Albert Critoph

Manny Yospa  0:13  
This is the ACTT History Project. The date is the 20th of July, 1989 and this is Manny Yospa interviewing Albert. Critoph  okay, Albert,

Albert Critoph  0:31  
shall I start? Okay,

Manny Yospa  0:36  
you've got it so, sort of I was good to ask you, first of all, your date of birth? Yes. And what was your date of birth?

Albert Critoph  0:44  
My, my date of my birth was 15th of September, 1922

Manny Yospa  0:49  
where were you born? In Battersea vry good and what were your parents?

Albert Critoph  0:55  
My, in what way you mean, the occupation, yeah. Occupation, the occupation. My My father was a boot repair

Manny Yospa  1:09  
school in Battersea as well. Yes,

Speaker 1  1:10  
quite close by, yes, there's a school called Power Road Battersea. SW11 got a different name to the school. now but it still stands.

Manny Yospa  1:20  
Okay, and when you left school, what did you do first? Well,

Speaker 1  1:26  
I'm glad you brought it in, because I was going to mention it in my notes here, actually, to say that to when I was at school. And as I said, I left at 14. And I think when most people met when I leave school, you have an interview in the school room there to mention what type of occupation you're going to take up when you leave school. And course, everybody was going to do this, that and the other. Of course, when it come to me, I said I would like to be a projectionist as such, because I would have said to know what the world was called projectionist in those days, but I want to be a chap that showed the films in the cinema. So when I was in front of this board to select a job and talking to set the other I didn't know anything about it, or more or less to them, it didn't exist. It must have been a very unusual occupation to ask for. So the and the panel as such, was chatting to one another. We could help this chap at all in any way, you know. And far as I know, it was left to that and when I left school, by the way, one in one interesting point I must mention to say that my parents were both deaf and dumb. I was an only child, so I'm moreor less had  to fend for myself, and as I say, that the panel just couldn't help me in any way. So my dad's brother, who could speak, he wasn't affected in any way being deaf and dumb in any way. He took me around to different cinemas for different interviews and things, and even in those days, to get a job as a cinema page boy to start with was just like, just a hard job to get into the cinema in any way, just like trying to get into the print so, fortunate enough, my uncle was a taxi driver and also run a confectionary  shop as well, or his wife did. And cause he managed to do shift work, so he managed to go around to me to one or two different cinemas, and so he took me along to a cinema in Mansell Road? since gone. It's called, called previous called the Super Show, I can't remember off, and that was near Vauxhall, and cos made an  appointments with the manager was interviewed, and I was interviewed, and it was a very, very small cinema. And I think what it was, the money wasn't really good, even for that time, even for a first time job, and we we just left it that, and we went away and discussed it, because it's my guidance, and somehow that wasn't really happy with the actual show. So we went to one or two other places, and we came across the Cameo cinema a newstheatre in Charing Cross road just recently, been pulled down, and my uncle took me there, and I was interviewed, and I was interviewed for job. But in those days, you couldn't go straight in the enterv  the projection  room as a rewind boy in any way, and you had to be a page boy, and don't forget that was only 14 years of age. And obviously, in those days to see films that you had to be 16. But so, but being a new set of such as mostly comedies and shorts and news rules and things, so. So I started, excuse me, and I started there as a cinema page boy, obviously, I got the job and I started, and I started cinema. Sorry about

Manny Yospa  5:11  
that. No, sir. And

Speaker 1  5:14  
as I saying that, I started the cinema. Page boy, at 15 shillings  a week that I believe now is 75 pence. And I was paid  15 shillings, and I was there for short while another two person, might , besides me, as a cinema page, boy  there was  three of us. Then, after a few months, I got an increase of half a crown  I went up to 17 and six and and I was sort of made head page boy, of the other two, and, sorry about pause  just about over. And as I say, there was a couple of page  boys beside myself, and we used to tear tickets on the door this that and  the other stand outside the cinema shout at the prices. If I remember the prices right rightly, don't get it. Was an hourly show. It was a new theatre , and I believe the prices were six pence , nine pence, and two shillings in old money. And as I say, I did that for a couple of years. And also, besides being a cinema page boy, you had to sort of run messages and the other and I had to take the books to head office along in Piccadilly, I believe the numbers 199, Piccadilly, the offices are still do, but obviously not the company and my job was to collect the books. Must have been some to do with the accounts this that and the other takings. And besides that, also the other cinema in Great Windmill  Street.

Manny Yospa  7:05  
And it was called  Was that called the price?

Speaker 1  7:10  
this is a small news  set up opposite the Windmill theater in Great Windmill Street

Manny Yospa  7:14  
I used to go there Wndmill Stret and we used to call it the Palace 

Speaker 1  7:17  
anyway, that still stands, and they made it into one of these continental film place type of things. And it took over the snooker hall next door, and built quite a number of cinemas there. But when I was there was just the one, one news cinema there. And as I say, it was opposite the Windmill theater. And after a while, as I say, I think was about two years or so when I was 16, I was allowed to go into the projection room as rewind. boy they  had two, three names. Actually, the name was, I believe, called the Moulin Rouge, excuse me, called a Moulin Rouge news theater. Then I think, I believe it's called the Center news theater. I believe it went over to Cameo then, and has my first projection room job. And if I can sort of reverse back again, mention about the head office, take the books. I also had to take it to my own cinema in Charing Cross Road. Always had a news theatre as well. And I remember coming back from Piccadilly and my manager. I can even remember the managers name there, Mr. Anderson, a military man type, but very fair person. I remember bringing the books back to Cameo, Charing Cross road, and that particular time I just, don't just pulled down the old Prince of Wales  theater, it was a live show place, but it's pulled down and rebuilt, and the one that exists there now, the Prince of Wales, is been up number years, but it was new to me in those days, and it was just laying the foundation stone by a celebrity. And the celebrity was Gracie Fields and cause I've come back. Got a booking man. Of course, you think, Gracie Fields was going to come there and end you be waiting about 10 minutes. I must have been about our hour and a quarter, because when I got back with the books and things, they wondered where . I got to but I remember making some excuse me humming and haaaing  but I'm not used to public speaking in any way. But so the company that owned these Cameo news theaters and other cinemas  around London had cinemas outside. But they was not news theatres. They were feature cinemas, and the company was called Cleveringham Rose, and they were very nice people to work for. So

