Dennis Christopher George Potter (17 May 1935 – 7 June 1994) was an English television dramatist, screenwriter and journalist.
Beginning with contributions to BBC television's The Wednesday Play anthology series from 1965, he peaked with The Singing Detective (1986), a BBC TV serial for which he is most remembered. This work and many of his other widely acclaimed television dramas mixed fantasy and reality, the personal and the social and often used themes and images from popular culture. A psoriatic arthropathy sufferer for most of his adult life, Potter made regular public pronouncements on issues dear to him.
Dennis Potter was born in Berry Hill, Forest of Dean, Gloucestershire. His father, Walter Edward Potter (1906 – November 1975),[1] was a coal miner in this rural mining area between Gloucester and Wales; his mother was Margaret Constance, née Wale (born 1910). Potter has a sister named June.[2]
Brought up a Protestant he attended the local Salem chapel, and went to Christchurch Junior School where, in 1946, he passed the eleven-plus entrance examination to Bell's Grammar School at Coleford. He then went to St. Clement Danes School in London, while the family lived for a time with his maternal grandfather in Hammersmith. During this time the ten year old Potter was sexually abused by his uncle, an experience he would later allude to many times in his writing.[3] Between 1953 and 1955, Potter did his National Service and learnt Russian at the Joint Services School for Linguists, serving with the Intelligence Corps and subsequently at the War Office.[4]
After national service, in 1956, he won a scholarship and went to New College, Oxford to study Politics, Philosophy and Economics, editing the student magazine Isis. He graduated in 1958, after obtaining a second-class degree. A tall, lean young man with red hair, he was described by his economics tutor as a "cross between Jimmy Porter and Keir Hardie".[5]
On 10 January 1959 he married at the Christchurch parish church Margaret Amy Morgan (1933–1994), a local girl he met at a dance.[4] They lived a "surprisingly quiet private life" at Ross-on-Wye, Herefordshire, and had a son, Robert and two daughters, Jane and Sarah, who was to achieve prominence in the 1980s as an international cricketer.
After Oxford, Potter joined the BBC, initially as a trainee in radio and then television journalism, during which time he worked on Panorama including front of camera work on his personal film "Between Two Rivers" (1960) which is about the closure of coalpits in the Forest of Dean. He did not take to television journalism though, and joined the Daily Herald newspaper. From August 1961 he became a television critic for the Herald and its successor, The Sun in its pre-Murdoch incarnation.
Potter's first non-fiction work, The Glittering Coffin, was published by the Gollancz Press in 1960. The book was a rumination on the changing face of England in the prosperity following the end of the war years. It was followed by The Changing Forest: Life in the Forest of Dean Today (1962), which was based on the "Between Two Rivers" documentary. This book is a study of class and social mobility that demonstrates an early fascination with the effects of the mass media on British cultural life. Apart from his newspaper columns for the Daily Herald and The Sun, originally published by the International Press Corporation.
He soon returned to television though. Herald journalist David Nathan persuaded Potter to collaborate with him on sketches for That Was The Week That Was. Their first piece was used in the edition of 5 January 1963.[6]
Potter stood as the Labour Party candidate for Hertfordshire East, a safe Conservative Party seat, in the 1964 general election against the incumbent Derek Walker-Smith. By the end of the campaign, he claimed that he was so disillusioned with party politics he did not even vote for himself. His candidacy was unsuccessful.
