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When they discussed a fictional sexual technique – the “Venus Butterfly” – NBC was flooded with requests for more information. In an early episode, light-relief pudgepot Stuart Markowitz starts an unlikely affair with Jill Eikenberry’s character Ann Kelsey. You tuned in to watch the bleak courtroom collisions – Jimmy Smits doing his tough-guy routine over an incest-murder case – but you always knew you’d get plenty of lather and spice along the way. LA Law always trod the line between gritty and supersoap with a delicacy that was its charm. Making your audience feel culpable? Now that’s inspired writing.ĭiana Muldaur as Rosalind Shays in LA Law. What a cow! Yet her end – failing to look before she enters a lift – was so chillingly random that it rendered viewers sympathetic. This truculent antagonist had bedded affable dad figure Leland McKenzie in another superb twist, elbowed her way to becoming a partner, then turned round and sued the law firm for sexual discrimination. Stroppy, manipulative, icy, queen bitch, but always getting her mark. Over five seasons, Rosalind Shays (played by Diana Muldaur) had become the one whom people loved to hate. Still, why let a few engineers spitting out their tea stop one of the greatest write-outs in primetime history?
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They would like it to be known that modern lifts are designed with a series of interlocking gears, rendering the opening of the door impossible unless it is in contact with the lift chamber. So we’re going nowhere except forward.Lift manufacturers across the globe would probably wish me to point out that it is impossible to fall down a lift shaft in the manner in which Rosalind Shays meets her spagbol end, halfway through season five of mid-80s legal drama LA Law. We have ambitious plans to expand our operation and branch out into television too but we all love the British crime stuff and commercially it’s the gift that keeps on giving. The people who buy those films are not dumb and they know which ones are proper.”Īnd what does he have in store for the future? “I want Hereford Films to become a brand synonymous with quality British genre films. The quality British gangster films always do well – The Hatton Gardens and the Footsoldiers. The success of The Krays – Dead Man Walking on DVD isn’t a fluke. You can’t mis-sell audiences with misleading covers and titles – they are too smart and switched on for that and film-makers need to wake up and realise that. So in the age of Netflix and Amazon is DVD still a thing? “Oh yes, it really is, particularly for genre films,” says Sothcott, “people are just a bit fussier. I know actors worry about not being on our radar but trust me they are on mine.”
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A director friend recommended her and I cast her as one of the leads in our horror movie Pentagram. Another example – years ago there was a girl who was an extra in a film of mine called Dead Cert: her name is Chloe Farnworth and she now has a blossoming film career here and in LA. In The Krays I gave Charlie Woodward his first film role and what a great decision that was – fantastic actor, he’s going places. But there’s always a substantial amount of new actors (well, new to me anyway) in our films too.
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I get asked a lot why we use the same familiar faces from TV again and again and the answer is that it’s a commercial judgement – they are good actors, their names and faces have value and get our DVDs on the shelves. Casting is a very tough thing as there’s so much talent out there but I have cast at least two dozen of my own films and I trust my own judgement. If you’re not, all the social media in the world won’t do you any good.
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I get asked all the time how to get into these films and the answer is simple – if you’re right for the part, chances are you’ll get an audition. I am constantly keeping an eye on actors, watching showreels, talking to agents. How are the Hereford Films cast, I ask: “I do it all myself,” Sothcott explains, “usually in consultation with the director but Hereford is a commercial, producer-lead business – its my neck on the line – we’re here to make successful films, plaudits are secondary. It will follow the same model as the first one – a high profile guest star (and I mean a proper actor like Rita Simons, not a reality person) and an ensemble of familiar faces. I’m interviewing directors at the minute and putting the cast together. “I have hired a great writer called Chris Jolley who has written a ton of micro budget genre films and who was clearly ready to make the step up. “We’re getting there!” Sothcott laughs down the phone when I ask him when we can expect to see the eagerly anticipated next chapter in his Krays franchise. We caught up with the man described by The Raygun magazine as the “DVD king” and by Europe Today as “the Poundland Guy Ritchie” (!) on how his The Krays – Dead Man Walking sequel is coming together.
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