Speaker 1  9:44  
I believe the projectors we had in the projection room at cameo newsletter, I believe, was a simplex machine. That's the projector head, and I believe the sound head was Western. Electric, and I can definitely remember what the lamp houses were. It was Stelma,  Stelma ? lamp houses pushing the picture on the screen. In fact, they are still around today for use, for follow spots, and they're very low.lam shows a very, very low lamp, if I remember lightly, that they were hand feed carbons. And that is meant to say that the carbons are hand fed. So you could keep a nice, even picture on the screen. If you did not do this actually and the carbons burnt away, they were very, very blue or brown picture on the screen. But in other cinemas they did have a motor drive on the back of the carbon feed. Okay, to mention the other cinema at in Great Windmill I believe the, I'm definitely sure about the lamp house, once again, Stelma lamp houses, the projector, I believe, was Enamen??, and I've got a feeling the sound was Western electric, but I'm not pretty sure. Actually, on that, I mentioned the Clavering Rose company, I think I've left a lot out, but I can't remember most items. As I mentioned that I just interview at school for to have a profession in the cinema business. But actually, I was very interested in the film business about seven years of age. And I remember at Christmas time, but I wanted, as I said, I was around about seven years of age, and I asked my father to get for me at Christmas a slide lantern as  such. It was the slide lantern. What it consists of was a small torch where you could fit the lens bar on the front. You could take it off and use it as a hand torch. And with it, you got complete set of slides on the slides. There were four pictures. They were in a circle image, and it cartoons and things on this slide. That's what I was very, very interested in. That's how it all started. Then another Christmas. A few years on, I've got my hand wound film projector wind  by handle. And in those days, you could buy, say, that 100 feet or so for about six pence  in a tin short, cuts from  different films, and I put it on the little projector. I think it was called a Bing A  Scope?. It was just an ordinary battery job to make them break the battery the beam on the projector. You just moved the as a flat battery, a four and a half volt battery, you just put it back and just put it on one the lips of the connection on the battery. You push it and make contact the back of the bulb. And when I was showing these little films, sometimes you've got a square aperture on the screen correctly. You wound  quite evenly. But sometimes when I put the film on, I've got a half frame. I didn't know it was called half frame those, but I got half and half a picture on it. Now, sometimes you get a full frame, sometimes you don't. Obviously, I don't know all these terms as a youngster, but I do now. So the this little Bing A Scope projector, I believe it was seven and six when my father bought it from for Christmas, and so I went back to this little shop. In fact, it sold torches and other bits and pieces, and also sold new bicycles. So I went to the chap, back to the shop with it, and I explained to him, and he must been a little bit technically minded, and he told me what I've done wrong? There was a little cross movement on the projector. He said, what you do? You hand turn it slightly so you've got no movement on the sprocket, and you put the frame in front of the pitch gate properly as such, and close it up. And he told me that. So he must have been a brainy chap, but it was a chap that  repaired push bikes. So very helpful. Of course, after that, that was okay. As I mentioned, I was interested in about seven years of age and going to the cinema. I couldn't help looking behind in the projection room. I mean, in those days, you just could not get into projection rooms in any way, because obviously nitrate  and regulations and what have you, just like getting into Buckingham palace. But I used to look out and turn around, look up the projection room, and there's another and see what was going on. And I could see that the projectors were changing one side to the other. I wasn't quite sure what it was, but got close and try to look through the hole, you know, from the auditorium, and I found it was changeovers. And so after quite some time, I really knew what was going on the projection, really but the only thing that I used to believe in those days was that that the soundtrack as such, that when the film started up, I thought it was a. gramaphone needle on the side of the film that picked up the soundtrack. So I thought was a word, no, can't be a needle, because it  will tear  into the film. But that's the idea I got from here. I went to cinema close to home at Clapham Junction, but at Clapham Junction. And there was two cinemas there. And the company was called London District cinemas limited, and they were owned by a proprietor, chap called Wainwright. Mr. Wainwright, I can't name the other directors, and their head office was based at the capital cinema in Epsom Surrey, that's since been gone quite a number of years. And as I say, I worked with this Imperial Clapham Junction because I wanted to change the news theatres to  go into features. And I went there as a fourth projectionist. And I was there for quite, quite some time. And also there another cinema around the corner called the Globe cinema. And that  was a nice cinema. There was no circle, it just stalls. But very, very nice cinema. Also, we had an organ there at the Globe cinema. It was used from time to time. And I think I can remember the organists name  his name. I think his name was Arthur Eskay? and he's worked from time backwards and forwards between the Globe and the Imperial cinema to remember these both these cinemas were in Clapham Junction, SW 11. And also we use the newsreel  we had there. Such was crossed over. So the obviously news was staggered, and we used to take it back and forth to each cinema. Maybe you'd like to know that the Imperial cinema, the projection equipment we had in the projection room, was a very, very old projector, a very old simplex with a front shutter blade. There was no case around it. It used to just fly around, around, around. And as I say, that was an old front shutter  simplex with a very old Ross lamp house, a very very  old one. The sound was Western  electric with a universal base, and the cinema around the corner  the Globe, when I say not round the corner  about 10 minutes walk, was there again  The sound system was universal base that the projector were KIalee front shutter, but they had a housing around the shutter. And the lamp house where there was a very, very big lamp house called All and Common Arcs?. They were very, very big lamps. And as I say, the the carbons were very, very thick. And also, what you do not find another lamp houses, the actual positive revolved, I uh,

Speaker 1  18:05  
the mention this Globe cinema, I can remember the two projectionists and this cardboard cover  inside this housing on the front shutter Kalee  and for somehow got broken. So what the chief projectionists did, actually, he broke up an old carbon box. which we put the carbons in the cardboard box. He strips it another strip of cardboard, took the old shutter off, put it on the front of the shutter, boss on front, re time the intermittent movement  So we've got the opening closing the shutter correct, and we carried  on like that for a couple of days. till we  got a new blade, and this so cinema still stands is now, I believe, a Tesco store. The outside walls and everything is still there and front end, but it's now a Tesco store since before taking as a Tesco store, as I say, this Globe cinema  belonged to London districts cinemas  limited. Then out of that, the Granada took the cinema and renamed it the Century, and that still stands, but alas, the Imperial cinema is now gone.