In 1962 Potter had begun to suffer from an acute form of psoriasis known as psoriatic arthropathy that affected his skin and caused arthritis in his joints. It also made a conventional career path impossible. Potter embarked on a career as a television playwright, largely after being inspired by the Granada version of Leo Tolstoy's War and Peace (1963), based on Erwin Piscator's stage production. He wrote in the Daily Herald that it was "surely the most exciting evening that TV has ever given us",[7]
Potter's career as a television playwright began with The Confidence Course, an exposé of the Dale Carnegie Institute that drew threats of litigation. Although Potter effectively disowned the play, it is notable for its use of non-naturalistic dramatic devices (in this case breaking the fourth wall) which would become hallmarks of Potter's subsequent work. Broadcast as part of the BBC's The Wednesday Play strand early in 1965, The Confidence Course proved successful and Potter was commissioned to make further contributions. His next play, Alice (1965), was a controversial drama chronicling the relationship between Lewis Carroll and his muse Alice Liddell. Potter's most highly regarded works from this period are the semi-autobiographical plays Stand Up, Nigel Barton! and Vote, Vote, Vote for Nigel Barton. The former recounts the experience of a miner's son going to Oxford University where he finds himself torn between two worlds, culminating in Barton's participation in a television documentary. This mirrored his creator's participation in Does Class Matter (1958), a television documentary made while Potter was an Oxford undergraduate.[8] The second play featured the same character standing as a Labour candidate — his disillusionment with the compromises of electoral politics is based on Potter's own experience.[9] Both plays received praise from critics' circles but aroused considerable tension at the BBC for their potentially incendiary critique of party politics.[9] In his James MacTaggart Memorial Lecture in 1993, Potter recalled how he was asked by "several respected men at the corporation why I wanted to shit on the Queen" (Occupying Powers, 1993)
After several poorly received projects, Potter contributed Moonlight on the Highway to ITV's Saturday Night Theatre strand broadcast on 12 April 1969. The play centred around a young man who attempts to blot out memories of the sexual abuse he had suffered as child in his obsession with the music of Al Bowlly. As well as being an intensely personal play for Potter, it was his first foray in the use of popular music to heighten the dramatic tension in his work. Four days later Potter's Son of Man went out as a Wednesday Play on BBC1 with the Irish actor Colin Blakely in the lead role of Jesus in which the dramatist gives an alternative view of Christ's last days. It led to Potter being accused of blasphemy, and the first of many clashes with morality campaigner Mary Whitehouse. The script of Son of Man, mostly written in hospital, was delivered with drops of blood and cortisone grease splashed upon it.
Casanova, Potter's first television serial, was broadcast on BBC2 in 1971. Inspired by William R. Trask's 1966 translation of Casanova's memoirs (Histoire de ma vie), Potter recast the Venetian libertine as a man haunted by his dependency on women.[10] The serial was told using a non-linear narrative structure and, as the critic Graham Fuller noted in Potter on Potter, "as chamber-piece and identity quest, Casanova strongly anticipates [later works such as] The Singing Detective." It did, however, prove controversial for its frank depiction of nudity and was criticized for its sexual content. Controversy also dogged another play, Brimstone and Treacle (Play for Today, 1976), the original version was unscreened by the BBC for over a decade owing to the depiction of the rape of a disabled woman by a man who is implied to be the devil incarnate. It was eventually broadcast on BBC2 in 1987, although a 1982 film version had been made, with Sting in the leading role (see below) and a stage version performed in Sheffield at the Crucible Theatre.
Potter continued to make news as well as winning critical acclaim for drama serials with Pennies From Heaven (1978), which featured Bob Hoskins as a sheet music salesman and was Hoskins's first performance to receive wide attention. It demonstrated the dramatic possibilities old recordings of popular songs. Blue Remembered Hills was first shown on the BBC on 30 January 1979; it returned to the British small screen at Christmas 2004, and again in the summer of 2005, showcased as part of the winning decade (1970s) having been voted by BBC Four viewers as the golden era of British television. The adult actors playing the roles of children were Helen Mirren, Janine Duvitski, Michael Elphick, Colin Jeavons, Colin Welland, John Bird, and Robin Ellis. It was directed by Brian Gibson. The moralistic theme was "the child is father of the man". Potter had used the dramatic device of adult actors playing children before, for example in Stand Up, Nigel Barton.
