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One Sunday morning, he went out with a mate to buy breakfast at Tesco's, | 0:00:12 | 0:00:17 | |
and as he came out of the shop, he said to his friend, | 0:00:17 | 0:00:21 | |
"You take the rolls back and I'll see you later." | 0:00:21 | 0:00:25 | |
And that was the last anybody saw him. | 0:00:25 | 0:00:28 | |
This was about the missing, about the people we might not know | 0:00:40 | 0:00:45 | |
and that we can't see and that we can't find. | 0:00:45 | 0:00:48 | |
There are all sorts of missing. | 0:00:56 | 0:00:58 | |
The world is full of missing persons | 0:00:58 | 0:01:00 | |
and their numbers increase all the time. | 0:01:00 | 0:01:02 | |
The space they occupy lies somewhere between what we know about | 0:01:02 | 0:01:06 | |
the ways of being alive and what we hear about the ways of being dead. | 0:01:06 | 0:01:10 | |
We wander there. Unaccompanied and unknowable. Like shadows of people. | 0:01:10 | 0:01:15 | |
Andrew O'Hagan's first book, The Missing, | 0:01:43 | 0:01:46 | |
launched him to international acclaim. | 0:01:46 | 0:01:49 | |
The book documented O'Hagan's investigations as a young journalist | 0:01:49 | 0:01:53 | |
into why people in Britain go missing. | 0:01:53 | 0:01:57 | |
The book slowly manifested into a very strange, | 0:01:58 | 0:02:03 | |
episodic document that was both full of | 0:02:03 | 0:02:06 | |
old-fashioned pavement pounding reporting, | 0:02:06 | 0:02:11 | |
and a kind of meditation and memoir. | 0:02:11 | 0:02:13 | |
It led him behind the tabloid headlines of notorious murder cases, | 0:02:13 | 0:02:18 | |
to the unheard voices of the friends and families of the missing. | 0:02:18 | 0:02:24 | |
Now the book is being adapted for the stage, | 0:02:24 | 0:02:28 | |
in a production that will premiere at Tramway in Glasgow. | 0:02:28 | 0:02:32 | |
It will be Andrew O'Hagan's first play. | 0:02:32 | 0:02:35 | |
One of the things that really gives you energy in the theatre is the possibility of total failure. | 0:02:35 | 0:02:40 | |
That book, The Missing, that I wrote a long time ago, | 0:02:40 | 0:02:45 | |
it's a stable thing now, it's still in print, it's got its life. | 0:02:45 | 0:02:50 | |
That I could ruin it somehow. | 0:02:50 | 0:02:53 | |
Alongside the play will be a new artwork | 0:02:53 | 0:02:57 | |
on the subject of the missing. | 0:02:57 | 0:03:00 | |
It will be created by visual artist Graham Fagen. | 0:03:00 | 0:03:04 | |
As a child, I thought pansies were beautiful. | 0:03:04 | 0:03:09 | |
I loved the colour meld and mesh | 0:03:09 | 0:03:11 | |
that you get in the face or head of a pansy. | 0:03:11 | 0:03:15 | |
But I was very aware that if I told my peer group | 0:03:15 | 0:03:19 | |
that the pansy was my favourite flower... | 0:03:19 | 0:03:21 | |
LAUGHTER | 0:03:21 | 0:03:22 | |
..I would be ridiculed just as I have been there. | 0:03:22 | 0:03:26 | |
Graham Fagen has exhibited around the world with work in various | 0:03:28 | 0:03:32 | |
disciplines, including photography, sculpture, performance art | 0:03:32 | 0:03:36 | |
and video. | 0:03:36 | 0:03:38 | |
His latest commission will mark | 0:03:42 | 0:03:44 | |
the reopening of the Scottish National Portrait Gallery in Edinburgh, | 0:03:44 | 0:03:48 | |
following two-and-a-half years of refurbishment. | 0:03:48 | 0:03:52 | |
When we open our doors, people will expect to see Bonnie Prince Charlie, | 0:03:56 | 0:04:00 | |
they'll expect to see Mary Queen of Scots, | 0:04:00 | 0:04:02 | |
they'll expect to see Walter Scott - and they will - | 0:04:02 | 0:04:05 | |
and they'll all be up on show. What they won't expect is to see missing people. | 0:04:05 | 0:04:10 | |
It's great that the national galleries have had a really good think about this commission. | 0:04:10 | 0:04:16 | |
It isn't the great and the good, it isn't the great Scots, | 0:04:16 | 0:04:19 | |
it's the opposite end of that spectrum. It's people that are lost, people that are missing. | 0:04:19 | 0:04:24 | |
As well as collaborators on the Missing project, Graham Fagen and Andrew O'Hagan | 0:04:28 | 0:04:32 | |
have been friends since their childhood in the 1970s, | 0:04:32 | 0:04:37 | |
when they were among the first residents of the new town of Irvine, in Ayrshire. | 0:04:37 | 0:04:42 | |
'The other way in which Irvine differs from other new towns is that it's by the sea.' | 0:04:43 | 0:04:49 | |
'The big advantage is that there's no possibility of anything like "new town blues" arriving here.' | 0:04:49 | 0:04:54 | |
We left a tenement in Partick to go into a brand new house that, | 0:04:57 | 0:05:02 | |
not only did it have an upstairs, not only were we the first people to be in it, | 0:05:02 | 0:05:06 | |
-but it had a toilet upstairs AND a toilet downstairs. -You were posh. | 0:05:06 | 0:05:12 | |
We were very posh. | 0:05:12 | 0:05:13 | |
I remember seeing a sketch on TV about working class, middle class and upper class, | 0:05:18 | 0:05:24 | |
and I remember at that time thinking about my own situation, | 0:05:24 | 0:05:28 | |
-and my conclusion was that our family belonged to the upper class. -You wish! | 0:05:28 | 0:05:34 | |
The estates were brilliant to be on then. The bins, playing in the bins. | 0:05:36 | 0:05:40 | |
People say, "Oh, what a deprived, terrible time." | 0:05:40 | 0:05:43 | |
There was nothing better than to be able to play, raking through the bins. | 0:05:43 | 0:05:48 | |
And when the men came to take the bins away, | 0:05:48 | 0:05:51 | |
you got a free holiday out of it to the midden! | 0:05:51 | 0:05:54 | |
It was the only holiday we ever got, when the binmen took us to the midden, | 0:05:54 | 0:05:58 | |
discovered that there wasn't only black bags in there, but a few kids as well. | 0:05:58 | 0:06:04 | |
We will be building two-storey houses, each with its own back and front door, | 0:06:04 | 0:06:08 | |
with a garden at the back, | 0:06:08 | 0:06:09 | |
a place for the kids to play where Mum can watch them and they can play in safety. | 0:06:09 | 0:06:13 | |
That illusion of security was shattered in April 1976, | 0:06:16 | 0:06:21 | |
when three-year-old Sandy Davidson disappeared close to his family home. | 0:06:21 | 0:06:26 | |
Sandy's younger sister, Donna, was just one-and-a-half at the time. | 0:06:31 | 0:06:36 | |
We used to go through the fields looking for Sandy. | 0:06:42 | 0:06:45 | |
Classrooms of kids used to go out and search the fields | 0:06:45 | 0:06:48 | |
and other areas, because it was a big news story, | 0:06:48 | 0:06:51 | |
but it was also a big thing in our minds. | 0:06:51 | 0:06:54 | |
Everybody thought | 0:06:54 | 0:06:55 | |
if they could only find this wee boy then it would be OK. | 0:06:55 | 0:06:59 | |
One of the things I remember is Sandy's picture appearing in the paper at the time. | 0:06:59 | 0:07:05 | |
-I was eight, I think you were... -I was ten at that time. | 0:07:05 | 0:07:09 | |
I guess that's how our generation remember and know about Sandy. | 0:07:09 | 0:07:13 | |
It was the localness of it that made it | 0:07:13 | 0:07:16 | |
part of our experience of growing up. | 0:07:16 | 0:07:18 | |
It wasn't in the national press, it was in the Irvine Times. | 0:07:18 | 0:07:23 | |
There was talk that maybe he had fell in the river. | 0:07:23 | 0:07:28 | |
They dredged it, the frogmen searched it all and everything. | 0:07:28 | 0:07:33 | |
