During the writing and researching of the Book of Beasts one of the most enjoyable interviewees was George Leuenberger who had created the special effects for the episode 'Special Offer'. George was a little puzzled at first why someone was contacting him about a TV show he had worked on over forty years previously. However, he was very generous with his time and memories and even went as far to lend me his personal file of production memos, clippings and documents not just about Beasts, but his whole career.
I interviewed George four years ago and recently recontacted the family in order to send him a copy of the book. Sadly, they informed me that George died at the grand age of ninety last year. He had an amazing, if uncelebrated, career in both film and TV. Hopefully this profile will help to celebrate his work and commemorate his extensive list of credits.
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“It got very busy during the production of the film Ivanhoe and so the effects department were so short of people that they borrowed me from the props department to go and work in special effects. I liked it and then spent the next forty years doing it. I thoroughly enjoyed it.[1]”
In this capacity George worked on such notable films as the historical adventure romp Ivanhoe (1952), mystery thriller The Hour of 13 (1952), the John Ford directed romantic adventure Mogambo (1953), Beau Brummel (1954), the musical portmanteau film Invitation to the Dance (1956), romantic drama Bhowani Junction (1956) and war drama The Man Who Never Was (1956).
George completed work on the last three films credited above before he moved into working within television. “About twelve of us from MGM studios joined ATV in the August (1955) before they went on the air. In amongst them was a chap called Jim Blades and he was employed as a special effects supervisor. So that established a special effects department before ATV even went on the air. I went from MGM and joined as a special effects assistant to Jim Blades.[2]” George worked at ATV from the very start on a variety of shows, from drama to quiz shows, supplying practical effects and background projections of which there are far too many to ever list or recall. To help to compile this profile George was very kind in lending me materials from his personal archive which included memos and thank you letters from the producers or directors of many shows he worked on during his extensive career.
George also contributed to several editions of the 1963 run of The Charlie Drake Show produced by Colin Clews. The series marked Drake’s return to television after he had suffered a serious accident in 1961 during a live transmission on the BBC. A bookcase had been set up to fall apart as Drake was pulled through it during a slapstick sketch. However an enthusiastic stage hand had “mended” the bookcase beforehand and Drake was knocked unconscious as he attempted the stunt. Thankfully for the new series all the stunts and special effects went out with no mishaps. George worked on a run of sketches during the series which featured Drake as gymnast doing arm twists from a high ring whist a commentator counted his twists. By the end of the series this was running into the thousands and Drake’s arm had extended up to 20 foot long! In his memo to George Colin Clews noted that “I have asked for some near impossible things to be done he (George) has come up with excellent results, which added a tremendous amount to the shows.[4]” Further special effects supplied by George during 1963 included an explosion for the opening episode second season of the Victorian detective drama Sergeant Cork in the episode 'The Case of the Fenian Men' (28th December 1963).
The next memo in the file comes from director Paul Bernard who notes George’s input to one of his episodes of Emergency Ward Ten – 'By the Mark Twelve' (31st Januaury 1967). During April 1967 George supplied effects for the ITV Playhouse production 'The Retreat' (11th June 1968) which allowed him to work with Herbert Wise once more who was in the director’s chair. Towards the end of the year George also worked on an episode of the comedy series George and The Dragon for producer / director Shaun O’Riordan.
The earliest memo comes from June 1962 and is from the Austrian born director and producer Herbert Wise and is a note to say how much he appreciated George’s input into the production Drama 62: 'The Enemy' (1st July 1962) “It was a very tricky show to do – made easier by your great co-operation.[3]” The play, written by John Gray, starred Graham Crowden and Richard Vernon.
George also contributed to several editions of the 1963 run of The Charlie Drake Show produced by Colin Clews. The series marked Drake’s return to television after he had suffered a serious accident in 1961 during a live transmission on the BBC. A bookcase had been set up to fall apart as Drake was pulled through it during a slapstick sketch. However an enthusiastic stage hand had “mended” the bookcase beforehand and Drake was knocked unconscious as he attempted the stunt. Thankfully for the new series all the stunts and special effects went out with no mishaps. George worked on a run of sketches during the series which featured Drake as gymnast doing arm twists from a high ring whist a commentator counted his twists. By the end of the series this was running into the thousands and Drake’s arm had extended up to 20 foot long! In his memo to George Colin Clews noted that “I have asked for some near impossible things to be done he (George) has come up with excellent results, which added a tremendous amount to the shows.[4]” Further special effects supplied by George during 1963 included an explosion for the opening episode second season of the Victorian detective drama Sergeant Cork in the episode 'The Case of the Fenian Men' (28th December 1963).
