‘We used real wolves for the Roman camp part. They were meant to be attacking – but they kept running away with their tails between their legs’
When I was offered the directing job, the only condition was that I use The First Nowell from Victor Hely-Hutchinson’s Carol Symphony as the theme tune. It had featured on at least one of the earlier radio productions of John Masefield’s Christmas-set novel, and the producer remembered its magical effect. As soon as I heard it, I agreed it was perfect. Roger Limb from the BBC’s Radiophonic Workshop provided the incidental music. We were able to afford three or four traditional instruments, which he bulked out with synths, like he did with Doctor Who. That gave a nice ancient and modern feel that helped to tie in the more sci-fi elements with the sense of the story’s old magic.