Albert Critoph  19:10  
As I say, that I was still with London district cinemas, and I'd like to change around on different jobs, much as I could, to get projection experience from from here I went to the Waterloo news theater just recently gone and now as a shopping mall at Waterloo. Victoria Station,

Albert Critoph  19:51  
mentioned in this Victoria news theater on the station I was there for a short while. All. And as I say, there again, I went back to News theatres , because obviously, moving from place to place, I got a little bit extra money in those days. You couldn't jump around different jobs here and there, because Jobs were hard to come by. But I seem to manage to work it out okay. And I was there for a short while. And as I say, our electricity supply came from, excuse me, came from the Southern Railway. Supply from the station. And don't forget this was war time. I'm sorry about that. Coughing. I don't often talk too long like this. And our electricity supply came from the Southern Railway. And course, being war time, when bombs were dropped along the line, cause it closed the cinema down. So we had this on and off, on and off. And also, by the way, the clocks were actually synchronized with the clocks on the railway station. So every time we lost our supplier, close the cinema down, this and the other. And the management was getting fed up with this bit, so they closed it down. Then sent me to their one at Waterloo. And the same thing applied. There's now supply this that  and the other so to close them down eventually. Then they moved me to their head office in Baker Street, called the Classic, not the Regency Classic, but the very old classic company many, many years ago, and that was our head office, and I remember one one morning coming into work, remember this war time, walked up the road, because I heard of the the Tussaud cinema  been bombed very badly, very badly damaged, and I'm going to look at this that and the other  It was in a very bad state. Obviously, it was pulled down. And this Tussaud  cinemas next door to Madame Tussauds where the cinema actually stood is now where the London planetarium is. Sorry, Manny ah. Mentioned about the news theatres, just to mention the fact that the equipment we had at the Waterloo news theater was BTH equipment, straight through, throughout so BTH, BTH equipment. The equipment we had at Waterloo news theater was BTH, sound of, I believe BTH projector, and the lamp house was a Kaylee type lamp house, but I can't tell you the model number. Okay, going mentioned this coming again, the Classic. I went to one or two of their  cinemas around London, more or less local to where I lived, Tooting and around the area. And the cinema was called the Vogue cinema near Tooting Broadway. That was a feature cinema. From there, I left the company to go back to this cinema at Clapham junction, as I mentioned, the Imperial cinema and the Globe cinema in Northcote Road, SW 11, once again, I departed again from the Imperial cinema and the Globe cinema to go to another cinema company called the Members Cinemas limited. This was a little cinema on Netherbridge Road. It's called the Star kinema cinema, Star Kinema with a K. I started that cinema there, and more than often, I always worked at very small companies, because I got a lot of experience from projection. And also, when you work work for a very small company, you help the chief projectionists  to rewiring in the roof, new tubing conduitv  this that  and the other where, if you work for a very, very big company, they usually have a house engineer. So as I say that I worked the Star Kinema in Fulham and then been a wartime projectionist. I had a special deferment from labour exchange, not to go into any other work, and had a deferrment  from labour exchange for three months, because when I went for my medical, I was grade three, so obviously I was unfit and as a reserved occupation because it was a morale booster to the public. As I say, working at the cinema at Fulham, they requested, would I like to go down to Rickmansworth? I mean, in those days, Rickmansworth, to me, was miles and miles away from London. So they said, Would I like to go? And I thought it'd be nice experience. So I went to Rickmansworth for about seven months, and when I arrived there, as I say, my mother and father are very upset, and as I said earlier on, that they were deaf and dumb  but I thought a wonderful experience. Then the needs I had   to go into digs and don't get as food rationing  in those days. So when I arrived at the cinema, I had  to find some digs. So I speak  to one lady cleaners there, and she fixed me up with one of her spare rooms in the house just around the corner from the cinema and and from this day, this this land lady, I stayed with as So she was a cleaner, in the cinema  we still, she's not living at the same address, but close by. But we still send one another Christmas cards. And now this is way back, as I say, war time. So I stayed there. It was very, very pleasant in the country there, I just come home once a week, and I just have an early night, say about seven o'clock, and a day off, and I just come back to Battersea and and as I say, I was there for about seven months in Rickmansworth  was very, very nice little place, and I used to love my little swim in the mornings down at the acrodrome, there an  open air pool, lake whatever you like to call it, as I was there for about seven months. For some reason, another I clashed with the manager. Very unusual, because I'm a very pleasant person. I think I'm quite friendly person, but I can't remember what it was. It wasn't very serious, but I had a clash with the manager, so I requested to go back to Fulham again.oh he  said, You can't do this he said  That's what I'm going to, you know. So I went back to Fulham Star Kinema there for a short while, and while I was there, Oh, one other thing I'd like to mention, while I was working for this company, I used to go one day a week to one of other cinemas in Islington, called The New Victoria cinema, new North Road, and that was my weekly trip to Islington. In fact, that the cinema still stands, but I believe it's a factory. I believe now that's my one day a week trip to Islington. And also I used to go to one of the other cinemas one day a week in Southfields  it was called Plaza Southfields. I've got to finish. Still standing , not sure, I think is a snooker Hall and close by to Wimbledon tennis, and that that's in one was called a plaza, Plaza, Southfields, I believe,

