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Lights, camera but no star pay rise, no action

Top actors want top cash ... or else. And that means no more Sgt Lewis. By Ivan Waterman

Ivan Waterman
Sunday 15 March 1998 00:02 GMT
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IN television circles they call it "The Oliver Syndrome". Essentially, it is an irresistible urge on the part of the "star" actor or his or her agent to see how much the powers-that-be are willing to cough up - hence Oliver Twist.

Often, the television company or the Hollywood studio concerned reaches an agreement with "the talent" or their representatives over their value to a project. Occasionally, the star will dig in and there will be much flapping behind the scenes until he or she just about gets his way.

And then there is the British actor Kevin Whatley. Until a few years ago, he was doing fine as Inspector Morse's sidekick, Sgt Lewis, and playing a rural doctor in another ITV series, Peak Practice. Since his emergence in prestigious one-off dramas such as Trip Trap and his very own new BBC adventure The Broker's Man, his star status has also elevated him in terms of salary.

But Mr Whatley, 47, who is not given to fits of ego, finally put his foot down when Central Television offered him his usual role in the final instalment of the Inspector Morse saga, a murder story titled "The Wench is Dead".

He noted, according to industry insiders, that his pay increase from his last outing as Sgt Lewis was "minimal". And, because of his new status, he was looking for a "substantial" rise which would bring his pay close to that of his friend John Thaw, alias the intrepid Morse.

But executives at Central Television - part of the Carlton Communications group - put their foot down. It is understood Mr Whatley was seeking an increase in the region of 75 per cent, to bring his salary for the six-week shoot to around pounds 125,000.

At this, backstagers - usually accountants - questioned the actor's worth in the context of his drawing power with viewers along with a small group of powerful, office-bound figures. But his agents stuck to their guns, though there is a suggestion that they would have settled for less if certain people had been more "reasonable".

His friend and ally Mr Thaw has received a private note from Whatley explaining his "stance" on the matter. Thaw says simply: "It's sad, but we have to move on." He is, however, concerned at the way in which actors' wages have slumped in the past decade. "I know very good actors who have appeared in Morse for less money than they were getting 10 years ago," he says. "Casting directors and producers say to them: 'We would love to give you more, but...' "

Few television and stage actors in Britain command fees which could bring them pounds 1m a year. Apart from Thaw, there is David Jason, alongside relative newcomers Robson Green and Ewan McGregor. But a step up to the equally fickle movie business instantly produces millionaires such as Daniel Day-Lewis and Gary Oldman. They will shortly be joined by Ewan McGregor and Robert Carlyle.

Actress Emma Thompson, with Oscars to her credit, has just passed the pounds 3m-a-movie bracket, co-starring with John Travolta as the President's wife in the new political epic Primary Colors. There is already talk of Kate Winslet and Minnie Driver earning as much for their next Hollywood ventures.

Actors' union Equity estimates that of 35,000 members (they had a reported 45,000 five years ago) some 25 per cent were working for only 16 weeks of the year. The 25 per cent above them averaged out at 30 weeks' work.

Since the 1988 Broadcasting Act, which demanded that independent television companies provide 40 per cent of broadcast material for the BBC and the giant corporations controlling the ITV network, wages have sunk for many to survival level.

n Due to a typographical error, in last week's edition we wrongly said that the BBC's new drama Berkeley Square had cost pounds 16m, instead of the correct figure, which was pounds 6m.

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