body count as the deaths within the company stack up, the denouement sees Marple facing certain death on opening night, eventually saving herself with some sharp shooting, sending a hanging prop crashing down onto the murderer's head with a single bullet. All it's missing is a comedy boing sound as she does.

Agatha Christie rightly hated it, but there's something undeniably winning about being presented with a Miss Marple you could happily go to the pub with. I bet she'd drink pints, too.

Staunch Women

The best thing about the internet is that it doesn't take you where you want to go.  Whatever you're doing, whatever you want, it wants to guide you someplace else.  Whether being sidetracked by the mind-bending lateral thinking of a Google topic search, or being assured by Facebook that you that you Might Know Some People You Actually Don't, the internet is awash with happenstance guilty pleasures and the lost hours they leave in their wake.  So, beset with insomnia and finding myself somewhere between a waking nightmare and total brain-freeze, I washed up on the shores of Grey Gardens.  I don't know what I typed into Google to get there, or how I found myself watching it, but I soon realised it was a place I was always meant to find.

If Grey Gardens feels like a place I'd already visited, then perhaps that is subliminal memories of an ill-advised jaunt to Fire Island off-season about ten years ago.  Few things compare to the bleakness of an empty holiday resort, and thinking back, the windswept peninsulas and artlessly unfurnished spaces we shivered through for three days before leaving in defeat aren't a million miles away from Little Edie's world.

For the uninitiated, Grey Gardens is an early fly-on-the-wall documentary, charting the decline of Edith Bouvier – cousin of Jackie Kennedy – and her daughter, also called Edie.  By the mid-70s, the pair had fallen from high society to dire poverty, living out their days as reclusive grand dames in a decaying Long Island beach house, surrounded by faded dreams of showbiz and mangy cats. And there they argue, make up, argue, make up... all whilst singing a medley of vaudeville songs in quavering tones. It's as potent a metaphor for faded glory as one is ever likely to come across.

Yet, in spite of the squalor and hopelessness of their circumstances, the Bouviers possess a curious quiet dignity.  Amidst the self-delusion, regret and recrimination, one gets a sense of two people who are genuinely proud of their own eccentricity, and in spite of their protestations, the Edies are utterly co-dependent. For all their amusing asides, it's a quietly moving love story.

 

To the viewer, Grey Gardens itself seems like a place which lingers in the common consciousness – that strange old house every town seems to have tucked away somewhere, where the windows are broken and the people don't seem quite right. Here the voyeur gets a privileged peep behind the closed doors, welcomed as a guest into a forbidden kingdom. And, dare I say it, for a moment, it's a world that's almost persuasive.

As easy as it is to find a campy glee in Little Edie's squawking ruminations, there's a heartfelt weariness to her words that haunts the viewer long after their smiles fade. Is it a cautionary tale about idle privilege, or a stark reminder of how heavily a desire to cling to memory can weigh on the future? As Little Edie says: "It's very difficult to keep the line between the past and the present – know what I mean?"

It's Christmas!

That will be all.

The Christmas dream

Michael Parkinson's wife promised me that it would taste delicious, but alas now I'll never know.  After a fruitless afternoon of traipsing around various Marks & Spencer branches in London town, the mythical Christmas pudding cheesecake remained a fleeting dream.  Even the sight of an empty shelf with a lonely price sticker demanding £12.99 for the privilege wasn't enough to deter me.  Something deep and primal told me that this cheesecake had been made for me.  it was something new... something better that the world had denied me.

Failing to locate an overpriced dessert that probably tasted revolting was my Christmas culinary dream...  small potatoes indeed compared to Nigella Lawson, busy lecturing the nation in Nigella's Christmas Kitchen (BBC2).  As someone who cooks as little as possible, I'm fascinated by cookbooks and cooking shows.  Not, you understand, so that I'll be inspired to cook, but because -- like the Christmas cheesecake -- they represent a better way of living that seems at once attainable, yet tantalisingly out of reach.   Throughout the proceedings, Nigella acts like someone drunk on her own brilliance, which might explain her slightly slurred speech and shaky grasp on the English language.  Luckily for her, she sounds very posh, so you spend most of the experience mildly beguiled whilst she trills made-up words and reminds us Just How Hard It All Is.  At one point, she even shares a handy invention called the to-do list.  "You will be eternally grateful," she later demands without much irony, finishing off her potatoes.

But it's not all hard work.  For when Nigella isn't reminding us Just How Hard It All Is, she's busy reassuring us that she's Just One Of Us Really.  To this end, she frequently tells us how much she likes a drink, leading up to a particularly memorable sequence where she shuffles through her kitchen in a dressing gown, hand poised at her temple, feigning a morning-after hangover.  Alas, she doesn't have the courage to go for full post-bender Amy Winehouse hair and Joker make-up here, instead reverting her Stepford wife poise after a couple of shaky steps.

