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ShowrunnersPOI

It’s not every day I have an actual article printed in the actual, papery version of the Guardian, so forgive me if I provide a link to the piece I have written about a new, feature-length documentary with the self-explanatory title Showrunners: The Art Of Running A TV Show, which is available to buy from its website from 31 October. I first crossed paths with its tenacious and very friendly director, Des Doyle, a year ago, when I was writing a shorter piece on the subject of showrunners for the Guardian. He’d contacted me as he was using Kickstarter to fund the final stage of post-production, and – being the target audience for his film ie. a US telly geek – I was more than happy to help promote the initiative. Mainly because I wanted to see the finished film.

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He and his producers reached the funding target and finished the film. This summer we crossed paths again, as Des was looking to make contact with the Edinburgh TV Festival with a view to perhaps showing his film to like-minded TV nuts. I was able to make introductions and the next thing I knew, I was down to host the film at the mighty Filmhouse in Edinburgh and chair a Q&A not just with Des himself, but also with Battlestar Galactica supremo Ronald D. Moore (who happened to be filming his latest series Outlander in Scotland in August and whom I felt honoured to “hang out” in the bar with). I wrote about the experience here (although you have to scroll down a bit).

Anyway, the film’s about to become available to buy and download, so it’s almost in the public domain. I highly recommend it if you’re even half-interested in the way TV is made, especially in the States. It’s particularly good on Showtime’s House Of Lies and its journey from pilot to air, and TNT comedy-drama Men Of A Certain Age, which I don’t think we’ve had in the UK, and which – before our very eyes in Showrunners – goes from pilot to air to cancellation. It’s a heartbreaking arc in the documentary, and shows just how cruel US TV can be, even on cable. As a UK-based TV scriptwriter and editor, I am that sucker who mythologises the American model, in transatlantic awe of all those guys – and occasionally women! – who sit around conference tables in Burbank “bullshitting” in the most creative fashion, filling up whiteboards and eating doughnuts on a salary. (I’ve been writing the same pilot script in my house all year.)

Needless to say, when I was able to pin down the great Terence Winter, showrunner of Boardwalk Empire (whose series finale airs on Sky Atlantic this Saturday after five incredible, slow-burning seasons), for a 20-minute phone interview about Des’s film and about showrunning in general, I had to jettison a large chunk of what I’d already written for the Guardian in order to insert Winter’s words of wisdom. So I thought I’d publish some of the material I couldn’t fit into my 1,200-word commission here. You’ll have to be super-interested in the subject to find it as fascinating as I do, but I’m going to guess that one or two of you are.

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First, here’s my interview with Des Doyle, the director. (He’s on the left of this illustrious lineup from one of the many convention screenings they’ve done in the States.)

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AC: Which was the first writers’ room you gained access to, and how were you received as outsiders?

DD: The first room we got into was Men Of A Certain Age. It was a little pressurised for us because we had just one hour with the guys and we knew Ray Romano had to leave early to fly to NY to do Letterman. The good thing was that it was a very lively room – comedy writers tend to like to crack jokes a lot and that helped ease them into the cameras being on. They were also intrigued why somebody from Ireland would be particularly interested in them or what they did and my “uniqueness” in that regard certainly helped with a number of people we filmed with. And Mike Royce the showrunner for that series was a very gracious host to us and helped make sure we got what we needed. But for me as a first-time director in a room with so many people to try and cover with two cameras it was a big learning experience and the other writers’ rooms we did a little differently.

AC: Can you just confirm the dates of production so I can get an accurate figure for how long Showrunners took to make?

DD: We started in September 2010: first people on camera Dec 2010, principal photography in blocks continued to November 2012. We ran Kickstarter in Dec 2012; editing/post production/clearances and licensing up till April 2014.

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AC: Did the experience of making the film and getting under the bonnet in any way spoil your perhaps romantic view of the process of turning out quality TV drama?

