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Nick Moran

Nick Moran discusses 'Telstar'

Joe Meek produced hit singles from above a shop on the Holloway Road. Trevor Johnston talks to Nick Moran about bringing his life to the big screen

Joe Meek. Ill-fated ’60s pop genius. The Holloway Road’s own king of twang. Ring any bells? If so, you’ll already be keen to see ‘Telstar’, the new biopic chronicling a life bizarrely eventful even by music biz standards. If not, then it’s over to writer-director Nick Moran for his killer pitch…

‘Joe Meek? He lived and worked above a handbag shop, wrote the biggest-selling record of all time, turned down The Beatles, took lots of drugs, worshipped the Devil, got arrested for importuning, then shot his landlady and killed himself.’ Interested? Well, that’s about as much as Moran knew when he started out 15 years ago on a journey that has taken the 39-year-old one-time ‘Lock, Stock…’ actor from pub theatre to the West End stage, and now this energetic directorial screen debut. It all began, would you believe, with the plaque on the wall above the shop at 304 Holloway Road, where Meek had his studio. ‘It was about 1994 and I was an under-employed actor looking to write a play,’ Moran recalls. ‘I spotted the plaque, and someone gave me a run-down of the Joe Meek story, which hit the spot in terms of juicy subject matter!’

Meek’s legacy has been fiercely protected by The Joe Meek Society, and was the subject of a 1991 ‘Arena’ documentary for the BBC. However, it’s fair to say that the creator of such ’60s pop gems as The Tornados’ ‘Telstar’ – the first single by a British artist to top the US chart in the years before the Beatles-led ‘British Invasion’ – and The Honeycombs’ ‘Have I The Right?’ is best known these days to a coterie of musos and admirers. This might have given Moran and co-writer James Hicks the freedom to impose their own shape on the material, but since Hicks’s granny turned out to be a close friend of Meek’s writing partner, Alan Blakely – who provided first-hand recollections of the maverick producer’s rise and fall – it soon became apparent that Meek’s story didn’t need any creative sweetening.

‘What guided us was David Mamet’s dictum: “Always tell the truth, it’s the easiest thing to remember”, ’ Moran continues. ‘Meek’s story was about a man who builds a kingdom, then all the traits that made him great come back and destroy him. The point of the play and film is to show what happens when you get success, but you just can’t stop it slipping through your fingers. Perhaps that’s an uncomfortable story for some people, but we had a fantastic producer in Simon Jordan, who gave us the backing to tell it the way it was.’

Indeed, although Moran and Hicks’s stage play ‘Telstar’ was given its first public read-through in a Stockwell pub by a cast including Jude Law, Kathy Burke and Samantha Morton, Jordan – millionaire chairman of Crystal Palace FC – has loomed large in its progress ever since. He helped to fund the play’s West End opening in 2005, then kept it running when audiences plummeted after the 7/7 bombings. It was Jordan, too, who rang Moran in LA in early 2007 to suggest they turn it into a movie. ‘He has an affinity with the story,’ explains Moran. ‘Perhaps it connected with him as a self-made man.’ While Jordan’s cash made the film possible, Con O’Neill’s return in the demanding, flamboyant central role also proved crucial in easing the transition from stage to screen. ‘When you’re on an incredibly tight schedule, it’s amazing to have someone who’s that prepared,’ says Moran.

‘Telstar’ thrums with the excitement of unearthing a singularly eccentric chapter in pop’s back pages. The teeming incidents of Meek’s tragic life sometimes make an awkward fit in story terms, but it’s a confident, committed directing bow. Given Moran’s somewhat variable post-‘Lock, Stock…’ acting credits, where such indie offerings as ‘Christie Malry’s Own Double-Entry’ nestle alongside the likes of ‘Soccer Dog: European Pup’, it’s likely to surprise people, and has since won him a second feature assignment, helming an adaptation of Kevin Lewis’s true-crime memoir ‘The Kid’.

‘I’ve done 18 or so movies as an actor and I’ve always been very watchful on set. You learn as much from doing a bad film as a good one,’ Moran sums up. ‘So I came into “Telstar” with a clear vision. I could have gone on “Mastermind” with Joe Meek as my subject. Now it’s trial by fire to see if critics and audiences like it as much as we do, but it’s great to make something you’re proud of. I’ve been in the business long enough to know that doesn’t happen so often.’

'Telstar' opens on June 19.

Author: Trevor Johnston

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tom hammond said...

one of the parts they totally got wrong in the film was the way they had Con O'neill dressed I dont think Joe dressed like that at all any views ..Della do you still live in Crewkerne with your shop..antiques You should write a book Della ..sorry to be personal on here but nice to know your still about and defending Heinz....People did not give Heinz his due credit he made some great records and the turn out at his Funeral proved how loved and liked he was there was no room people standing Posted on Sep 02 2009 11:44

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Della said...