Yeah, yeah. | 0:07:33 | 0:07:35 | |
I think somebody has took him. | 0:07:38 | 0:07:39 | |
What makes you think that? | 0:07:39 | 0:07:41 | |
I just, I've just got a gut feeling that somebody took him. | 0:07:41 | 0:07:45 | |
I think he's dead, I don't think he's alive. | 0:07:45 | 0:07:48 | |
I've thought that for years. | 0:07:48 | 0:07:51 | |
People have always said to me, | 0:07:55 | 0:07:57 | |
"How would you feel if they did discover his body somewhere?" | 0:07:57 | 0:08:00 | |
It would be hard but it would be a relief as well. | 0:08:00 | 0:08:04 | |
Because then you know you can put him to rest | 0:08:04 | 0:08:07 | |
and you can put your mind to rest. | 0:08:07 | 0:08:09 | |
It's the not knowing that's the killer. | 0:08:09 | 0:08:11 | |
The Sandy Davidson case is one of several featured in Andrew O'Hagan's new play, | 0:08:17 | 0:08:22 | |
being produced by the National Theatre of Scotland. | 0:08:22 | 0:08:25 | |
-What did he want to be? -What did he want to be? -Oh, a policeman. Definitely. | 0:08:27 | 0:08:32 | |
The play is being staged by John Tiffany, | 0:08:32 | 0:08:35 | |
who directed Black Watch, the National Theatre's biggest hit to date. | 0:08:35 | 0:08:39 | |
I keep going back to the start. | 0:08:39 | 0:08:41 | |
John Tiffany is a particularly taxing, exacting director. | 0:08:41 | 0:08:48 | |
He's not the kind of guy who, you send your well made three-act play to and he just mounts a production. | 0:08:48 | 0:08:55 | |
He's not that kind of director. He's famous for making the plays in the rehearsal room. | 0:08:55 | 0:08:59 | |
What's good about there is it's not giving in to it. | 0:08:59 | 0:09:02 | |
In terms of how the script's developed, | 0:09:08 | 0:09:11 | |
he didn't leave himself out of the first draft, | 0:09:11 | 0:09:14 | |
but he created another character who was a fictional seeker in the way that | 0:09:14 | 0:09:18 | |
Andrew had been a seeker in The Missing. | 0:09:18 | 0:09:21 | |
Every day you think, "I'm going to wake up and find he's here | 0:09:21 | 0:09:24 | |
"and none of this has happened." | 0:09:24 | 0:09:26 | |
But it felt as though we were trying to dramatise something, | 0:09:26 | 0:09:29 | |
because we were creating a character, | 0:09:29 | 0:09:31 | |
and that character had a story, and it was a story that we had to tell, | 0:09:31 | 0:09:34 | |
and it didn't feel truthful or honest. | 0:09:34 | 0:09:38 | |
You could look at the history of this. It's a hidden story, as I say. | 0:09:38 | 0:09:42 | |
After the war it happened much less, what with the welfare state and that. | 0:09:44 | 0:09:49 | |
-But recently... -It's getting worse? | 0:09:49 | 0:09:53 | |
I think so, yes. Back to the Victorian era. | 0:09:53 | 0:09:57 | |
So I took Andrew out one night and said to him, | 0:09:57 | 0:10:01 | |
"how would you feel about it being something much closer to you and what your experience was?" | 0:10:01 | 0:10:06 | |
And of course, that's scary. | 0:10:06 | 0:10:09 | |
It's easy for certain people to disappear. | 0:10:09 | 0:10:12 | |
-Would you like a glass of water? -No, I'm fine, I'm OK. | 0:10:15 | 0:10:20 | |
It's weird that the person he's inhabiting is me. | 0:10:20 | 0:10:26 | |
I'm still getting my head round that. It's quite odd to watch. | 0:10:26 | 0:10:30 | |
This is actually quite harrowing material for a young man to hear. | 0:10:30 | 0:10:35 | |
To be immersed in it every day, thinking about dead and missing people must have been massive. | 0:10:35 | 0:10:39 | |
I think in the original situation I was in, my hand actually shook. | 0:10:39 | 0:10:44 | |
It's very personal, the book is very personal, it's a real memoir in many ways. | 0:10:44 | 0:10:48 | |
-Yeah. -So you haven't been wondering it before she says it? | 0:10:48 | 0:10:51 | |
No, no, no. In this moment I am wondering, "Did he..." | 0:10:51 | 0:10:54 | |
-It just needs to go a bit deeper. -Yeah, yeah, I get it. -Great. | 0:10:54 | 0:10:57 | |
John was very clear that he didn't want it to be the machinations | 0:10:57 | 0:11:00 | |
of the writing of a book, | 0:11:00 | 0:11:02 | |
because, dramatically, that's not very interesting for an audience. | 0:11:02 | 0:11:05 | |
Seeing the character being affected by writing the book | 0:11:05 | 0:11:08 | |
or the compulsion to write a book is more interesting. | 0:11:08 | 0:11:10 | |
Where is this search for missing persons leading me? | 0:11:10 | 0:11:14 | |
I write up my notes. They become sentences, phrases, ways of seeing. | 0:11:14 | 0:11:21 | |
When I was a young teenager, I sort of went in the huff with my mum, | 0:11:42 | 0:11:47 | |
and said, that was it, I was out of here. | 0:11:47 | 0:11:51 | |
Fortunately for me, I lasted about an hour before I realised | 0:11:55 | 0:12:00 | |
I had nowhere to go, and that home was the best place to go. | 0:12:00 | 0:12:05 | |
PHONE RINGS | 0:12:05 | 0:12:07 | |
Hello, Missing People. | 0:12:07 | 0:12:10 | |
Of course, we all have those times when we want to slam the door, | 0:12:10 | 0:12:14 | |
but when we talk about 100,000 children | 0:12:14 | 0:12:17 | |
under 16 every year going missing, | 0:12:17 | 0:12:20 | |
that's overnight, and every one of those children is at risk. | 0:12:20 | 0:12:25 | |
Many of them end up in circumstances where they're sleeping rough, | 0:12:25 | 0:12:28 | |
where, perhaps, they've found themselves being referred | 0:12:28 | 0:12:31 | |
to a friend of a friend, | 0:12:31 | 0:12:33 | |
and some of those friends of friends are not safe people. | 0:12:33 | 0:12:36 | |
We know that there is a link between children going missing | 0:12:36 | 0:12:39 | |
and sexual exploitation. | 0:12:39 | 0:12:41 | |
Graham Fagen has come to the London office of the charity Missing People | 0:12:41 | 0:12:45 | |
as part of the research for his artwork. | 0:12:45 | 0:12:48 | |
-RECORDING: -Missing People have been hugely important | 0:12:48 | 0:12:54 | |
as emotional support and helping to coordinate, looking and searching | 0:12:54 | 0:12:59 | |
for our son, and hopefully, to end up bringing him home. | 0:12:59 | 0:13:02 | |
-RECORDING: -He literally walked out of our house laughing, | 0:13:02 | 0:13:06 | |
in such high spirits, and never came home again. | 0:13:06 | 0:13:10 | |
-RECORDING: -You sort of remember the things that Andrew likes to do. | 0:13:12 | 0:13:16 | |
I can just picture him now, laid there, reading. Nice memories. | 0:13:18 | 0:13:23 | |
If I start dealing with this on a personal level, | 0:13:25 | 0:13:28 | |
I'm asking a personal question here, Martin. | 0:13:28 | 0:13:31 | |
If I start trying to think about this on a personal level, | 0:13:31 | 0:13:34 | |
it's very upsetting, | 0:13:34 | 0:13:36 | |
and I'm trying to work on it in a matter-of-fact way. | 0:13:36 | 0:13:42 | |
You're here every day. How do you cope, or how do you balance it? | 0:13:42 | 0:13:47 | |
Every time people say to me, "It's just too difficult, | 0:13:47 | 0:13:50 | |
"I don't want to imagine what would happen | 0:13:50 | 0:13:53 | |
-"if my nine-year-old went missing." -Sure. | 0:13:53 | 0:13:57 | |
I think, that's, in some respects, what we have to do. | 0:13:57 | 0:14:00 | |
Maybe the fact that it affects me, speaking professionally, | 0:14:00 | 0:14:06 | |
is maybe a good sign. | 0:14:06 | 0:14:08 | |
It's maybe a sign that I'm dealing with it seriously, and, | 0:14:08 | 0:14:11 | |