DD: I think making the film has increased my respect for what showrunners do tenfold! Even if they’re making a show I may not like I still have huge respect for the amount of work that goes into that. Considering all of the challenges they face in terms of time, money and politics it’s remarkable that a) any show gets made on time and budget and b) that so many great shows are made under this system.

AC: The rise and fall of Men Of A Certain Age is one of the film’s great arcs, if bittersweet. As a filmmaker, it’s gold, but did it break your heart to be with Mike Royce on the set of the show after it had been cancelled?

DD: One of the things that really surprised me in making the film was how candid people were with me – both in words and emotionally. I tried very hard never to “interview” someone but instead to have a conversation with them. When we spoke with Mike about the ratings for MOACA he had literally just gotten the news that morning so it was still very raw for him and certainly my heart went out to him as he told us about it because I could empathise with him greatly. These were really personal stories they were telling and Mike, Ray and the writers really loved making that show. It’s not always like that for a showrunner which is what made that experience even more painful for Mike. I think anyone who watches that story unfold will really feel for Mike because apart from being an extremely talented writer he’s also a really lovely guy and that comes across in the film very much.

AC: What’s next for you?

DD: I’m currently in very early development on another doc also set in a creative field which we have just attached first talent to and will be filming a little with them in LA later this month. There are also one or two other ideas I’m pursuing and some of the showrunners in the film have very kindly agreed to read my pilot script although that needs a major rewrite first!

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The big catch for me while writing this piece was Terence Winter. The PR for Showrunners foolishly promised him to me early on in the process and although it happened last-minute, the 20 minutes I spent on the phone to him at his New York office were gold. I am such a fan of Boardwalk Empire, which ended forever this week in the States, but you have to remember, “Terry” – as I discovered everybody calls him – had nothing to gain from helping to promote Des’s film by talking to me, so all credit to him, and to Des for having engendered such a happy, symbiotic relationship with these high-powered execs.

While I waited to be connected to “Terry” (I still think of him as Terence), Ain’t No Mountain High Enough was playing. I applauded him for his “hold” music when we first spoke, and he said, “I like to have that as my theme music going into every interview.”

I confirmed that he’d seen the finished film. He had, and really enjoyed it: “It’s always fascinating to hear people talk about the business and to see the different ways people run shows and get a look behind that curtain. Occasionally we’ll be panels for different things and say hello to each other but for the most part the business of running a show is more than a full-time job.”

Did he have a well-earned holiday once Boardwalk had wrapped? Apparently not. “I’m going pretty much right into preparing for what I hope is my next series, a show set in the world of rock’n’roll in 1973 in New York City with Martin Scorsese, who directed the pilot, and Mick Jagger is also one of the producers. We’ve shot the pilot and I’m already starting to look at writers. So no real break but this is the highest class problem I could possibly have.”

It’s for HBO, right? “Right. HBO has been my home for 15 years and I hope it’s my only home.”

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I asked if he had time to see his family – something he touches on in Showrunners. “I certainly get home to put my kids to bed, and weekends are really sacred to me. They know Daddy’s at work during the week but I’m always around to go to baseball games and soccer games, and I always make school functions. If you wanted to you could live at the office. The business of running a show is so massive.” They shoot 14-15 hours a day. “If you never wanted to leave there’s always something to do.”

Were you worried the documentary might “let light in upon magic”? “I’m one of those people that buys a DVD and goes right to the DVD extras, the behind-the-scenes interview, the auditions … The same when I go to a museum, I like to know about the paintings, the story of who painted it and when, what was going on in the world around him. I talk to young film students about what a great movie Citizen Kane was, and they see it say and go, It was OK. You have to put it in context of when it was made.”

Especially that it was a flop at the time of release. “Right. The Wire wasn’t really a hit when it was on the air, that found its audience on DVD. It’s A Wonderful Life is another one.”