A lucrative deal with LWT, and semi-independence, followed an aborted project to adapt Anthony Powell's A Dance to the Music of Time for the BBC. A series of six single plays by Potter for ITV, with a further three written by Jim Allen, was planned. Budget overspends meant only three of the Potter plays were produced: the BAFTA-winning Blade on the Feather, Rain on the Roof and Cream in My Coffee, which won Grand Prize at the Prix Italia.
He also wrote the scripts for the widely praised but seldom seen miniseries of F. Scott Fitzgerald's Tender Is the Night (1985) with Mary Steenburgen as Nicole Diver.
The Singing Detective (1986), featuring Michael Gambon, used the dramatist's own battle with the skin disease psoriasis, for him an often debilitating condition, as a means to merge the lead character's imagination with his perception of reality.
Potter's TV serial, Blackeyes (1989, also a novel- see below), a drama about a fashion model was reviewed as self-indulgent by some critics, and accused of contributing to the misogyny Potter claimed he intended to expose.[11] The critical backlash against Potter following Blackeyes led to him being nicknamed 'Dirty Den' by the British tabloid press,[12] after the soap opera character, and resulted in a long period of reclusion from television. In 1990 Mary Whitehouse claimed on BBC Radio that Potter had been influenced by witnessing his mother engaged in adulterous sex. Potter's mother won substantial damages from the BBC[13] and The Listener.[14] Potter was actually an admirer of Mrs Whitehouse. The journalist Stanley Reynolds found in 1973 that he "loves the idea of Mrs Whitehouse. He sees her as standing up for all the people with ducks on their walls who have been laughed at and treated like rubbish by the sophisticated metropolitan minority."[15]
In 1992 he directed a film, Secret Friends (from his novel, Ticket to Ride), starring Alan Bates. Secret Friends premiered in New York at the Museum of Modern Art as the gala closing of the Museum of Television & Radio’s week-long Potter retrospective. Potter proposed to write an "intermedia" stage play for Geisler-Roberdeau based on William Hazlitt’s Liber Amoris, or The New Pygmalion, but he died before it could be commenced. Potter's romantic comedy Lipstick on Your Collar (1993) was a return to more conventional themes and the familiar format of six hour-long episodes, but did not become the desired popular success, although it helped launch the career of Ewan McGregor.[11]
In 1978, Herbert Ross was shooting Nijinsky at Shepperton Studios and invited Potter to write the screenplay for his next project Unexpected Valleys. After watching Pennies from Heaven on television one evening, Ross contacted Potter about the prospect of adapting it for the cinema.[16] The project was launched at MGM as an 'anti-musical' with Steve Martin and Bernadette Peters in the lead roles. According to Potter, the studio demanded continual rewrites of the script and made significant cuts to the film after initial test screenings. The film was released in 1981 to mixed critical reaction and was a box office disaster. Potter was, however, nominated for the Best Adapted Screenplay Oscar that year alongside Harold Pinter for The French Lieutenant's Woman.
Having already adapted Brimstone and Treacle for the stage after the television production was banned by the BBC, Potter set about writing a film version. Directed by Richard Loncraine, who also directed Potter's Blade on the Feather at LWT, the film featured a soundtrack by The Police while Sting played the role of the devil; Denholm Elliot reprised his role from the original television production playing Mr Bates while Joan Plowright took the Patricia Lawrence role as Mrs Bates. Although a British film made by Potter's own production company (Pennies Productions), the casting of Sting piqued the interest of American investors. As a result, references to Mr Bates' membership of the National Front and a scene discussing racial segregation were omitted —as were many of the non-naturalistic flourishes that dominated the television production— although, ironically, the film was much more graphic in its depiction of sexual abuse and rape. The film though was not a success at the box office, but Sting's cover of "Spread a Little Happiness" reached number sixteen in the UK Singles Chart.