hopefully, I can deal with it in a compassionate and meaningful way. | 0:14:11 | 0:14:16 | |
Sometimes it just hits you so badly, | 0:14:20 | 0:14:24 | |
that it's like a huge black cloud over everything. | 0:14:24 | 0:14:30 | |
In 2006, Alan Templeton went out shopping for groceries | 0:14:32 | 0:14:36 | |
near his Edinburgh flat. | 0:14:36 | 0:14:38 | |
He has not been seen since. | 0:14:38 | 0:14:40 | |
I find early morning, if I wake up, is the worst time. | 0:14:42 | 0:14:46 | |
I have to fight myself, fight my imagination, | 0:14:46 | 0:14:52 | |
to stop visualising him | 0:14:52 | 0:14:55 | |
in some terrible situation, where he's frightened, or lonely, or ill, | 0:14:55 | 0:15:02 | |
and that's not being attended to, | 0:15:02 | 0:15:04 | |
and nobody's picking up on it. | 0:15:04 | 0:15:07 | |
If a letter comes in for him, which still, after five years, | 0:15:07 | 0:15:10 | |
sometimes happens, that is absolutely gut-wrenching, | 0:15:10 | 0:15:15 | |
having to write to whoever has written, saying, | 0:15:15 | 0:15:20 | |
"well, Alan hasn't been seen for nearly five years," is awful. | 0:15:20 | 0:15:25 | |
He spent whatever money he had on records. | 0:15:26 | 0:15:30 | |
First of all it was Shakin' Stevens, wasn't it? | 0:15:32 | 0:15:35 | |
Then it was Whitney Houston, | 0:15:35 | 0:15:39 | |
and then it was the one with the red hair, T'Pau. | 0:15:39 | 0:15:43 | |
-Do you remember, Pete? -He was 15. | 0:15:43 | 0:15:46 | |
I am continually purifying, in theatrical terms, | 0:15:46 | 0:15:50 | |
this relationship between documentary and fiction. | 0:15:50 | 0:15:55 | |
The stories are very authentic, they're people stories, | 0:15:55 | 0:15:58 | |
and that's why they're so great to play, because these things actually happened, | 0:15:58 | 0:16:02 | |
they were conversations that actually have taken place. | 0:16:02 | 0:16:05 | |
It feels very authentic and very real. | 0:16:05 | 0:16:06 | |
Today, the company are rehearsing a scene based on Andrew O'Hagan's | 0:16:06 | 0:16:11 | |
original interview with the parents of another missing boy, Lee Boxall. | 0:16:11 | 0:16:16 | |
Everywhere, everywhere you can think of. | 0:16:16 | 0:16:18 | |
And the press moves on, everybody moves on. | 0:16:18 | 0:16:21 | |
Police in London say they're now extremely concerned | 0:16:24 | 0:16:27 | |
for the safety of the 15-year-old schoolboy, Lee Boxall. | 0:16:27 | 0:16:30 | |
Lee disappeared a week ago on his way to a football match. | 0:16:30 | 0:16:33 | |
Lee Boxall left his home in Cheam last Saturday. It's thought | 0:16:33 | 0:16:36 | |
he was heading for either the Wimbledon or Crystal Palace grounds. | 0:16:36 | 0:16:40 | |
He hasn't been seen since. | 0:16:40 | 0:16:42 | |
What I'm saying, is it stronger, whether some people would say it was the perfect childhood? | 0:16:42 | 0:16:47 | |
Well, that's true. And just leave it at that. | 0:16:47 | 0:16:50 | |
Yeah, and you're a bit like... | 0:16:50 | 0:16:52 | |
-Some people would say it was the perfect childhood. -Yes, that's true. | 0:16:52 | 0:16:55 | |
Well, Mrs Boxall's somebody who is stuck in a time warp, | 0:16:55 | 0:17:01 | |
really, of grief, but also hope. | 0:17:01 | 0:17:06 | |
She cannot accept that her son has disappeared, | 0:17:06 | 0:17:13 | |
because there's no body or anything. | 0:17:13 | 0:17:16 | |
-They were looking everywhere. -Everywhere. | 0:17:16 | 0:17:18 | |
-Everywhere you could think. -Didn't sleep at all, | 0:17:18 | 0:17:21 | |
we just sat up waiting for a ring at the doorbell. | 0:17:21 | 0:17:23 | |
-We were just waiting. -By the telephone. It was like a nightmare. | 0:17:23 | 0:17:27 | |
I mean, every day, you'd think... | 0:17:27 | 0:17:29 | |
Every day, you'd think, "I'm going to wake up and find he's here, | 0:17:30 | 0:17:34 | |
"and none of this has happened." | 0:17:34 | 0:17:36 | |
The fact that the young writer, Joe's character, turns up, | 0:17:36 | 0:17:40 | |
is hope, to keep the interest going. | 0:17:40 | 0:17:43 | |
Because as she says in it, the worst thing is | 0:17:43 | 0:17:46 | |
when the press stop being interested. | 0:17:46 | 0:17:49 | |
That's the worst time for these people, | 0:17:49 | 0:17:52 | |
because it's like it's past, and it's gone. | 0:17:52 | 0:17:54 | |
Well, it isn't gone for them. | 0:17:54 | 0:17:57 | |
And it never will be for her. | 0:17:57 | 0:17:59 | |
I'd ring the newspapers, | 0:17:59 | 0:18:01 | |
I'd phone them and I'd ask them to print something. | 0:18:01 | 0:18:04 | |
I remember one of them saying, | 0:18:04 | 0:18:06 | |
"I'm sorry, Mrs Boxall, he's just another missing child." | 0:18:06 | 0:18:11 | |
We don't know, to this day, what happened to him in September 1988. | 0:18:14 | 0:18:21 | |
We don't know whether he's alive, we don't know whether he's dead. | 0:18:21 | 0:18:25 | |
If he is alive, why hasn't he contacted us? | 0:18:25 | 0:18:29 | |
If he's been murdered, perhaps, how did it happen, and why? | 0:18:29 | 0:18:33 | |
Where is his body? All these questions are unanswered. | 0:18:33 | 0:18:36 | |
Until the time comes, if it ever comes before we die, | 0:18:36 | 0:18:41 | |
that we find out if he'd been, say, killed in an accident, | 0:18:41 | 0:18:45 | |
at least we'd know what happened to him. | 0:18:45 | 0:18:48 | |
Graham Fagen's artwork on The Missing will take the form of a video installation. | 0:18:57 | 0:19:02 | |
I've decided to use my own home. I'm thinking what the experience | 0:19:02 | 0:19:08 | |
might be like for a family to go through those sorts of emotions, | 0:19:08 | 0:19:13 | |
of the experience that someone has gone missing. | 0:19:13 | 0:19:16 | |
So, for example, I've been using very simple things, | 0:19:16 | 0:19:19 | |
like maybe a shot of the mantelpiece, | 0:19:19 | 0:19:22 | |
and what we would do is pay attention | 0:19:22 | 0:19:25 | |
to what was on my mantelpiece, and wonder why it was there, | 0:19:25 | 0:19:30 | |
and, maybe accept it. | 0:19:30 | 0:19:31 | |
If something is usually there, and it's not, then I'll add it. | 0:19:34 | 0:19:38 | |
If it looks too set up, too contrived, I'll jig it about to try | 0:19:41 | 0:19:46 | |
and make it part of the house. | 0:19:46 | 0:19:49 | |
Just have a seat there and just watch the telly. | 0:19:56 | 0:19:59 | |
That's all you need to do. | 0:19:59 | 0:20:02 | |
-I sleep, I usually sleep and watch the telly. -No swearing. | 0:20:02 | 0:20:05 | |
That's when I shouldn't be speaking, where I was actually speaking, | 0:20:05 | 0:20:10 | |
and get a row for speaking, and get a row laughing. | 0:20:10 | 0:20:13 | |
I shouldn't be laughing here. | 0:20:13 | 0:20:16 | |
I could never understand the art things, or the sculptures | 0:20:20 | 0:20:24 | |
when he was doing it a wee years ago, | 0:20:24 | 0:20:27 | |
so he just, "OK, you're doing good now. | 0:20:27 | 0:20:30 | |
"You enjoying it? Yes, that's fine. OK, you carry on." | 0:20:30 | 0:20:33 | |
I think, for me, to understand the subject area properly, | 0:20:33 | 0:20:37 | |
and to have that sense of compassion on the subject area, | 0:20:37 | 0:20:40 | |
I need to be using people that are close to me, | 0:20:40 | 0:20:43 | |
even though they're unknown to the viewers in the gallery. | 0:20:43 | 0:20:49 | |
My dad wanted to film us, and he was making silly faces | 0:20:51 | 0:20:58 | |
