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Julian Fellowes may be the Baron Fellowes of West Stafford, but the English screenwriter, director and novelist says his background "was much more ordinary than the newspapers have made it." What he means is that he did not grow up with servants waiting on him hand and foot, as people have seen done for the Crawley family on Downton Abbey, the hit television series Fellowes created. The third season premiered Sunday.
The series details the lives of the Crawleys and the people who serve them in an upstairs-downstairs examination of social class in the first half of the 20th century. The world the Crawleys have always known is fast becoming anachronistic.
By the time Fellowes, who also wrote the screenplay for Robert Altman's 2001 film Gosford Park, was growing up as a boy in the '50s, the bulk of the social upheaval dramatized in the series had already happened. This is one of the reasons he says his title does not necessarily indicate the grandness of his lifestyle. That said, much of what he knows of that life he learned from relatives who both lived it and lived through the world events that changed it. His oldest great aunt, for example, is the model for Violet Grantham, played by Maggie Smith.
"[My aunt] was born in 1880, you know," he tells Fresh Air's Dave Davies, "and she was presented in 1898 and married before the first war and all of that, and I knew her perfectly well. She only died when I was 21, so I was able to hear a lot of this stuff firsthand."
It's the juxtaposition of the lives of the aristocratic family against the lives of the servants that defines Fellowes' work. Class is a defining and longstanding fascination for him. It began, he says, with his mother and father.
"My parents came from different backgrounds," he tells Davies. "My father's was grander than my mother's, so my mother had ... to put up with the disapproval of my father's relations. And ... I saw it as a child when I didn't really understand what was going on, and I saw it later as an adult when I did. ... From that grew a kind of interest, in a way, of the unfairness of class, the fact that it is so arbitrary in its selection ... and yet it shapes a life and creates entitlement."
Interview Highlights
On rules
"We don't really like rules. We think, in some way, they are an infringement of liberty. But of course the good thing about rules is that you always know what you're doing, you always know what you should wear, you always know where you're supposed to be, when you're supposed to get there, what you're supposed to do when you do get there, and, you know, we've lost that kind of security."
On working with Maggie Smith as the Dowager Countess in Downton Abbey
"What I love about Maggie is that she has this extraordinary skill to bring many different aspects of a character into her delineation, but they never seem contradictory. She never turns into a different person. A lesser actor would, you know, find it difficult to be kind and cruel simultaneously, or superficial here but quite deep here. But she manages to synthesize all these elements into a believable woman and, of course, she's very, very funny, so whatever you write for her always sounds much funnier than it was when you thought of it and, you know, all of those reasons make her very rewarding to write for."
On writing Gosford Park for director Robert Altman
"I went out and got every single Altman film I could find and gave myself a kind of weeklong Altman fest, and I understood his style and, quite deliberately, I wrote the film so that he would recognize it as one of his own films, despite the fact that the subject matter — you know, the English, the upper class, whatever you call them, and the servants and so on — was not his natural terrain. Nevertheless, the style of the film, the way it was constructed, the multiplot thing, interlocking one scene which promotes maybe three or four stories and so on, that was all designed so that he would feel at home in this script."
On the first time he became aware of the upstairs-downstairs dynamic
"I remember one time when I was quite young ... I was staying in a house and I got lost and I went through the wrong door, and I was standing at the top of the staircase that led down into the kitchens and everything. And there was a tremendous row going on between what sounded like four or five, six people shouting. ... And I suddenly had such a powerful sense of the lives that were being lived by the people who worked there. Not, you know, only the family who lived there, but people who worked there were also, you know, enjoying life or hating each other or loving each other or whatever."
This is FRESH AIR. I'm Terry Gross. If you haven't caught the "Downton Abbey" bug, you may be sick of hearing people obsess over whether Lady Mary and Matthew Crawley will ever wed or whether poor Mr. Bates would overcome his troubles.
Even if you aren't a fan of "Masterpiece Classics" series, we think you'll find its creator and writer, our guest Julian Fellowes, an insightful observer of social class in 20th-century England. Fellowes grew up the son of a diplomat, with an aristocratic background, and he has a title himself, Lord Fellowes of West Stafford. Fellowes is an actor, as well as writer, and much of his writing has dealt with class distinctions and how they affect human relationships.
His screenplay for the 2001 Robert Altman film "Gosford Park" won an Oscar. "Downton Abbey," which has won a host of awards, focuses on an aristocratic English family and their servants in the early 20th century, when sweeping changes were breaking down old social barriers. Season three begins after World War I.
In the season premiere last night, Lord Grantham, played by Hugh Bonneville, ponders his changing world with his mother-in-law, an American played by Shirley MacLaine.
SHIRLEY MACLAINE: (As Martha Levinson) You know, the way to deal with the world today is not to ignore it. If you do, you'll just get hurt.
HUGH BONNEVILLE: (As Robert Crawley, Earl of Grantham) Sometimes I feel like a creature in the wild whose natural habitat is gradually being destroyed.
MACLAINE: (As Martha) Some animals adapt to new surroundings. It seems a better choice than extinction.
BONNEVILLE: (As Lord Crowley) I don't think it is a choice. I think it's what's in you.
MACLAINE: (As Martha) Well, let's hope that what's in you will carry you through these times to a safer shore.
GROSS: Downton's creator, Julian Fellowes, spoke with FRESH AIR contributor Dave Davies.
Julian Fellowes, Lord Fellowes, welcome to FRESH AIR.
JULIAN FELLOWES: Well, it's very nice to be here.
DAVIES: You know, a lot of your writing, both for television and film and your novel, involve distinctions of social class. Now you grew up the son of a diplomat with an aristocratic heritage, I believe. Did you have servants growing up?
FELLOWES: I mean, I think my background was much more ordinary than the newspapers have made it. I mean, you know, we had people who came in and did some cleaning, but I mean, who - plenty of other people have that. I think in a way why I became quite aware of class as a kind of life-defining issue was because my parents came from different backgrounds.
My father's was grander than my mother's. And so my mother had to sort of put up with the disapproval of my father's relations, and I suppose from that grew a kind of interest in, in a way, the unfairness of class, the fact that it is so arbitrary in its selection and, you know, so nothing to do with merit, and yet it shapes a life and creates entitlement and all sorts of other factors that, you know, have a long-term effect on us.
DAVIES: One of the things that makes Downton great and "Gosford Park," which is a movie I really love, is the intimate look at the servants, the life downstairs. Where did you become so acquainted with their lives and customs and rules?
FELLOWES: You know, I was lucky in one way. I mean, I was - I'm now kind of 150 years old. And so when I was young, I still had great-aunts and that kind of thing who had lived, to a degree, that life before the First World War. I mean, my eldest great-aunt, who is really the model for Violet Grantham, was born in 1880, you know, and she was presented in 1898 and married before the first war and all of that.
And I knew her perfectly well. She only died when I was 21. So I was able to hear a lot of this stuff firsthand. Where I was tremendously lucky is I was interested when I was young. One of the problems, you know, when you don't get interested in things until you're much older is a lot of people are dead. And because I was interested as a teenager, there were still many members of the family who could talk about what life had been before the first and second wars, you know, and I was very glad to hear it.
DAVIES: Well, let's talk about "Downton Abbey," and I wanted to play a clip from season one. This is a moment at a table in the kitchen downstairs, where the servants are all having tea. And we hear - one of them is O'Brien, who's played by Siobhan Finneran, disparaging Matthew Crawley, he's a cousin of the master of the house, who's arrived on the scene and may inherit Downton, the whole place.
We'll hear a shuffling of furniture as the servants spring to their feet because Lady Grantham, who's played by Elizabeth McGovern, has suddenly showed up in the kitchen and has overheard Ms. O'Brien, her own ladies maid, talking down Matthew Crawley. She rebukes Ms. O'Brien, and this leads to an interesting exchange after that among the servants. Let's listen.
SIOBHAN FINNERAN: (As Sarah O'Brien) I'm sorry, but I have standards. And if anyone thinks I'm going to pull my forelock and curtsy to this Mr. Nobody from Nowhere.
ELIZABETH MCGOVERN: (As Cora Crawley, Countess of Grantham) O'Brien. Were you discussing Mr. Crawley?
FINNERAN: (As Sarah) Yes, my lady.
MCGOVERN: (As Lady Grantham) Is it your place to do so?
FINNERAN: (As Sarah) I've got my opinions, my lady, same as anybody.
PHYLLIS LOGAN: (As Ms. Hughes) Can I help your ladyship?
MCGOVERN: (As Lady Grantham) This is the button went missing from my new evening coat. I found it lying in the gravel. But I was shocked at the talk I heard as I came in. Mr. Crawley is his lordship's cousin and heir. You will, therefore please, accord him the respect he's entitled to.
FINNERAN: (As Sarah) But you don't like him yourself, my lady. You never wanted him to come...
MCGOVERN: (As Lady Grantham) You're sailing perilous close to the wind, O'Brien. If we're to be friends, you will not speak in that way again about the Crawleys or any member of Lord Grantham's family. Now I'm going up to rest. Wake me at the dressing gong.