Fire Crackers was a comedy series which ran for two seasons between 1964 and 1965 which starred Alfred Marks as the chief of a motley crew of firemen. A memo from producer / director Josephine Douglas noted that a working vintage fire engine had been sourced for filming from Beaulieu Motor Museum under the condition that George Leuenberger was placed in sole charge of it whilst it was used for studio filming. As such George was not only responsible for any special effects smoke and “cranking up and moving the engine from its store to the studio[5]” but also supervising any possible driving of a few feet by the actors in the studio. A later memo from Josephine Douglas also noted the efforts of the special effects crew on location for the series “With weather conditions quite the worst since records were kept – they managed to work at great pace and with remarkable cheerfulness. I can’t praise them too highly – indeed it is entirely thanks to them that the job was completed not only at all, but on schedule.[6]”
The next memo in the file comes from director Paul Bernard who notes George’s input to one of his episodes of Emergency Ward Ten – 'By the Mark Twelve' (31st Januaury 1967). During April 1967 George supplied effects for the ITV Playhouse production 'The Retreat' (11th June 1968) which allowed him to work with Herbert Wise once more who was in the director’s chair. Towards the end of the year George also worked on an episode of the comedy series George and The Dragon for producer / director Shaun O’Riordan.
During March 1968 George also supplied effects for a production of Shakespeare’s Twelfth Night for director John Sichel and producer Cecil Clarke. The production, not transmitted until 1970, starred Alec Guinness, Tommy Steele and Ralph Richardson. During September and October George was assigned to work on the music show Innocence, Anarchy and Soul (26th October 1968). The programme featured performances from Lulu, Lonnie Donegan and Julie Driscoll. The director Rita Gillespie wrote a note to George noting “all your lovely gimmicks worked beautifully, and really made our “anarchy” atmosphere.[7]”
In May 1969 George was assigned to provide effects for The John Davidson Show and was singled out for praise for his work in internal memos when an effects machine, supplied by an outside contractor, broke down for the recording. “Mr Leuenberger, at our request, very hurriedly arranged for us to have an effect which served our purpose well.[8]” Between 1969 and 1970 George worked on three seasons of This Is Tom Jones supplying practical effects and back projections. He would also provide similar services for two seasons of The Des O’Connor Show between 1970 and 1971. Both of these programmes were produced by Jon Scofield. 1970 would also see George engaged to work on the three-part series Norman (2nd April – 16th April 1970), a comedy vehicle for Norman Wisdom.
George returned to straight drama in July 1972 supplying snow effects for the ITV Playhouse production 'Refuge for a Hero' (6th September 1972) which told the story of two members of a mountaineering team finding safe haven in a hut after being caught in a blizzard. The cast included John Thaw and Edward Petherbridge. Alick Rowe, a member of the Snowdonia rescue team, wrote the play and a hut, based on an actual one situated on the peak of Snowdonia, was recreated in the studio. Director Peter Jefferies noted “We were prepared to go to any lengths to get our reproduction of the hut in the studio as near as possible to the real thing, with no expense spared. We took photographs of the hut from every angle and then had the walls, which are built without cement, reproduced in plastic.[9]” This wasn’t the first time the George Leuenberger was in charge of wrangling snow for a production having produced the snow effects for the winter scenes in the film Dr Zhivago (1965).
Director David Foster, who would later work with Leuenberger on Sapphire and Steel, sent a memo praising George for his contribution to an episode of General Hospital they both worked on during 1974 – “Thank you very much for the spurting blood in last week’s casualty scene. It came on time and looked very realistic.[10]” More light entertainment work followed with the TV special Ann Margret Smith (20th November 1975), produced by ATV during August 1974 with an eye on the American market. This musical special was hosted and featured performances by the Hollywood actress along with guests Sid Caesar and the Bay City Rollers. George was on hand to make sure background projectors worked seamlessly.