Manny Yospa  27:40  
running,

Albert Critoph  27:46  
that's okay. I may be repeating myself. I'm not actually, but I will start going with the Star Kinema. Fulham, I had a friend of mine still around these days who worked at the Metropole Victoria, a very big cinema. And from time to time, I used to go up into the projection room there. And the chief projectionist at the Metropole Victoria, chap called Peter Jackson, who came from the Empire Leicester  square. I believe in those days the Empire Leicester square projectionists there. They are  all chief projectionists, all Chief projectionists there. And as I say that so I went on to see my friend in the projection room there. And my friend, at any time, was going to be called up for the RAF. So this Chief  projectionist at the Metropole said, What would you like a job here? So, so well I dunno Its a very, very big cinema. I said that. I mean, in normal cinemas, you just have two projectors, but the Metropole cinema in Victoria had three projectors and special slide lanterns, Brennergraoh  machines, and as I say earlier on, that I only worked for small cinemas, but so I said, No, I don't, I don't think I could handle it. That was quite experienced, but it was a very big show, so projectionist said, well, Try, I said, one of the thing is that I don't think I can move over from Fulham  to here just like that, because I've got a special deferment with that company with this arrangement for my card for what would you call it? I can't think of a special card actually it was taken out on the labour exchange  with this company. And Chief projectionist  said, Well, I don't think we'll get a problem there. He said, Come so I said well  not really. I said, it's a very big show, and I'm one. I said, No, but and cause the money is more attractive  because there's a big. show  and so chief projectionist  says, Well, would you like to come along and work alongside of your friend before he goes into forces? Big move for me, he said go on so you'll be working on with your friend. So as I say, I let this fact  in. my  Fulham, there's a lot of moans and groans, but I went was in the same profession. So I went to the Metropole  Victoria. And they were big cinemas. They belong to what they call the Heinz brothers. And they were very, very good people to work for. As I say that the Heinz brothers. There was one called Phil, one's called Sid. I can't think the other person name, but the cinemas that they had was the

Albert Critoph  30:51  
cinema in Kilburn, the Gaumont  state Kilburn, theTrocette at Tower road. Big cinema down in Mile End Road, I can't think name of it,

Albert Critoph  31:04  
and the Trocadero Elehant and  Castle. So worked then, and eventually my friend got called up, and I took over his position. And everything was very, very good. And when, as I say, in those days, we showed two big feature films in one programme . We used to start that programme  on Sunday, finished Saturday night. And they were really two big films, where, normally the week after it was called a pre, pre release date from the West End. And we used to have two big programmes , two big films on one programme, eventually, the week after it would go out to the cinemas outside around London and up and down the country, or say around London, where, once one film will go to one circuit, one to the other. What we used to have booking dates in those days, north of the Thames and south of the Thames. And as I say, when I got my first week salary picked up from the office, and I went back to Peter Jackson, Chief Projectionist

Albert Critoph  32:13  
and I said that I've got a feeling chief that Chief, that I've been overpaid. I

Albert Critoph  32:19  
he said, No, you haven't been over paid Albert . We had a good week we always get extra money in our pay packet, and this went on practically week after week. Got extra money because there was always queues outside the cinemas. especially Saturdays  during  the week, and they were very, very good. So I was there the Metropole as I say, I knew the projection box before him, and as I said, my friend was called up, and I was working there. And also I had another friend who worked in the film studios. I suddenly been in a studio before this was Merton Park Studios. And now again, I used to go down on my day off and I look around. I didn't know anything about dubbing and double head and all this type of thing, but they're again  I just go down see him, and I used to look around. And the same thing applied there. He was getting into the forces. So I was quite friendly with the two projectionis at Merton Park Studios, and said, would  I'd like to work down it is the same thing happens at the Metropole, you know, come and work here. And I said, Well, I'd love to get into studios, but I said, I've only been at the Metropole few months, and I suppose I was there for  about nine months or 10 months

Albert Critoph  33:44  
and one, what my other one, what my friend Peter Jackson, gonna say the chief so my friends are go on  sort of thing. And as I say that I got to know dubbing This ain't no but going down now my days off and looking around.

Albert Critoph  34:08  
So eventually I did take the job there again. I was getting more money because it was a studio job. And I went back to my friend eter Jackson at Metropole at I said, I want to leave the end of week. I'll give a week's notice in and he was terribly upset, and as we were friends, and as I'd like to go, so I said, I'm only leaving on one account, because it's a film studio, so if it had been  another cinema. I wouldn't have left because the Metropole  was a prestige cinema. But I said I'd like to get studio experience. And it was a terrible week with the with the two projectionists  there and it come along that side of me sign up because I want to give my notice in. And they kept saying each day. He said, Would you want no but more money? This morning, I said, No, Peter. I said, it's a studio job. I'd like to take it. And eventually I left to go to Merton Park. So this is where my Merton Park studio days started. Though we left on very good terms Peter Jackson himself, but he realized the end of the week I was off money here and there, but obviously it's better for me to go into studios. Roughly what dates was it? What the Merton Park thing? As I say, I can't remember dates at all, but fun enough. That's one, but not the exact day, mind you, but fun enough. I can remember that day that I left the Metropolitan mountain, and I think it was roughly June of 1943 so just one day I can remember, but other days I can't. But that one always sticks in my mind while I don't know. Anyway, I went there and I ran the preview theater from running rushes this that and the other occasionally switch around. I went across to the dubbing theatre and did dubbing, and I was therev  about, it's very hard to say how long might be. What? 26 years, 27 years, 28 years, I'm not sure, but so very, very, long time.

Manny Yospa  36:15  
But what did you leave?

