"Yes, The Persuaders, that was great fun because one of my favourite actors is Roger Moore"
About this Quote
There is a particular British lightness to Val Guest calling a job “great fun” and leaving it at that: it’s praise, but also a signal about what kind of set The Persuaders was. Not a grim auteurist crucible. A polished machine designed to look effortless, where the mood matters because the mood is the product. Guest’s intent is almost disarmingly practical: he’s framing the experience less as an artistic milestone than as a pleasurable collaboration, the kind creatives quietly rank as a career win.
The name-check of Roger Moore does the heavier lifting. Guest isn’t just complimenting a star; he’s positioning Moore as the reason the whole enterprise worked. That’s subtext as industry etiquette: credit the lead, avoid any whiff of complaint, and you’ve effectively endorsed the production without litigating its compromises. “One of my favourite actors” reads personal, but it’s also professional shorthand for “reliable, charming, gets the tone, makes the day go down easy.” On a glossy action-comedy like The Persuaders (early 1970s, peak transatlantic suave), that’s not trivial; Moore’s persona was the brand.
Contextually, this is a director of a certain generation talking about television as craftwork. Guest came up in eras when directors were expected to be adaptable and invisible. His compliment is a small manifesto: in mass entertainment, chemistry is currency, and sometimes the real achievement is that it felt like “fun” while the cameras kept rolling.
The name-check of Roger Moore does the heavier lifting. Guest isn’t just complimenting a star; he’s positioning Moore as the reason the whole enterprise worked. That’s subtext as industry etiquette: credit the lead, avoid any whiff of complaint, and you’ve effectively endorsed the production without litigating its compromises. “One of my favourite actors” reads personal, but it’s also professional shorthand for “reliable, charming, gets the tone, makes the day go down easy.” On a glossy action-comedy like The Persuaders (early 1970s, peak transatlantic suave), that’s not trivial; Moore’s persona was the brand.
Contextually, this is a director of a certain generation talking about television as craftwork. Guest came up in eras when directors were expected to be adaptable and invisible. His compliment is a small manifesto: in mass entertainment, chemistry is currency, and sometimes the real achievement is that it felt like “fun” while the cameras kept rolling.
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| Topic | Movie |
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