ROB JAMES-COLLIER: (As character) I don't think that's fair, not here in the servant's hole.
FINNERAN: (As Sarah) I agree. If she was a real lady, she wouldn't have come down here. She'd have rung for me and given me the button, that's all.
JAMES-COLLIER: (As Thomas) This isn't their territory. We can say what we like down here.
LOGAN: (As Ms. Hughes) Who says?
JAMES-COLLIER: (As Thomas) The law, and parliament. There is such a thing as free speech.
LOGAN: (As Ms. Hughes) Not when I'm in charge. Don't push your luck, Thomas(ph).
DAVIES: And that's from the series "Downton Abbey," created and written by our guest Julian Fellowes. It's such a lovely scene, and what we hear here is the class lines are clear, the roles and clear, and yet they're changing. The series begins, what, in 1912. This was a particular moment in class relations in Britain, isn't it?
FELLOWES: Well, I think it was attractive to us because it was a period of tremendous change in quite a short time. You know, between 1912, when they - we begin the first show and 1922, where we are at the end of season three, is only 10 years, and yet the changes in Britain were enormous between the sort of end of high imperial confidence and so on and then through the war years and finally into the uncertainty of the '20s when all sorts of things were being challenged.
And, you know, these great revolutions of women's rights or workers' rights or whatever it is, they don't come out of nowhere. They are there early, and they're just below the surface, and then something like a war happens, and it makes everything come through. But, you know, you don't invent from nothing. It hasn't quite come yet, but it's sort of fizzing away somewhere.
And that's what a scene like that will tell you, that they're nearly at the end of always being second banana, and, you know, they can express that.
DAVIES: Right, and then some among them say not so fast, remember your place.
FELLOWES: Well, I mean, one of the interesting things about this kind of drama is that, you know, the family upstairs are, on the whole, all equal. They're certainly equal in terms of class and position, but, you know, they might accord respect to the father or something like that. But they're not at all different socially.
That's not true of the people below the stairs who are working there. There is a vast social range between Carson the butler and Daisy the kitchen maid, and all of these ranks were sort of observed, you know, and you had these - I mean we can't do them all because heaven knows we have enough characters in locations as it is.
But in a real house, you would have a special sitting room for the visiting valets and a special sitting room for visiting ladies' maids and so on. On and on it went, the detail of this extraordinarily complicate structure. But, you know, that said, it was on the brink of starting to come down.
DAVIES: One of the things that I love about the series is that as a viewer, I gradually become aware of the distinctions among the servants, and others, by the forms of address. You know, the aristocrats are referred to lord and lady or your lordship or your ladyship. The servants, even those of highest rank, are referred to by their last names only by the aristocrats, even when speaking affectionately.
I mean, when - there's a moment when Lady Grantham is talking to Mrs. O'Brien, and she's - they're having a nice, intimate conversation, but she still calls her O'Brien. And then among the servants, some are called Mr. and Mrs., those of lower rank like the kitchen maid Daisy only by their first names. There were a clear set of rules and forms of address here, huh?
FELLOWES: Well, I mean, we live in an era where there are sort of no rules for anything anymore. But of course the good thing about rules is you always know what you're doing. You always know what you should wear. You always know (unintelligible), when you're supposed to get there, what you're supposed to do when you do get there.
You know, we've lost that kind of security. I think that that is one reason why, you know, the show appeals because it seems to show a more ordered and kind of ordained world. In fact, of course, that is largely a myth. It was a world where all sorts of, as I've said, things were bubbling just beneath the surface. But nevertheless in terms of your daily life, what you wore when you got up, what you called people, what you did next, I think it was sort of easier to follow the plot than in our own time.
DAVIES: Julian Fellowes is the creator and writer of "Downton Abbey." The third season is now underway and being aired on public television stations. We'll talk more after a short break. This is FRESH AIR.
DAVIES: If you're just joining us, we're speaking with Julian Fellowes. He is the creator and writer of "Downton Abbey." Its third season is now on "Masterpiece on PBS."
The Maggie Smith character in "Downton Abbey" is just such a delight. Tell us who she is, how she fits into the family.
FELLOWES: Well, she really, as I've said, she's really based on my eldest great-aunt, who was quite a tough character, but she was no tougher on anyone else than she was on herself. In fact in real life she had quite a tragic life. Her husband died of wounds at the end of the First World War, and her only child drowned on active service in the second. So she had a lot to bear, poor thing.
But she was tough and funny, and some of the phrases that - you know, what's a weekend and stuff like that, come from her. I remember in "Gosford Park" one question Maggie asked me, she said: I don't understand about the marmalade. And I said, well, that was this particular aunt - because Lady Trentham in Gosford was also sort of based on her - and I said this particular aunt always thought that if a house ran out of its own jams and jellies then it was not being well-run, and it was sign of its weakness.
Oh, she said, I've got it, I've got it. And she does that line so wonderfully. I mean, she looks into the jam pot and says ooh, bought marmalade, I call that very feeble. And what I love about Maggie is that she has this extraordinary skill to bring many different aspects of a character into her delineation, but then never seem contradictory. She never turns into a different person.
A lesser actor would, you know, find it difficult to be kind and cruel simultaneously or both superficial here but quite deep here. But she manages to synthesize all these elements into a believable woman.
DAVIES: Well, we should hear one of these moments, and this is from the first season, where she and Lady Grantham, played again by Elizabeth McGovern, are sitting and discussing the difficult matter of finding a suitable husband for Lady Mary, the oldest of the Crawley daughters.
DAME MAGGIE SMITH: (As Violet Crawley, Dowager Countess of Grantham) How about some house parties?
MCGOVERN: (As Lady Grantham) She's been asked to one next month by Lady Anne McNair.
SMITH: (As Lady Grantham) That's a terrible idea. She doesn't know anyone under 100.
MCGOVERN: (As Lady Grantham) I might send her over to visit my aunt. She could get to know New York.
SMITH: (As Lady Grantham) Oh, I don't think things are quite that desperate. Poor Mary, she's been terribly down in the mouth lately.
MCGOVERN: (As Lady Grantham) She was very upset by the death of poor Mr. Pamuk.
SMITH: (As Lady Grantham) Why? She didn't know him. One can't go to pieces at the death of every foreigner. We'd all be in a state of collapse whenever we opened a newspaper.
DAVIES: Can't get enough of Maggie Smith. That's her and Elizabeth McGovern in "Downton Abbey," created and written by our guest Julian Fellowes. Dinners are really something at the Crawleys. Lord Grantham dresses basically like an orchestra conductor. Was this done every night? I mean, didn't they ever just want to just dress down and eat leftover turkey sandwiches?
FELLOWES: It was pretty well done every night. I mean I - there's a wonderful quote when Duff-Cooper asked his brother-in-law, the Duke of Rutland, he said - when black tie was just beginning to come in, in the '20s, but still white tie was normal in the sort of great houses, and he said to the duke: Don't you ever wear black tie? And the duke thought for a moment and said: When I'm dining alone with the duchess in her bedroom.
FELLOWES: And, you know, that was his idea of letting it all hang out. But no, I mean, they were a formal people, those with the correct clothes for eating dinner. And one of the difficulties when we wear those costumes is that most of us are dressing on our own. So we're in a wrestling match with studs and pins of this and that and links and so on, whereas there you were always being helped with it, as you would be in a film or on television.
And that makes it different. I mean, in the '50s, Dior very much revived the sort of corseted, almost crinoline dress and so on, but it didn't last very long because it wasn't suited for getting into on your own.
DAVIES: In season three, an American arrives on the scene, a real American here. I mean Cora, Lady Grantham, is an American but who has spent a long time in England as the wife of Lord Grantham. But her mother, who is played by Shirley MacLaine, arrives. Tell us a little bit about her and the role that she plays.
FELLOWES: Well, what I really wanted the audience to be reminded of, really, by Martha Levinson, played by Shirley MacLaine, is that Cora is not some ancient American aristocrat. She's not a Winthrop, you know, or a Stuyvesant or one of those founding-father families. She is the product of new money, quite a lot of it, but she's - that's who she is.
But there were others, like Mary Leiter, who married Lord Curzon, who came from men who had made their own fortunes, and that is what Cora's come from. And the reason I want the audience to be sort of aware of that is Cora's story is really that she married into the system and swallowed it wholesale and got it all down, but now that the world is changing, and things are being challenged, in a funny way her original values are much more suited to the modern world than Robert's.
You know, she has the American work ethic. She is not obsessed by rank. She is kind of much more free about accepting the changes that are coming, as you will be seeing in the third series. The future doesn't frighten her. And so we have that kind of exemplified by Martha because we've got the two grandmothers now, Violet played by Maggie Smith and Martha played by Shirley MacLaine, but they're totally different.
Violet is nostalgic for the past. She thinks everything was better in 1870. Her clothes reflect this, her manners and so on, whereas Martha believes in the modern world. She likes the way it's going. She wants to wear modern clothes and modern makeup and fly on a plane and just get on with the future.
So, you know, you've got, I hope, an interesting clash there of beliefs and philosophies.
