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of terrorism, but that’s not germane to the argument). I’m neutral to the extent that I don’t give a dam about the morality of hunting, but as a country lover I have to defend rural traditions and the right of people to make a living from them. But my real interest, I confess, would be to watch the attempted enforcement of a hunting ban, something which I suspect the banners haven’t really thought about. I’m not sure how the police are going to proceed against law-breaking huntsmen—when they assemble, when they set off, when they first get on the trail of a fox, or when they kill it? Assuming they do. I would truly enjoy the sight of PC Plod in pursuit of the Blencathra, running up and down the fells crying: “Stop, in the name of Blair!”
    I mustn’t be cynical, or wonder why the government debated fox-hunting while the countryside was dying from foot and mouth disease; whom the gods would destroy they first make mad. But I would like to know why the ban-the-hunt brigade don’t demand the outlawing of angling, which is horribly cruel, consisting as it does of the slow torturing to death of a fish with a barbed hook in its jaws. Could it be that while they inveigh against people who chase foxes and deer and blow the hell out of grouse and pheasants, on the erroneous assumption that they are all “toffs” and fair game, the antis are scared to tackle the anglers, vast numbers of whom are working-class? Of course it is. They know, too, that a bill against angling wouldn’t stand a chance—but being men and women of stainless principle, shouldn’t they try for one, or at least state boldly where they stand? Or don’t they care about fish?

SHOOTING SCRIPT 2

With the Tudors in Hungary
    S ensible people do their memoirs by taking daily notes, like Alec Guinness and Alan Clark, which gives the published work an immediacy and excitement lacking in those recollections which begin: “It was in the summer of 1977…” Being idle, and having no great ambition, until quite recently, to write my autobiography, I haven’t taken daily notes, but on one occasion I did write up my doings on a weekly basis. That was during the making of The Prince and the Pauper, and for the sake of variety, and because it contains trivia which may be of interest, I am including that account as I wrote it, with only a little editing. Since I didn’t start my note-taking until some time into the production, I shall have to set the scene with a brief introduction. So…it was in the summer of 1977 that Alex Salkind invited me to do a screenplay of Mark Twain’s novel, to be directed by Richard Fleischer. A screenplay had already been done, and I was to adjust, or, if necessary, do a complete rewrite. I read it, and decided to start from scratch .
    Accordingly I flew to Paris and met Fleischer, and so began a most happy collaboration with one who was to become my closest friend in the movie business—indeed, Kathy and I have no closer friends anywhere outside our family than Dick and his delightful wife Mickey. We see them only at long intervals, but they have been great fun in London, Los Angeles, the Riviera, Spain, Budapest, Rome, Dublin, and elsewhere, and as David Balfour said of Alan Breck, they can burn down my barn any time .
    Dick, whose father, Max Fleischer, was one of the great animators and the creator of Popeye, is a pro from way back, one of the masters of Hollywood’s golden age and a meticulous artist of immense versatility. You name it, Fleischer has directed it, from newsreels to such celebrated films noirs as The Narrow Margin; massive spectaculars including The Vikings, Barabbas, 20,000 Leagues Under the Sea, and Tora! Tora! Tora!; musical comedy (Dr Dolittle), science fiction (Fantastic Voyage), fantasy (Conan the Destroyer and Red Sonja) and a host of outstanding films which defy classification, among them Soylent Green, 10 Rillington Place and The Boston Strangler. I’ve been lucky enough to write for him on