Much more serious was the one-off ATV production It’s A Lovely Day Tomorrow (8th October 1975) which George worked on at the start of 1975. The programme was a recreation of the 1943 incident at the London Underground station at Bethnal Green in which over 170 people died. Members of the public, camped on the tube station platform to avoid night time bombings, panicked and the ensuing crush resulted in all the casualties. Marjorie Yates, who would appear in 'Murrain', was a member of the cast.
George returned to straight drama in July 1972 supplying snow effects for the ITV Playhouse production 'Refuge for a Hero' (6th September 1972) which told the story of two members of a mountaineering team finding safe haven in a hut after being caught in a blizzard. The cast included John Thaw and Edward Petherbridge. Alick Rowe, a member of the Snowdonia rescue team, wrote the play and a hut, based on an actual one situated on the peak of Snowdonia, was recreated in the studio. Director Peter Jefferies noted “We were prepared to go to any lengths to get our reproduction of the hut in the studio as near as possible to the real thing, with no expense spared. We took photographs of the hut from every angle and then had the walls, which are built without cement, reproduced in plastic.[9]” This wasn’t the first time the George Leuenberger was in charge of wrangling snow for a production having produced the snow effects for the winter scenes in the film Dr Zhivago (1965).
Director David Foster, who would later work with Leuenberger on Sapphire and Steel, sent a memo praising George for his contribution to an episode of General Hospital they both worked on during 1974 – “Thank you very much for the spurting blood in last week’s casualty scene. It came on time and looked very realistic.[10]” More light entertainment work followed with the TV special Ann Margret Smith (20th November 1975), produced by ATV during August 1974 with an eye on the American market. This musical special was hosted and featured performances by the Hollywood actress along with guests Sid Caesar and the Bay City Rollers. George was on hand to make sure background projectors worked seamlessly.
Much more serious was the one-off ATV production It’s A Lovely Day Tomorrow (8th October 1975) which George worked on at the start of 1975. The programme was a recreation of the 1943 incident at the London Underground station at Bethnal Green in which over 170 people died. Members of the public, camped on the tube station platform to avoid night time bombings, panicked and the ensuing crush resulted in all the casualties. Marjorie Yates, who would appear in 'Murrain', was a member of the cast.
In May 1975 George worked on the Hunter’s Walk story 'Reprisals' (8th June 1976) for director Richard Bramall who noted “I should like to thank your department for their co-operation during episode 2 of Hunter’s Walk. I was very impressed with their efficiency and delighted with the results on both location and in the studio.[11]” Bramall would later work with George on the Beasts episode 'Special Offer'. during February 1976. In April 1976 George worked once more with Norman Wisdom when he supplied smoke and fire effects for the third season of A Little Bit of Wisdom’s sixth episode 'Firebug' (4th May 1976). The following month he supplied special effect “devil torches” for the first episode of Will Shakespeare, a six-part biographical drama which featured Tim Curry as William Shakespeare. Associate producer Lorna Mason noted in a memo “I don’t know what other ‘magic’ you’ve got up your sleeve, but your care and attention to the difficult effects we require is very much appreciated.[12]”
The following year George worked on the biographical drama series Disraeli for the producers Cecil Clarke and Lorna Mason. Other post-Beasts work includes the spooky children’s series Come Back Lucy and the variety show Bonkers! (1978 – 1979) which featured Bob Monkhouse and American comedians The Hudson Brothers. The series was first aired in the United States during 1978 and later in the UK in 1979. However, just four episodes were shown before the series was cut short by the thirteen week long ITV technicians strike in 1979. The show did not reappear when ITV resumed broadcasts though it gained a cult following in America where it was compared to Saturday Night Live.
The following year George worked on the biographical drama series Disraeli for the producers Cecil Clarke and Lorna Mason. Other post-Beasts work includes the spooky children’s series Come Back Lucy and the variety show Bonkers! (1978 – 1979) which featured Bob Monkhouse and American comedians The Hudson Brothers. The series was first aired in the United States during 1978 and later in the UK in 1979. However, just four episodes were shown before the series was cut short by the thirteen week long ITV technicians strike in 1979. The show did not reappear when ITV resumed broadcasts though it gained a cult following in America where it was compared to Saturday Night Live.