DAVIES: You know, I thought we would hear just a moment of their interaction. This is Maggie Smith and Shirley MacLaine, the two grandmothers, in a moment from season three.
MACLAINE: (As Martha) Oh dear. I'm afraid the war has made old women of us both.
SMITH: (As Lady Grantham) Oh I wouldn't say that, but then I always keep out of the sun. How do you find Downton on your return?
MACLAINE: (As Martha) Much the same, really, probably too much the same, but then I don't want to cast a pall over all (unintelligible).
SMITH: (As Lady Grantham) How could you ever do that?
MACLAINE: (As Martha) Tell me, what do you think of young Lochenbar(ph), who has so ably carried off our granddaughter and our money? Do you approve of him?
SMITH: (As Lady Grantham) Not as much as you will when you get to know him.
MACLAINE: (As Martha) Has he gone home to change?
SMITH: (As Lady Grantham) Oh no, we won't see him again tonight. The groom never sees the bride the night before the wedding.
MACLAINE: (As Martha) Nothing ever alters for you people, does it? Revolutions erupt, and monarchies crash to the ground, and the groom still cannot see the bride before the wedding.
SMITH: (As Lady Grantham) You Americans never understand the importance of tradition.
MACLAINE: (As Martha) Yes we do. We just don't give it power over us. History and tradition took Europe into a world war. Maybe you should think about letting go of its hand.
DAVIES: That's from season three of "Downton Abbey," written and created by our guest Julian Fellowes. Season three is now on "Masterpiece on PBS. Of course one of the changes that comes to the Crawley family, the shocking development of one of the daughters, Lady Sybil, marrying the family chauffer, Tom Branson.
DAVIES: I don't know how likely this would have been to happen in 1912 or '14 or '15, but one of the things I love about the way it's portrayed here is that of course the aristocracy is shocked, and they have to come to terms with it. Some react differently. But then the chauffeur goes back to the house where he was a part of the service and has to interact with the other servants, who are so used to clear social distinctions, and he has changed.
FELLOWES: I mean, I always like to base these things on a real story, and when people say oh that would never have happened, of course it did happen, just as love affairs between servants and members of the family happened. They were very disapproved of, but they still happened. And this particular story is based on the daughter of an earl who ran off with the groom actually, it wasn't the chauffeur, it was the groom, but I don't think there's a great distinction in that.
And they had to put up with it. I think it was very difficult, and of course they rather encouraged the couple to live in Dublin because it's sort of easier if they're out of sight. But, you know, families then like families now, when your children marry someone you would not have chosen for them, there is a moment where you have to decide am I going to quarrel with my son or my daughter and literally no longer have them in my life, or am I going to find a way to get on with this person.
And I think most of us hope for the second, and that's really what the Granthams have to do.
GROSS: Dave Davies will continue his interview with Julian Fellowes in the second half of the show. Fellowes created the series "Downton Abbey," which began its third season last night on "Masterpiece on PBS." I'm Terry Gross, and this is FRESH AIR.
GROSS: This is FRESH AIR. I'm Terry Gross. Let's get back to the interview FRESH AIR contributor Dave Davies recorded with Julian Fellowes, the creator of "Downton Abbey," the popular series about an aristocratic English family and its servants in the first part of the 20th century.
Season three, set after World War I, began last night on "Masterpiece" on PBS. The class system is a theme of "Downton Abbey" and Fellowes' award-winning screenplay for the film "Gosford Park."
DAVIES: You are the son of a diplomat and I understand you went to good schools and after Cambridge went to drama school and became an accomplished actor, although I gather there were times in your 20s when, like any other aspiring actor, you were scuffling around and getting auditions and probably not living the high life. And yet I guess you had some connections to the life of the aristocracy. Did you have, you know, one foot in each world then?
FELLOWES: I did a bit. I mean, you know, I did the season and all that kind of thing, but I was very sort of junior. You know (unintelligible) hadn't got enough men or something, which, of course, was a good position to get a look at the whole life. You know, when you're the important guest and everyone laughs at your gags, you don't have quite such a fly on the wall perception, but every now and then it was quite funny.
I was in rep in Northampton and, you know, living on 18 pounds a week which, of course, was more then than it is now, but it wasn't much. And it so happened that a school friend of mine had a mother who lived just outside the town in one of sort of England's great houses and she was very kind to me. She was absolutely lovely and she would come and see the shows and so on, and every now and then I'd be asked to dinner or to stay the night or whatever and, you know, my laundry would be done - you know, everything wrapped in tissue and I'd be having this dinner with a sort of butler and footman serving and everything.
And then I'd go back to my own cobbler's cottage in the town, where it was so damp that if you tried to get your washing dry, you had to wrap it in foil and put it in the oven and there were sort of mushrooms growing in the carpet, you know. And every now and then, the contrast that I was experiencing did rather make me laugh. But you know, people were very nice and they kind of supported me and I was grateful then and I'm grateful now.
DAVIES: What kind of research did you do for "Downton Abbey"? I mean you obviously had a lot from your - you know, from your own experience and discussions with your relatives. What kind of research did you do?
FELLOWES: You know, one just kind of reads a lot of books around it. I mean the truth is, I've always been interested in the whole setup of the old world. You know, when I was young, it had only just, for many people, come to an end. You know, I mean I was a little boy in the '50s and that was when a lot of people were chucking in the towel and selling the house and - you know, so I would see empty servants' rooms and empty cupboards in the basement lined in green baize or whatever. I can remember all that quite well.
So a certain extent, I just sort of imbibed it from the air, but I also have read quite a lot about it. I mean, one of the great advantages of the Internet, if you want to use a piece of slang or you want to use a song or anything like that, you just type in, you know, the thing and you go into the etymology dictionary and it gives you the year of first usage and so on, or first printed usage.
But on the whole, I do sort of - I mean it sounds rather pretentious, actually, but I do sort of know how this way of life worked, you know, at this point, and I take advantage of that, really.
DAVIES: You said you saw houses with empty servants' quarters because essentially that way of life had just disappeared?
FELLOWES: Yes. I mean, you know, you'd go into the stable and there were no horses and then you'd go into the old kitchens, huge old kitchens, and there'd be sort of signs for the village fate and, you know, old perambulators and broken bicycles and things, and they would have created some horrible slot kitchen in some ante-room upstairs. And, you know, all of that was very fresh.
I mean, one of the great changes now, actually, is that these houses - the ones that have survived - have essentially been reinvented by their owners, who are normally the children or grandchildren of the ones who threw in the towel, and they come to it differently. This generation doesn't, you know, long for the days of their youth when there were footmen behind every chair, because there weren't. Their youth was spent after all that had come to an end, so they just look at it differently and they have different ways of running it. And now help in the house comes in from the village instead of coming from upstairs, and everyone calls each other by their Christian names and everything else.
And it just runs on different wheels, and I like that. I like the fact that these houses have, in a sense, been reinvented and, you know, I think it's very attractive.
DAVIES: "Downton Abbey" begins in 1912, when there are all these social trends that are causing the old order to begin to unravel. Did your observation of kind of the disappearance of that way of life make you want to really explore the end of that period and the dissolution of the aristocracy?
FELLOWES: I just remember one time when I was quite young. I was - I forget now - 17 or something like that, and I was staying in a house and I got lost and I went through the wrong door and I was standing at the top of the staircase that led down into the kitchens and everything. And there was a tremendous row going on between - it sounded like four or five, six people shouting and yelling and this and that and the other.
And I suddenly had such a powerful sense of the lives that were being lived by the people who worked there - not, you know, only the family who lived there, but the people who worked there were also, you know, enjoying life or hating each other or loving each other or whatever. And I suppose you could say that in that moment "Gosford Park" and "Downton Abbey" were at least conceived, whether or not they had yet been born, and that at some point I would explore that fairly simple emotional recognition that everyone's life is of 100 percent importance to them, no matter who they are. And you know, I've been sort of, in a sense, exploring it ever since.
DAVIES: Julian Fellowes is the creator and writer of "Downton Abbey." The third season is now on "Masterpiece" on PBS. We'll talk more after a break. This is FRESH AIR.
DAVIES: If you're just joining us, our guest is Julian Fellowes. He's the creator and writer of "Downton Abbey." The third season is now being seen on "Masterpiece" on PBS.
I want to talk about "Gosford Park," the film by Robert Altman. It was in 2001, which you wrote and won the Oscar for Best Original Screenplay. It was not quite like "Downton Abbey." It was set in an English aristocratic home in the '30s. You want to just talk a little bit about this and how life was different then than it was years before, when "Downton Abbey" is set?
FELLOWES: Well, in fact, "Downton" was the child of "Gosford" in that the producer, Gareth Neame, who had the idea, said to me, would you ever consider going back into "Gosford Park" territory for television? That's how it began. But apart from anything else, you know, we wanted it to have legs and so we took it back a bit to have some time before the first war and so on. But the real reason for that was that the subtext of "Gosford" was that that way of life, for most people, was on its last legs and it would be the Second World War in many, many cases that kind of polished it off.
I mean of course one can exaggerate this. There are still people with cooks and butlers and, you know, where you're sitting and where I am, but as a way of life that was essentially being lived in every village and hamlet in the land, it was the Second World War that was the kind of coup de grace for the whole thing.