I asked how he personally ran the Boardwalk writers’ room. “Very similar to The Sopranos in terms of how it was run. I would come in at the beginning of the year with a broad-strokes roadmap of where I thought the season should go. We averaged about five writers at any given time, I think at one point we had as many as eight, and as few as four.” He cites Howard Korder as his “main writer – he wrote more episodes than I did. I truly could not have done the show without him.” Meanwhile his other right-hand man, writer-director Tim Van Patten “ran the set.”

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So, the methodology. “We’d sit down and I’d say, What happens in Episode One? It’s a lot of sitting around a table, eating potato chips, ordering lunch, a lot of digression, telling stories about your own life – those are the things that get made into TV shows. To the untrained ear it may sound like a bunch of people sitting around bullshitting.”

A showrunner, for Winter, is “part psychologist, part motivational speaker, cheerleader, you’re almost like a host at a dinner party, you’re trying to get everybody to talk, open up a little bit. I’m glad to have a roomful of funny, smart, interesting people to bat around ideas with and bullshit with. That’s not a bad way to spend your day.”

I bring up the subject of UK drama’s attempts to emulate the American model. But he doesn’t think we should try. “I will say this, whatever you guys are doing over there in England, it’s working pretty damn well. Whether there’s a writers’ room or a showrunner or not, some of the best dramas ever have come out of that system. If it’s not broke, don’t fix it.” I push him to name names and he cites The Singing Detective (“I re-watch that once every two years”), Luther, The Hour … “I’ve always been a fan of the BBC, I’ve just started re-watching Fawlty Towers.” I tell him that, like Citizen Kane and The Wire, this was not an instant hit either. He did not know that.

On the more vexed subject of the lack of female showrunners in American TV, he admits that a writers’ room “can be” a male environment, “depending on the make up of a room. I always try to get a balance between men and women. Not to say that if there are female characters on the show so therefore you need female writers. A writer should be able to write men, women, children, all different races, religions, backgrounds. With writing, the blank page is the great equaliser. If I read a script and it’s good, I don’t care where it came from.”

For the record, Boardwalk had six female writers: Margaret Nagle, Meg Jackson, Bathsheba Doran, Diane Frolov, Jennifer Ames, Cristine Chambers. “You’re sitting in a room for eight to ten hours a day around a conference table, so there’s gotta be what I call ‘hangability’. These are people you gotta want to hang out with. You can be the greatest writers in the world, but if they drive you insane, it’s pointless, because you can’t stand being around them. You ultimately spend more time with these people than your own family. It’s like putting together a football team.”

Could a great writer who’s not sociable survive? “Yeah, anything’s workable. If there’s a writer you can give an outline to and have them go away and they come back with something you can shoot, I’d work with somebody like that any day of the week. Some people are good at writing and not good at verbally explaining or pitching. Some are great and dialogue, some have great ideas but can’t execute them. But if you can round out your team with those different people you’re in pretty good shape.”

How does he feel about having to get involved with a show’s publicity as a showrunner? “It’s always a little jarring when I get recognised on the street in New York. Once a month it happens, and my initial instinct is that I must have gone to school with this person or we have a mutual friend, but they’ve seen my face on an HBO behind-the-scenes. It’s part of your responsibility to get out there and be the face of the show, to be the ambassador, if you will, of that material.”

Winter watches his shows when they air. As he did with The Sopranos, although he hasn’t seen it since it went off the air. “David [Chase] used to always say: you’re here to entertain people. If you want to send a message, go to Western Union. It’s very simple advice but it’s the truth, it’s what we’re doing here. All the other stuff comes later.”

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Thanks to Des and “Terry” for sparing the time to answer my questions. Now watch the film.

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Yes to Scottish independence

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Another year, another Edinburgh. It’s great how you can refer to a trip to what really is my Second City to coincide with the Festival, or Festivals, as “an Edinburgh.” We all know what it means. And it means mostly wonderful things. Before I prepare my report on this year’s three-day piped-bagpipe bagatelle, here’s the traditional shot of me at my first Edinburgh, in 1989.

