and I guess in terms of interpreting it um, er, yeah and realism is the way that we've, we've done it. In a way kind of um, for want of another ... stylistic concept I did play around with a few other ideas um, I mean I have used one or two not quite realistic um, devices like, like er, using voice overs for the um, er, for people's memories and, and flashback memories occasionally and er, and having the screen go all, all wobbly when K... is getting confused in the Vatican and so on but only, only in, really in rather small ways. At one stage in the scripts um, I, I experimented with a kind of gossip voice of Middlemarch er, in which you heard a lot of overlapping voices over each other, you didn't see any of the people, you just got a sense of a, of a kind of malevolent deadening er,

(pg. 105, cont.)

bring em down to our level you know stuck up trying to change things you know wow, nothing came of him you know etc, etc um, um, but um, that sort of disappeared at some stage, nobody else was very enthusiastic about that um, er, and, and so it did come down to er, yeah very er, well I hope a very good er, well I hope a very good kind of telly naturalism but, but telly naturalism is the way that we've done it.

Additional Notes in pen:

Annotation 1: On page 104, a shape separating the sentence "yeah and realism...memories occasionally" from the rest of the text is drawn in in pen. To the left of this, a hand-written note also in pen, reads "Part 4".

Ref code: PM-56 Title: Transcript extract from an interview with Andrew Davies about non-realistic writing/camera techniques used in the adaptation, pp.104-5. Date: 1993 Format: .png Source: (ITM-7963) Interview transcript (Item 2: Andrew Davies, 1993) created for BBC Education pack: Screening Middlemarch; 19th Century Novel to 90s Television. Held at BFI Special Collections, UK, http://collections-search.bfi.org.uk/web/Details/ChoiceArchive/110008677