And so one wanted a sense of that. In fact, there was a cut scene I was always rather sad about, when the servants were talking about what they wanted to do and all the young ones were saying, oh, I'd like to have a hairdresser and I'd like to run a garage and so on. And not one of them imagined they would be staying in service, and you know, that was very shocking to the older servants. And I was always sorry that was cut because I felt that was very much part of the message. But nevertheless, I think "Gosford" was a more shadowy place. There was a sort of deeply unhappy marriage of contempt at the heart of it, as opposed to the Grantham's marriage, which is essentially happy. I mean I know they have their problems, but I mean they're basically happy and well-suited, and that, of course, was not true of McCordle and his wife, Lady Sylvia.
DAVIES: I wanted to play a clip here, and this involves Helen Mirren's character. She's in the service here. You want to just tell us who she is, what role she plays?
FELLOWES: Helen Mirren is the housekeeper. She is the Mrs. Hughes of "Gosford Park," and just as Eileen Atkins plays the cook, you know, she is the Mrs. Patmore of "Gosford Park," and of course their relationship becomes a theme in the film.
DAVIES: Right. Well, the scene we're going to hear is very near the end, and it turns out that this character, Mrs. Wilson, the Helen Mirren character, as a young girl was one of many servants who the Lord Stockbridge, the guy who runs the manor, had sexually preyed upon. She bore his son, who was sent away to an orphanage, but it turns out now, many years later, is back at the estate as a valet of one of the guests, and he realizes his father and decides he's going to kill him, but Mrs. Wilson, the Helen Mirren character, sees this coming and instead poisons Stockbridge so that her son can't, in fact, be accused of killing him. And in the scene we're going to hear, she's discussing this with another servant, played by Kelly MacDonald. Let's listen.
KELLY MACDONALD: (as Mary Maceachran) Even if Robert is your son, how did you know that he meant to harm his father?
HELEN MIRREN: (as Mrs. Wilson) What gift do you think a good servant has that separates them from the others? It's the gift of anticipation. And I'm a good servant. I'm better than good. I'm the best. I'm the perfect servant. I know when they will be hungry and the food is ready. I know when they'll be tired and the bed is turned down. I know it before they know it themselves.
MACDONALD: (as Mary Maceachran) Are you going to tell him?
MIRREN: (as Mrs. Wilson) Why? What purpose would it possibly serve?
MACDONALD: (as Mary Maceachran) What if they find out what happened?
MIRREN: (as Mrs. Wilson) Not much of a crime to stab a dead man, is it? They can never touch him. That's what's important. His life.
MACDONALD: (as Mary Maceachran) And your life?
MIRREN: (as Mrs. Wilson) Didn't you hear me? I'm the perfect servant. I have no life.
DAVIES: And that's Helen Mirren and Kelly MacDonald in the film "Gosford Park," written by our guest, Julian Fellowes. I really was struck by that dialog when I saw it. You want to just tell us about developing that?
FELLOWES: Actually, it was very interesting because I remember Helen didn't really like the line when she said I'm the perfect servant. I have no life. She said, oh, I think that's already implicit. And I understood her point, actually, but in the end we did a kind of collaborative thing on the scene and I altered the speech before - the speech about anticipation in accordance with her ideas about it, and in return she said the I have no life. And I think between us we did create rather an extraordinary moment for that character. Of course she's a most wonderful actress and so she invests it with all that kind of emotional complication I was talking about before.
But I do feel that, you know, the one drawback of the servant life - and there are many aspects of it that are not as bad as people think now - but the drawback is that your own life is always secondary and all your concentration is going on doing your job, making them comfortable, making their clothes right, making their food right, making the room right. But it's not your clothes or your food or your room, and it requires a kind of abnegation almost like a monk to do it perfectly, and I think that that is a great sacrifice to ask and that's what that scene is about.
DAVIES: The dialog is very clear there when we hear Helen Mirren and Kelly MacDonald talking, but that's not true throughout the entire film because of Robert Altman's particular style. I mean I've seen this film three times and I still don't feel like I've gotten it all because it's so quick and there's just so much going on. And you know, as someone who's come from an English theatre background where people, you know, project and say their lines distinctly, did you find it difficult or frustrating to have this rich kind of tapestry of relationships that you had crafted being filmed in this way, where it's just so quick and kind of hard to take in?
FELLOWES: Well, you know, that was Bob's style and quite deliberately I wrote the film so that he would recognize it as one of his own films, and despite the fact that the subject matter - you know, the English, the upper classes or whatever you call them, and servants and so on - was not his natural terrain, I didn't want him to read it and think, well, I quite like this, but it's not the sort of film I make. I wanted him to read it and think this is just my kind of movie. So I can't pretend I was surprised by the dialogue running over each other and all the rest of it.
We had a very, very brilliant sound guy whose name I blush to say I forget at the moment, but he was running something like 15 radio mics simultaneously so all the overlapping dialogue would be caught. And then Bob would have the ability to bring up this line or drop this line back or bring this exchange forward and so on.
All the scripted dialogue was recorded, was spoken, and was filmed. And then under that in the big scenes they would be told, you know, say your scripted lines but then keep talking. So they would bang on. I mean, not all that much of the improvised stuff got into the final film, in fact, but what it does is it creates a tremendous sense of reality.
That the scripted dialogue is sitting on (technical difficulties) of dialogue so that you never feel that it's totally unreal, that you can only hear this couple at a crowded dinner table, you know, and that kind of thing. There is always a sort of sense of having to sort of catch what they're saying in the big group scenes much as, you know, if you're having dinner in a restaurant.
You have to sort of suddenly focus your ears to get what your neighbor is saying rather than what the next table is saying. And he wanted that.
DAVIES: Time is short but I do want to ask you - I know you've got a lot of things going. I think you're writing season four of "Downton Abbey." But I also read that you're writing a similar sort of series that's set in 19th century New York. Is this right?
FELLOWES: Well, that's my kind of next big adventure. Not doing it right now. I mean, it's been announced but it's a little time in the future. But, you know, the idea came up and I did feel quite strongly. I didn't want to just try and write another British series and kind of go into competition with myself, you know.
It's really about what Mark Twain or whoever it was called the Gilded Age. You know, that period in the '70s and '80s particularly - 1870s, 1880s - when these enormous fortunes arrived through railways, through oil, through hotels and shipping and so on.
And these new families arrived to kind of in a way almost take over New York from the old kind of Dutch families. So, I mean, Edith Wharton writes about this kind of contest for seniority in "The Age of Innocence" and in a lot of her other books. Because she very much came from the old aristocracy of America and yet of course she knew lots of kinds of Vanderbilts and so on of the new.
And she deals with the kind of struggle between the two. I mean, nothing could compete with the money of the new families and in the end I suppose you could say that they sort of won. But I think it's quite an entertaining period. And they were the spenders, you know, to end all. And so I'm rather looking forward to getting into it.
DAVIES: Well, Julian Fellowes, thanks so much for spending some time with us.
FELLOWES: Oh, I'm delighted. It was nice of you to ask me.
GROSS: Julian Fellowes created the series "Downton Abbey" which began its third season last night on "Masterpiece" on PBS. He spoke with FRESH AIR contributor Dave Davies. Our thanks to Trevor Bevins and Andy Worth for recording Fellowes at the BBC studio in Dorset. Transcript provided by NPR, Copyright NPR.
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Please note that these services are separate and distinct to those offered by St. James's Place.

subset: commoncrawl


text:
It's been a good year for Tesla Motors, the luxury electric car maker, particularly in California, where it's selling more cars than Porsche, Jaguar, Lincoln, or Buick. In 2013, the company has sold 4,714 cars in the state, according to the California New Car Dealers Association.
Here's a rundown of the state's vehicle sales rankings:
In California, Tesla also sold more vehicles than Buick, Fiat, or Mitsubishi (in descending order). And it's within shouting distance of Cadillac, which has sold 6,805 vehicles in the state this year.
The car industry has seen strong results in California, where sales gains in the past year easily exceed those in America overall.
"New light vehicle registrations (including retail and fleet transactions) in California increased 12.5 percent during the first six months of this year versus a year earlier," the association reports, "higher than the 7.7 percent improvement in the U.S. market."
We first spotted this story over at CNBC, which also puts Tesla's strong showing in context — the Model S isn't about to challenge the Camry or Accord — or the Impala — for market dominance.
"Toyota Motor and Honda Motor are California's biggest seller this year, at 157,035 and 100,416, respectively," the site's Marty Steinberg reports.
The Tesla Model S's sticker price is around $63,000, including a federal tax credit of $7,500. As we reported last June, Tesla claims a combined mileage of 89 mpg for the car, which can reach 60 mph in under six seconds.
Last week, Tesla announced that in National Highway Traffic Safety Administration crash safety tests, its Model S "set a new record for the lowest likelihood of injury to occupants," compared to other sedans, minivans, and SUVs.
Part of the credit, the company said, goes to a large front "crumple zone" — in this case, a storage space where most gasoline-powered cars keep an engine.