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I feel sure I don’t need to go into detail, but I was two years out of college, one year in the NME art room, far enough into a hair-growing project to produce a nub of a ponytail, and part of a Tooting-based, medical-school-formed am-dram group called Renaissance Comedy Associates; our play, which I co-wrote with co-star Matthew Hall*, was called President Kennedy’s Big Night Out and one or two people paid to see it in a church hall on Princes Street – it was a great adventure, but I didn’t go back until 2001, when the show was Lloyd Cole Knew My Father and we looked like this.

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I have been up every year except one ever since. The big shift for me occurred in 2009, when, having been up to do an experimental week of live Collings & Herrin Podcasts at the Underbelly, I was also invited to host, or “chair”, my first session at the Guardian Edinburgh International Television Festival, which – after my heartfelt retirement from stand-up comedy in 2010 and a welcome year off in 2011 – has thereafter been my ticket up there. It being Guardian-sponsored, a short clip of me talking to Andy Hamilton and Guy Jenkin in 2009 is still available to view. My body language says: I am not yet confident enough as a “chair” to sit properly in one.

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I like to think I am now a far more confident host. Once you’ve done your first live gig as “facilitator” – whose brief is to introduce the session, get the best out of your interviewees (ie. “facilitate” their illuminating answers), move the thing along, hit the clips at the right moment, coordinate a short audience Q&A at the end and exude approachable authority – you start to get into a rhythm of being miked up, having a producer bark into your ear via an earpiece, knowing when to skip a huge chunk of questions for time, and being unclipped from your mic at the end (always courteous and grateful to the venue staff, as without them you would not be miked up, or able to reach for a sip of water, or even know where the hell to go in the warren of suites, green rooms and auditoria). I am not staff. I am not paid to do this work, but the Festival does pay my train fare and puts me up in a serviceable hotel (the one you can guarantee none of the big stars will be staying in – I know my place). Most importantly, it gives me the chance to be here.

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I have rhapsodised Edinburgh aplenty. In a way, I’m the wrong person to ask about the city as I’ve literally only ever stepped foot on the platform of Waverley Station during the Festival. This is clearly not what life is like in Edinburgh for the other 11 months of the year (except for the weather and the novelty drunks and the souvenir shops piping out bagpipe music). But I have made friends up here who do live in Edinburgh and adjoining Dunfermline, so it’s not as if I only hang out with London media wankers like myself. I made enough friends when I was a stand-up to be able to sneak in to see a couple of their shows while I’m up here, which is always a bonus, and I make an effort to conceal or remove my pink, YouTube-sponsored TV Festival pass when I’m walking down the street. I certainly stride maplessly about the place like I own it, which I hope stops me ever looking like a tourist.

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Because I always come on my own, what I do feel like is a travelling salesman. Especially at breakfast.

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I’ve been a regular at Apex hotels for the past couple of Festivals: no-nonsense places but a cut above a Best Western or Novotel (and I say that not as a hotel snob but as someone whose default, austerity overnight is a Travelodge if I’m paying the bill). This year, for no apparent reason, I was placed in a Hilton. I’m worldly-wise enough to know that the “Hilton” logo does not automatically speak of glamour and the high life. It’s just a hotel chain, a Premier Inn that fancies itself.

There are a couple of Hiltons in Edinburgh (which shows how exclusive they’re not) and I think I was in the least glamorous Hilton. I don’t expect to live like a king – all I require is a bed, wi-fi, a full Scottish breakfast and a free paper. The Hilton gives away the digest version of the Independent whose actual name looks like a mistake of you type it: the i. I’ve never had a minibar. Luckily, I don’t demand a room with light in it either, as this year I was in a non-air-conditioned basement whose windows were painted shut and which was illuminated only by tiny desk lamps (the only fitted ceiling light was in the tiny hallway). I did not complain. I was not paying for it. There was free shortbread with the tea- and coffee-making facilities. I thought: I am living the dream.

