Where the Heart Is (1979)
Character: Noel
Dissatisfied with life with Jack, Penny offers a home to baby Zero and his homeless mother.
Curse of the Full Moon (1971)
Character: Mortimer Mooney
The daughter in a family of werewolves decides to put an end to the family curse.
A Master of the Marionettes (1989)
Character: Ray
Teddy Rose's passion is security - selling alarm systems to prosperous yet fearful suburban homes, one of which he and his family inhabit with conspicuous success. Then one Saturday morning a violent street encounter starts a chain of events which calls into question his every assumption and changes his life for good
Days in the Trees (1967)
Character: Nightclub Guest
A frail old woman meets a middle-aged man - her estranged son, whom she hasn't seen for five years.
Never Never Land (1980)
Character: Sergeant
Zena has been abandoned by her parents and left in the care of her aunt Bee Melvin. She is treated poorly by two of her cousins, and taking the lead from the story Peter and Wendy, she runs away from home with her younger cousin.
The Executioner (1980)
Character: Warder
Jan and Meg Citron are on holiday in Germany. Their car is stopped by the police. A simple traffic offence? But their seemingly innocent past is ripped open and life will never be the same again.
Bavarian Night (1981)
Character: Phil
The dynamic young headmaster of St Peter's Primary School decides to liven up a parents' fundraising social by hiring a Bavarian band.
Doctor Who: Battlefield (1989)
Character: Pat Rawlinson
Knights from a parallel universe arrive on Earth to find the legendary sword Excalibur. Only the Doctor and Ace, with the assistance of Brigadier Lethbridge-Stewart, can save the Earth from total catastrophe.
Tell Me Lies (1968)
Character: N/A
Adapted and directed by Peter Brook from the Royal Shakespeare Company’s ‘production-in-progress US’, this long-unseen agitprop drama-doc – shot in London in 1967 and released only briefly in the UK and New York at the height of the Vietnam War – remains both thought-provoking and disturbing. A theatrical and cinematic social comment on US intervention in Vietnam, Brook’s film also reveals a 1960s London where art, theatre and political protest actively collude and where a young Glenda Jackson and RSC icons such as Peggy Ashcroft and Paul Scofield feature prominently on the front line. Multi-layered scenarios staged by Brook combine with newsreel footage, demonstrations, satirical songs and skits to illustrate the intensity of anti-war opinion within London’s artistic and intellectual community.