Copyright 2021 NPR. To see more, visit https://www.npr.org.


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Life Charms Bracelet Beautiful Bestie
Click & Collect Service
All items can be collected in store Free of Delivery Charges. If your information includes an email address, we will send you a message when your items have been packed and are ready for collection by you. The latest they will be ready is 10.30am the following working day.
Please be aware that most of the larger Edge Sculptures are only available on a Click & Collect basis.
Unfortunately, due to the nature of Maison Berger Home Fragrance Perfumes, delivery containing these items eg 500ml & 1 Litre Bottles and Maison Berger Gift Sets containing small bottles of perfume can only be shipped to the UK Mainland, which excludes Northern Ireland and all UK Islands. Any orders placed for delivery to the non-shippable areas will be credited.
Our delivery charges are as follows:
*next day delivery is deemed to be next working day. If an order is placed on a Friday before 11a.m., next working day delivery is Monday and if an order is placed on a Saturday or Sunday, next working day delivery is Tuesday. If you need a Saturday or Sunday delivery, please call us on 01284 700288 and we will quote you before you place your order. Please be aware that orders placed on Bank Holidays, may not be delivered until the following Wednesday.
For detailed delivery information, please see the Delivery Policy.
We take great pride in our Customer Service, so we hope you will be very happy with your purchase, but occasionally things don't go as planned.
In the unlikely event that your purchase arrives broken (we use more packing material than necessary to stop this happening!), is faulty or not as described, please contact us as soon as possible, but in any event within 14 days, either by e-mail to email@example.com or by phone on 01284 700288 during normal opening hours 9 – 5.30 Monday to Saturday & 10.30 – 4 on Sundays. We will assess the best way to deal with the item. We may ask you to take an image or we may ask you to return the item, and if accepted we will arrange for a replacement or refund using the same payment method as per the original purchase. If you are asked to return a faulty product, it must be returned within 14 days of you bringing the issue to our attention and we will refund the standard postage costs. We cannot accept an item returned as faulty if the appropriate product care instructions have not been followed and the damage caused to the product is clearly due to wear and tear or misuse.
If you've just changed your mind about your on-line purchase, firstly please advise us within 14 days of receiving your delivery using the cancellation form included within the Terms & Conditions section or by e-mailing us at the above address. If you do not advise us of your cancellation, we will not process your return. Please return the unwanted item, to:
Returns @ Buy the Light Ltd
4 Whiting Street
Bury St Edmunds
in an unused state and within 14 days of the date of cancellation, making sure that it is packaged in a way that means it doesn't get damaged. If the product is returned in any other way than perfect, a refund or exchange will not be given. Please include your original dispatch note or a copy of your cancellation form inside your parcel. If neither of these are available please include a note with your name, address, customer number, email address and daytime telephone number plus a note of what you are returning and why, and whether you want a refund or exchange for another product. We will send any exchange items free of postage charges.
Parcels are returned at your own cost, and we recommend that you ask for proof of postage from the Post Office as we are responsible for your parcel only once it has been received back into our shop. Items lost in transit will not be treated as returned.
Once we have received your parcel, it may take up to 5 working days for us to process your return. We will confirm by email the action that we have taken. If you haven't heard from us within this time frame, please feel free to contact us.


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Oakboro Tree Service Company
Triad Tree Removal is your one-stop destination for tree trimming and tree pruning in Oakboro, Stanly. We have a team of experienced, dedicated, and certified arborists and tree care workers who provide top-notch tree service to make the landscape of your property look beautiful. If you want us to shape your trees and take care of them, all you need to do is give us a call.
Triad Tree Removal of Alamance understands that the economy's inflation leaves homeowners thinking about whether to hire tree services or not. However, we can assure you that our fees are quite reasonable and once you understand the quality of service we offer, you won't think of hiring someone else. We want to provide you unmatched tree services at a price that fits your pocket. This is a significant reason why we have so many repeat customers calling us every year to clear their front yard or trim the trees around their house.
Click here to learn about the areas we provide Tree Service
Honesty before profit
We don't want to provide additional services just to make money from your deal. That is why we offer free quotations to everyone who wants to hire us. For example, if you call us and say that you need tree trimming service, we will note down your location and set up an appointment. There will be a team of arborists at your property on the specified date to take a look at the trees that need servicing. Whether it is pruning, trimming, or cabling, we can only provide the ideal solution after looking at the problem.
Our specialist advice includes determining the most cost-effective approach for your Tree Service project. We also take care of the necessary permits. With the most modern equipment, for example with the Triad felling crane, we carry out the tree care work on schedule and quickly.
Finally, we will also take professional care of any disposal of tree waste our own biomass yard.
Tree Service we offer
Over the years, Triad Tree Removal has become one of the most well-known tree servicing companies in Oakboro, Stanly. We are proud of our achievements and want to carry on the good work. Our primary objective is to keep the trees healthy. Tree services involve tree cutting, tree removal, tree trimming, and stump removal. But that doesn't mean we promote deforestation.
Our team of arborists will go to your location to inspect the condition of the trees around your house. Their vast experience allows them to come up with a practical solution on how to deal with the issue in hand. For example, if there is a dead tree in your garden, they might suggest uprooting the tree from its base to protect the other plants and trees. We always provide the service that is not only healthy for surrounding plants and trees but also the one that you can afford.
Different trees require different types of treatment. That is why we offer a tree service that suits the tree and its surroundings. For example, a tree with overgrown branches can cause a problem to the nearby electric and telephone lines. We can trim the branches down so that the entire tree looks healthier than before. A big tree doesn't necessarily have to be beautiful. If it requires grooming, Triad Tree Removal is here to provide everything it needs.
We hope that you will get in touch with us whenever you need any tree services. Triad Tree Removal of Oakborowill never disappoint with the quality of service and fees.
We come to you, ask about your wishes and explore the local conditions for the tree care measure.
Our specialist advice includes determining the most cost-effective approach for your tree care project. We also take care of the necessary permits. With the most modern equipment, for example with the Triad felling crane, we carry out the tree care work on schedule and quickly.
Finally, we will also take professional care of any disposal of tree waste our own biomass yard.
For more information about tree care please give us a call: Tel. – – insert number here
Complicated felling of spruce
There are always special situations that require special solutions! One of them is the felling of a spruce that has become dry over the summer months and has unfortunately died in the Oakboro center. The tree measured a diameter of over a meter and a height of 29 meters. In addition, it stood above a listed wall, access through the garden was difficult and prevented by a group of trees in the first row. The question now arose as to how the tree could be removed and, above all, delivered to a place where trucks could drive. It quickly became clear that a mobile construction crane would be used here and that the good connection to the -company name- company would be used. With a height of around 30 m, the crane can lift over trees and houses and thanks to a boom of over 40 m it can easily reach the tree to be felled. After the approval for the felling and the complete closure of the road, the spruce could be removed piece by piece using a combination of rope climbing technology and mobile crane, chopped up on the road and driven down. Despite the fact that the tree was dead and relatively dry, it was divided into six parts of 700 to 1400 kg each.
Grown for decades – felled and disposed of within a few hours! In addition to mourning the stately spruce, at the end of the morning the customer and everyone involved were happy that the felling could be carried out safely and quickly!
Why did the spruce die?
The drought of the past few months caused problems for many trees, especially the spruce. Starting with a long absence of rain, the spruce is predisposed and the bark beetle has an easy time of it. The beetle can spread within a very short time through rapid reproduction cycles; clear symptoms for the beetle's infestation on a spruce usually already indicate the end of the tree. The little beetle is also up to mischief in our forests: large areas have to be cleared, causing enormous economic damage.
However: Regardless of whether it is in the city or in the forest, the best way to combat it is to felling and removing the infested trunk quickly. Is your spruce affected too? We would be happy to take a look at your trees.
Poplar felling in the -team name- stadium in Oakboro
The garden authority of the city of Oakboro relies on the proven felling crane technology from Triad Trees. In January 2017 we were commissioned to fell 42 poplars up to a trunk diameter of about 1.20 meters in the "-team name-" sports stadium under difficult site conditions between the stadium and the river -river name-. We also handled this project professionally, avoiding damage to the property.
All tree care work is carried out according to the task, both with double rope climbing technology and using the most modern access platforms, particularly tree-friendly. Many public clients entrust Triad Trees with their valuable trees for permanent care. Loyal private customers have been leaving their treasured trees and gardens for decades check and maintain them professionally by us. In this way, we can guarantee a crown development of the ecologically valuable tree individuals that is adapted to the respective tree environment.
As a co-partner of -company name-, we are one of the few companies in US to offer you professional and therefore success-oriented transplanting of large trees. A new, fascinating achievement that is only possible with special machines and special knowledge and experience. This involves the mechanical transplantation of large trees that are worth preserving but cannot remain at their current location. Our innovative technology enables large trees to be transplanted with a trunk circumference of up to 120 cm. We deliver, plant and look after high-quality large trees to upgrade new locations or restore gaps in old avenues.
