Name: Jeremy Silberston
Position: Director
Episode: The German Woman, The White Feather, Eagle Day, Among the Few, The Funk Hole, They Fought In The Fields, Bad Blood

Jeremy Silberston died on
March 9, 2006, aged 55.

Jeremy Silberston became involved in Foyle's War at an early stage and helped to shape the film's look and mood.

"Anthony Horowitz and I developed Midsomer Murders together so he asked me to read the script of Foyle's War quite early on. I felt it had a basis in reality that gave it interest and set it apart from other detective shows. The stories, the characters and the casting made it a very attractive project.

"The key to the film is the period. We do not attempt to portray war in terms of fighting, but its influence on the home front fills the stories. Our directors of photography David Odd and Peter Middleton looked for ways to create mood and atmosphere, using camera techniques that give a faint sense of another time, without creating huge barriers.

"A muted look was created by using a filter on the camera called antique suede. That diffusion helps to give the film a more enclosed feel. We also attempted to keep costumes naturalistic within the period. The result is a polished film which doesn't shout at you as chocolate box period drama."

Jeremy and his team needed to find locations without too many 21st century trappings.

"One of our main houses was Squeerys Court in Kent which hasn't been used very often. Finding a country house was not too difficult but small towns and villages and locations within London that are still in period can be tricky. We had to ensure there were no yellow lines, aerials, phone boxes, modern cars and modern noises.

"You struggle with modernity in every period drama. We recreated the little boats returning from Dunkirk and had a demanding day on the beach at Hastings working within the limits of a TV budget, rather than Spielberg conditions. Luckily the sea was calm and it worked extremely well.

"That was a highlight for me, along with the day Andrew Foyle flies a Spitfire. We had to fly out of a little period airfield, but the conditions were perfect and Julian Ovenden as the pilot had a tremendous day. When the real pilot took the Spitfire back to Duxford, he gave us an impromptu air display, complete with loop the loops. It was glorious and everyone was hugely moved."

Along with careful attention to period detail, Jeremy's job was to help the cast bring Anthony Horowitz's characters to life.

"The main point is to tell an enjoyable story with interesting characters. I believe the piece has depth of character and richness of quality. The events Anthony has depicted are not particularly well known, like the internment of enemy aliens, so it provides a new and powerful story. Human events are set against the background of politics.

"Our main characters are Foyle, Sam, his driver and Milner, who goes on to work with Foyle. Foyle is very straight and true, unwavering in his determination to solve crimes. There is also humanity to him - his love of fly-fishing shows his gentle side, even making his own flies with tremendous attention to detail.

"The same can be said of Michael Kitchen who is determined that everything should be right. Michael is admired in the profession, particularly for his dedication to do his best at every turn and be truthful to the part. He has given tremendous depth to his character and sees his way through a script with tremendous precision."

Adds Jeremy: "Sam's character shows the way the war offered new opportunities to women and Honeysuckle Weeks embodies that spirit of adventure. Anthony Howell who plays Milner is a star in the making and Julian Ovenden, as Andrew, has tremendous charisma. We also gave the first TV role to Sam Troughton, grandson of Patrick and son of David Troughton."

September, 2002; Publicity Release