Albert Critoph  36:20  
No, I'll tell you what actually happened, but they will come to that event, because there's a lot to say. And as I say, it's round about  about June 1943 when the studios met a lot of people. And also there was a subsidiary company called Sound  Services Limited  that had  a 16 mill division. They used to hire libraries. Also they used to hire mobile shows with a projectionist with a small van. And Merton Park Studios was a company with about 12 companies within the group, and each producer had its own name of company, like Rotary films and other names I can't remember off hand  in the early days there, Sydney Box was there. And as I say, that each one had its own producer, and it was a very, very busy studio. Each one was doing a sponsor film, say, like for Pilkington glass or Ford Motor Company. And is a very busy studio. We had about 18 cutting rooms there. And as I was a very, very busy studio. And as I say that the that we had two stages there called A and B, and so they were always very busy. But a lot of names that passed through there that are quite big names, technician wise these days, and people used to want to call it a training ground as such. And they can say that they got all the experience from Merton Park Studios. And as I say, they had a separate, a separate company called Sound Services Linited that did sponsor film on 16 mil. Eventually, these films that we did in the studio were reduced to 16 mil, and that was a very, very busy library. And been reminded by Manny Yosa, I should mention these separate producers. It came under the film producers . Film Producers Guild. Their head office was in St Martin's Lane. I'm going back on myself, actually talking about Merton  Park Studios. The early name the company was called Publicity Films, I believe, before I went there, they did these three minute shorts for advertising for the cinema eventually . From that, we went on to, sorry, I'm jumping on a bit here. But also we did the films for the children film Foundation, and we made quite a number of them. And the people of division  became stars to remember off hand with Gene Simmons, Michael Crawford. Our common films, but the one that Michael Crawford made, it was none, by the way. Remember, he was a child star, and the film was called, Come blow your Horn. Where, if I believe the story right, is that. So he practices with a cornert, and I believe he goes into for a competition, and he wins, as all this practices and taking place in the build up. And also, while Michael Crawford was there, his pet hub in those days was collecting cheese labels and. Mean, I've just been reminded by Manny Yospa about Jimmy Hanley. I can remember one film very, very well. I remember the time Jimmy Hanley had a little bit of a limp. I don't know if he was in the forces  before this film, or he was in the forces  but he had a limp. I don't know if there's any connection, not but I can remember the set very well, on A stage that wasn't very big, but it's quite sizable. We built a whole complete set for what we used to have in the old days called Lyons corner house, and it was all dressed and the tables and waitress what are these called nippies. It's all built as a wartime film. I can't remember  where it was shown. But Jimmy Hanley  was in this film, and to see this set of the interior of Lyons Corner House was fantastic. One of the other features I remember quite well. I can't think the lady artist was at that particular time. She was unknown. But there was a film called My Ain Folk?. And on the stage, they built an interior of a canteen in wartime factory in an interior stage and what have you. And there's more or less like, like a variety show as such, really. But I can remember the films being made by Butcher Butchers films. Also we went on to the well known films of Scotland Yards and Edgar Wallace films. And both these films were made in collaboration with Merton Park Studios and Anglo Amalgamated  this country was run by Mr. Kine and Mr. Levy, Daniel  Levy, and we did quite a number of Scotland Yard. film I call it  one, I can't remember offhand how many I was, but the first film that we made, I can't remember Scotland Yard or Edgar Wallace, but it was called Wide Wide boy, and it was made by a director, very good director, young director called Ken Hughes, who now lives in Hollywood. And I did contact him about couple years ago. And we make quite a number of these films. And both Scotland yards and the Edgar Wallace is I worked on every one of them, and also involved in the dubbing while these  films were made, actually was that at that particular time we were getting American features over that were running for about two and a quarter hours, so they wanted to slot in another film that wasn't too long as a second feature, as some second feature was roughly about hour and 10 minutes or hour a quarter. But the Scotland Yard  Series run 40 minutes. Edgar Wallace has run 50 minutes, so could slot  them  with an American  feature. Features. The dubbing  theatre at Merton Park Studios was known as number one theatre and just across the court, way outside the building, across the courtyard was our number two theatre that was just purely for viewing and running rough cuts and rushes and whatever. But if they showed rushes as such as I say in theatre number two, actually, the first screen rushes is shown in the dubbing theatre, and there was always a booking  I believe half past one or quarter to each day for rushes in the dubbing theatre. The dubbing  theatre projection equipment was a simplex projector. I believe this simplex projector was brought across in wartime, I think they had problems getting the country now come by boats and what were the bombs this that  and the other but they've got a new simplex projector from the States also, also had Western electric sound and the lamp house by more than  likely, I think was a Stelma? Eventually, we did change the arc lams in the projection room in the dubbing the we had eight dubbing  dubbing heads, Western Electric in those days, the chief of sound was we had two or three. Actually, the first one, I believe, that I met when I first started, was an American beg your pardon, a Canadian chappie Then we had Red Law. He was a very, very good type of mixer, very quick, very good, I believe, originally came from Paramount news. And he was at Paramount news for many, many years. And the other chiefs of sound we had, I can't I think one  was called Mr. Smith, as others, I can't remember, but talk about dubbing during the war. We have the Canadian Army film units based at Merton using one of our cutting rooms and also did their dubbing there. We did dub their newsreel, purely an army newsreel, and I believe those three personnel a was a camera man. I think I'm not sure what his Christian name, Michael, often his name was Noble, and two women officers who did a cutting, this, that and the other

Albert Critoph  45:39  
other stuff. If I remember, like, as I say, my brain doesn't function like it did years ago. But I believe we did another news reel for MGM  and this was dubbed in about eight different languages. So obviously we had the mixed up for the soundtrack. We used it, obviously, over and over again, but each one had a different contract for the different languages.

Albert Critoph  46:12  
Yes, as saying that democrat, this was wartime. We always we all took our turns in doing fire watching. And I believe we got two, two and six pence I think it was in those days, and there was some bomb damage at Merton Park Studios on the powerhouse that was badly damaged. And even from this day at home, I've got pictures of this bomb damage on the powerhouse of Merton  Park Studios. And when we do fire watching, as I say, next door to the number two theatre across the court way, we had camp beds and we slept there also was a part of the camera room as well. So we used to have all these little bunk beds, and in between us, there used to be camera tripods and other bits and pieces. So that was quite enjoyable. This part of the studio was connected with David Hamilton and Lord Nelson. Since the last the the studios have gone now and pulled out, but the front part of the building is a preservation order on on the premises, as I say, it's connected with Lady , Lady Hamilton and Lord Nelson, and this is where our camera room  was, and is where  the number two theatre was based. And also along the road, just the way along the road, just opposite, there's a hospital there called the Nelson hospital. And just opposite their next door to the studio, there was a pub called the Leather Bottle, where we used to go and have our drinks and whatever. And I remember for many, many years we had a makeup man, a resident makeup man called Jack Craig, and they used to like to have a drink, drop a beer, but he always said to me that while there  as I say, was our recent makeup man. But he always told me that he was working on a production. He would not touch any drink at all, because he thought it was unfair to the artist to make up the faces or any other things you have to do with your breath  smelling of  beer. He would never drink beer, but when he finished, he did like to have a drink. And Jack Craig was there for many, many years and and he was a great chap, brilliant job. His brother was an artist as well, called Gordon Craig. He's been dead some years now. I don't know Jack. Jack Craig is stillalive. I just don't know. But had a great opportunity at that particular time. His brother, as I said, was an artist, was in the toying  sketch with Laurel and  Hardy in person, and I had the great privilege to go along and see his brother at the Brixton Empress, and we've taken backstage, and I met Laurel and  Hardy in person. It was great, but they were very tired, and obviously Hardy was all sweaty and everything, but it was a privelege to  be introduced to them. And so that was my great day. In fact, I believe also at home, I got the variety programme  of the Empress Brixton, and I still keep it home, but like all these little bits and pieces, always a job to find it. But that was a great day for me. Also. I................................