Potter's screenplay for Gorky Park (1983) earned him an Edgar Award from the Mystery Writers of America, although it emerged as a shadow of Martin Cruz Smith's original novel. He also wrote the screenplay for Dreamchild (1985), a cinematic adaptation of his earlier Alice script. In her last film role, Coral Browne portrayed the elderly Alice Hargreaves who recalls in flashbacks her childhood when she was the inspiration for Lewis Carroll's Alice in Wonderland. In 1987, he adapted his television play Schmoedipus (1975) for the cinema. The ensuing film, Track 29, directed by Nicolas Roeg, was the last project Potter would pursue in Hollywood. However, Potter did provide uncredited script work on James and the Giant Peach (released 1995) — his chief contribution providing dialogue for the sardonic caterpillar. Potter makes a sly reference to this in Karaoke when the character Daniel Feeld (Albert Finney) is invited to provide dialogue for an "arthritic goat" in a children's film.
Potter's reputation within the American film industry following the box office disappointments of Pennies from Heaven and Gorky Park ultimately led to difficulty receiving backing for his projects. Potter is known to have written adaptations of The Phantom of the Opera, The Mystery of Edwin Drood, The White Hotel and his own 1976 television play Double Dare: all reaching the preproduction stage before work was suspended. More fortunate was Mesmer (1993), a biographical film of 19th century pseudo-scientist Franz Anton Mesmer.
The last film Potter actively worked on was Midnight Movie (1994), an adaptation of Rosalind Ashe's novel Moths. The film starred Louise Germaine and Brian Dennehy (who had appeared in Lipstick on Your Collar and Gorky Park, respectively) and was directed by Renny Rye. Unable to secure financing from the Arts Council, Potter invested half a million pounds into the production; BBC Films provided the rest of the capital. The film was not given a cinema release owing to a lack of interest from distributors and remained unseen until after Potter's death. It was finally broadcast on BBC2 in December 1994 as part of a Screen Two season two months after a remake of his lost 1967 play Message for Posterity was transmitted.
A film version of The Singing Detective, based on Potter's own adapted screenplay, was released in 2003 by Icon Productions. Robert Downey, Jr. played the lead alongside Robin Wright Penn and Mel Gibson. Gibson also acted as producer.
In 1993 Potter was given a half hour in prime time by Channel 4 in their Opinions strand produced by Open Media. Broadcast just before the third episode of Lipstick on Your Collar, itself a rumination on the effects of the mass media, in this case through popular music, Potter's chosen topic was what he perceived to be a contamination of news media and its effect on declining standards in British television. Craig Brown described the programme in the (Murdoch owned) Sunday Times:
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- "Potter announced at the beginning: 'I'm going to get down there in the gutter where so many journalists crawl... what I'm about to do is to make a provenly vindictive and extremely powerful enemy... the enemy in question is that drivel-merchant, global huckster and so-to-speak media psychopath, Rupert Murdoch... Hannibal the Cannibal.'...
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- As a performance, it had a lot going for it. I have never seen a talking head on television so immediate or so unabated in its anger. In many ways, it felt like being collared by a madman on the Tube. Filmed disturbingly close to camera, seemingly ad-libbing the entire half-hour, now mumbling, now rasping, Potter somehow managed to cut through the vacuum that on television usually separates viewer from viewee. This made the performance extraordinary."[17]
On 14 February 1994, Potter learned that he had terminal pancreatic cancer which had metastasised to his liver.[11] It was thought that this was a side effect of the medication he was taking to control his psoriasis.
On 15 March 1994, three months before his death, Potter gave an interview to Melvyn Bragg, later broadcast on 5 April 1994 by Channel 4 (he had broken most of his ties with the BBC as a result of his disenchantment with Directors-General Michael Checkland and especially John Birt, whom he had famously referred to as a "croak-voiced Dalek"),[18] Using a morphine cocktail as pain relief, he revealed that he had named his cancer "Rupert", after Rupert Murdoch, who he said represented so much of what he found despicable about the mass media in Britain.[19] He described his work and his determination to continue writing until his death. Telling Melvyn Bragg that he had two works he intended to finish ("My only regret is if I die four pages too soon"), he proposed that these works, Cold Lazarus and Karaoke, should be made with the rival BBC and Channel 4 working in collaboration, a suggestion which was accepted.[11]
These two related stories, eventually broadcast in 1996, one set in the present and the other in the far future, both feature Albert Finney as the same principal character. Both series were released on DVD release on 6 September 2010.