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The title of this blog entry refers not to Scotland’s forthcoming independence – a matter much discussed and a passion-fuelled debate I felt fortunate to have landed in the middle of at the height of national indecision – but my own current independence. Travelling alone, essentially being on holiday alone (even for three days), is replenishing for the soul, I find. I did plenty of solo travelling when I was a much younger music journalist, and it hardened me up. I flew to Dublin for three hours last week to interview Cillian Murphy for Radio Times and I felt a bit like an international jetsetter, albeit one too intrinsically stingy to pay for a fucking coffee on the plane, especially as the otherwise courteous Aer Lingus declined to offer any of us a free drink while we sat on the tarmac at Dublin for two hours, the mercenary bastards.

I arrived in Edinburgh on Wednesday afternoon alone, declined to pay for a cab and thus walked, with my rucksack, to the Hilton, which was 30 minutes away, alone. Checked in alone, unpacked alone etc. etc., you get the manly picture. And within the hour I was back out, alone, marching towards my favourite venue, The Stand, to pick up my ticket to see my friend Josie Long, alone. I bought some fish chowder, which came in a bowl made of bread, from a stall at the new Fringe hub, St Andrew Square Gardens, whose convenience actually prevented me from making my annual day-one pilgrimage to the Pleasance. (This will be the first Edinburgh ever where I haven’t had a pint at the Pleasance. Time bends.) I bought my ceremonial first pint in a plastic glass and sat, alone, among booming revellers, to silently eat my soup and drink my lager. I was happy enough. Edinburgh is full of groups and couples and families at this time of year, but also solo artists, like me. You’re never alone with a plastic pint glass: it is your passport to sit anywhere and just be.

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I do regret only seeing one Fringe show this year (I usually squeeze in at least three), but I do not regret choosing Josie Long‘s. It’s been a few years since we were buddied up by 6 Music (and then let go with an empty promise to have us back on – not bitter about that), and even longer since I first met her in a pub basement and offered to hold her indie coat while she sang Nothing Compares 2 U at Karaoke Circus, so I feel I can praise her new direction without being too partisan.

After years of building up her unique and deeply-felt political persona, this year’s show, Cara Josephine (a title movingly explained in the final section), is a left turn. Or a right turn, since she’s already so far to the left. It’s a personal show about heartbreak and failed relationships and being “on the shelf” at 32 that’s quite a jolt if you know her stuff. But it’s delivered in such a way that, while contextually shocking in places (and actually really challenging at one particularly raw and graphic juncture, which I won’t spoil), it’s still Josie being who she is, with her American accents and her self-effacement and righteous ire always bubbling under the surface. It may even be her best show, although that needs to be taken in context. Nobody can accuse her of coasting, that’s for sure.

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Back to the picture at the top, which I repeat for reference and which, for all the world, looks like a triumphant stand-up gig, or perhaps a rally, but is actually me introducing an exclusive, public screening of the new Doctor Who episode, Deep Breath, at the mighty Filmhouse cinema on Lothian Road, which has been my de facto base for three years. We screened Asylum Of The Daleks two years ago, with a fabulous Q&A with Steven Moffat afterwards. This, blurrily, was it: ACSMEdTVFest12

No Q&A this time, but the preview itself was enough to pack the 280-seater auditorium of Cinema 1 with enthusiasts of all ages. I did a warm-up and by a show of hands (my fallback warm-up technique) established that we had kids in who were too young to remember when David Tennant regenerated into Matt Smith, and at least a couple of gentlemen who remembered seeing the first ever episode! It was pretty easy to get them excited before the screening, as they arrived pre-excited.