so we could laugh at it. | 0:20:58 | 0:21:00 | |
I never fell for it. Thomas did. | 0:21:00 | 0:21:03 | |
I was like, "What the heck are you doing?" | 0:21:03 | 0:21:06 | |
And we both shouted, "This is lame, stop it." | 0:21:06 | 0:21:09 | |
If he asks me to do anything, | 0:21:11 | 0:21:13 | |
I generally do it to give him a hand and help him through. | 0:21:13 | 0:21:16 | |
As long as he puts a bottle of whisky on the end, you know, that's it! | 0:21:16 | 0:21:21 | |
There's public faces as well as the private faces, | 0:21:25 | 0:21:29 | |
and one of the public faces that I'm probably going to use | 0:21:29 | 0:21:32 | |
is Madeleine McCann. | 0:21:32 | 0:21:34 | |
I guess, to do with her as a person, and missing in her own right, | 0:21:36 | 0:21:39 | |
but probably as well as a kind of symbol of missing. | 0:21:39 | 0:21:44 | |
Could you take Kate's book, Elspeth? | 0:21:44 | 0:21:47 | |
Just sit and read it, and I'll move round you, | 0:21:47 | 0:21:50 | |
you don't need to go anywhere. | 0:21:50 | 0:21:52 | |
I'm going to be close on the book, I'm not going to be on you. | 0:21:52 | 0:21:55 | |
It seems that the most appropriate way to bring Madeleine in | 0:21:55 | 0:21:59 | |
is to bring her into my home in some kind of way. | 0:21:59 | 0:22:02 | |
I thought about maybe using newspaper or TV footage, | 0:22:02 | 0:22:07 | |
but Kate, her mum, has just brought a book out. | 0:22:07 | 0:22:10 | |
I'm going to bring Kate's book about Madeleine into the house | 0:22:10 | 0:22:13 | |
and find it in parts of the house through my journey with the camera. | 0:22:13 | 0:22:19 | |
When you're dealing with this subject, | 0:22:49 | 0:22:52 | |
sometimes what people are experiencing is unspeakable. | 0:22:52 | 0:22:55 | |
I think the grief is so, it's so unspeakably horrendous | 0:22:56 | 0:23:02 | |
that there's no words that can articulate it. | 0:23:02 | 0:23:05 | |
If you dwelt on it you'd be awake at night. | 0:23:07 | 0:23:10 | |
That's what you see when you look at this case, | 0:23:10 | 0:23:12 | |
they could come here and live in bedsits. | 0:23:12 | 0:23:14 | |
-And nobody knew they were here? -They could be done away with. -Yeah. | 0:23:14 | 0:23:21 | |
What does that mean? | 0:23:21 | 0:23:23 | |
-That's for other people to answer. -That's for us! | 0:23:25 | 0:23:28 | |
-Don't quote me on any of this. -No, you're right. | 0:23:30 | 0:23:33 | |
You won't be able to quote me on any of this! | 0:23:35 | 0:23:38 | |
-Shall we go back? -It was that thing of almost knowing it. | 0:23:40 | 0:23:44 | |
I'm just learning the lines and muddling through it. | 0:23:46 | 0:23:50 | |
-They're not asking the right questions. -Who? | 0:23:50 | 0:23:52 | |
Us, the reporters, we're not asking the one question we should be asking. | 0:23:52 | 0:23:55 | |
And what's the right question? | 0:23:55 | 0:23:57 | |
I'm playing two policeman. | 0:23:57 | 0:23:59 | |
One, a younger policeman. One, an older one. | 0:23:59 | 0:24:03 | |
I'm playing Mr Boxall whose son went missing | 0:24:03 | 0:24:07 | |
and I'm playing an old woman, which is how I see my career going. | 0:24:07 | 0:24:12 | |
That's what they did. They found him dead, poor soul. What a state. | 0:24:12 | 0:24:16 | |
I'll tell you something for nothing, though. | 0:24:16 | 0:24:19 | |
You need to watch your van. They'll tow you as soon as look at you, | 0:24:19 | 0:24:23 | |
those men and their big woolly hats under their work hats. | 0:24:23 | 0:24:26 | |
Traffic wardens. Nigerians. | 0:24:26 | 0:24:29 | |
They come over here, they hardly know what a car is where they come from. | 0:24:29 | 0:24:33 | |
He's got men playing women, he's got women playing men, | 0:24:33 | 0:24:36 | |
he's got old people playing young people. | 0:24:36 | 0:24:38 | |
It's a really amazing thing to watch. There's a fluidity | 0:24:38 | 0:24:41 | |
about the identity of these characters that John's homed in on. | 0:24:41 | 0:24:45 | |
That seems wholly appropriate to me. | 0:24:45 | 0:24:47 | |
It strengthens the audience's experience, I hope, | 0:24:47 | 0:24:50 | |
of how unfixed people really are, | 0:24:50 | 0:24:53 | |
how untethered to the world they can be. | 0:24:53 | 0:24:56 | |
-And then he got a date to go up to court. -Court?! -That's right. | 0:24:57 | 0:25:03 | |
He stole a pair of gloves. | 0:25:03 | 0:25:06 | |
What kind of daft thing is that to steal out of a shop, a pair of gloves? | 0:25:06 | 0:25:10 | |
Did you ever know anybody that stole gloves? | 0:25:10 | 0:25:13 | |
I want some battered trainers for you, John. I don't like those. | 0:25:13 | 0:25:16 | |
-They don't seem right, do they? -Have you spoken to your inner Mr Bennett? | 0:25:16 | 0:25:20 | |
I've spoken to my inner Mr Bennett. | 0:25:20 | 0:25:23 | |
One pair of my shoes, Mr Bennett's shoes, we haven't got yet. | 0:25:23 | 0:25:26 | |
So I'm using these in rehearsal, | 0:25:26 | 0:25:31 | |
but it's quite clear to us now he's lost all interest in himself, really. | 0:25:31 | 0:25:35 | |
So they're not going to be very glamorous shoes for Mr Bennett. | 0:25:35 | 0:25:40 | |
But if you want to come over there, I'll show you the glamorous shoes I get to wear. | 0:25:40 | 0:25:45 | |
I liked the idea that all they changed was the shoes, | 0:25:45 | 0:25:48 | |
so when we come to a new character, you know, | 0:25:48 | 0:25:50 | |
Brian playing an old lady would put on a pair of cerise slippers. | 0:25:50 | 0:25:54 | |
The audience would learn very quickly to go, | 0:25:54 | 0:25:56 | |
"Ooh, what shoes are they wearing? That's going to give me a clue as to the character." | 0:25:56 | 0:26:01 | |
These are my shoes. | 0:26:02 | 0:26:05 | |
They're a fair height. | 0:26:05 | 0:26:07 | |
They're becoming very important to us, the shoes. | 0:26:07 | 0:26:10 | |
-And then he got a date to go up to court. -Court?! -That's right. | 0:26:10 | 0:26:16 | |
He stole a pair of shoes. | 0:26:17 | 0:26:19 | |
What kind of daft thing is that to steal out of a shop, a pair of shoes? | 0:26:19 | 0:26:23 | |
-A pair of shoes... -Gloves, wasn't it?! | 0:26:23 | 0:26:27 | |
Sorry. | 0:26:27 | 0:26:29 | |
A pair of shoes. | 0:26:29 | 0:26:30 | |
(That's your fault. That's your fault.) | 0:26:30 | 0:26:34 | |
The second part of Graham Fagen's artwork will be constructed around | 0:26:49 | 0:26:53 | |
a journey starting from Irvine, Graham's childhood home. | 0:26:53 | 0:26:57 | |
Usually, when I'm making a video work, I work with a small crew. | 0:26:59 | 0:27:03 | |
What was interesting for The Missing was maybe not to do a journey | 0:27:03 | 0:27:07 | |
with a crew in tow, but maybe just me with a camera. | 0:27:07 | 0:27:11 | |
And maybe I became this sort of character | 0:27:13 | 0:27:17 | |
that was on the journey, or certainly, | 0:27:17 | 0:27:19 | |
the lens of my camera became this character that was on the journey. | 0:27:19 | 0:27:23 | |
Obviously, the start place, I'm thinking about this seascape, | 0:27:28 | 0:27:32 | |
I guess to use the seascape as something that's quite open, | 0:27:32 | 0:27:36 | |
perhaps optimistic, but looking beyond, | 0:27:36 | 0:27:39 | |
looking out there to a future or the possibility of going yourself. | 0:27:39 | 0:27:45 | |
So the viewers are seeing my camera, probably roundabout there, | 0:27:48 | 0:27:54 | |
jigging about as I'm walking. | 0:27:54 | 0:27:55 | |
