Every Time You Look At Me
Ouch! Special Report
Every Time You Look At Me: Interview with Ewan Marshall
9th October 2008
Ouch spoke to Ewan Marshall, the producer of the drama. He talks about how the production came about, his work with disabled actors and his hopes that more disabled people will feature in dramatic roles on TV. Plus, if you're a disabled person looking to get into the acting profession, read on for some words of advice.
Listen to Ewan
Listen to the complete interview, or click on the audio links on the page to hear clips of each question and reply.
Listen to the complete interview, or click on the audio links on the page to hear clips of each question and reply.
Q: What is your background, and how did Every Time You Look At Me come about?
A: Before I joined the ´óÏó´«Ã½ I was a theatre director and one of the companies I ran was theatre company - a company of disabled actors. I've kind of always been used to and interested in working with talented disabled actors. It was quite apparent on coming to television that these people were not being used. It was bad in theatre, but chronic in television. A couple of years ago, we had a chance to make some short ten-minute dramas, and the basic premise of those was to pick three really good disabled actors and write stories around them.
A: Before I joined the ´óÏó´«Ã½ I was a theatre director and one of the companies I ran was theatre company - a company of disabled actors. I've kind of always been used to and interested in working with talented disabled actors. It was quite apparent on coming to television that these people were not being used. It was bad in theatre, but chronic in television. A couple of years ago, we had a chance to make some short ten-minute dramas, and the basic premise of those was to pick three really good disabled actors and write stories around them.
Listen to Ewan's reply
Q: These were the 3 drama shorts broadcast as part of the What's Your Problem? season in 2002.
A: Yes, three ten minute films. There was North Face, The Egg and Urban Myth. Each one had disabled actors in them. North Face had Lisa Hammond, The Egg had Jamie Beddard and Urban Myth had Mat Fraser. They went down well and won awards, and on the back of those it gave the drama department the confidence to ask if I was interested in developing a longer film - one 90-minute single drama - which of course I was, and we worked on the same principle really.
We took two of those actors - Lisa Hammond and Mat Fraser - and one of the writers, Lizzie Mickery (who had written North Face). It was the same kind of principle and the same starting point - to work with those two people and create a drama around them. And that's how we did it.
Q: These were the 3 drama shorts broadcast as part of the What's Your Problem? season in 2002.
A: Yes, three ten minute films. There was North Face, The Egg and Urban Myth. Each one had disabled actors in them. North Face had Lisa Hammond, The Egg had Jamie Beddard and Urban Myth had Mat Fraser. They went down well and won awards, and on the back of those it gave the drama department the confidence to ask if I was interested in developing a longer film - one 90-minute single drama - which of course I was, and we worked on the same principle really.
We took two of those actors - Lisa Hammond and Mat Fraser - and one of the writers, Lizzie Mickery (who had written North Face). It was the same kind of principle and the same starting point - to work with those two people and create a drama around them. And that's how we did it.
Listen to Ewan's reply
Q: You're concentrating a lot on writing around the actors themselves. Why are you going down that route?
A: It's a very common route for well-known actors and stars to write a whole series around them and around talent, so it's basically taking the same principle.
I know a lot of disabled actors, so I get asked to give advice on casting sometimes, and occasionally writers work in isolation and they create something that is very disability specific. A classic phone call would be, "I need somebody with no legs to star in this drama tomorrow ... and we're shooting in Canada". I think that kind of just creates a problem, and writers love knowing who they are writing for. If writers have confidence that they have talented actors, and then can use things that are particular to those actors - which might be character traits, physicality or whatever - then it really feeds good drama.
Q: You're concentrating a lot on writing around the actors themselves. Why are you going down that route?
A: It's a very common route for well-known actors and stars to write a whole series around them and around talent, so it's basically taking the same principle.
I know a lot of disabled actors, so I get asked to give advice on casting sometimes, and occasionally writers work in isolation and they create something that is very disability specific. A classic phone call would be, "I need somebody with no legs to star in this drama tomorrow ... and we're shooting in Canada". I think that kind of just creates a problem, and writers love knowing who they are writing for. If writers have confidence that they have talented actors, and then can use things that are particular to those actors - which might be character traits, physicality or whatever - then it really feeds good drama.
Listen to Ewan's reply
Q: Can you tell us a bit more about your experiences of working with disabled actors in Graeae?
A: Graeae was obviously set up to work specifically with disabled actors. I couldn't work in the traditional way.
As an artistic director, you really want to look at a CV and see experience. Of course, for disabled actors, training and careers were almost non-existent. So I had this principle that I would see anyone who applied. It doesn't mean you just take anybody - you need someone with that same kind of talent and skill and ability - but you take bigger risks because you can't rely on experience. Otherwise, it's really just the same.
At Graeae we worked on certain accessible theatre techniques. People often dwell on those kinds of differences, but in fact I find it's just the same as a director working with able-bodied actors. You are doing the same things in creating characters, roles and story. There's much more similarity. The differences are tiny.
Q: Can you tell us a bit more about your experiences of working with disabled actors in Graeae?
A: Graeae was obviously set up to work specifically with disabled actors. I couldn't work in the traditional way.
As an artistic director, you really want to look at a CV and see experience. Of course, for disabled actors, training and careers were almost non-existent. So I had this principle that I would see anyone who applied. It doesn't mean you just take anybody - you need someone with that same kind of talent and skill and ability - but you take bigger risks because you can't rely on experience. Otherwise, it's really just the same.
At Graeae we worked on certain accessible theatre techniques. People often dwell on those kinds of differences, but in fact I find it's just the same as a director working with able-bodied actors. You are doing the same things in creating characters, roles and story. There's much more similarity. The differences are tiny.