Albert Critoph  0:00  
Merton Park Studios. We did quite a lot of features, cinema features, I believe, tied up with Anglo AmalgamatedI can't remember offhand now, but we did quite a number of these features that had quite big stars in it. One was Sydney Chaplin and a lot of American stars, but there was always one American star in it, male or female from America. So as I say, these are some more single features so they could be shown in America with an American artist in it. But it's quite a number. I'm sorry to say that I can't remember, but there were quite a lot of big stars. Oh, there was one Cesar Romero, and as I say that when he used to wait at the front lodge to be taken home his car to come along. There were some young ladies waiting for his autograph, and he signed them and and he said to the girls that, do you want to lift to anywhere? They said, We would like to have lift to the underground station at South Wimbledon. And there's about three of these girls, and he was good enough to put them inside, take them inside the car, and he took them down to the railway station. So he was nice chap boy. I think most people know Cesar Romero. I remember on one of the features, it was shot on a boat, I believe it belonged to a film director, and there was going across the channel to France, to a place called

Speaker 1  1:32  
there was one lot of rushes I was showing that involved a boat, and I believed it belonged to the film director. And there was going across to a place called Deauville. And they filmed around Deauville and myself being a travel fanatic. I showed the rushes, and I thought myself, I love to go there, and I've been to Deauvill since two or three times because I showed the rushes. It's such a beautiful place travel in Deauville. So very, very shishi place. But very, very nice, lovely, from time to time. For some reason, some of the Denham films, as I say, obviously saying Denham films, I mean Denham  studios, there's one or two extra shots to be to be shot, extra shots. Maybe it was because of studio space, I just don't know. But we did do some extra shots at Merton Park Studios. One of the films is called Tawny Pipit with Bernard Miles. And also we did some extra shots. I don't they're extra shots, but shots they wanted to do because, say, this studio space might have been filled at Denham was a film called Reach for the Sky, and the other one was called On Approval with Clive Brooks and talking about our second features that we did on quite a number films, we had Clive Brooks daughter called Faith Brook take part in these films. By the way, if I can sort of flash back again to my cinema days down at the Picture  House Rickmansworth, we did get some sad news at one Saturday afternoon, they was making the film. Can' stop Sorry,

Speaker 1  3:30  
just start from the beginning, as I say, the particular time when I was at the Picture House Rickmansworth and Denham Studios was what, four miles away, six miles away, we had some sad news on one Saturday afternoon, that in those days they used to work Saturday mornings. I suppose there are no times? were in the afternoon on show. But this took place on Saturday morning. They were doing some effects, firing effects and explosions on model boats, I'm not sure. But anyways, the effects and explosion things and the sad news was one of the chaps got killed on that production doing the effects. So that was a sad day.

Speaker 1  4:16  
Yeah, I can remember on a couple occasions we had strikes down at Merton Park. And one was that, in those days, they were shooting black and white, but also we were doing some colour films as well. But while we had a strike, the the electricians, the ETU came out and strike, and we joined them as such, that that because they were shooting color, color film, they was using all these big lamps called brutes. They wanted, I believe it was another three hapence, an hour  more, but they wouldn't pay it because they were having these Brutes on colour. So we came out and strike, and I think we  was out for a few days. And if I remember after they won the day, I could remember on that occasion, an outside let came in, and in the studio they built a boat. It built on rockers or hydraulics. Must have been a very expensive production, because normally when you got a boat rocking those out of frame, as such, they would rock the camera. But on this particular time, we had hydraulics, and the film was called Our Girl Friday. And in the film, it was the unknown, Joan Collins, Kenneth Moore and Robinson Hare,

Albert Critoph  5:37  
if uh, another occasion, I can remember, we were doing a second feature called the, I think it was called Little Red monkey, and there was American artists in there male star. But I can't remember his name, but obviously, by the title of film, we had chimpanzees in the film, and he's bitten  on the arm, and he had to be taken across the Nelson the whole Nelson in the hospital and have a Tetanus  injection. And anytime that a scene involved people with heads bandage or arms band, bandage up in any way, the Nelson hospital were very good enough to supply us with a nurse to come across the studio and do the bandage for us, so that that when it was on the screen, it was correctly bandages. It bandaged  up properly. So I didn't explain myself very well, but one of our producers within the organization. Organization was a check called Compton Bennett, and I believe on this particular film, Sydney Box was a producer, and as a very well known film, and very well made film, called teh Seventh Veil and they both went over to Riverside studio to make this film. And as you know, most people saw the film. That was a very, very good film. Mention the as you would know it, starred James Mason, and I can't think the actual lady in

Albert Critoph  7:02  
the film Ann  Todd. Can I say that or not? Just come to my mind the female star lead was Ann Todd

Albert Critoph  7:22  
one of our film editors we had there by the name of Kath Miller, been there quite a number of years. Just a little while along from the studio, there was a new pub being built, and they wanted people to write in to get the name of this new pub a name, and there was a competition writer descent the other and this woman, film editor Kath Miller, won the prize. And the pub is called Emma Emma Hamilton. Emma Hamilton, so I can't remember if she got a prize for it or not, and might have been a few beers, I don't know, but I

Manny Yospa  8:06  
Ed, but who was studio management? I mean, who else was sort of working there on this sort of stuff at Merton Park at that time

Albert Critoph  8:22  
she was there for years, the construction manager, Eddie Turner.