So it's almost like trying to take the viewer to that place. | 0:27:55 | 0:28:00 | |
That kind of feel or that kind of aesthetic is going to be | 0:28:00 | 0:28:04 | |
quite important as a vehicle for trying to get | 0:28:04 | 0:28:07 | |
to the emotional side of the subject. | 0:28:07 | 0:28:09 | |
There were signs that at one stage she might have tried | 0:28:14 | 0:28:16 | |
to escape from her attacker, | 0:28:16 | 0:28:18 | |
run up that embankment and been dragged back. | 0:28:18 | 0:28:21 | |
The murder hunt began. | 0:28:21 | 0:28:23 | |
Police combed the backcourt and the railway embankment. | 0:28:23 | 0:28:26 | |
They questioned nearly 900 people in the Barrowland that night | 0:28:26 | 0:28:30 | |
and the following night. | 0:28:30 | 0:28:31 | |
As she says, the Barrowland was the place to be. | 0:28:31 | 0:28:36 | |
-It was that. -What would the young ones say? The in-place, that's right. | 0:28:36 | 0:28:41 | |
It was the in-place to be. | 0:28:41 | 0:28:42 | |
Half the men in there were married, mind you. Is that not right, Jeannie? | 0:28:42 | 0:28:46 | |
Aye, married. Taking off their wedding rings and sticking it in their pockets, | 0:28:46 | 0:28:49 | |
that was the Barrowland for you. | 0:28:49 | 0:28:51 | |
It's amazing to see how the actors are playing it, | 0:28:51 | 0:28:54 | |
because they find comedy in this situation | 0:28:54 | 0:28:58 | |
as well as very deep tragedy. | 0:28:58 | 0:29:00 | |
ARCHIVE RECORDING: Inside the ballroom, sometime after 11 o'clock, | 0:29:00 | 0:29:05 | |
Helen Puttock, who was seen with a tall man who had reddish hair. | 0:29:05 | 0:29:08 | |
He was polite, well-spoken, did not appear to do heavy manual work | 0:29:08 | 0:29:13 | |
and might make reference to the Bible. | 0:29:13 | 0:29:16 | |
Newspapers dubbed him Bible John. | 0:29:16 | 0:29:20 | |
-A right cold night. -There was a freeze on. | 0:29:20 | 0:29:23 | |
This is a scene in the play where the young writer tells the story | 0:29:23 | 0:29:28 | |
of Bible John and the influence that that killer had in Glasgow. | 0:29:28 | 0:29:34 | |
It intercuts his researching, that story, with his meeting | 0:29:34 | 0:29:40 | |
and interviewing the sister of the third victim and her friend, Marion. | 0:29:40 | 0:29:46 | |
Marion, previously, was wearing a pair of quite fancy gold high heels, | 0:29:47 | 0:29:52 | |
but we were slightly concerned that they looked a bit Saturday night | 0:29:52 | 0:29:56 | |
as opposed to meeting a journalist to talk about someone you knew | 0:29:56 | 0:30:02 | |
in the '60s who was murdered by Bible John. | 0:30:02 | 0:30:05 | |
So the gold shoes, unfortunately, got substituted. | 0:30:05 | 0:30:10 | |
I remember checking the prices of the high heels in the window of Gordon's shoe shop. | 0:30:10 | 0:30:15 | |
In number 64? | 0:30:15 | 0:30:17 | |
This is a map that we got from the Mitchell Library | 0:30:17 | 0:30:20 | |
of the East End of Glasgow, around the Barrowlands and Trongate from 1969, | 0:30:20 | 0:30:24 | |
which is the year that Helen was killed by Bible John. | 0:30:24 | 0:30:27 | |
It's cold but we weren't in a hurry. | 0:30:27 | 0:30:29 | |
We stopped and looked in the window of the pawnbrokers. | 0:30:29 | 0:30:32 | |
As I press play on there, | 0:30:32 | 0:30:34 | |
it goes on to there and then there are certain actions... | 0:30:34 | 0:30:37 | |
-We looked in the window of the pawn shop. -215 Gallowgate. | 0:30:38 | 0:30:43 | |
So you're pointing that way. George Square, more north, Joe. | 0:30:43 | 0:30:46 | |
For the finished production of Tramway, | 0:30:46 | 0:30:49 | |
images like these will be projected onto a screen 15 feet high. | 0:30:49 | 0:30:53 | |
Obviously, I'm not controlling the screen, | 0:30:53 | 0:30:56 | |
but we want to give the appearance that I am making it all move around, | 0:30:56 | 0:30:59 | |
so it's very much like a dance. | 0:30:59 | 0:31:02 | |
I have to learn the counts of when to touch it, when to move it. | 0:31:02 | 0:31:06 | |
The other one, Helen's one, stuck with them | 0:31:06 | 0:31:08 | |
and went in the taxi towards Scotstoun. | 0:31:08 | 0:31:10 | |
'It's something I quite enjoy as an actor,' | 0:31:10 | 0:31:12 | |
learning all that. Some actors, it drives them nuts. | 0:31:12 | 0:31:15 | |
But I quite like it, the challenge. | 0:31:15 | 0:31:18 | |
We'll see if it goes well or not. | 0:31:18 | 0:31:20 | |
If you do that, then... | 0:31:21 | 0:31:23 | |
HE LAUGHS | 0:31:23 | 0:31:25 | |
If it doesn't, then I'll be running for the hills. | 0:31:25 | 0:31:29 | |
Graham Fagen's journey has taken him to London, | 0:31:35 | 0:31:39 | |
the end of the line for many of the missing. | 0:31:39 | 0:31:42 | |
Maybe it's about that searching, searching for something else, | 0:31:46 | 0:31:49 | |
searching for hopes, searching for something that's better, | 0:31:49 | 0:31:53 | |
searching for a new beginning, perhaps. | 0:31:53 | 0:31:56 | |
People think that they can come to London and try and have that and try and get that. | 0:31:56 | 0:32:00 | |
It's a bit of a cliche, London, where the streets, in theory, | 0:32:03 | 0:32:07 | |
are paved with gold. | 0:32:07 | 0:32:08 | |
Even people that work here find life in London tough. | 0:32:20 | 0:32:24 | |
If you're coming here lost and vulnerable | 0:32:24 | 0:32:27 | |
then there's people here who could easily prey on that. | 0:32:27 | 0:32:31 | |
It's probably the most inconspicuous that I've felt with the camera. | 0:32:59 | 0:33:03 | |
I'm surrounded by hundreds and thousands of people here, | 0:33:08 | 0:33:11 | |
but I feel quite autonomous and alone. | 0:33:11 | 0:33:15 | |
We're just on the edge of Soho. | 0:33:26 | 0:33:29 | |
We're at Piccadilly Circus. | 0:33:29 | 0:33:31 | |
When it gets dark, I'm going to move into Soho to do some walking about. | 0:33:31 | 0:33:35 | |
I guess what I'm thinking is that'll be the end of the journey. | 0:33:35 | 0:33:40 | |
A girl who I knew quite well in Glasgow, | 0:33:48 | 0:33:50 | |
she was in our company quite a lot, our peer group, | 0:33:50 | 0:33:54 | |
and she disappeared. | 0:33:54 | 0:33:57 | |
She didn't tell anybody that she was going to disappear or go anywhere. | 0:33:57 | 0:34:01 | |
It's just she wasn't around any more. | 0:34:01 | 0:34:03 | |
A good few months after, I was down in Soho with my girlfriend | 0:34:05 | 0:34:11 | |
and there was a record store and I was flicking through the records. | 0:34:11 | 0:34:14 | |
And Elspeth said, "There's our friend." | 0:34:14 | 0:34:18 | |
She could see her standing in the doorway. | 0:34:18 | 0:34:21 | |
So I said, "Oh, yeah. Let's go and say hello." | 0:34:21 | 0:34:24 | |
And she looked up and saw us | 0:34:24 | 0:34:27 | |
and went into the doorway that she was standing at. | 0:34:27 | 0:34:30 | |
She was obviously working. | 0:34:33 | 0:34:35 | |
She was obviously working in a trade | 0:34:35 | 0:34:37 | |
that she didn't want us to know about. | 0:34:37 | 0:34:40 | |
People like that make a very deliberate choice. | 0:34:42 | 0:34:45 | |
They want to go missing, perhaps. They want to find their own space. | 0:34:45 | 0:34:50 | |
Maybe they need to go away from the place that's familiar | 0:34:50 | 0:34:54 | |
in order to be who they feel they need to be. | 0:34:54 | 0:34:57 | |
We're not asking the one question we should all be asking. | 0:35:02 | 0:35:05 | |
