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Half-way through the evening, George went out into Henley and returned with vast amounts of vegetarian food from a new Indian take-away that had just opened. We all ate too much – George dipping in with fingers only.

Home about 4.00. Helen not pleased, as she had really expected me a lot earlier – and I very indignantly tried to tell her how much hospitality I had had to refuse, to get back even by 4.00. Still, it’s no time of night for an argument.

Wednesday, October 8th

Lunch with Gwen Watford, who has agreed to take the part, and Ian Ogilvy. Realise that there are several peaks of nervousness in one’s first half-hour show, and one is meeting the other actors – especially when they are as exalted as Gwen W Will they be right? What will be their attitude to the piece? Is it just a light diversion which they needn’t bother with much? All anxieties dispelled on first meeting. Gwen I met in the make-up department, where she’d come for a wig fitting. She’s charming and very approachable, and, like Ian Ogilvy, straightforward and down-to-earth.

Thursday, October 9th

Just as the week seemed to be settling down smoothly, ‘Lumberjack Song’ rears its ugly head again. Anne rings to say that Tony Stratton-Smith still prefers the Drury Lane ‘Lumberjack’ to the new version so laboriously conceived last weekend.

There is a definite split on the two versions of the ‘Lumberjack’. Graham and Adams have been in after lunch (Anne said she wasn’t quite sure how compos Graham was) and prefer the Drury Lane version. Terry J prefers Drury Lane. I really feel they are so different from each other in style as to be incomparable, and I feel I would hate the weekend’s work just to go out the window. Eric has rung. He has ‘flu and is not happy at all. He positively doesn’t want Drury Lane.

Friday, October 17th, Dorchester—London train

Rattling back home after the week’s filming on Tomkinson. Amazingly we are still able to have a meal on the train at 9.30 – a not unpleasant British Rail steak.

I think it has been the most solid week’s work in my life. Since Monday morning I have been totally involved – in the setting-up and shooting, as well as the acting, of almost every shot. The feeling of responsibility tightens the concentration and, though the actual application is hard, it’s the only way — especially as I feel TJ is waiting just behind me to take over. I don’t mean that in any malicious sense, it’s just that I fear his enthusiasm – it’s the sort that is so deeply felt it keeps me on my toes, because I must keep thinking of ideas first.

At the moment, sitting back as the train roars towards London, I feel as happily and justifiably exhausted as I have done after any filming in a long while. Not only have I enjoyed the extent of my own involvement, I’ve enjoyed working with Terry Hughes. After the physical and mental strain of Ian Mac, Terry is more easy-going, open, adaptable, never rattled, never defensive – I suppose it stems from the fact that he has no-one to fight. He is a blue-eyed boy at the BBC – director of The Two Ronnies, at present the No. I show in the ratings – whereas Ian was always at loggerheads with his employers. And Ian had six Pythons to cope with, Terry H only has two.

Tuesday, October 21st

Down to Ray Millichope’s1 at 10.30 to see the rushes. Terry H, Terry J and myself crowd around Ray’s Steinbeck2 at his new cutting rooms next door to the Nellie Dean pub in Carlisle Street. Euphoria gathers as we watch almost two hours’ worth of rushes.

I feel very, very happy this afternoon as I drive back home. I think for the first time that Tomkinson is going to work in the area in which it is most distinctive – the area of quality, of atmosphere, of style.

Friday, October 24th

This morning we (i.e. the Pythons) are to meet Alan Freeman for an interview for some US radio programme he does. Freeman is one of those folk heroes of the sixties – Pick of the Pops, etc – who’s still around and amazingly durable in the ‘70s. Graham tells me he’s keen on motor bikes and leather and men.