Manny Yospa  8:30  
And then there's Ronnie Curtis, and yes,

Manny Yospa  8:40  
for record purposes, okay, running

Albert Critoph  8:44  
the studio managers we had that particular time Merton Park Studios. I wouldn't say this is in the correct order, but one was Mr. Bill Williams, Mr. Alex Snowden,

Albert Critoph  9:02  
and Jack Greenwood. Jack Greenwood was also studio manager and also producers on the films that I mentioned above. I'm not on all films. I don't believe, but maybe correct or not. I can't remember, on the Scotland Yard series and Edgar Wallace is in the early days of the features. The producer was Alex Snowden.

Albert Critoph  9:29  
We had, we had our own casting director by the name of Ronnie Curtis. He was based in St Martin's lane, but obviously, when production took place, he was down at the studios and lot of stars that are well known, alive or dead today can thank their career to Ronnie Curtis because he gave him a break. Also that particular time his wife Elsie. Elsie Curtis was the wardrobe  mistress of Merton Park. I. And they've got a son called Tony Curtis. For some reason another, he'd be called Junior. And on all occasions, I used to keep a scrap bit of film, a cartoon film, in the projection room. And if I was not busy, and cause, obviously he was a youngster, this junior, at that particular time, and I used to in between times. I had the time I used to show these cartoon films, and I showed the same film over and over again. I can remember is a cartoon film and a version for cigarettes called called penguins. And I shared that thing for so many, many times. And their son, Tony, is now a scenic designer, set designer, trying to think the right word, set designer, I believe that's the right term. Not sure his name has been mentioned on quite a number of films with the credits on the screen. I I cut it going. I'll just add my memory jogged when the event of commercials came along. TV commercials. We dubbed them at Merton Park Studios. We also set up our own separate guild commercial company. I can't remember the exact title now, but the film guild was the same with that film. So I can't remember the exact title, but they had on their own preview theater up in town, the back of the Delft Delphi theatre, alongside of it, called St Anne's court. And we used to have our clients there, and we had a viewing theatre. In fact, I went up there to open up the viewing theatre, and I was a resident projections there for quite some time. And I returned to Merton park again. And one of the producers we had there was Ray Else? but obviously there was many, many more. But also getting back to the studios at Merton, at that particular time, we had a studio manager called Jeff Busby. Was originally a chap in the sound department, and became became a studio manager. So he done very well for himself, but sadly that he's passed away some years ago. A nice guy, a real union guy seems strange to become a studio manager, but that particular time, we had an outside let from the Walt Disney Productions, and they used Merton Park Studios to shoot a few scenes, but is also used as a base because they were working out in Switzerland. I think it was Zermatt, if I remember, likely a film called Third man on the Mountain. But every few days, the rushes would be sent back here, and I had the privilege of showing rushes to Walt Disney himself. So I felt very, very proud about that, and a very, very ordinary man, not big headed in any way. I thought this was a great guy, so I had the pleasure For for doing projection for him on his rushes. You

Manny Yospa  13:29  
This is Manny Jasper. Here it is now the 24th of July, 1989 and resuming the interview with Albert Critoph at on, remember, BKs, BK STS,

Albert Critoph  13:48  
we're running are we Manny  now. Okay, okay, run. We're just gonna start once going on this tape, and as I say, there's a little bit more history. I can tell you about Merton Park Studios, but very, very little we did have a chap called Ken Anakin who came from Fleetb Street and came to the guild within the group as a script writer, and a bit later, directed the films. He was directed was a film just recently been on television called Men in their Flying Machines. Also, we had a young lady director at Merton Park Studios called Jill Craigie, and she made documentary  films documentary films, she wrote and direct. And there's a film about housing. Sorry, that can't remember name, but Jill Craigie eventually married Michael Foot the MP the stars we had in the past down at Merton Park, but Fred Emery, Kay Kendall, Sorry for the pause. I.

Albert Critoph  15:00  
 Tony Wager,

Manny Yospa  15:02  
start that one again. What we're from? We'll start the whole floodagain, from the people, the stars you met, because I switched it on the bit too late.

Albert Critoph  15:15  
So we got past the Ken Anakin thing didn't we  Yes, and the stars we had the studio, wasn't it? The stars? There's many, many that I can't remember. There's a few that I can give you. Was Tony Wagen, Diana  Dors , Sally, Ann Howes, Petula  Clark, Ronald shiner, Faith, Demergue, Lloyd Bridges from the USA. Also, Gene Nelson from the USA, Kathleen Harrison, Ben Lyon. Ben Lyon, I'd like to mention the fact that erm  to mention Ben Lyon with his radio show, his Life with the Ly ons. Ben Lyon came to Merton Park Studios as a base for 20th Century Fox to do screen tests, and they used Merton Park to do the screen tests for the artists and I ran the screen test before sending them off to Hollywood.

Manny Yospa  16:21  
Talk about Ben Lyon  his sons, photographer, I think you were fairly friendly

Albert Critoph  16:25  
with him. Yes, his son, Richard Lyon, I got to know quite well. And we were very, very friendly. I met him on another number of occasions. We went out, and he was, I believe, at one time, had an antique store in shop in Kensington. Then he went on to commercial photography. And I met him many times at different functions for the BKS,TS and our conferences and seminars. Another chap I got to know very well was Harry Fowler. The first time I met Harry Fowler was in a film called The Dark man with Maxwell Reed. I believe that Maxwell Reed was the first husband of Joan Collins, and how I got to know Harry. He was down the studio many times. The first time I met him, he went to Wimbledon and bought a gramaphone  record. And in studio two, we have a gramahone turntable over. He asked me if I'd be good enough to run the record he just purchased, and I ran it for him. He's quite happy and out. We're very, very friendly, and we went out together in the evenings. We're both fans of Speedway, and we often went to New Cross and Wembley and other Speedway circuits around London,

Manny Yospa  17:58  
talking about that. I remember when I worked at Merton park, you came by motorbike, and once or twice you  gave me a lift back on me. Yes,

