���"He had good reason for thinking like
that, of course. In those days unless you
lived relatively near the Alexandra Palace
you couldn't receive the picture, and the
sets were so incredibly expensive that they
were a kind of rich man's toy. In those
couple of years I was working in televi-
sion before it closed down shortly after war
broke out, I didn't even know anyone who
had a television set."
���There is, of course, no surviving record
of those early broadcasts apart from a brief
listing in yellowing copies of the Radio
�"Usually we did two live perform-
ances of the same play in a week, one on a
Thursday or Friday evening and again on
the Sunday afternoon. The broadcast
would last for as long as the play lasted -
anything from an hour and 15 minutes to
two hours and 35 minutes.
���"It was almost always plays derived from
the theatre, because they couldn't afford
original writing. They were very limited
in terms of sets. The camera was mounted
on a kind of trolley supported by bicycle
wheels: the sets would be lined up beside
one another rather chronologically, like a
row of shoeboxes, with the first act at the
far left and so on.
���"Our faces were literally painted the col-
out of an orange, except for our eyelids
and lips which were navy blue. It was the
only way in which any kind of discernible
contrast could be achieved."

Moving Abroad

���The television service was revived in the
late 1940s. As one of the few actors with
any experience of television, Barry was
very much in demand. Then in 1950 the
Morse family visited relatives in Canada.
At a time when tourists were allowed to
take a maximum of 50 out of Britain, for
Barry it had to be a working holiday.
���"I talked to the head of BBC drama, John
Gielgud's brother Val, about the possibil-
ity of doing one or two jobs while in
Canada. He said that the CBC, the Cana-
dian Broadcasting Company, had a won-
derful radio service, and he'd drop a line
to his opposite number. So, while we were
staying in Montreal I did all sorts of
radio things for the CBC and I learned
that they were about to launch a televi-
sion service.
���"They came to me and said, 'You're the
only actor in this country who's ever faced
a television camera, you really must stay
around.' So, for various family reasons we
decided to stay, and it was extremely ex-
Barry Morse in the Outer Limits
Barry Morse as an alien investigating
murder in the Outer Limits�episode
Controlled Experiment.

citing. I began to play in a great many dif-
ferent types of television show in Canada.
���"In those days you could have put the
corps of professional actors in Canada into
a relatively small bus, so it began to at-
tract actors from the UK. It came to be
believed among actors that I more or less
ran the Canadian television industry, and
all sorts of people turned up. Among them
was Patrick Macnee, who became a close
friend. Our house in Canada was known
as the 'British Embassy'.


���"There were all sorts of programmes
being made, some series, lots of one-off
dramas, including a lot of very good Sci-
ence Fiction. The sad thing is that so few
of those programmes were preserved. The
technology to do so was very primitive,
and no one, not even at the CBC, gave any
thought to preserving programmes.
���"That attitude is incredible when you
consider that The Fugitive, which is ex-
actly 30 years old, is now being shown in
just about every country in the world. In
the USA you can watch it twice a day, six
days a week, if you so wish. And of course,
we don't get a dime from it. Nobody be-
lieved anyone would want to watch pro-
grammes that were more than two or three
years old. Although we did have a residual
clause it evaporated to vanishing point
after three years."
���By the late 1950s the Morse family were
settled in Toronto, which had become the
centre of the Canadian television indus-
try. Barry was also in demand across the
border. "I started to commute to New York,
and less frequently LA, to do live tv shows
like Studio One,�wonderfully good plays
and dramas in an anthology format, at a
time when writers like Paddy Cheyefsky
were writing for television.
���"By this time the were starting to make
series on film as well, and I appeared in
series such as The Twilight Zone and The
Outer Limits
, and the focus shifted from
New York to Los Angeles. I came to know
and work for many of the tv producers,
including Quinn Martin. Quinn was do-
ing The Untouchables and I played a
whole section of different characters in
that, a Romanian drug smuggler in one, a
French champagne smuggler in another."

The Fugitive

���It was The Fugitive, produced by Quinn
Martin, which made Barry a tv star. For
four seasons starting in 1963, Barry's char-
acter, Lt. Gerard, pursued convicted mur-
derer Dr. David Kimble, played by David
Janssen, across America. Kimble, in turn,
was searching for the one-armed man who
had really killed his wife.
���"One day Quinn called me. He was
working on a series and there was a recur-
ring character he wanted me to play. When
the script came and it was all about this
upstanding, kind, decent, honest doctor, on
the run from the law as represented by this
obseesive, determined middle-American
detective. I thought they'd sent me the
wrong script.
���"In the original outline Lt. Gerard was a
rather clichd detective type, so there was
no shortage of actors who could play him.
Quinn and I had lunch, and I was about to
tell him there'd been a mistake, when he
started to talk. 'Now, this detective.' That's
when I realized he wanted me to play
Gerard. I didn't want to say it was clichd,
Barry Morse in The Fugitive
Barry Morse as Lt. Gerard in the title
sequence for The Fugitive

Barry Morse in The Fugitive
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