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Sunny, but still very cold. The novel lies at one end of the desk, untouched. A piece of good news – Redwood has won two awards at the Campaign Magazine Radio Commercials do last night. Only Molinaire, among London studios, took more awards. André deservedly chuffed. It sets a very effective seal on a first year’s operation that’s not even finished yet.

Thursday, December 15th

Drive down to Clerkenwell Green to talk with Chris Orr over future Orr/Signford plans. Clerkenwell Green is a rather attractive little backwater, as is much of the area around St Bart’s Hospital and Smithfield Market – many old buildings remain and comprehensive redevelopment further east and north and the office block building boom which transformed the Liverpool Street area, have left the Green relatively untouched. In one of these graceful old terraced houses Chris Orr has his lithographic printing press – he does his engraving work down at Wapping.

One thing I’m beginning to learn from Chris is the complicated technical side of his work. The materials he works with – inks, plates, acids, zinc and special Bavarian stone tablets for the lithographic reproduction – are complex and make the process of a Chris Orr picture as involving as the picture itself.

Before I left I tried to hint that the Chris Orr I liked should be brought clear of the self-appreciative, incestuous world of the art galleries, and tried against stiffer opposition in the bookshops. Also mentioned my feeling that he should consider an animated film sometime. But although he thoroughly agreed, I felt as I said goodbye and walked down the short flight of steps into Clerkenwell Close and along towards the Wren church next door, that I was saying goodbye to Moley – someone who didn’t really want the big wide world to disturb him. And I felt sympathetic towards him and worried that I had been talking like a Light Entertainment department.

We all assemble at Eric’s house in Carlton Hill to look at tapes of various ladies we’re considering for the Judith part.

The Judy Loe extract – the cabin scene from ‘Curse of the Claw’ – goes down well, John falling about especially loudly, which was gratifying. Gilda Radner from Saturday Night Live is seen, but an American Jewish Judith doesn’t seem to attract a great deal of support. Penny Wilton’s Norman Conquests performance goes down well, but Kika Markham is given short shrift by the Cambridge lads, who rule out her Workers Revolutionary Party involvement as being too frightful to work with.1

The final list is Judy Loe, Penelope Wilton, Maureen Lipman, Diana Quick and Gwen Taylor – and we decide to arrange a read-through with them all as soon as possible.

Saw a glimpse of All You Need is Cash. It was impressive – well paced and well shot and with some very funny performances by such as Neil Innes. John needed persuading that Neil could act. The rest of us are unanimously pro-Neil for the film, but there are quite strong differences of opinion as to who and how many we need for the supporting repertory cast in Tunisia. Good company is considered by all to be a major requirement, and some of the names bandied are Roger McGough, Ken Colley and Terry Bayler (from All You Need is Cash).

All in all the group seems very charitable and well disposed this afternoon – except to WRP members. We break around five. Eric to return to Barbados, where we shall join him on January 7th.

Friday, December 16th

The days become slighter and slighter as Christmas nears. The cold weather has been replaced by mild, grey, greasy weather, which makes the city feel like a used handkerchief. I finally complete the prolonged job of editing the newly typed Yarns and take them in to Geoffrey [Strachan].

Then back up to Hampstead for a squash game with TJ. On the way up to the Flask for a drink afterwards I buy the Melody Maker, which contains something of a landmark in Python history – the most comprehensive, overt piece of mud-slinging yet seen in public from one of the group.

Under the heading ‘Siphon the Python’ is a rambling tirade