Paul Copley (HH1)

When we heard that veteran actor Paul Copley (who played Matthews, Hornblower's right hand man) was spreading the word about the A&E Hornblower site to the rest of the cast members, we couldn't resist dropping him a line. He kindly responded to our questions via email from his home in London.

A&E: We've heard that you've occasionally checked out A&E's Hornblower web site. What do you think about what all the fans have been saying about the show?

PC: I was first made aware of the Hornblower web site by the show's production office. I visited it, was very impressed by the layout and graphics. I read some of the message boards from time to time. It's fascinating how much interest was/is expressed in all aspects of the history, the stories, and the filmmaking. As I am just an occasional visitor to the web site, I have not participated in the discussions.

A&E: Could you describe the character of Matthews and who you approached the role?

PC: Matthews is an old hand -- he's learnt when to keep his mouth shut and when to speak up. He's immensely loyal to superiors if they deserve respect and also to his mates. He's a survivor -- the kind of guy it's good to have around in tight situations. He's also quite irreverent, likes a joke but is capable of being ruthless with the enemy. He works hard, plays hard, and expects his mates to do likewise. Preparing for the part was purely practical -- rowing longboats, tying ropes, shinning up and down the rigging and, occasionally, steering the ship!

A&E: How did your audition for Hornblower go?

PC: I went to see Andrew Benson and Andrew Grieve -- we spoke for half an hour and got on quite well. Three weeks later we were flying out to the Ukraine to film on the Black Sea!

A&E: How did you first get involved in acting?

PC: My father was an amateur scene painter and make-up man for many local drama groups. My mother and father were both involved in amateur drama. My uncle was an amateur stage electrician. My aunt was often designing costumes. I guess I was caught up in the excitement of getting a show on when I was very young. I can remember writing excruciating plays for myself and my sisters to perform on the hearthrug at home when I was about seven. I always wanted to be an actor but didn't really believe it to be possible -- lads from small villages in Yorkshire just didn't become actors I thought. Eventually I found myself at college studying drama and English. I became a teacher (in London) of both subjects and heard about a Theatre in Education job (actor/teacher) going in Leeds. I went after it with application and I got it. Two years later after a terrific grounding in the practicalities of researching, writing, and getting a show on with a clever and talented group of people. I came back to London in 1972 out on a limb as a freelance actor and writer.

A&E: What have been some of the highlights of your acting career so far?

PC: Ken Loach was a hero of mine. I had a strong ambition to work with him. Purely by chance in 1973 he was casting four films. Days of Hope, written by Jim Allen, required a young Yorkshireman for one of the leads. I fit the bill and was lucky enough to work with Ken on this massive project for BBC TV spread out over three years. The films were politically controversial but a big success. In 1976 I met Bernard Miles who ran the Mermaid Theatre. He cast me as Private Hamp in the WW1 play (an award winning production) For King and Country -- a moving account of the plight of a young na•ve soldier on the Western Front. Both these jobs gave me a profile high enough for me to be seen for theatre, television, and film parts and so I was started on the ladder. I love my work most of the time. I've seen a lot of the world, met outrageous and wonderful people. I count myself lucky to have encountered really good material and directors early on.

A&E: What were some of your favorite moments (and least favorite moments) on the set of Hornblower?

PC: My favorite moments were: steering the "Julia" back home to port following the evening star, impromptu swimming at lunch times, standing 80 feet above the deck of the "Indy" on a spar of the mainmast, learning how to start the circa 1958 twin cylinder diesel engine of the "Julia" (it's powerful slow drumbeat -- 365 rpm flat out -- was often the accompaniment to our outward and homeward journeys. My least favorite moments were: food floating off my plate during lunch time rainstorms when I was famished, not being able to get a hot shower at the Yalta hotel when all the heating unaccountably disappeared for days on end, being repeatedly drenched with cold water in the tank at Pinewood for the shipwreck scene (it was exciting, though). The funniest moments: all of the above, plus Ioan and myself being deafened by a cannon salute whilst rowing away from the Indy. The dialogue was supposed to be something like; Matthews: "What's going on sir?" Hornblower: "They're saluting us Matthews!" Actual dialogue on the take when our ears were ringing; Matthews: "What's going on sir?" Hornblower: "About half past ten Matthews!" You had to be there!!!!

A&E: Have you kept in touch with some of the other cast members from Hornblower?

PC: Firm friendships were forged and some rediscovered. Sean Gilder, Simon Sherlock, and I got on very well together. I keep in touch with both. Jonathan Coy and John Shrapnel are old friends; it was good to spend time with them. I also keep in touch -- by email -- with friends we made in the Ukraine and pass on news and messages to members of the cast and crew.

A&E: What do you like to do for fun?

PC: I swim a lot -- there's an open air pool near to where I live in South West London. Motorcycles and cars are a passion and over the years I've spent far too much money on them. Films, theater, and (when possible) once a month my wife Natasha and I meet up with a couple of old friends and have an extended lunch in the West End and laugh ourselves hoarse at silly things and life in general.

A&E: What projects are you currently working on?

PC: A the moment I'm rehearsing The Mysteries at the National Theatre in London-- three marvelous comic but moving plays by the poet and filmmaker Tony Harrison. They're based on the medieval religious mystery plays performed by the ancient craft guilds. Television work in post-production includes the Anglo/Canadian children's series The Worst Witch, and I'm involved in a new film Blow Dry, which is being shot in Yorkshire and London produced by Ruth Jackson and Sydney Pollack and directed by Paddy Breathnach.