And what's the question? | 0:35:05 | 0:35:07 | |
Well, nine young women's bodies have been found, right? And I've checked, | 0:35:07 | 0:35:11 | |
-hardly any of them are reported as missing. -That's correct. | 0:35:11 | 0:35:16 | |
Well, that's the question. Why weren't they reported? | 0:35:16 | 0:35:19 | |
As a young journalist, Andrew O'Hagan was sent to Gloucester | 0:35:22 | 0:35:27 | |
to cover the discovery of human remains found at the family home | 0:35:27 | 0:35:30 | |
of serial killers Fred and Rosemary West. | 0:35:30 | 0:35:33 | |
The Wellington Arms, I did a few interviews in there. | 0:35:35 | 0:35:38 | |
It was a rough pub, closed down now. | 0:35:38 | 0:35:44 | |
The old place had that atmosphere of sort of lostness. | 0:35:45 | 0:35:50 | |
I remember writing that in my notepad at the time, | 0:35:50 | 0:35:53 | |
how depressed it seemed here. | 0:35:53 | 0:35:56 | |
-TV REPORTER: -With the expectation that more human remains may yet been found, | 0:35:59 | 0:36:03 | |
the house in Cromwell Street | 0:36:03 | 0:36:04 | |
is still the centre of the police operation. | 0:36:04 | 0:36:07 | |
Body number seven was discovered in the cellar, | 0:36:07 | 0:36:09 | |
like three found earlier. | 0:36:09 | 0:36:11 | |
The first three bodies were unearthed in the garden. | 0:36:11 | 0:36:15 | |
I was looking to explain how it's plausible in a civilised society, | 0:36:15 | 0:36:21 | |
one with a welfare state, one with a social work department, | 0:36:21 | 0:36:26 | |
with a sense of community. | 0:36:26 | 0:36:29 | |
What was it in a community constructed like that, | 0:36:29 | 0:36:32 | |
that would allow so many of those women to go missing and never have been missed? | 0:36:32 | 0:36:37 | |
Did you know any of the girls? The victims? | 0:36:37 | 0:36:40 | |
-I don't know any girls like that. -Like that? | 0:36:40 | 0:36:46 | |
They should knock it down. | 0:36:46 | 0:36:48 | |
There it is. | 0:36:54 | 0:36:57 | |
The gap. | 0:36:58 | 0:37:00 | |
It's not a gap in anybody's memory, though. | 0:37:02 | 0:37:04 | |
-TV REPORTER: -Juanita Mott was an unemployed 17-year-old | 0:37:19 | 0:37:23 | |
when she left nearby Newent to travel to Gloucester in April 1975. | 0:37:23 | 0:37:28 | |
She never returned. | 0:37:28 | 0:37:30 | |
Lynda Gough was a 19-year-old seamstress in Gloucester | 0:37:30 | 0:37:33 | |
who was last seen in April 1973. | 0:37:33 | 0:37:36 | |
Police enquiries at the time came to nothing. | 0:37:36 | 0:37:38 | |
And Alison Chambers was 16 when she moved to the city in 1979. | 0:37:38 | 0:37:43 | |
Her mother received an unaddressed letter later that year, | 0:37:43 | 0:37:46 | |
but Alison herself was never heard from again. | 0:37:46 | 0:37:49 | |
They had lives, parents, boyfriends, doctors, right? | 0:38:00 | 0:38:04 | |
Nobody noticed they'd gone?! And for all these years? | 0:38:04 | 0:38:08 | |
They were able just to pick them off. | 0:38:08 | 0:38:10 | |
-They were easy to kill, somehow. Nobody noticed. -Easy to kill? | 0:38:10 | 0:38:14 | |
-And the Wests knew how to home in on girls like that. The unattached. -The missing? -The killable. | 0:38:14 | 0:38:20 | |
That word rung around my head, and has been | 0:38:20 | 0:38:22 | |
ringing around my head all the time I've been writing the play. | 0:38:22 | 0:38:25 | |
Killable. I wrote it in my notepad and scored it under several times. | 0:38:25 | 0:38:30 | |
They were able to come here, live in bedsits and... | 0:38:30 | 0:38:33 | |
-And nobody knew they were here? -They could be done away with. | 0:38:33 | 0:38:37 | |
What does that mean? | 0:38:39 | 0:38:41 | |
-That's for other people to answer. -It's for us! | 0:38:41 | 0:38:46 | |
Don't quote me on any of this. | 0:38:46 | 0:38:48 | |
These girls were part of the non-elect. They were killable. | 0:38:48 | 0:38:53 | |
Through economics, social factors, | 0:38:53 | 0:38:57 | |
psychological trends in their own family, but also, societal trends. | 0:38:57 | 0:39:04 | |
They were actually forgettable. And they WERE forgotten. | 0:39:04 | 0:39:07 | |
-And you never saw her that day? -Not any day. Not that day, not any day. | 0:39:09 | 0:39:16 | |
-And you never went to the police? -Some of us aren't like that. | 0:39:16 | 0:39:20 | |
We don't go to the police. | 0:39:20 | 0:39:22 | |
-And, erm...? And then... -Then she turned up. | 0:39:24 | 0:39:31 | |
Years later, in the basement of that house. | 0:39:31 | 0:39:33 | |
They've actually knocked two houses down here, number 23, which was beside number 25. | 0:39:41 | 0:39:47 | |
The house of horrors, as all the papers called it at the time. | 0:39:47 | 0:39:51 | |
What was enacted here was unspeakable. And I think it still haunts everybody | 0:39:53 | 0:39:59 | |
who ever had anything to do with the case, and anybody who was in this street. | 0:39:59 | 0:40:03 | |
More female remains were discovered in this field | 0:40:16 | 0:40:20 | |
by the village of Much Marcle, where Fred West had grown up. | 0:40:20 | 0:40:24 | |
We know that the women whose remains were found in Cromwell Street, | 0:40:36 | 0:40:41 | |
in this field, and at Midland Road in Gloucester, | 0:40:41 | 0:40:44 | |
where there's always been suggestions there were many more. | 0:40:44 | 0:40:47 | |
And they, in a sense, are the ultimate figures in my mind, | 0:40:47 | 0:40:54 | |
as far as The Missing, the book and the play goes, | 0:40:54 | 0:40:57 | |
these people who were not only never reported as missing, | 0:40:57 | 0:41:00 | |
but never confirmed as having been victims at all. | 0:41:00 | 0:41:05 | |
They just vanished into thin air, and I strongly believe that this field and fields like it | 0:41:05 | 0:41:10 | |
all around this part of Gloucester may contain secrets that we will never find. | 0:41:10 | 0:41:14 | |
-CHURCH BELL TOLLS -The image is so powerful anyway, | 0:41:25 | 0:41:29 | |
and then to give it extra attention with the gong, it's almost too much. | 0:41:29 | 0:41:35 | |
I don't know. I don't know how you feel about it. So... | 0:41:35 | 0:41:42 | |
With the journey now complete, | 0:41:42 | 0:41:44 | |
Graham Fagen is bringing his ideas together with the help of a film editor. | 0:41:44 | 0:41:49 | |
From what we did before, these images have changed, | 0:41:49 | 0:41:52 | |
and there's been slight... | 0:41:52 | 0:41:53 | |
-OK. Cut here. -That's what I was asking, if you wanted the code. | 0:41:53 | 0:41:59 | |
To reflect contrasting aspects of The Missing, | 0:41:59 | 0:42:03 | |
the artwork will be seen in two synchronised parts on two separate screens. | 0:42:03 | 0:42:09 | |
So what's been tough for me is, | 0:42:09 | 0:42:11 | |
I've been able to see one screen at a time, | 0:42:11 | 0:42:14 | |
and on bits of paper, I try and put these two things together. | 0:42:14 | 0:42:21 | |
Two stories would work separately, and when you have them together, | 0:42:24 | 0:42:27 | |
suddenly there was a new story, and suddenly, shots that feel | 0:42:27 | 0:42:30 | |
very lonely on their own | 0:42:30 | 0:42:32 | |
-suddenly came in and looked completely different. -Yeah. | 0:42:32 | 0:42:35 | |
Somebody's living room contrasted with, I don't know, | 0:42:35 | 0:42:38 | |
the streets in London, it sets up that dynamic. | 0:42:38 | 0:42:42 | |
Hopefully it will be very easy for a viewer at the gallery | 0:42:42 | 0:42:45 | |
