An Extra Sharpe Character Brian Keeling

BK ~ The lads that were continuity extras had all that, I came in a few days later. Continuity extras are people who are used frequently throughout the story as you get to see them several times in different locations. Most of the re-enactors were continuity extras and did about 16 days on the programme, I was originally earmarked for just the one. I went along to the night shoot to keep a mate company and got called in again.

I was given a deactivated musket, but ended up in the front row, so the non-working musket would have been noticed, I was half expecting to be moved further back, but they gave me the Regimental Colour to carry instead.

You must have been right proud.

BK ~ I had done a few colour ceremonies at school , but yes this one was very special. It’s only during the night shoots so it is dark and barely noticeable.

What has always made Sharpe special is its people. Ask anyone who has worked on the much loved television series, from its biggest stars to the lowliest gofer, what made Sharpe so special and the answer you will find over and over is how much everyone genuinely likes each other, how they were all part of a family, how all the little pieces fit together to make it into a cognitive whole.

A cognitive whole is imperative in recreating an authentic Napoleonic period with the use of an appropriate setting and using believable characters. Wellington’s headquarters perhaps, a fort, a church, a military camp, a sleepy village… and then the need for people who inhabit daily life while the stars have their meaningful conversations or are hell bent on destroying the other side. They too need their minions, their comrades, their local town folk, their partisans, their cooks, their maids...and most importantly their fellow soldiers to truly that make the scene come alive.

An Extra

Sharpe Character

Photo courtesy of Marja-Kristina Akinsha

Brian Keeling, left, trooping the colour with Daragh O’Malley, right at the Firepower Event, August 2008

Brian Keeling loves to play soldiers. He works as a guide at Fort Amherst in Kent, and regularly serves with the 50th Re-Enactment Unit in West Kent. And through this lovely little hobby he was also privileged to play a soldier in the South Essex, trooping the colours in front of His Majesty the Prince of Wales in Sharpe’s Regiment. Sharpe Pointe sits down with Brian to find out what goes on behind the scenes when you’re an extra working on the set of Sharpe.

Brian Keeling

In the first of our ongoing series, we begin with investigating the lives of the people who were the extras of Sharpe.

BK ~ So feel free to start the interrogation, sorry I mean interview.

When and why did you become interested in becoming a re-enactor?

BK ~ That would have been back in 1981, I was at an air show and met a group doing WWII re-enactment with vehicles. It looked appealing so I joined them. I did WWII for several years, until work commitments forced me to stop. The thing I found with WWII was that a lot of the original veterans were looking at our uniforms for correct placement of Insignia and Badges around, which we did not always have right ; it’s hard to tell from a picture in a book exactly where they should be.

I had an interest in the Napoleonic era from when I was a lot younger, but started that side of it after the Sharpe Series. When Sean and some of the cast came to Fort Amherst in 1995, I was just a tour guide there not a re-enactor. Over a dozen of the extras were re-enactors from there. Once we finished filming I was invited by a couple of re-enactment units to join them, and chose the 50th .

So what was it about Sharpe in particular that you got you really going?

BK ~ Well that would have been being invited to take part as an extra in Regiment.

From the Fort Amherst Event?

BK ~ I had only been back in Fort Amherst a week, when we were handing out flyers advertising Sean Bean’s visit, and they came down a few weeks later. Sean and (his then wife) Melanie, and the cast were all very friendly and surprised by the number of visitors who had turned up. During the day they got a tour of the tunnels by the 42nd, and they spent a lot of time talking to the public and signing autographs.

Were you a Sharpe fan then?

BK ~ I was aware of it, but not its popularity until that day. The Fort had its biggest turnout ever. It was surprising to see just how many lasses had finally agreed with their partners to visit the Fort, and - Oh look who just happens to be here.

Tell us about the VIP Parking

BK ~ This apparently occurred when Sean and Melanie visited Fort Amherst, when they drove up to the entrance in their car, they were informed that they were not allowed to actually park on site that day as we had some VIPs arriving. Sean asked for instructions how to get to the parking area, and as he was being told, someone else at the fort pointed out that their particular car was allowed in.

And after being told about the VIPs Sean had asked where then he should park, correct?

BK ~ Correct yes, Sean was not aware of the attendance inside to see them. Maybe he was just expecting to meet some of the Napoleonic re-enactors; Sean and Melanie were both astonished at the turn out.

Then during the day one of the re-enactors asked the actors how did they get into filming, which brought several replies, but a few months later we got an email asking us if we wanted to find out for ourselves.

So who did you actually end up speaking to about "joining up" with Sharpe?

BK ~ The contact at the Fort was Eddie Sampson, and he was in communication with Sam Craddock. (Second Assistant Director and son of producer Malcolm Craddock)

I was very interested as I had not taken part in this type of TV programme before.

Did you have to rehearse, or did you just show up the day of filming? Take us through what happened.

BK ~ All of us had to practice a bit, as we had to behave like new recruits and NOT be be able to march , that’s difficult.

Your orders were to march OUT of step?

BK ~ Yes things like that and tick tocking - whereby you swing the same arm forward as the leg you are moving - it was great fun.

Did you work at all with Richard Rutherford Moore?

BK ~ He and Eddie Sampson were the instructors in getting the re-enactors to march out of step as if they had never been trained before, this took place down at Reading, but I was not involved in that part. He was often around set though as the historical advisor. He is very competent in his knowledge and background information, Richard was known to many of the re-enactors as he was a member of the 95th at the time. I believe he is easy to chat with; not one of those who sits astride his high horse, and that I like in anyone.

Brian Keeling, left, holding the Regimental Colour, from Sharpe’s Regiment

Don't underestimate the fans’ eagle eyes.

BK ~ There was a bit of jostling, those from further back, trying to get to the front. Only one or two, but it caused some confusion. But the production people stopped it and made us come through the background in the right order.

On the night shoot I was given the non working musket by the Armourer, Will Whitlam, and put through the motions I would need for that scene, but he was relieved to hear that I had several years experience as a target shooter.

When after coming around the back of the scenery to get ready to come through it, I somehow ended up in the front line , and had the dummy musket taken off me and was handed the Regimental Colour to carry instead. It really was a stroke of good luck as I was expecting to be concealed in the middle or as far from the camera as possible.

Photo courtesy of Brian Keeling

Brian Keeling, acting the soldier, standing just behind Sean Bean’s left shoulder.

Photo courtesy of

Marja-Kristina Akinsha

What uniform did you wear? What weapons did you carry and use?

BK ~ I was given a light company uniform, and, as I was not licensed at the time, a deactivated musket for the night shoot. A deactivated musket is one that looks right, but will never be able to fire, as the touch hole has been sealed and the barrel partially filled.

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