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Andrew Sachs |
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Andrew Sachs is most widely known for his role in Fawlty Towers. He has worked extensively in radio, television, film and the theatre and is now one of the most popular voice artists.
Andrew Sachs, forever etched in the public's imagination as the long-suffering Spanish waiter Manuel of Fawlty Towers, has recorded Ian Fleming's Chitty Chitty Bang Bang for Puffin Audiobooks. We caught up with Andrew to ask him about his life in classic sitcoms, contemporary advertising and serious documentaries.
How did you start as an audiobook reader?
By saying 'yes' to an offer. Can't remember when, can't remember what. But it must have been a lo-o-ong time ago, because I remember William Caxton popping in to the studio to see if we were faithful to his pryntynge.
You recently recorded Ian Fleming's Chitty Chitty Bang Bang for Puffin Audiobooks. How do you prepare for reading such a well-known story?
Quite coincidentally I'd seen a preview of the stage show the week before recording. I can't say it helped ... or hindered. On the whole, I like to come fresh to a book - unless it's an abridgement when it can be (but isn't always) useful to know what's been left out. Getting hold of the book well ahead of the recording date is a great advantage, so that I can practise to myself slowly and thoroughly. First time through; silently. No notes and as few distractions as possible. Then I start deciding on character voices, general style and keeping the author's intentions well in mind, while at the same time doing my best to avoid showing off by overacting or indulging in the voice beautiful. Then I skim through it for the final time the day before recording and hope for the best.
You're a prolific narrator of television documentaries, but how does voiceover work differ from audiobook work when essentially they're both jobs involving just you, a script and a microphone?
With voiceover work, there are pictures to guide you (usually) and a time-code on screen and on script to say the right words at the right time. There's also the opportunity to customise the script with necessary cuts or additions, or eliminate ambiguities, correct grammar or syntax or sometimes even facts. Most important is to aim at being as unobtrusive as the most effective background music is. 'Stop acting, Sachs' is probably the best reminder I can be given.
In many people's minds you'll forever be Manuel, the scapegoat waiter in Fawlty Towers. Despite running for only twelve episodes, Fawlty Towers is firmly established as one of the best British sitcoms ever. Why do you think it worked so well and what was it like to work on?
It was a great team and it was wonderful to be part of it. It's difficult to know why it was - and still seems to be - so popular. Most reasons I can think of would apply to other successful series just as well. Perhaps F.T. has a greater number of good qualities quite apart from the obvious ones of good scripts, good casting, or good production values. For example, each episode has many more camera shots than normal. Great editing eliminates any ineffective moments and there's a greater emphasis on physical movement compared to dialogue to achieve the comedy.
What made you decide to be an actor? And if not acting, was there an alternative career?
Vanity. Alternative career? Many. Astronomer - but I wasn't good at maths. Sculptor - but having had an uncle who was one, it turned out not to be enough of a recommendation. Inventor - but I'd been beaten to everything I'd ever want to invent. Writer ... ah yes. I'm still working on that one. And they actually pay me for it sometimes.
You recently presented a Radio 4 programme called The Jewish Journey which traced England's Jewish history over the past millennium. How much of a personal quest was this?
I can see why they cast me as presenter; I am/was as ignorant of the subject as I dare say the majority of the listeners are/were. The idea was that I would be able to ask the kind of questions of the experts that the listeners would want to ask. Added to which, I'm half Jewish myself, and came over to England as a nine-year-old refugee from Germany.
I've heard you're a bit of a workaholic, but is it really true that you even did some work for the BBC on your wedding day?
Yes, but as a struggling actor at the time, how else was I going to pay for the ring?