Months before Potter was diagnosed with pancreatic cancer his wife, Margaret Morgan Potter, was diagnosed with breast cancer. Despite his own deteriorating condition and punishing work schedule, Potter continued to care for Margaret Amy Potter until she died on 29 May 1994.[4] He died nine days later, in Ross-on-Wye, Herefordshire, England, aged 59.
Hide and Seek (1973) was a meta-fictional novel exploring the relationship between reader and author and contains a central protagonist, 'Daniel Miller', who is convinced he is the plaything of an omniscient author. This concept forms the core of Potter's next two novels, and portions of Hide and Seek would reappear in several of his television plays (most notably Follow the Yellow Brick Road and The Singing Detective, respectively).
Ticket to Ride (1986) was written between drafts of The Singing Detective and concerns a herbithologist who is unable to make love to his wife unless he imagines her as a prostitute. This was followed in 1987 by Blackeyes: a study of a model whose abusive uncle, a writer, has stolen details of his niece's experiences in the glamour industry as the basis for his latest potboiler.
To tie-in with the release of the MGM production of Pennies from Heaven in 1981, Potter wrote a novelisation of the screenplay. Potter turned down the option of writing a novelisation for the film version of Brimstone and Treacle, allowing his daughter Sarah to write it instead.
Although Potter only produced one play exclusively for theatrical performance (Sufficient Carbohydrate, 1983 – later filmed for television as Visitors in 1987), he adapted several of his television works for the stage. Vote, Vote, Vote for Nigel Barton, which featured material from its sister-play Stand Up, Nigel Barton, was premiered in 1966, while Only Make Believe, which incorporated scenes from Angels Are So Few, made the transition to the stage in 1974. Son of Man appeared in 1969 with Frank Finlay in the title role (Finlay would also play Casanova in Potter's 1971 serial) and was restaged by Northern Stage in 2006.[20] Brimstone and Treacle was adapted for the stage in 1977 after the BBC refused to screen the original television version. The play text for Blue Remembered Hills was first published in the collection Waiting for the Boat (with Joe's Ark and Blade on the Feather) in 1984 and has since enjoyed several successful stage performances.
Potter's work is distinctive for its use of non-naturalistic devices. The 'lip-sync' technique he developed for his "serials with songs" (Pennies from Heaven; The Singing Detective and Lipstick on Your Collar), extensive use of flashback and nonlinear plot structure (Casanova; Late Call), direct to camera address (Vote, Vote, Vote for Nigel Barton) and works where "the child is father to the man", in which he used adult actors to play children, (Stand Up, Nigel Barton; Blue Remembered Hills) have all become Potter trademarks. They are frequently deployed in works where the line between fantasy and reality becomes blurred, often as a result of the influence of popular culture (Willie, the Wild West obsessive played by Hywel Bennett in Where the Buffalo Roam) or from a character's apparent awareness of their status as a pawn in the hands of an omniscient author (the actor Jack Black (Denholm Elliot) in Follow the Yellow Brick Road).
Potter's pioneering method of using music in his work emerged when developing the ground-breaking 1978 drama Pennies from Heaven. He asked actors to mime along to period songs. "Potter tried out the concept himself by lip-syncing to old songs while looking into a mirror. Potter himself once revealed that, working on harnessing songs in his plays, he was most productive " at night, with old Al Bowlly records playing in the background."[21] Potter had previously experimented with Bowlly's voice in Moonlight on the Highway (1969).
Following in this spirit of non-naturalism, Potter's characters are frequently "doubled up"; either by using the same actor to play two different roles (Kika Markham as the actress and escort in Double Dare; Norman Rossington as Lorenzo the gaoler and the English traveller in Casanova) or two different actors whose characters' destinies and personalities appear interlinked (Bob Hoskins and Kenneth Colley as Arthur and the accordion man in Pennies from Heaven; Rufus (Christian Rodska) and Gina the bear in A Beast With Two Backs).