Special felling
Trees that are no longer roadworthy or worth preserving, perhaps also have to be removed for other reasons, are cut down inexpensively and using the latest technology. Both in private gardens and along traffic routes and highways. Strict security requirements must be taken into account, especially in busy inner-city areas. Speed is of the essence during preparation and removal. We take care of the smooth obtaining and processing of all permits. The employees of Triad Trees are familiar with all the necessary approval procedures and traffic regulations.
By using our unique felling crane, tree felling can also be carried out very safely and cleanly in the smallest of spaces. Complete tree tops are fixed with the felling crane, cut off within seconds and put down with centimeter precision.
Using mobile cranes, we can also remove trees from hard-to-reach indoor areas and gardens. On the other hand, use large trees, often spectacular projects.
With a precisely coordinated team and our technology, work from tree felling to processing can be carried out "just-in-time".
Before starting many measures, there is often a need for advice. Our customers have 4 certified forest managers for investigations, analyzes and implementation.
• On-site advice "all about the tree"
• Preparation of court reports
• Carrying out tree inspections for private and
• public customers
• Recording and mapping of tree and woody stands
Commitment in the region
If you get a lot, you should give a lot back. Under this credo, Triad Trees is committed to many cultural and social issues in the region. For example culture: As a board member of the -organization name here-, -full name- sponsored the Advent concert of the Chamber Orchestra of the University Orchestra -name- in December 2010. But social engagement is also important to Triad Trees: In 2010, for example, the work of the -name- association in Oakboro was financially supported. This helps young people with a migration background to integrate more easily into US society.
Of course, our company also offers apprenticeships for young people. We are a recognized training company for the professional fields of forestry (with a focus on tree care) and tree workers.
Our sponsorship focuses on promoting young people.
• Support of youth football teams
• Delivery of wood for designing closer to nature
• Playgrounds and day care centers
• Construction of the climbing landscape at Freudenberg Castle in Wiesbaden
Triad Trees felling crane
We are equipped with three of the most modern felling cranes in US. Our Triad Trees felling crane has been doing a very good job for a number of years. Due to the great demand, an additional purchase was necessary: The new TT Fellcran v2 has been expanding the vehicle fleet since September 2010. In December 2012, a third felling crane of this type was added. This is mainly in use in northern US. The TT Fellcran v2 is a completely new construction in which the experience gained from years of use of the TT Fellcran v1 has been technically implemented and improved. The double telescopic boom plus unit brings it up to 24 meters in height and 21 meters on the side. Trees that would otherwise be felled downhill and then have to be laboriously rope up or attached during the felling process can be felled by the felling crane and maneuvered uphill – in one operation. The Triad Trees felling crane can hold up to 1.5 tonnes of load when fully extended. All hydraulic cylinders are equipped with shut-off valves which immediately close the valve if a hydraulic hose bursts. The pliers cannot then open for safety reasons. The tongs grab trees up to 110 centimeters thick and saws up to 80 centimeters in diameter in one operation. The felling volume is between 100 and 200 trees per day, depending on the environment and the nature of the trees!
Tree felling – tree care – pruning / Your specialist for tree care in Oakboro and the surrounding area / Careful – clean – safe / Competent advice on all questions about the tree / Crown care and crown reduction in rope climbing technique / Rope-supported tree felling / Help with storm damage repair / Traffic safety cut / Construction site clearance / Installation of crown securing systems / Free viewing and preparation of an offer
If you would like to cut a tree in Oakboro or have it cared for, please do not hesitate to contact us. We help you with competent advice in all questions about the tree and carry out all necessary pruning measures and tree felling work.
We are a well-coordinated team of experienced arborists and gardeners who specialize in rope-supported tree work. Thanks to the special rope climbing technique, we can reach every point in the tree without a ladder or aerial work platform. We start where others reach their limits!
We have turned our love for nature and our enthusiasm for rope climbing into our profession. Our many years of experience and good cooperation make it possible to offer the entire spectrum of tree care measures and to complement our work in every respect. Thus we are able to fulfill even the most difficult orders and to satisfy every customer. Since the health of your trees is important to us, choosing the right tree care measure is very important to us. Whether tree felling or a tree-preserving measure, whether crown reduction or installation of crown safety systems – you have come to the right place! After a detailed consultation on site, we will jointly choose the right measure that will sustainably support your tree in its development and at the same time offer a solution that fully meets your wishes.
All tree climbers in the team have basic training in rope climbing technology (SKT-B). We meet regularly with other colleagues from Berlin and Brandenburg to exchange experiences and discuss current topics. In this way, we always keep our specialist knowledge up to date.
Care, cleanliness and safety are a matter of course for us. Only when you are 100% satisfied are we too!
The classic tree care includes measures on the tree and tree environment to avoid undesirable developments and to maintain the vitality of a tree. All pruning measures to be taken should have a constructive effect on the tree by supporting its development in building a stable and healthy crown.
With the strong urbanization in recent decades, the demands on trees in settlement areas have increased significantly. First and foremost, a tree must not endanger the safety of people and property, and it must not impair road safety. Dead wood formation and broken branches represent a potential health risk. Branches that protrude over traffic and sidewalks can endanger traffic safety. In all these cases, professional tree care measures must be taken, which on the one hand restore the safety of the tree and at the same time damage the tree as little as possible in its development.
As a specialist company, we have specialized in uniting the interests of people and trees.
When carrying out tree care work, we adhere to the -case name- (Additional Technical Contractual Conditions and Guidelines for Tree Care) edition 2017.
Our range of services in detail:
A hedge is a beautiful green border between the garden and the neighboring property. But: To keep the hedge in shape, you also have to cut the hedge regularly!
We offer professional hedge trimming with professional tools.
The crown care is the most extensive tree care measure and is considered the all-round carefree program in tree care. Its execution takes into account all aspects of the development of the tree and should not result in any further measures in the event of regular weather conditions over 3-5 years. Crown care serves to maintain the health and improve the living conditions of the tree. This maintenance measure includes cutting out sick, broken, damaged, crossing and rubbing branches. In addition, undesirable undesirable developments in the treetop are recognized at an early stage and corrected through targeted cutting measures: e.g. In the case of the -case name-, which is considered to be prone to breakage, the competitive shoot is cut out as a preventive measure (if the diameter is small) or professionally shortened (in the case of stems / stems) in order to possibly reduce the excessive load on the weakened fork. If necessary, entire parts of the crown can be thinned out or shortened / relieved in order to improve the incidence of light at certain points or to restore the crown's resistance to breakage. A corresponding clearance profile is created over traffic areas. In crown care, cutting measures are mainly carried out in the fine and low-load area. (5 cm <Ø, see -case name-). The tree's typical habit is retained.CROWN CROWNINGSometimes it is necessary to shorten the entire treetop in its height and / or in its lateral extent accordingly in order to adapt the tree to the requirements of traffic safety and the tree environment. In order to preserve older trees in particular, a more extensive intervention in the crown may be necessary – e.g. to relieve the entire crown to prevent knots from breaking out. Here, consideration is given to the species-typical growth form of the respective tree (habitus) (cf. -case name here-). Let us advise you on suitable and justifiable cutting measures!LIGHT SPACE PROFILE SECTION / TRAFFIC SAFETY SECTIONThe legally prescribed clear space above traffic areas, which is necessary for unhindered passage, is 4.50 m. over streets and 2.50 m. via bike paths and sidewalks. Branches that hang too low or protrude can impair public traffic and even lead to considerable personal injury and property damage. If branches protrude into the traffic area, it is necessary to restore the clearance profile.The clearance profile cut is carried out to maintain or create the clear space on street trees – predominantly in the fine and weak branch area (5 cm <Ø), but also in the coarse branch area (5 cm> Ø <10 cm) for well-sealed tree species.ROOF AND FACADE CLEARANCEA tree in the garden is a piece of nature in front of one's own front door, giving its owners a lot of joy and tranquility in the fast-paced urban life. But, at the latest when the branches reach the house walls, it is time to take action. The constant rubbing of the branches on the house wall can damage the facade and the roof.To prevent this, it is necessary to shorten the affected branches professionally or remove them completely if they have a small diameter.DEADWOOD REMOVALAlthough the formation of dead wood in the treetop is usually a natural process, it poses a potential danger to people and property. The dead branches are no longer break-proof and can break off in stronger winds. The falling pieces of wood pose a risk of injury. To prevent serious accidents and property damage, we recommend removing the dead wood from the tree. Dead and broken branches from weak branches (3 cm. Diameter) are removed with this measure (-case name-). 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Monday, November 5, 2012
Make-Ahead Turkey Wing Gravy, Because You Have Better Things to Do
66 comments:
- Food Junkie said...
Since watching your videos I used a roux with the pan drippings from our Canadian Thanksgiving turkey (brined and smoked)along with some stock and it turned out really well. I might try this make ahead version with the next turkey.
- November 5, 2012 at 4:08 PM
Chef, how long ahead of the meal will this keep in the fridge? Is freezing ok?
- November 5, 2012 at 4:47 PM
That's what I'm talking about.
- November 5, 2012 at 9:10 PM
where do you get turkey wings?