Listen to Ewan's reply
Q: We often hear from film-makers that there is not enough talent in the disability world. Is that true? If not, what exactly is the problem?
A: Well, there isn't the known talent. The pool isn't very big, but there are so few opportunities that this will always keep the pool small.
Q: We often hear from film-makers that there is not enough talent in the disability world. Is that true? If not, what exactly is the problem?
A: Well, there isn't the known talent. The pool isn't very big, but there are so few opportunities that this will always keep the pool small.
I'm making a documentary at the moment, but as soon as I finish that I'll be casting a series for C´óÏó´«Ã½ that is going to be around a wheelchair basketball team. Actually, it's already in production. We have been looking at people who play wheelchair basketball - all are between the ages of ten and twenty, and our hit rate in terms of talent is extraordinarily high. We're finding people who have done no drama whatsoever who are great. Some have a little experience from school, most have none; but the ´óÏó´«Ã½, myself and the Executive Producer are all totally confident that the talent is there, so we're going ahead with it.
All we have done is see about eighty people who are just taken from a sporting background, and we've found that at least ten of those are extremely talented as actors. I have done something like this before, and found that the talent is absolutely there, but it cannot go through the conventional channels. The agents still aren't handling them, drama schools still aren't taking disabled people ... it's all that kind of stuff.
All we have done is see about eighty people who are just taken from a sporting background, and we've found that at least ten of those are extremely talented as actors. I have done something like this before, and found that the talent is absolutely there, but it cannot go through the conventional channels. The agents still aren't handling them, drama schools still aren't taking disabled people ... it's all that kind of stuff.
Listen to Ewan's reply
Q: We get a steady flow of emails at Ouch! from disabled people who want to get into acting. Do you have any advice for them?
A: Yes. It depends where you are and what you want to do. If you want to train, then thanks to you have a right, and drama schools have to be accessible. So if you want to go to drama school I'd say apply, just start doing it. If you're just looking for work and you already feel you're talented enough or whatever. then certainly write to the ´óÏó´«Ã½, because their casting department is genuinely getting serious. They are realising that they have to expand this pool, and they're working on the same kind of principles as I mentioned. If you are disabled and feature in a stage production, let the ´óÏó´«Ã½ casting department know and they will send people out to see you. I think there are enough people discouraged from acting, disabled or not - so if you want to do it just start doing it. Your chances are as good as at any time, really.
Q: We get a steady flow of emails at Ouch! from disabled people who want to get into acting. Do you have any advice for them?
A: Yes. It depends where you are and what you want to do. If you want to train, then thanks to you have a right, and drama schools have to be accessible. So if you want to go to drama school I'd say apply, just start doing it. If you're just looking for work and you already feel you're talented enough or whatever. then certainly write to the ´óÏó´«Ã½, because their casting department is genuinely getting serious. They are realising that they have to expand this pool, and they're working on the same kind of principles as I mentioned. If you are disabled and feature in a stage production, let the ´óÏó´«Ã½ casting department know and they will send people out to see you. I think there are enough people discouraged from acting, disabled or not - so if you want to do it just start doing it. Your chances are as good as at any time, really.
Listen to Ewan's reply
Q: Are we going to be seeing more disabled people in acting roles on the ´óÏó´«Ã½ in the near future?
A: Yes, there will be an increase. Things are happening. There are some targets around, and although I'd like to see these much higher it is genuinely moving in the right direction. There is goodwill and effort and purpose where there hasn't been before.
Q: Are we going to be seeing more disabled people in acting roles on the ´óÏó´«Ã½ in the near future?
A: Yes, there will be an increase. Things are happening. There are some targets around, and although I'd like to see these much higher it is genuinely moving in the right direction. There is goodwill and effort and purpose where there hasn't been before.
Listen to Ewan's reply
Q: What has the feedback been like so far from private screenings?
A: So far there have been a couple of screenings The first ones were essentially cast and crew, but other people did come in whose opinions I was interested in getting. The second screening was a bit wider, certain press and whatever. There was a very good level of interest and people seemed to be into the film. Those are still select screenings - the real test of something like this is putting it on telly. It really comes from viewer responses.
Q: What has the feedback been like so far from private screenings?
A: So far there have been a couple of screenings The first ones were essentially cast and crew, but other people did come in whose opinions I was interested in getting. The second screening was a bit wider, certain press and whatever. There was a very good level of interest and people seemed to be into the film. Those are still select screenings - the real test of something like this is putting it on telly. It really comes from viewer responses.
Listen to Ewan's reply
Q: Are there other disability stories you'd like to see or bring out?
A: I think there are millions of good stories around. When you talk to the ´óÏó´«Ã½ drama department, you want to interest them in the good story potential. Disability is a really untapped source; there's lots of untold stories, interesting characters and new talent. I like it when they get greedy for new drama, and I think Every Time You Look At Me is a good example of that.
It is the first time we have ever cast two disabled characters being played by disabled actors in lead roles, and they're both excellent. There were worries about that beforehand - "Oh dear, are these people experienced enough? Will it work?" That kind of thing. I think Lisa and Mat have been outstanding and have successfully laid something to rest. They can carry a 90-minute drama.
Q: Are there other disability stories you'd like to see or bring out?
A: I think there are millions of good stories around. When you talk to the ´óÏó´«Ã½ drama department, you want to interest them in the good story potential. Disability is a really untapped source; there's lots of untold stories, interesting characters and new talent. I like it when they get greedy for new drama, and I think Every Time You Look At Me is a good example of that.
It is the first time we have ever cast two disabled characters being played by disabled actors in lead roles, and they're both excellent. There were worries about that beforehand - "Oh dear, are these people experienced enough? Will it work?" That kind of thing. I think Lisa and Mat have been outstanding and have successfully laid something to rest. They can carry a 90-minute drama.
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