It was fun to be part of, and the episode itself is pretty damn good, with Peter Capaldi’s Twelfth Doctor a real shot in the franchise’s arm – his very Scottishness seems to have reinvigorated Moffat’s writing: the 80-miute episode is overlong but full of great jokes, including a couple “about” the Referendum. On Friday morning, in the noisy lobby of the Edinburgh International Conference Centre, hub of the TV Festival, I filmed a special Telly Addict review of the episode for the Guardian with my usual producer Tom, busked rather than read from autocue, as we didn’t have one, and it will go live right after the episode airs on BBC1 this evening.

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Thursday also had me manhandling the roving mic for an industry session back in the EICC and another exclusive screening: the pilot of a new, grown-up romantic comedy called Catastrophe, written by and starring Sharon Horgan and Rob Delaney, produced by Avalon (who also manage me) for C4, and due next year. I “met” them both via Twitter on the train up to Edinburgh and we got on famously. This can happen. It was a buzz to see the creators of a show experience their work with a large audience of their peers, and to soak up the constant laughter. It was an easy Q&A, as it was always going to be, but you wouldn’t believe how panicky PRs and managers get beforehand, as if perhaps I was going to bypass how Sharon and Rob wrote the show in the 15 minutes available and ask them a series of improper, probing personal questions to make them squirm and stutter.

Having been out so late on Wednesday night with my two go-to Edinburgh pals Tony and Helen that two bars shut in our faces, forcing us to go to a much nastier one for a final round, I took it easy on Thursday and retired to my dark room early with a chalice of Stella from the hotel bar to sip with two free sticks of shortbread and watch the world burning on the news with the sound down. (Full disclosure: my manager bought me a posh burger and a beer in a posher hotel than my own, and I did a short spin of the National Museum of Scotland where ITV held their annual TV Fest drinks to discover that I only knew one person in the cavernous space, Badults producer Izzy, whom I was most grateful to talk to.)

EdTV14ACDynamoWe’ll come to the impish, slumped fellow to my right in a moment. Friday was the biggest mountain to climb, with the biggest names to facilitate. It was halfway through the afternoon when I remembered how easy it is to miss entire mealtimes when you’re working the Festival. I’d had my hearty breakfast of course, while weeping lonely tears into the Islamic State headlines in my i (simply doesn’t work, does it? What the hell were they thinking?), but the Guardian filming ran into a session I was keen to attend asking how the US “showrunner” model can be introduced into UK drama production (conclusion: it can’t), and that ran into my first session as host. I did the least imaginative thing possible in the world and ate a warmed-up panini in Caffe Nero for the loyalty stamp in about five minutes flat. Here is a photo of that session, taken by @Missread, my favourite photo of Edinburgh 2014:

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A year ago – inspired by seeing the popularity of a session with Vince Gilligan at the TV Festival – I wrote a piece for the Guardian about showrunners. In researching it, I discovered Des Doyle, an Irish filmmaker who was Kickstarting a feature-length documentary about the US TV industry called Showrunners. I plugged it and quoted it in the piece, as you could tell by the trailer than it was going to be an authoritative treat for TV geeks and Yankophiles like me. Well, the extra funding came in, and he finished it, and it’s being released here and in the States in October. It was a pleasure to be able to screen it for the public as well as delegates, as it’s a cracking piece of work, and we’d secured the great Ron D. Moore for a Q&A (he’s the genius behind Battlestar Galactica if you don’t know the name – a wise, softly-spoken sage who happens to be in Scotland to shoot his latest opus Outlander).

In the picture above you can see both Des and me looking adoringly at Ron. This is what a TV festival should be like. It’s all very well to be “industry” and all dry and po-faced about telly, but at heart we should all be fans of the medium and of those who make it, even if, technically, they are our peers. (Our Q&A was foreshortened by The Next Thing, as these events tend to be on this media merry-go-round, but it was great to be in his aura and chat offstage to him about “that” Portlandia sketch.)

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Thanks to @envypost for the borrow of the above moody photo, by the way.

