It’s not exactly been radio silence, but since the end of 2012, my voice has been heard only intermittently speaking into a microphone. (Thanks to benevolent producers I’ve known for many years at Front Row and The Film Programme on Radio 4, I have enjoyed occasional short bursts of public address in the interim.) Above is one of the last Zelig photos I had taken for my collection when I was deputising on the 6 Music breakfast show and welcomed my transatlantic friend Harry Shearer onto the air in the latter half of 2012, with Matt Everitt standing by. It was fun while it lasted, but the two-year break has allowed me to indulge my insane ambitions to concentrate on scriptwriting, so I’ve been grateful for that.
Which is why this is the best birthday present a broadcaster of a certain age could have asked for. I have landed the job of taking over the hosting of Saturday Night At The Movies on Classic FM. This has been brewing since before Christmas, when I first discovered that the station’s eminent composer-in-residence Howard Goodall was giving up the show as he had a lot of actual composing to do – notably, the Bend It Like Beckham musical – and his prime 5-7pm Saturday evening slot was available. (As if to prove how tasteful Classic FM’s more recent appointments have been, the show is sandwiches between Alexander Armstrong and Alex James. I feel rather honoured.)
As someone whose twin loves are and always have been music and cinema, and whose natural way-in to classical music has been through orchestral film soundtracks, this is my dream gig. I’ve listened to the show with Howard at the helm, and its mix of populism and intelligent dissection works a treat. Classic FM is a commercial station (part of the Global group, which also includes Capital, Heart, Smooth and XFM), and it seeks to entertain as well as inform. As a relative layperson when it comes to classical, I often tune into Radio 3 and find it a little forbidding and exclusive. Classic FM is the opposite, and I think I’ve found a perfect new home here.
The idea of curating and “jocking” some great movie themes and perhaps lesser-known cues and overtures from a century of cinema, and enthusing about them in between, thrills me to the bone. After a sabbatical, even more so. Continuity arrives in the form of John Barry, whose Zulu theme (one of my all-time favourites with its foreboding timpani and wall of brass and strings), used to herald my arrival on 6 Music, by law, and may just feature in my first show for Classic FM, this Saturday at 5pm.
It’s well over ten years since I last joined a new radio station, and the experience of being welcomed into the bosom of the Classic FM “family” has been warm. Having been in and out of the Leicester Square HQ to record some demos during the job-interview process, it was with some awe that I actually collected my electronic “dongle”-style pass yesterday, having been introduced to everybody who works there from the MD to marketing, and taken in to see the great John Suchet while he was playing a record on-air. Having worked predominantly for the BBC over my 20 years in broadcasting, it was a shock, but not an unpleasant one, to be introduced to a dedicated team of people who all seemed to have definable jobs. As I commented to John, as I now call him, it’s all muscle and no flab in commercial radio.
Wish me luck. It’s a big new adventure. There will be no Cud, but there might be some There Will Be Blood. We already have plans, my new producer and I, to rustle up a disaster movie special, and perhaps a show revolving around music from comedy films. I will get Clint Mansell into a future show, too. Along with Eric Rogers and Philip Glass. Maybe in the same show.
And God bless them for using this “classic” picture to advertise my arrival on the Classic FM website. Cue the old joke: who’s that woman with the new presenter of Saturday Night At The Movies?