One major motiff in Potter's writing is the concept of betrayal, and this takes many forms in his plays. Sometimes it is personal (Stand Up, Nigel Barton), political (Traitor; Cold Lazarus) and other times it is sexual (A Beast With Two Backs; Brimstone and Treacle). In Potter on Potter, published as part of Faber and Faber's series on auteurs, Potter told editor Graham Fuller that all forms of betrayal presented in literature are essentially religious and based on "the old, old story"; this is evoked in a number of works, from the use of popular songs in Pennies from Heaven to Potter's gnostic retelling of Jesus' final days in Son of Man.
The "Pinteresque" device of a disruptive outsider entering a claustrophobic environment is another recurring theme. In plays where this occurs, the outsider will commit some liberating act of sex (Rain on the Roof) or violence (Shaggy Dog) that gives physical expression to the unsublimated desires of the characters in that setting. While these more malevolent visitors are often supernatural beings (Angels Are So Few), intelligence agents (Blade on the Feather) or even figments of their host's imagination (Schmoedipus), there are also —rare— instances of benign visitors whose presence resolves personal conflicts rather than exploits them (Joe's Ark; Where Adam Stood).
For the rest of his life, Potter was frequently in hospitals, sometimes completely unable to move and in great pain. The disease eventually ruined his hands, reducing them to what he called "clubs." He could only write by strapping a pen to his hand. Potter kept working between bouts of pain, nausea, and diarrhea, clutching a pen in his clawed fist and writing in longhand. "I can't use a typewriter," he said, "because my trailing fingers would hit more than one key at once."[22]
Potter was sometimes attacked by other television writers, most notably Alan Bennett and Matthew Graham, for a perceived lack of humility and self-criticism; Graham described him as having "come undone" after The Singing Detective and beginning to believe "every line that dripped from his pen was a work of genius". Bennett referred in his 1998 diaries to a television programme "that took Potter at his own self-evaluation (always high), when there was a good deal of indifferent stuff which was skated over". Private Eye once lampooned him as Dennis Plodder, due to the slow pace of some of his work, whilst also branding him as "the whingeing playwright".
Although Potter won few awards, he is held in high regard by many within the television and film industry, and he was an influence on such creators as Steven Bochco,[23] Alan Ball[citation needed], Andrew Davies,[24] Charlie Kaufman[citation needed], Peter Bowker,[25] Margaret Edson[citation needed] and Alain Resnais.[26] His work has been the subject of many critical essays, books, websites and documentaries.
BBC Four marked the tenth anniversary of Potter's death in December 2004 with a major series of documentaries about his life and work, accompanied by showings of Pennies from Heaven and The Singing Detective, as well as several of his single plays — many of which had not been shown since their maiden broadcast.[27] His influence has also extended into popular music: Welsh band Manic Street Preachers used quotes from Potter on the inner sleeves to their single "Kevin Carter" and greatest hits collection, while Scottish art rock band Franz Ferdinand modelled the promotional video for their song "The Dark of the Matinée" after Blue Remembered Hills and The Singing Detective. Guy Garvey, lead singer with Elbow, has said he named his band after the exchange in The Singing Detective where the central character claims that word to be the most beautiful in the English language.
- Footnotes
- ^ Arena interview, 1987
- ^ "Arena: Painting the Clouds: A Portrait of Dennis Potter", The Encylopaedia of Fantastic Film & Television, 25 December 2004
- ^ During his speech at the 1993 James MacTaggart Memorial Lecture, Potter made a very public reference to this particular event when explaining his decision to switch from newspaper journalism to screenwriting: "Different words had to be found, with different functions. But why? Why, why, why; the same desperately repeated question I asked myself without any sort of an answer, or any ability to tell my mother or my father, when at the age of ten, between V.E. Day and V.J. Day, I was trapped by an adult's sexual appetite and abused out of innocence."