The more I think about this film the more it becomes a complete character assassination of Heinz, and others. Although I didn't want to see it in the first place, I now want to see it again, to see the bits I missed first time round. I am so glad the there are many of you out there who knew the Holloway Road set up better than me but still feel angry at the way it has been portrayed. We all respect and recognise Joe's technical talent and that of many of his artists; it is so sad to misrepresent some of the personalities who worked there. I do think that Con O'Neill was great, as was Kevin Spacey, misdirected or not! I have not yet gone down the legal route...it's a possibility! Posted on Sep 02 2009 11:25

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Tom Hammond said...

like everyhting else in the U.K money is all that counts beeing seen in nice cars big houses nice dolly birds on your arm.Anyhting with any credence like Joe Meek's legacy all the hard work he achieved over the years counts for nothing.Only the true disciples will understand Joe and hopefully intelligent people will see Joes music and research it.anyway..the musics ther and I and many others love it-The Film is poor superficially a reasonably piece of entertainment factually absolutely crud...The Music was great and Con Oneill tried to do a good job and did The Heinz scenes were pointless who has the proof this took place an affair between joe and heiz i met heinz many times and he said it was crap the rumour was started out of jealousy ok joe fancied him but that was it.to make a film and state catergorically that Heinz and Joe ahd a gay affair is total slander I hope DElia sues along with JohnRepsch.although John Repsch did not do all the work on the book there were many more JOhn did the work and ut it together but other people started the research Posted on Sep 02 2009 09:59

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Chris said...

Nick Moran on matermind? He can't recall events even in interviews along with Ralph etc can't get it right. How they enticed Kevin Spacey to play a walnut whipped ginger headed business man beats me. Could it be Moran is proper mates ! Posted on Sep 01 2009 21:11

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Andy H said...

The film has upset a lot of people, Patrick , Heinz's family, John Repsch the man who wrote THE Joe Meek book and where most of this film has got its ideas from, It is a funny film and a dark film and it could have been a lot lot better. the best part for me was hearing the music through a cinema sound system, the sound he created was just amazing, and I do believe that this is not the end of Joe Meek's story his long awaited public recognition, its not even the end of the beginning, as Phil Spector go's away for along time , its time for Joe Meek to reclaim his crown as the First alchemist of Rock and pop music.
he is #1 and it is just the start !
sorry could not resist that one Posted on Sep 01 2009 21:08

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tim said...

having initially enjoyed the film,i take issue with the distortion of the truth by the filmakers.it is absolutely out of order to negatively portray living people in a bad light and bend the truth for artistic purposes.Both Heinzs and Robbie Dukes family must be be annoyed right now.id be livid.....i think nick should get out and explain his hurtfull and scandalous truth bending..... Posted on Sep 01 2009 19:37

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"Melvis" said...

The actual story of the life and death of JOE MEEK is totally extraordinary in every way shape and form -That's what makes the whole JOE MEEK story so interesting. So why oh why do peopole feel they need to ADD certain things on here and there - When we just want the truth portrayed ?
So now we have a certain re-write of historical events - I really can not for the life of me understand why that was needed, it just doesn't make any sense!
The thing is, with all the bio-pics that have been made, (and botched up) on such subjects as ELVIS, BUDDY HOLLY and JERRY LEE LEWIS they are all made by film makers .....NOT music lovers.
I dread to think what hatcett job someone will make on poor ol' GENE VINCENT?
These people should hang their heads in shame, and just admit ....We Cocked up folks....Sorry, the fact is we ain't got a bloody clue what were doing.....Duh ! Posted on Sep 01 2009 11:57

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Danielle said...

Extraordinary comments! I, alas, must agree with the majority of above. I had seen a work-in-progress documentary on Joe in London last year called A LIFE IN THE DEATH OF JOE MEEK which was astonishing. That film got me drooling for TELSTAR. Unfortunately, all I can say for TELSTAR, after having seen it a few weeks ago, is that I need to see the wonderful documentary again. TELSTAR is a farago. A sleazy character assassination that does absolutely no justice to the importance of it's subject. I don't mind graphic homosexuality in cinema, that's not the problem with this movie. the problem is, it wants me to detest Joe Meek and to laugh at his accomplishments, which, believe me, were considerable! Forget this poorly and insensitively concocted nonsense and see the doc instead. THAT is a lovely, funny tribute. Leave TELTAR for the rubbish collector. Sorry to say, but it is the truth. Posted on Aug 31 2009 23:24

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Elaina said...