to know they're in a public place but they're also in a private place. | 0:42:45 | 0:42:49 | |
What I'm thinking of doing in the gallery is arranging the screens in such a way that | 0:42:49 | 0:42:54 | |
so as one as may be viewed in kind of peripheral vision to the other, | 0:42:54 | 0:42:58 | |
so the viewers need to make a decision and actually physically | 0:42:58 | 0:43:04 | |
move themselves to look at one place or to look at the other place. | 0:43:04 | 0:43:07 | |
The other thing that we're starting to find as we're seeing the two screens together | 0:43:09 | 0:43:14 | |
is sound starts to become very interesting. | 0:43:14 | 0:43:16 | |
CHURCH BELL TOLLS | 0:43:16 | 0:43:20 | |
It's got the Six O'Clock News sting, hasn't it? | 0:43:20 | 0:43:24 | |
And of course, we don't have to have the bong on the cut. | 0:43:24 | 0:43:28 | |
Well, that was one of my first thoughts, should we take the first bong? | 0:43:28 | 0:43:32 | |
-And then go for the one after. -Yeah. -Shall we try? -Try it? -Sure. | 0:43:32 | 0:43:38 | |
MUSIC PLAYS AND BELL TOLLS | 0:43:38 | 0:43:42 | |
I've just realised that I used to come here as a kid when it was the Transport Museum. | 0:43:57 | 0:44:01 | |
-Oh, right. -I'm pretty sure. It brings back a lot of memories. | 0:44:01 | 0:44:06 | |
The production team of The Missing has moved to Tramway. | 0:44:06 | 0:44:10 | |
And tonight is their dress rehearsal. | 0:44:10 | 0:44:12 | |
The spider that's running the floods, just like run it | 0:44:12 | 0:44:16 | |
so it doesn't look as hateful. | 0:44:16 | 0:44:18 | |
We just need to decide what surface it's supposed to be. | 0:44:27 | 0:44:31 | |
-Are you looking for a different surface from that? -Yes, that and that. | 0:44:31 | 0:44:35 | |
There should be three different textures. | 0:44:35 | 0:44:39 | |
But at Tramway, | 0:44:46 | 0:44:48 | |
it's not just the play that is only a day away from facing the critics. | 0:44:48 | 0:44:52 | |
So, we're across the corridor from T1, which is the theatre. | 0:44:54 | 0:44:59 | |
And this is the gallery space I'll be showing Missing. | 0:44:59 | 0:45:03 | |
We're getting there, slowly but surely. | 0:45:03 | 0:45:06 | |
OK, so, the screens are here, they've just arrived, | 0:45:06 | 0:45:11 | |
they're in these crates. So, they don't look like very much. | 0:45:11 | 0:45:16 | |
But they are very expensive. | 0:45:16 | 0:45:22 | |
To complete the set-up of his art installation, | 0:45:22 | 0:45:26 | |
Graham Fagen needs to make some last-minute adjustments to the film. | 0:45:26 | 0:45:30 | |
But first, he must wait for his editor to arrive. | 0:45:30 | 0:45:33 | |
We still have some technical problems that we want to solve over the next 24 hours. | 0:45:40 | 0:45:44 | |
There's still a black panel there on the LED which shouldn't be there. | 0:45:44 | 0:45:48 | |
-Those lights went out. -Got a taxi this morning to come to the Tramway, | 0:45:48 | 0:45:53 | |
and halfway along the motorway, I shrieked to the taxi driver, | 0:45:53 | 0:45:58 | |
said, "I've forgotten the cello!" | 0:45:58 | 0:46:00 | |
I think it's called actress slowly losing marbles. | 0:46:00 | 0:46:03 | |
There's one or two imbalances in the sound | 0:46:10 | 0:46:13 | |
that we're going to have to attend to over the next few hours. | 0:46:13 | 0:46:17 | |
And the actors too have one or two little changes still | 0:46:17 | 0:46:20 | |
that need to be absorbed by them in the script. | 0:46:20 | 0:46:22 | |
This is purely a theatrical experience that people are getting with this. | 0:46:26 | 0:46:30 | |
And me too, for the first time tonight. | 0:46:30 | 0:46:32 | |
DRILLING AND HAMMERING | 0:46:41 | 0:46:46 | |
Let's see what we've got here. | 0:47:00 | 0:47:02 | |
Yeah, yeah, we can have that one. | 0:47:02 | 0:47:03 | |
So, what you're saying is, you want the previous dialogue to continue? | 0:47:07 | 0:47:12 | |
Laurie, I need both hands, just a second. | 0:47:12 | 0:47:14 | |
HE LAUGHS | 0:47:14 | 0:47:16 | |
Sorry. Just for a while! | 0:47:16 | 0:47:19 | |
So we're still hearing "You scummy bastard." Oh, sorry, Laurie. | 0:47:19 | 0:47:25 | |
-You didn't hear that, did you? -THEY LAUGH | 0:47:25 | 0:47:29 | |
The dress rehearsal is about to start. And it's the last chance | 0:47:29 | 0:47:33 | |
for Joe McFadden to practice with the full-sized screen. | 0:47:33 | 0:47:37 | |
It's bigger than I thought it was going to be. | 0:47:37 | 0:47:40 | |
I might be jumping up in the air. It's very impressive. | 0:47:40 | 0:47:44 | |
We told him how Helen and me are going down the coast! | 0:47:44 | 0:47:48 | |
They went under the bridge at Central Station! | 0:47:48 | 0:47:50 | |
Up the Hielenman's Umbrella! | 0:47:50 | 0:47:53 | |
Then after a drink at the tavern, up to the Barrowlands. | 0:47:53 | 0:47:58 | |
To the dance hall! Address showing as 244... | 0:47:58 | 0:48:01 | |
I had always hoped that the technology that's in this production | 0:48:01 | 0:48:06 | |
wouldn't overwhelm the basic, human material in the script. | 0:48:06 | 0:48:11 | |
This is really all about the characters. | 0:48:13 | 0:48:16 | |
It's about Mrs Boxall sitting on the edge of her sofa, | 0:48:16 | 0:48:19 | |
trying to maintain a sense that her son, Lee, | 0:48:19 | 0:48:23 | |
who disappeared five years before, is still alive. | 0:48:23 | 0:48:27 | |
The whole question is evoked in images, in lighting | 0:48:27 | 0:48:32 | |
and absences on stage. | 0:48:32 | 0:48:33 | |
# Here I am... # | 0:48:37 | 0:48:40 | |
In a sense, the cello is the protagonist of the soundtrack. | 0:48:40 | 0:48:43 | |
# Here I am... # | 0:48:43 | 0:48:46 | |
Particularly Brigit's presence on stage, as well as playing, | 0:48:46 | 0:48:50 | |
just presents this almost ghostly, haunting quality. | 0:48:50 | 0:48:54 | |
It's about solitude and aloneness as well as loneliness. | 0:48:54 | 0:48:59 | |
# Here I am | 0:49:00 | 0:49:03 | |
# Here I am | 0:49:04 | 0:49:10 | |
# Waiting to hold you. # | 0:49:11 | 0:49:22 | |
APPLAUSE | 0:49:22 | 0:49:26 | |
Some people love this production. | 0:49:28 | 0:49:30 | |
Other people find reasons not to. That's the way it goes. | 0:49:30 | 0:49:33 | |
I'm quite happy to take it on the chin. You can't sit around | 0:49:33 | 0:49:36 | |
crying into your cornflakes about what critics are going to say. | 0:49:36 | 0:49:40 | |
I've never done it so far and I'm not going to start with this. HE PRETENDS TO SOB | 0:49:40 | 0:49:44 | |
It's opening night at Tramway. | 0:49:53 | 0:49:56 | |
But the critics won't be the only ones reviewing the work. | 0:49:56 | 0:50:01 | |
Graham Fagen and Andrew O'Hagan | 0:50:01 | 0:50:03 | |
will be seeing each other's completed projects for the first time. | 0:50:03 | 0:50:08 | |
-I don't know any girls like that. -Like that? | 0:50:18 | 0:50:24 | |
They should knock it down. | 0:50:24 | 0:50:26 | |
CHILD CRIES OUT | 0:50:39 | 0:50:41 | |
MECHANICAL WHIRRING | 0:50:41 | 0:50:46 | |
Graham's piece is full of a sense of motion on the one hand | 0:50:50 | 0:50:53 | |
and stillness on the other. | 0:50:53 | 0:50:54 | |
It's full of a sense of belonging on the one hand | 0:50:54 | 0:50:58 | |
to a domestic space, to a family, to a duvet, on the one hand, | 0:50:58 | 0:51:01 | |
and on the other, lostness, the sense of urban chaos, neon lights, | 0:51:01 | 0:51:08 | |
people constantly moving away from where they belong. | 0:51:08 | 0:51:12 | |