- November 5, 2012 at 11:15 PM
- Cyndi said...
o.m.g, i LOVE turkey gravy!!!! i will be making this, this holiday season! thanks chef john! your recipes never fail to keep me interested in cooking! thank you for your videos! (i hate reading written recipes- for some reason, my mind doesnt process them) but videos i can do! thank you!!!!!
- November 5, 2012 at 11:19 PM
A few questions. I am a noob, but I get to cook the turkey next year. Do I just take the wings off the turkey I buy? We brine, so cut them off before or after the brine? The latter does not leave a huge window... How long can the gravy be stored and how should it be stored? Tupperware and fridge? Freeze it?
- November 6, 2012 at 12:31 AM
Chef John...I love your site. I was wondering whether you have ever thought of putting the instructions as well as the ingredients? I love watching the videos ahead of time, however it would be handy to have the instructions written out so I could print it and brining it in the kitchen, rather than running to my computer to watch the video. Again, my suggestion isn't to replace the videos, I think it would be a great compliment to the videos. Just a thought.
Can't wait to try this. I am doing a deep fried turkey this year and wasn't sure how to do it because I won't have turkey drippings, this may just work perfectly. Can you do this one day ahead? - November 6, 2012 at 9:33 AM
- Chef John said...
Allrecipes is actually typing up all the new recipes and many of the old, but they haven't linked in the blog yet. I have no time to type!
And yes, you can make the "make ahead" gravy ahead of time! ;) A day or 2 is no problem!
- November 6, 2012 at 11:45 AM
- Chef John said...
Yes, cut wings off before you brine, but grocery stores usually have turkey wings for sale this time of year.
- November 6, 2012 at 11:46 AM
Thanks, now I know where to buy my wings.
- November 6, 2012 at 4:12 PM
Last year I oven roasted a 22lb turkey (no kidding) using your other roast turkey recipe, it was my first turkey ever, and it turned out FANTASTIC.
I might get a smaller turkey this time and an extra pair of wings for the gravy! Cuz I don't want my turkey to be wingless. Right? That makes sense right.. - November 6, 2012 at 6:39 PM
- Chris K. said...
Just make sure you avoid using turkey wings from the right. As in, right-wing turkeys. They're less meaty and tend to lack substance.
- November 6, 2012 at 9:38 PM
I would love to make the gravy this weekend... and freeze?
- November 7, 2012 at 7:25 PM
can I also throw in the neck and giblets into the roasting pan or does that change everything?
- November 8, 2012 at 9:56 AM
- Chef John said...
yes, except for liver.
- November 8, 2012 at 10:03 AM
- Chef John said...
This comment is specifically for a FOX news victim called M in Mex. I wasn't going to reply, since he sounded like a typically bitter, tea-party nut case, but I thought some of you would also be interested in hearing how I came to do FW, so here you go!
It may come as a shock that not all cooks and chefs actually want to open their own restaurant. After seeing the long hours and low profits, many, like me, are more than happy just to cook, and let others have all the headaches.
Even in culinary school, I never had any desire whatsoever to own my own place. Having grown up in restaurants, I knew the deal, and I loved the freedom of moving around as I wanted. Fun times!
After a very success stretch, I retired to try my hand at graphic design and desktop publishing, a huge passion of mine after the 1st Apple PC's came out. This is where I got my tech and computer skills.
After doing that for a while, I was convinced by the Executive Chef at the California Culinary Academy to come and teach at the school, which needed a chef to teach math and computer skills. I did that for 5 awesome years, becoming one of the most popular chefs at the school.
Finally, I left to start what would become YouTube's most successful video recipe channel. I know M in Mex was worried that I'm not doing as well financially as I would have, had I stayed in the culinary field, but you can relax. I'm doing much, MUCH better. And with the recent acquisition by Allrecipes, I now have the luxury to just do what I truly enjoy, cook and film recipe. As much as it will disappoint M in Mex, I've never been happier or more secure.
BTW, Mr. M in Mex, if that is your real name, in case you want more info, feel free to Google my full name. There have been many articles written about me, my journey, and my smashing success as YouTube's most popular culinary instructor.
Now, I'm kind of curious what you do to contribute to society? Besides troll, of course.
- November 8, 2012 at 11:10 AM
This looks great! i'm doing the christmas dinner this year (i'm 14) and i'm looking for yummy easy recipes that will save me time (hello,i have school?) chef john your site is fantastic! thank you so much!
p.s. can i also use duck wingsfor this recipe? - November 8, 2012 at 11:55 AM
- Chef John said...
Congrats! Yes on duck!
- November 8, 2012 at 12:19 PM
- Locatively Aware said...
Hi Chef John,
So my soon-to-be-sister-in-law is coming to Thanksgiving this year, and she's allergic to... pretty much everything. She usually makes a bowl of quinoa at family get-togethers and just eats that while the family eats holiday foods and I wanted to try to make the fully dinner friendly for her to eat.
So the big things are that she can't eat dairy, corn, soy, or gluten (and canola and olives and associated oils are out, too). I was looking at using arrowroot for the thickener, but I haven't ever used it before. Do you have any experience with it? Also, do you know of a fat substitute I could use instead of butter? I've been reading up on arrowroot and it sounds like it works more like cornstarch than flour, so would you just add some water to the arrowroot and pour it into the hot stock?
Thanks! - November 16, 2012 at 12:54 PM
- Chef John said...
Never used arrow root, but assume its the same as corn starch! Good luck!
- November 16, 2012 at 2:14 PM
- Liisa said...
This is on my to do list Wednesday afternoon! Any reason why I could not incorporate the porcini mushroom/ Marsala combo from your other video into this gravy?
- November 17, 2012 at 7:39 AM
- Chef John said...
No reason at all! :)
- November 17, 2012 at 9:31 AM
- Berit said...
Chef John,
I loved reading your comments about your "journey" in the above comments addressed to "M in Mex", though I found their placement here on your wing recipe a head-scratcher.
Cheers to you and Michelle, off to make some gravy!
- November 17, 2012 at 3:23 PM
- Chef John said...
oops, looks like I posted it in the wrong post! Oh well.
- November 17, 2012 at 4:08 PM
Chef John,
I live in a small town and every store where I live is out of turkey wings and we don't want to give up the ones on our turkey. Is there any other part of the turkey that I can buy separately to use in this gravy?
Thank you. - November 19, 2012 at 4:11 AM
- Chef John said...
Backs and necks! Anything with a bone.
- November 19, 2012 at 10:42 AM
- BigStupidFingers said...
Chef John, I need your help to safe my marriage, which hasn't even begun yet. haha Here is the back ground information:
I grew up lower middle class in a family that needed to save money by buying store brand items. Basically name brand was never really an option. My fiancee on the other hand grew up upper middle class until about high school age when her family was actually in the top 2% of income. We love each other very much but last night in the grocery store got a little ugly... all over a Butterball turkey.
As we are both teachers trying to save money to get married and buy a home together I found it imperative to save $1.40 per lb on a 13lb all natural Shadybrook turkey a total savings of $19 vs the butterball turkey.
Now I tried to explain that differences in birds is going to be negligent until you get up into the local, free range, possibly organic types of birds (which we both agree are out of our price range at this point)
After arguing back and forth like fools in a grocery store 2 days before turkey day we agreed that since we both love your work, opinions, and recipes that you would be the end all be all.
So, the question is Chef John, is the Butterball turkey worth an extra $1.40/lb? Thank you in advance for your time and help! Regardless of your answer, we will both remain loyal watchers of Foodwishes and continue to spread the word of your genius, wit, and not to mention good looks. haha Happy turkey day! - November 21, 2012 at 9:05 AM
- Chef John said...
When it comes to women, and wives in particular, there are only 2 ways to do things.....the way she wants to do it, and the wrong way. ;) Get the butterball (it is better)
- November 21, 2012 at 10:01 AM
- BigStupidFingers said...
20$ better? ha ha, thanks! I will hang my head and go back to my corner.
- November 21, 2012 at 11:17 AM
- Unknown said...
Chef John, you're awesome!!! As are your videos and enthusiasm!! Nice break from all the food journalists complaining of having to do another Thanksgiving week. OK, here's my comment/question: have you thought of doing this stock in a pressure cooker? It should only take a little over an hour and probably increase flavor! Thanks!!!
- November 21, 2012 at 11:08 PM
- Dave said...
Chef, I absolutely love your recipes and have done pretty well with some. Well I was excited as I never have had gravy turn out. I spent hours preparing the stock and getting ready and the gravy started to halfway look decent when I got to that part (although very worried with tons of clumpy crap.) I then wasn't seeing lumps but low and behold they were hidden and they were o'plenty :( I tried straining with cheese cloth in the bottom of my collander and it just got really ugly. I also forgot to taste (had the sample in the laddle but can't remember s#@# so it just sit there) and it tasted terrible after straining. Tried seasoning but couldn't get it. I still hate gravy! I truly need to attend a culinary school class on Gravy making as I'm too dumb even to get it with a SUPERB video! Happy Thanksgiving to you and your family :)
- November 21, 2012 at 11:59 PM
- Dave said...