Yet, for all my carping, it's hard to dislike Nigella, and I can't fully understand why.  Perhaps it's the fact that she seems a stone's throw from full-out barking madness...  "Fragrant bath water is ready... I'm now going to get the baby to pop in it," she grins maniacally, busy drowning a turkey in a bucket of chives.  Maybe I like her just because the recipes actually look genuinely delicious.  I can't pretend my imagination stretches as far as the sensation of gingerbread stuffing or semolina-laced roast potatoes, but like that mythical cheesecake, I know they have to taste better than the world I live in.

And that's the true meaning of aspirational television.  A glimpse into somewhere that offers us more.  Try and hate her though you might, who can honestly say that they wouldn't want to live in Nigella's world -- all autumn tones, attractive long-lens blurring and heartwarming Peggy Lee songs?  

No wonder she's so smug.

First Draft Pending

I'm three days late on the deadline for my latest script, with about 500 words out of 10,000 on the page. And, typically, as the night wears on and I continue to avoid opening that Word document and starting, I find myself on the internet, trawling for distraction.

And so, thanks to the wonder of BBC iPlayer, I've just watched this week's episode of Charlie Brooker's Screenwipe, which featured some of Britain's greatest television writers talking about the tortuous business of writing a script. What a brilliant, inspiring piece of television... a solid 50 minutes of bona fide genius, spoken with authority, passion and zero pretension.

One of the most heartening things was hearing Graham Linehan talk about the need to be ready to write -- that the process happens in its own time. The more and more I write, the more I believe that's true. Deadlines are there, and you should be absolutely sincere in trying to meet them, but deep down there's a tug of war between when the boss needs pages and when your ideas are fully-formed enough to emerge.

So, at the moment I'm grappling with the problems of stone ghosts in a Maine winter and growing old and disappointed... I know what the story is about, the characters, the tone, but yet something's missing -- the bit that I really need to start making it happen. There's an Unknown Something that I know belongs there -- has to be there -- but is somehow out of reach. The most frustrating part of any creative process is knowing that you're always at arm's length from What It Should Be -- that crucial, devastating difference between what you want to say, and what you end up being said.

But in the meantime, this story remains faraway. So here I am at 5am, tapping out words and hoping that in the back of my mind, the answers are working themselves out. I think that Tony Jordan summed it up perfectly tonight, saying that he likes to have written, but hates writing. There's something so quietly reassuring about knowing that, no matter how accomplished you become, that bit never gets any easier.

Anyway, back to it...

Color Me Green

Here's my latest guilty pleasure, the new DVD release of Family Portrait -- a special colorized edition of an early episode of The Munsters. The classic horror sitcom has been decked out in undead hues in a tester for converting the whole series to colour, and the results are very convincing.

I love this show dearly.  Fred Gwynne and Yvonne DeCarlo's peerless screwball performances sing on the screen and the fast and furious mix of whimsical wordplay and sight gags stand up brilliantly four decades on.  Make no mistake, this is a classy little number.

So, here's the debate... to colorize, or not to colorize?  On the cons side, the original show was filmed in black and white, with impeccable photography echoing the golden age of Universal horror.  On the pros side, the original unaired pilot was filmed in colour, and plain cost-cutting was the only reason for making the eventual series in black and white. Indeed, one of the factors in The Munsters' cancellation was the increased costs of it transferring to colour for a projected third season. Added to that, the show made a very graceful transition to colour for its big screen spin-off, Munster, Go Home!, presented in eye-popping Technicolor with a groovy Mario Bava-esque vibe.  Considering all that, maybe there's a genuine case for colorizing The Munsters?

So, anyways, back to Family Portrait...  Purist grumblings be damned, Mockingbird Lane looks delightful in colour.  The new version has been tinted with an appropriately 60s palette, faithfully reproducing that mad oh-wow-we've-finally-got-colour-and-we're-gonna-use-it-godammit attitude that make everything from Batman to Star Trek such a kitsch joy to modern eyes.  Sure, it's not tasteful, it's not restrained, but it feels authentic.  If The Munsters had made it to colour, it would have looked like this.  

What's particularly interesting is how little the addition of colour affects the show's tone.  The Munsters always felt like a live action cartoon, with its broad slapstick and knockabout antics, and that quality feels more noticeable than ever before. Herman looks resplendent in his bile green pallor, and the masterpiece Munster house set can be enjoyed in a new level of detail.  

We're not talking defacing a great work of art here... this is a fun experiment and a neat aside for a grand old piece of television.  If you get the chance, check it out.