Dynamo, boyish 31-year-old underground-overground star of Magician Impossible (whose forthcoming fourth series has been announced as his last for the channel Watch), is a different kettle of fish to anyone I’ve ever facilitated. Although the industry panel we did was conventional (see: above), with his producer/confidsnt Dan, Lucy from Phil McIntyre who manage him, and Richard from the channel, fanned around the coffee table onstage with me in the middle, and with clips playing on the big screen above, the subject – a television show – was not. How do you get under the bonnet of a show whose very beating heart is illusion (what Dynamo prefers to call “events” rather than “tricks”) and to which the question, “How did you do that?” is not only inapplicable, it’s downright rude.

For my intro, I borrowed the quote from Walter Bagehot, 19th century essayist, who warned, “We must not let daylight in upon magic.” And I hope we didn’t, and yet I hope we did a bit. If you’ve not seen Dynamo’s work – indebted to both the street style and spectacle of David Blaine, but without the wankiness – look him up on YouTube or Catch Up. It’s quite unique, as is the way he just walks off after doing something amazing, while Dan’s camera stays on the amazed. Dynamo might have turned out to be a tricky customer in real life, but he was sweet, funny and self-aware, and more than able to deal with a large auditorium. (He’s taking a break from TV to do a live tour, by the way.) When he did a bit of magic, and melted the hearts of even the stoniest TV miseryguts in the audience I think, I was right there next to him. I saw him turn some Lottery tickets into £20 notes by just shaking them. If they were “special” ones, I don’t know how they worked. He also turned his hand all the way round on his wrist, and swapped a playing card he held in his mouth with the playing card held in the mouth of a female volunteer. I know it’s magic, but Iogic disappears when you see someone as cool and casual as Dynamo do it.

The industry session was followed by a public screening, back at the Filmhouse. Sold out, of course, with a crowd that needed even less warming up from me than Doctor Who‘s. We watched Ep1 of his new, typically globe-trotting, celeb-packed series (showing on Watch in September), and Dynamo slipped into the seat next to me in the dark, mid-screening, to soak up the audience reaction. A small child in the row in front turned round and saw him and it was like he’d seen Jesus. After the Q&A, during which he did more magic, he was literally mobbed, enveloped, subsumed by disciples. He’s a star of the Instagram Age and he understands the power of that, but it was still incredible to see how patiently and diligently he gave them all the time they individually craved. Here’s a selfie he had taken with a volunteer, @DimpleMagician:

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His popularity, that kid-from-Bradford approachability and a superstar’s diligence combined to become a health and safety issue. I slipped out into the bar to have a chat to my Dunfermline pal Paul (whose daughter – who was such a fan she’d done a school project on Dynamo – queued patiently with her mum to get the now standard autograph/selfie) and realised that, without any warning, my working holiday was over. And it had stared raining.

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It was with a little sadness that I ate my last breakfast this morning, and packed my bags. I got absolutely soaked through on the walk home last night in the statutory proper Edinburgh downpour, but along the way (I was too mean, and too wet already, to hail a cab), I saw women without jackets or coats, let alone umbrellas or kagoules, determined to have a Friday night out regardless. You have to love the north. The Scots are already independent, spiritually and behaviourally, and Alex Salmond’s million signatures were reached yesterday, but I still fear the don’t-knows will win the day and Scotland will remain adjoined more than just geographically to the bit of the country that votes in Tory governments. (Capaldi’s Doctor blames the English for his woes in Deep Breath.) I will still love them as anyone might love a different tribe who almost speak the same language.

My last memory of Edinburgh 2014 will be sitting in wet jeans in the Hilton bar with a burger and a chalice of Stella, reading Charlotte Higgins’ brilliant, eloquent but depressing final analysis of the BBC in the Guardian, the newspaper that sponsors the Festival that pays my train fare and gives me the golden opportunity to see auld acquaintances annually, and asks me to busk a review of Doctor Who in a lobby. See you in 2015, yes?

Or should that be: see you in 2015, YES.

 

 

 

*Oh, Matthew Hall changed his name to Harry Hill. Whatever happened to him?