Chef, I absolutely love your recipes and have done pretty well with some. Well I was excited as I never have had gravy turn out. I spent hours preparing the stock and getting ready and the gravy started to halfway look decent when I got to that part (although very worried with tons of clumpy crap.) I then wasn't seeing lumps but low and behold they were hidden and they were o'plenty :( I tried straining with cheese cloth in the bottom of my collander and it just got really ugly. I also forgot to taste (had the sample in the laddle but can't remember s#@# so it just sit there) and it tasted terrible after straining. Tried seasoning but couldn't get it. I still hate gravy! I truly need to attend a culinary school class on Gravy making as I'm too dumb even to get it with a SUPERB video! Happy Thanksgiving to you and your family :)
- November 21, 2012 at 11:59 PM
- Jon C. said...
So I followed the directions to the letter, but I ended up with 2 cups of stock instead of 6? What should I add to make up the missing 4?
- November 22, 2012 at 1:15 PM
- Jon C. said...
I followed the recipe, but ended up with 2 cups of stock instead of 6. What should I do to make up the other 4?
- November 22, 2012 at 1:16 PM
- Chef John said...
Add water or broth, you just reduced too much.
- November 22, 2012 at 1:32 PM
- Tena said...
Thank you for such great instructions!! This turned out really good ^_^
- November 22, 2012 at 4:53 PM
- Tena said...
Thank you for such great instructions!! This turned out really good ^_^
- November 22, 2012 at 4:54 PM
- Unknown said...
Chef John, thank you for posting this recipe. I tried it for a faux Thanksgiving Dinner (we actually had to postpone ours so everyone could make it but I couldn't help myself so I sous vide a Turkey breast and made your gravy in replacement). I have to say that it doesn't properly substitute those pan drippings that are so full of flavor--there was some depth missing. I'm going to try this again a little differently, following the Modernist Cuisine chicken stock recipe (i.e., use the wings and equal parts ground thigh)--not that you're worried about my response :) But I will let you know!!
- December 3, 2012 at 12:15 AM
- Chef John said...
Thanks! Let me know!
- December 3, 2012 at 2:53 AM
- Roberto said...
We enjoy a traditional Thanksgiving and/or Christmas turkey dinner with cornbread dressing, gravy, cranberry sauce, etc. However, we've been deep frying our turkeys for many years and we find it superior to oven roasting in every way except frying doesn't produce a good starting point for making gravy. This recipe is the answer. Thanks.
- December 6, 2012 at 12:59 AM
- DaveSetton said...
Chef John,
I tried this last year and found that it tasted like flour...I had to throw it out, it was soo bad. Is there anyway that 1/2C of flour is wrong? What did I do wrong? I have never really cooked a great grazy. I am now deep frying my turket so this would be perfect for me.
I am willing to try this again this year. - October 9, 2013 at 2:10 PM
- Chef John said...
It's correct! You are not cooking the flour in the roux long enough. That's why it tastes like flour. Cook until it smells like cooked pie crust. You can also simmer the gravy longer to cook out the starchy texture.
- October 9, 2013 at 4:41 PM
- DaveSetton said...
That was it Chef! I gave this a try last night and it is much better. I cooked the flour for a good 3-4 minutes and it didn't taste like flour YAH! Now, to wait for our Canadian Thanksgiving on Saturday evening. I think I will simmer it down a little more as it was a little runnier than I like. Thanks for the great recipe.
- October 11, 2013 at 9:07 AM
- TurkeyGirl said...
Chef John- do i strain the turkey fat that i've skimmed before adding it to the butter?
- November 23, 2013 at 6:37 PM
- Happy Stamper said...
You use a lot of butter in your recipes, should I assume it is unsalted? I am addicted to pasture raised butter, but I can only get salted. Should I instead buy inferior unsalted? Big thanks for guiding this 66 year old through another 😀Thanksgiving.
- November 25, 2014 at 2:34 AM
- Chef John said...
Items unsalted butter for everything. However, I can't tell you whether you should switch or not!
- November 25, 2014 at 12:30 PM
- Chef John said...
Items unsalted butter for everything. However, I can't tell you whether you should switch or not!
- November 25, 2014 at 12:30 PM
- Chef John said...
Items unsalted butter for everything. However, I can't tell you whether you should switch or not!
- November 25, 2014 at 12:30 PM
- Chef John said...
Items unsalted butter for everything. However, I can't tell you whether you should switch or not!
- November 25, 2014 at 12:30 PM
Hi Chef John! I have made this gravy several times and love it! My gravy this year is tasting very bland, despite doing what I always do. I simmered it for 30 minutes and added some caramelized shallots for the last 15. I am going to refrigerate it for 2 days until Thanksgiving in the hopes that the flavors will develop. Is there something I can do to add more flavor when it is go time? White wine? Any help is much appreciated!
- November 25, 2014 at 6:22 PM
- Chef John said...
It just needs more salt! Add some taste and adjust!
- November 26, 2014 at 12:10 PM
- Jan said...
Love your video blog, John! When I selected the link to get the full recipe, my security software blocked a potential virus. Just thought you'd want to know in case you need to do anything on your end. I searched on Allrecipes.com with no problem--found your recipe there. Thanks so much for your entertaining videos, thorough instructions, and great recipes! ~Jan
- November 29, 2014 at 10:40 PM
- Melanie said...
I am SO glad you linked to this again in your boneless turkey video (something I plan on trying as well). I made this for Thanksgiving and while I have made scratch gravy before this was still by far the BEST one yet.
THANK YOU! - December 4, 2014 at 1:10 PM
- wordkyle said...
This recipe just popped up in my daily e-mail from AllRecipes, so please pardon the three-years-late comment. The recipe itself is great, and potentially very useful to me, as most of yours are. But my question is about your immaculate pans in this video. Were they new at the time? Or do you have some phenomenal cleaning regimen that we mere mortals can only dream of?
- November 6, 2015 at 8:43 AM
- Wannabe said...
Thank you so much for all your videos! This video actually helped me relax about making gravy. I've made it with limited success in the past. Watching your video, I think it was due to only using turkey fat (no butter), and allowing roux to get too dark and "smooth." The roux in your video actually looks a bit crumbly and quite a bit lighter in color. I will make this because have way too much else to worry about the next few weeks before the big day.
I also want to know (sorry if I missed this somewhere) whether this can be frozen ahead? Any tips on how to prepare it any differently for those of us who need to freeze it? Thanks in advance! - November 7, 2015 at 4:08 PM
This is the first time I made gravy like this. I am making everything ahead of time so can I freeze this gravy. It is delicious! Freezing for two weeks OK?
- November 8, 2015 at 7:48 PM
- Wannabe said...
Ok, it's official. I'm back to being terrorized about gravy. Tried making this and it turned out a white, very doughy flavored thing. All that effort for nothing. I think 1/2 cup flour was too much? Any tips would be appreciated =-(
- November 10, 2015 at 5:02 AM
- Unknown said...
Chef John,
All your recipes I have ever tried have been amazing. You are a great cook and sound like a fun person. I would love to make this gravy but can I use chicken wings instead of turkey wings? - November 10, 2015 at 2:46 PM
- Chef John said...
Yes, chicken wings will work. Thanks!
- November 11, 2015 at 2:09 PM
- Unknown said...
can i make this 4 days i advance or would it not turn out that long?
- November 20, 2016 at 12:49 PM
- Unknown said...
After you make the gravy what's the best way to bring it to back to a gravy form after being in the refrigerator ?? Also can you use turkey legs instead of wings??
- November 23, 2016 at 1:14 PM
- Unknown said...
After making the gravy the day before what is the best why to return the gravy to its original form after being in the refrigerator??? Also can you use turkey legs instead of wings??
- November 23, 2016 at 1:15 PM
- Mike said...
We wanted gravy, and wanted to try this recipe, but used several chicken wings, because it's all we could get here. It was the weirdest thing, when I added the first batch of liquid to the starched fat everything clumped up, almost like the dough from your tortilla recipe. I was afraid the whole thing was sunk. But before I became the Jones-comma-Davey of my chicken wing gravy, just as I was about to shout out "Shakshuka!" the next batch of liquid turned everything creamy and beautiful (just like your voice in this video!).
The second time I tried the recipe I made sure to actually crack the bones. A little bit of marrow drip changed things up in a very good way.
Thanks, Chef John! - December 1, 2017 at 8:23 PM
- Unknown said...
Hello from 2018! This has become a family favorite and I am pleased to report it works great with gluten free flour. We also purée the leftover meat and top off the pet food with a smidge each day. This gravy makes the whole family happy!!!
- October 20, 2018 at 7:17 PM
- Unknown said...
Chef, Thank you for sharing your time and knowledge with us. Love your site. I have a question about the Roux. Another one of my favorite Chefs talks about making a very dark Roux for certain recipes. When making Gumbo, he actually bakes his roux until it's dark brown. I've never tried it, but it's supposed to impart a much richer flavor. If I tried using that type of baked/dark roux, would it added a deeper flavor to the gravy? Do you use a darker Roux's for any recipes. Thank you for your time! Bob from Maine.
- November 21, 2018 at 3:30 PM
- Unknown said...
Have you ever tried to use a darker roux??
- November 22, 2018 at 12:33 PM


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