Notes from the producer: David Nicholas Wilkinson

"I became aware of the stage show from Arthur Cantor who was producing it off-Broadway. I was so intrigued that I felt that I had to go and see it. The cost of such a trip - air fare and hotel - was a big gamble for such a small company as ours.

I saw the show twice and decided to make it. Theatre shows usually do not translate well on to the screen, especially one man shows. I wanted to have the same simplicity as the stage production but with a more interesting visual style. I rang Tony's agent Jeremy Conway, who told me that Tony would be very interested in directing but the only time he had free that year, 1990, was one week in July.

My partner, Gary Tuck, worked out a budget which came to £48,000. I went in search of the money. I approached the BBC and the UK's Channel 4. Both turned it down, one saying that 'actors should not be directors'.

I took the idea to Hugh Williams who headed British Satellite Broadcasting's NOW channel. Hugh jumped at it but was worried about Tony's ability to direct well. He asked me if I was convinced he would bring in a good programme. I said that having met Tony I was absolutely convinced he would do a good job. I lied.

I still had not met Tony but having been an actor myself for 10 years, I am a champion of actors working as directors or writers. Hugh agreed to put up £20,000 for it to be the Christmas Day special on the NOW channel.

I raised £12,000 - 25 per cent of the budget from the Dutch TV production company Daniel TV. They had been wanting to make a programme about Dylan Thomas for some time. The remaining £16,000 came from a private individual. When I drew up the contract with BSB, because all their other programmes cost between £2,000 and £5,000 per hour to make, they felt they should own the world rights in order to recoup the 'enormous' amount they were having to pay for my programme. At this time, the reader should be aware that a one hour BBC drama cost about £500,000 and an ITV drama cost around £700,000 per hour.

We filmed at the BSB studio in the Marco Polo building just by London's Chelsea Bridge. It was the studio's first, and sadly, last drama they made. We filmed for three days.

I don't think that Tony had done much preparation - he had come straight from Silent of the Lambs. He thought on his feet. Rather than use three cameras he shot with one, just like a feature film. The first day he sent everyone home at lunchtime. The second day ended at 2.30 pm. On the third and last day we did not finish until 11 o'clock at night. I think he expected it to be easier than it was. Everyone liked working with him, the whole crew were in awe. Everything they asked for he got. It was because he was so respected as an actor.

Tony did an excellent job. Because he is not technically trained like many directors I have worked with, he managed to be very inventive. He used just a few props. And he had Bob Kingdom play different characters whilst still being Dylan Thomas, something that did not happen in the stage production. It was quite a refreshing experience.

Shortly after we completed the programme, BSB merged with Sky and most of the BSB staff where made redundant. As a result, all their programming, whilst transmitted, was ignored. The programme was broadcast on the Marco Pollo satellite at 7.00 pm on Christmas Day but without any publicity. No one I know saw it.

I think Bob was very disappointed. He is so good in it and he deserved a better audience. BBC Wales later screened it at Christmas in 1994 to much critical acclaim. In the USA, due to popular demand, it was repeatedly shown on Bravo."

Copyright - David Nicholas Wilkinson 1996, 2000