- ^ a b c "Dennis Potter obituary", Daily Telegraph, 8 June 1994
- ^ Carpenter, Dennis Potter, p.96
- ^ Humphrey Carpenter That Was Satire That Was: The Satire Boom in the 1960s, London, 2000, p.232
- ^ Daily Herald, 27 March 1963
- ^ Sergio Angelini "Stand Up, Nigel Barton (1965)", BFI screenonline
- ^ a b Sergio Angelini "Vote, Vote, Vote, for Nigel Barton (1965)", BFI xcreenonline
- ^ In Potter on Potter, the writer told Graham Fuller that he assumed Casanova's drive to seduce so many women was symptomatic of tristitia post coitum (literally, "the sadness after sex").
- ^ a b c d Cook, John. "Potter, Dennis (1935–1994)". BFI Screenonline. http://www.screenonline.org.uk/people/id/451441/.
- ^ Mark Lawson Obituary: Dennis Potter, The Independent, 8 June 1994
- ^ Lawson, Mark (2003-10-31). "Watching the detective". The Guardian. http://film.guardian.co.uk/features/featurepages/0,,1074044,00.html.
- ^ John R. Cook Dennis Potter: A Life on Screen, Manchester University Press, 1998, p.350, n.82
- ^ The Guardian, 16 February 1973, quoted in W. Stephen Gilbert The Life and Work of Dennis Potter, Woodstock, NY: The Overlook Press, 1998, p.145 (originally published as Fight and Kick and Bite: Life and Work of Dennis Potter, London: Hodder and Stoughton, 1995)
- ^ On the DVD commentary for the original television serial, director Piers Haggard claims he approached Potter during filming of the series with the suggestion of producing a cinematic version starring the original cast. Potter allegedly responded by telling Haggard "there's no point – we've already done it now!".
- ^ Craig Brown "Abuse of Privilege", The Sunday Times, 28 March 1993
- ^ Potter, Dennis (28 August 1993). "Occupying Powers" (reprint). The Guardian. http://www.bilderberg.org/milne.htm#Potter. Retrieved 12 April 2009.
- ^ BFI. "Interview with Dennis Potter, An (1994) Synopsis". http://www.screenonline.org.uk/tv/id/1055970/synopsis.html.
- ^ Mark Fisher "Son of Man", Variety, 24 September 2006
- ^ The Independent, 7 January 2005, previewing Arena - Dennis Potter:It's in the Songs! It's in the Songs! BBC Four
- ^ (Carpenter, 224)
- ^ Bochco's musical drama Cop Rock (1990) was inspired by The Singing Detective.
- ^ In 1990, The Observer newspaper asked several British television screenwriters to nominate the most influential person in the field. Potter was voted the most influential. Davies, who chose Potter, stated that "there can be no writer working in television today, or in any medium, who can claim even half the influence of Dennis Potter."
- ^ Bowker's BBC drama serial Blackpool (2004) was an attempt to revive British musical drama in the shadow of Pennies from Heaven and The Singing Detective..
- ^ His song movie On connaît la chanson (1997) is dedicated to him.
- ^ These included the Nigel Barton plays, A Beast with Two Backs, Follow the Yellow Brick Road, Son of Man, Double Dare, Where Adam Stood, Joe's Ark, Brimstone and Treacle and Blue Remembered Hills.
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The works of Dennis Potter
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Television
plays |
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Television
serials |
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- Sufficient Carbohydrate (1983)
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Select
publications |
- The Glittering Coffin (1960)
- The Changing Forest: Life in the Forest of Dean Today (1962)
- Hide and Seek (novel, 1973)
- Waiting for the Boat: Dennis Potter on Television (1984)
- Ticket to Ride (novel, 1986)
- Potter on Potter (1993)
- Seeing the Blossom: Two Interviews, A Lecture and A Story (1994)
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