Nick Moran and company have done a hatchet job on Joe Meek, his life and work. Moran frequently mentions the 'epiphany' he had whilst riding down Holloway Road in the 1990's, seeing the plaque on number 304 "Joe Meek lived worked and died here." What were his first thoughts? Not "Wow, this man really achieved something great" ---no, Moran has admitted his first idea was what a great story (ie money spinner) this would make. Nevermind Joe's reputation, the family and friends he left behind...let's make an already tragic and painful story for so many people all the more worse. Thankfully anyone with half a brain can look up internet articles on the REAL Joe Meek, or crack open the brilliant book by John Repsh (who was unfairly given no credit in this film) or better yet, watch the fabulous documentary 'A Life In The Death of Joe Meek'... Thankfully this film has reaped what it's sown and has turned out to be one of the biggest flops of all time; like Moran's career. Posted on Aug 31 2009 23:19

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Babs Brown said...

I went along to this potential visual and musical feast I walked out. The producers ripped of what could have been a great story, I having seen the play was left cold with this adaptation. Posted on Aug 31 2009 21:21

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Mike Hunt said...

Nick has done Joe a great injustice along with his friends a great film was there for the taking with this amount of funding it should have been a classic, Moran as a director couldn't direct traffic. Posted on Aug 31 2009 21:09

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Patrick Pink said...

To Simon Jordan and Nick Moran,
I am writing this letter to tell you how disgusted I am with your movie Telstar. For the past 42 years, people have worked very hard to keep Joe's name and reputation in the public consciousness and I feel you have undone all that hard work in 120 minutes.
I am extremely upset by the way you have chosen to portray my character. The fact that you both lied to me barefaced is inexcusable. On the day of filming, you assured me there would be "no pyjama scenes" (since you knew this had bothered me in the play) and lo and behold, there was a pajama scene and more. I do not take kindly to your insuations that I had a sexual relationship with Joe Meek. To me he was my employer and my friend only. I have stated this unequivocally many times and in many ways. Contrary to what you may believe, homosexual men are capable of forming platonic friendships. This is not 'artistic license' this is character assassination. To you, the Joe Meek story is a cash cow. To me, Joe Meek is my life and I relive what happened every day of my life. What you have done has made it worse for me. The way you have portrayed me is beyond hurtful, it is unforgiveble.It looks like I have given you my blessing to distort the truth the way you have. If I had known how you were going to portray me, I would not have consented to appear in the film.
The film implies that I was plying Joe with drugs. This never happened.
I never went on holiday with Joe, in fact I never had a British passport until 1967. You know as well as I know, the person who appeared in the beach film footage with Joe was Andy Cavell. It was Terry O'Neil who went to Spain with Joe in 1965, if my memory serves me correct. I don't believe that you portraying me as Joe's lover had any point whatsoever. We get it, Joe was gay--so why couldn't you have showed him cavorting with any other guy-- (preferably a nameless person so no one would get hurt) why did it have to be me? This cheapens the relationship I had with Joe. He was like a father figure to me, a mentor, how could you portray it like this?
I was upset with the scene of my character holding a gun to Heinz's head. This implied that I knew the gun was there when Joe was acting manically. This also means I could have 'stopped him' if I wanted to. As I have said many times, I did not know of the gun's existence. If I had, maybe history would have been very different.
As for the final scene, you have bastarized history. Not only were you content to destroy the character of the only person who was true to Joe and had to witness two deaths that day, you had to sink to a new level with that final kiss which (thank god) true music historians knew never happened.
Joe Meek was a wonderful person, capable of extraordinary kindnesses. You got his character totally wrong. He appears to be a bastard from beginning to end. Unfortunately, history will now quote your film as the benchmark for Joe Meek. In my opinion you have destroyed the reputation of one of music history's most gifted record producers.
These are just a few of my gripes. I could go on and on but I am quite content to leave it at that for now. I demand a public apology. I know a lot of people have been hurt by this film, but it is up to them to speak for themselves. I'm very sorry that Joe Meek can't. Posted on Aug 31 2009 19:49

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James said...

I agree with Della, it was sickening also the made up scenes with Patrick Pink. It was rubbish and a waste of time and money Posted on Aug 31 2009 16:51

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John said...

I saw the film a short while ago, must agree with Della, they also upset Patrick Pink with out of order fictional scenes. It has to date taken £65,000 at the box office, cost six millin to produce, maybe that's some kind of justice in a way? Posted on Aug 31 2009 16:46

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Chris said...

The film captures the sixties brilliantly but has too many inacurate scenes. Did nothing but destroy certain characters in particular Joe Meek, what a wate of a golden opportunity by Moran Posted on Aug 31 2009 16:36

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