During January 1979 George was engaged in work on Sapphire and Steel. George recalled some of the work involved when he spoke to me: “David McCallum had to hold an iron square frame in his hands and it had to go from cold to red hot. We had to get a transflex projection screen stick it on the square and shine a light at it. Its material very similar to that used on signs on the road that light up bright when headlights hit them. So we projected a red light and the more you turn the light up the brighter and brighter it gets and McCallum pretended to drop it because it’s red hot. Another time we had Joanna Lumley behind a desk and we had to have a glass shatter in very close proximity to her. The thing is I had like that are much more involved than Briteway Billy[13] because you stand the chance of hurting somebody.[14]” Producer Shaun O’Riordan sent George a memo thanking him which noted “Apart from the general meteorological stuff – for which I am grateful – the book was a classic, not just mechanically, but as a piece of storytelling.[15]”
George then worked alongside Pauline Quirke once more when she was cast as Charlotte in the series The Further Adventures of Oliver Twist. George supplied effects for the production filmed over January and February 1980. June and July 1980 would see George working in the period drama Flickers. Later in the year George was involved in the complex location and studio filming for the biographical drama I Remember Nelson. During my chat with him he noted “In Nelson on the lower gun deck there were cannons that recoiled as they fired. That was quite involved as the cannon had to come back with some force as they would do with a cannon recoiling. We had to make sure no extras got involved with any cannons coming back.[16]”
George then worked alongside Pauline Quirke once more when she was cast as Charlotte in the series The Further Adventures of Oliver Twist. George supplied effects for the production filmed over January and February 1980. June and July 1980 would see George working in the period drama Flickers. Later in the year George was involved in the complex location and studio filming for the biographical drama I Remember Nelson. During my chat with him he noted “In Nelson on the lower gun deck there were cannons that recoiled as they fired. That was quite involved as the cannon had to come back with some force as they would do with a cannon recoiling. We had to make sure no extras got involved with any cannons coming back.[16]”
When ATV lost its franchise and was replaced by Central in 1981 George remained in post at the new broadcaster. He found that the ambitious drama production he had previously been involved with began to become less and less. His bread and butter work was now supplying back projections[17] to game shows such as Blockbusters or the children’s series Luna, which starred Patsy Kensit in the title role, and Your Mother Wouldn’t Like It. Then there was the Bill Oddie sitcom From the Top (1986) and children’s comedy series Palace Hill (1988 - 1990) which spoofed Grange Hill. He did work on two final drama series. The Bretts (1987) dealt with a family of actors during the 1920s whilst Hard Cases (1988) was set in the world of the probation service in the West Midlands. George and his team handled special effects on location for a riot sequence in one of the episodes such as petrol bombs, fireballs and explosions.
During 1989 there was as a further series of Palace Hill and George also toiled away on the third series of the sitcom A Kind of Living and the game show The Price Is Right. One of the more challenging shows that George worked on during this period was the game show Combat: A Battle of the Regiments which saw British Army regiments compete against one another in a knockout contest. The show was hosted by Anneka Rice and Emlyn Hughes and George was on hand to provide some explosive effects “When we did Combat we had shells dropping and exploding around landing barges so they had to be very carefully done. Briteway Billy wasn’t as exact as that because there was no danger to the people. There was no chance of people being blown up or burnt. In special effects things only become a problem to us if there’s a possibility that someone could get hurt.[18]”
After working on the children’s adventure series Phoenix Hall (1990) George retired in December 1990. He had spent thirty five years working within the field of special effects for television. His son Paul has carried on working within the film and television industry and is a freelance cameraman. George passed away, at the age of ninety, in 2022.
[4] Memo dated 17th July 1963 from Colin Clews to Les Harrison
[5] Memo dated 10th June 1964 from Josephine Douglas to Alan Tarrant, Harry Solomons and George Leuenberger.
[6] Josephine Douglas quoted in a memo dated 15th June 1964 from Leslie Harrison to George Leuenberger
[7] Letter dated 6th October 1968 from Rita Gillespie to George Leuenberger.
[8] Colin Clews quoted in a memo dated 9th May 1969 from Leslie Harrison to George Leuenberger
[9] “The Pick of the Week”, Thanet Times, 5th September 1972, page 10
[10] Memo dated 21st January 1974 from David Foster to George Leuenberger
[11] Memo dated 21st May 1975 from Richard Bramall to George Leuenberger
[12] Memo dated 30th May 1976 from Lorna Mason to George Leuenberger
[14] Interview with George Leuenberger, 1st July 2019
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