Due to Ruth's busy schedule, her interview took place over the phone. This meant that some of the answers to my questions are shorter than I would have liked; dictated by the speed of my writing rather than being recorded on tape as previous interviews have been.

I would like to thank Ruth for allowing me to interview her about the TP, as well as conveying my appreciation for all that she did for the series. This program may have been a rather under-funded kids show but it inspired people world-wide to believe that they could make a difference to the future of the Earth. These childhood sentiments have remained with many fans as they grew up and still influence them today!

JC: is Jackie Clark

RB: is Ruth Boswell

RB: Hmm, it just happened. It wasn't a deliberate career move.

JC: How did you get involved in children's TV?

RB: I was working in the script department of ATV and worked as the European Broadcasting Union rep. I was also on the network sub-committee for ITV, each company sent a rep and we discussed programme proposals either accepting or rejecting them. The programme controller for ATV, Bill Ward, asked if I would come up with an idea for a kids show and I thought up Timeslip. They went for it like an arrow.

JC: Is it very different working with kids to working on adult shows?

RB: Not really, the mechanisms are identical, although you have different considerations and amounts of money available.

JC: What does the role of producer actually involve?

RB: You are the centre point. You choose the writer, director and help edit the script. You are the one who keeps it all rolling, making decisions and sticking to the budget.

The producer is the creative manager. You are judged by the quality and success of the show and it is entirely your responsibility. If you want to learn more I've recently written a book called 'How to get a job in Television.' Which is due for publication soon.

JC: How did you become involved with TP in the first place? How did you feel about the way it developed as a series?

RB: Because I was on the Network Sub-committee I was asked about it. The idea and scripts had already been seen by ATV. It was Lewis Rudd who offered it.

JC: What shows other than TP and Timeslip have you been involved with?

RB: I worked on the first ever outside broadcast for a specially scripted drama series, as well as Rainbow and other comedy shows. Then went to the BBC to work on adult drama.

JC: Were you involved with development of the TP storylines, or did Roger do them on his own?

RB: Oh God, yes, constantly. The first season was my favourite but my memory of the detail is too vague to recall.

JC: What was it like working with Roger?

RB: He was the font of ideas. When he first submitted the idea he'd done a lot of work, written several scripts and been very industrious and inventive with the ideas. There were several other shows about at the time including Dr. Who, but Roger wanted to appeal to children's imaginations.

JC: At the time, did you see, any parallels between Timeslip and TP? Both have fairly strong pacifist and, occasionally, environmental morals and both tackle an issue of whether special abilities should be used in the interests of one's country.

RB: I think they did have a common thread. They were both anti-establishment and much of that came from Roger. He lived in a commune at the time, you know.

There were a few ways in which the shows differed: TP was science based. Roger wanted to explain the hardware that made adventures possible. Where as, Timeslip was more character based. Timeslip itself came out of my constant fascination with time travel. The children in the show actually see themselves and their own future. They know what they will become. I think it was quite prophetic as a series with the future burn up of the earth and the ice age.

JC: Which series do you think was the greatest personal success and why?

RB: Timeslip, probably, but I also enjoyed working on May bury with Patrick Stewart. I was very proud of that show and it was fantastic to work with him. He's still a friend.

JC: Were there any completed scripts left un-produced (from any series)? If so, what were the titles/plots?

RB: I can't recall exactly but I think there were. I can't recall the details.

JC: Describe the events that led up to, and the aftermath of the fire on the set (that ultimately led to the design/construction of the "redecorated lab").

RB: I don't remember a fire.

JC: Describe the events that led up to, and the aftermath of the cancellation of the show.

RB: I wasn't there by that time. I worked on the first four seasons and moved to the BBC.

JC: Are there any decisions you might have made as a producer that (looking back) you'd now do differently? If so, which ones, and what would you do different?

RB: That is too difficult to answer. Remember that this is 30 years ago. But I do recall hassles over scripts - no matter what show you work on there are always hassles over scripts.

JC: Did you ever see the Tetra remake? If so what were your general thoughts and impressions on how it turned out?

RB: Sorry, no. I haven't seen it.

JC: Do you have one last message for the fans about the show?

RB: It was great fun to work on and was very successful. A lot of new people cut their teeth on it and I have a lot of affection for the Tomorrow People.

I would like to thank Ruth for taking time out of her busy schedule to talk with me. I can appreciate that after thirty years it must be difficult to recall just one of the many successful shows that she has worked on and wish her the best with her latest published works including a sci-fi novel. Like Timeslip the TP was a show that inspired a whole generation and it is great to be able to extend thanks on behalf of the fan base to Ruth and anyone else who helped to make it happen.