The two together are quite moving. | 0:51:12 | 0:51:14 | |
It's a question that I'm sure we all ask ourselves - | 0:51:16 | 0:51:19 | |
why does somebody go missing? | 0:51:19 | 0:51:21 | |
What's it like? And through Graham's piece of work, | 0:51:21 | 0:51:23 | |
you actually saw first-hand what it was like. | 0:51:23 | 0:51:26 | |
You actually see through the eyes of a missing person, | 0:51:26 | 0:51:28 | |
so you see somebody walking away from their home, into a town centre, | 0:51:28 | 0:51:33 | |
and it looks very much like a town centre that they don't know. It's somewhere new to them. | 0:51:33 | 0:51:38 | |
But it also didn't cast any judgment. | 0:51:40 | 0:51:42 | |
It didn't say that that was right or wrong, that there was reasons, | 0:51:42 | 0:51:47 | |
and I think the piece really left you with a sense of every story is different. | 0:51:47 | 0:51:52 | |
I was very struck by these images of bin bags, for example, | 0:51:56 | 0:52:01 | |
litter on the ground, where you got the sense of | 0:52:01 | 0:52:05 | |
the kind of debris that's around emotionally when somebody's not there. | 0:52:05 | 0:52:10 | |
In a world that's filled with disappearing things... | 0:52:18 | 0:52:23 | |
-A wee boy. -That's right. | 0:52:23 | 0:52:25 | |
'Sandy Davidson, who went missing from Irvine, of course, | 0:52:25 | 0:52:29 | |
'who Andy and I remember, and Sandy is one of the main' | 0:52:29 | 0:52:33 | |
points of reference through the play. | 0:52:33 | 0:52:36 | |
That was hard. That's probably why I'm feeling sad. | 0:52:36 | 0:52:39 | |
-That wee boy, Sandy. -That's right. Sandy Davidson. | 0:52:39 | 0:52:44 | |
That boy was two years old when he went missing. | 0:52:44 | 0:52:47 | |
I remember his face, it's imprinted in my memory. | 0:52:47 | 0:52:50 | |
I think a lot of people were like that at the time. | 0:52:50 | 0:52:52 | |
Just a wee blond-haired, blue-eyed boy. | 0:52:52 | 0:52:54 | |
It learned everybody a lesson that when children went out, | 0:52:54 | 0:52:59 | |
even to the door, they were watching where they were going | 0:52:59 | 0:53:03 | |
and where they were, just round you. | 0:53:03 | 0:53:06 | |
It was a very, very sad time for everybody. | 0:53:06 | 0:53:09 | |
The wee boy went into the garden with his dog. | 0:53:15 | 0:53:19 | |
It was a warm day and his coat was found on the path by the river. | 0:53:19 | 0:53:22 | |
'It's a detective story in search of himself,' | 0:53:24 | 0:53:27 | |
in which he himself becomes like one of these lost boys, in a way. | 0:53:27 | 0:53:31 | |
But out of that comes something much bigger | 0:53:31 | 0:53:34 | |
that looks at a society that can be so displaced itself | 0:53:34 | 0:53:38 | |
that it can allow people to slip through the cracks in the way it's done. | 0:53:38 | 0:53:43 | |
I think the word that stays with me after the play is this word, killability. | 0:53:48 | 0:53:53 | |
Just the fact that in society we have people who are | 0:53:53 | 0:53:56 | |
so vulnerable that they can be described as having this killability. | 0:53:56 | 0:54:01 | |
That's one of the gut feelings I'm leaving with tonight, is that feeling of helplessness. | 0:54:01 | 0:54:07 | |
If you're right, then how do you become killable? | 0:54:07 | 0:54:11 | |
-That's for other people to answer. -No, it's for us. | 0:54:11 | 0:54:15 | |
-Don't quote me on any of this. -Is that what it's about? | 0:54:15 | 0:54:20 | |
As I say, it's just us talking. | 0:54:20 | 0:54:22 | |
I think the fact that an entire evening of theatre is devoted | 0:54:24 | 0:54:28 | |
to thinking about those people is in a sense a kind of tribute | 0:54:28 | 0:54:32 | |
and a way of mourning, | 0:54:32 | 0:54:34 | |
and that therefore you accept the different ways that people | 0:54:34 | 0:54:39 | |
describe the people they have lost. | 0:54:39 | 0:54:41 | |
I think it is really possible for art to almost enhance the way you feel, | 0:54:42 | 0:54:49 | |
but somehow to have images that almost anchor | 0:54:49 | 0:54:54 | |
some of the emotions, I found really helpful. | 0:54:54 | 0:54:58 | |
I felt positive after seeing the play | 0:54:58 | 0:55:01 | |
and I felt positive after seeing the installation. | 0:55:01 | 0:55:05 | |
Graham Fagen's Missing will join the permanent collection | 0:55:08 | 0:55:12 | |
of the Scottish National Portrait Gallery in Edinburgh. | 0:55:12 | 0:55:16 | |
The play of The Missing also looks set to travel beyond Tramway. | 0:55:17 | 0:55:22 | |
I'm 100% positive this will have another life. | 0:55:22 | 0:55:25 | |
I think it's really important to start off with | 0:55:25 | 0:55:28 | |
the communities that this play is about in Scotland. | 0:55:28 | 0:55:30 | |
I'm really hoping we'll be able to take this play | 0:55:30 | 0:55:33 | |
to those new towns, first of all, and then see what the response is | 0:55:33 | 0:55:37 | |
and definitely take it on a tour further afield from there. | 0:55:37 | 0:55:41 | |
Both projects are over for now. | 0:55:42 | 0:55:45 | |
But the families of the missing go on waiting. | 0:55:46 | 0:55:50 | |
When I saw you last in this room, | 0:55:53 | 0:55:56 | |
Lee had been missing for five years, and now for 21 years. | 0:55:56 | 0:56:00 | |
It's clearly important to you to keep things here for Lee... | 0:56:00 | 0:56:05 | |
..in case he comes back. | 0:56:05 | 0:56:08 | |
That's the hope. We always hope that one day he'll come back | 0:56:08 | 0:56:13 | |
and his room is just the same. | 0:56:13 | 0:56:15 | |
I mean, his clothes obviously won't fit him, but we've kept it, everything. | 0:56:15 | 0:56:20 | |
When you came here to talk about Lee with us, | 0:56:20 | 0:56:25 | |
Lee's room was almost as it was the day he disappeared. | 0:56:25 | 0:56:29 | |
Covered with posters, but as time goes by, the posters, | 0:56:29 | 0:56:35 | |
one by one, they've started to fall off. | 0:56:35 | 0:56:38 | |
You know, with the passing of time, things change. | 0:56:40 | 0:56:43 | |
The biggest change is that our daughter Lindsey is now married. | 0:56:58 | 0:57:02 | |
She has two little children | 0:57:04 | 0:57:06 | |
and we love them to bits. | 0:57:06 | 0:57:07 | |
-So that's opened up a whole new side of your lives? -Yes, absolutely. | 0:57:07 | 0:57:12 | |
I've retired early so I can spend more time with our grandchildren. | 0:57:12 | 0:57:17 | |
-That's your excuse! -Yeah, that's my excuse! | 0:57:17 | 0:57:20 | |
We've got to focus on them, and my daughter, | 0:57:21 | 0:57:24 | |
-to help us through. -Sure. | 0:57:24 | 0:57:27 | |
Subconsciously, I don't know whether I'm imagining it's Lee that's come back to us somehow, | 0:57:30 | 0:57:35 | |
but sometimes I even call him Lee. | 0:57:35 | 0:57:37 | |
Me, too, it's really strange, because he's so much like Lee. | 0:57:37 | 0:57:41 | |
Not looking... | 0:57:41 | 0:57:43 | |
That memory of Lee living here will never leave us. | 0:57:46 | 0:57:49 | |
I think... | 0:58:00 | 0:58:03 | |
recognising that human beings are people who are fragile | 0:58:03 | 0:58:07 | |
and vulnerable, even if they're also strong and sturdy | 0:58:07 | 0:58:11 | |
and capable and competent, | 0:58:11 | 0:58:14 | |
is one of the truthful things about being human | 0:58:14 | 0:58:18 | |
that I wish we recognised more commonly. | 0:58:18 | 0:58:21 | |
Subtitles by Red Bee Media Ltd | 0:58:50 | 0:58:53 |