Albert Critoph  18:20  
another outside company that used to use Merton Park Studios as  a base was a CWS Film Unit. Their their main base was in Manchester, but always there's a co op, isn't it? Yes, CWS the Co Op, and they use Merton Park as a base. As I say. They were based in Manchester, but it came down, and they did a lot of shooting films around London and outside of London, also on the CWS filming. The chap was in charge of the head of the filming was a check called George Wynn. And George Wynn, I believe it's one or two sons were involved in the camera side. So it was a very family unit. The films we shot in the studio was called Stop Yes, George Wynn, as I say, that also shot outside, but also built some very, very big sets in the studio itself. There was one film called Men of the People, but an unknown star called Bill Owen there was also for another production, the card was called Men of Rochdale. And in the studio, we had a very, very big set of a street scene of Rochdale itself, talk about people working on cameras. We had a chappie called Morton Lewis on the cameras, and that was the son of Ted Kid Lewis,

Manny Yospa  19:52  
who's the world champion. Wasn't he boxing? I'm sorry,

Albert Critoph  19:55  
I can't remember the actual talent. Yeah. Running, sorry, another production I remember was a very, very big cinema feature called The Criminal, and it starred Sam Wanamaker and Margit Saad, and the director was Joseph Losey  and the producer was Jack Greenwood.

Manny Yospa  20:18  
Remember anything about that film? Specially,

Albert Critoph  20:21  
not random. One of the many stars we had from America was a cha called Lloyd Bridges. And I don't have to mention name, because I think most people do know his name, but there was, I think, mentioned early on in this tape where a director or producer used his boat to go across to France, and they went across to Trouville and Deauville. So when they came back, they showed the I showed the rushes. And because I'm a very keen travel fiend, I like to look at the rushes of this particular part of France. So I made my way today on one of my holiday trips, and I loved it. And I've been back two three times since, okay, at the studios we had a chap he  was a film editor by name Dan Burt very, very nice chap indeed. And that particular time we were doing an army film. And cause, obviously, in the dubbing stages, you need effects, explosions and other noises. We went into Studio One, and they dished out a very big square film bin, and they put explosives inside this film bin, when then it detonated. The the explosion blew the film bin to pieces. Part of the bin got stuck up in the ceiling, and a chap recording. The sound was Red Law, who got a piece of shrapnel on his leg. And I also got to thank Red Law, also for, as I say, Red Law was the head of the sound department. I've got to thank him for introducing me to the BKSTS, okay, as I said earlier on in this tape that we made the chimpanzees commercial PG tips, and they're still running to this day in SAP. In fact, some of them have been revived and they were made 15 or 20 years ago. Now. Can remember from time to time when the spare time had from from the projection room, if I was quiet I loved to go onto the stage and see other people working. So I always used to leave a little note of projection box to say where I was in case I was wanted for projection and I can remember the chimpanze chimpanzee commercial, where they're supposed to be taking off plumbers, and the set consisted of a room with tables and the wash base. And what they were doing actually underneath the sink unit, there was whatslike a toy  Spanner. And there's two chimps involved in this particular scene. And what actually happens they're supposed to be undoing this collar under the sink unit, and behind the set, there was one the prop men to get the cue to turn on the water expressly  onto the chimps face. And the chimpanzee would dress up with a little shirt and little shorts, and the little t shirt added stripes across it, and cause they shot this scene, and cause then they  got the cue, because they were soaked through. And obviously, as you know, in the film business, you had to shoot the scene two or three times, and and always, and as always out of sight. They were always on chains. And the minder, as I say, when they shot the scene, as I said, it was wet, but obviously they've got to shoot the scene again And the chimpanzee went on the side of the set with the handler, and the handler was going to help him off his little pullover, but he didn't need this tool, because the chimpanzee took his own wet T Shirt off to shoot the next scene. I can remember a film being made at Merton Park Studios with the Goons. The only person that was missing from this trio was Harry Seecombe but I can remember the sets. One set was an Interior Museum, and the other one was an interior of a prison with the iron bars. And as you know that Peter Sellers and Spike Milligan, and Spike Milligan was terrible for keeping to the script, and after a while it can, can be quite funny, but when this happens over and over again, and the continuity girl was a bit up the wall because we wasn't going by the script, and I don't know she lost her temper or not, but she wasn't very happy about it. But also, Peter Sellers wasn't very happy about it, because this particular. Scene they were shooting with Spike Milligan inside the prison cell, and on the outside was Peter Sellers. And as I mentioned earlier, Spike Milligan won't keep the script. And of course, it put off Peter Sellers the continuity girl and other people. And in the end, they shot the scene  over and over again. But in the end, Peter Sellers himself lost his temper, and the side of the board of the prison cell push his fist against the set and damaged his knuckles because he lost his temper.

Manny Yospa  25:35  
Was that in the film, no,

Albert Critoph  25:37  
not in the film. That's just come to mind is Tommy Trinder, the old variety comedian who just recently died, and he was doing a commercial for fruit tins? on stage B at Merton Paark studios. And I can remember that very, very well indeed. And that was made, as I say, during the war, and just recently, I met Tommy Trinder, and I mentioned about this short, few minutes commercial for for the cinema for fruit ins? And as I say, after many, many years, I spoke to Tommy trender and I mentioned about this film that he was making, his memory was so good, he mentioned the studio where it was shot before I asked him where it was shot and shows as good his memory was, and I'm afraid of he'd be sadly missed moving okay. The studio is our camera department was run by a chap called Ted Warringham, and I just found out recently, he's passed away, and he looked after our camera. But I believe for a short while, he went away from Merton Park Studios, and the camera department was taken over by Roy Moore's. Then after a short while, Ted Warringham r came back, and he joined his friend Roy Moore's I believe Ted Warrington  came from one of the camera companies, which one? But I think was Vintens  actually, and obviously coming from the camera manufacturing business, he knew the ins and outs of camera. So very useful person to having the studio camera workshop. Yeah, another person I can remember coming down the studio. This was weekend work, and the picture was made at Shepperton, and it was Tommy Steele in Half aSix Pence . And they did the shooting during the week at the studios, and then we had to do some sound effects of tap dancing. So weekends, Saturday and Sunday, we would play the film onto the screen so that for guidance with the foot movement and everything for tap dancing. For Tommy Steel  the young lady that played the lead with Tommy Steel in this particular film. I'm sorry to say that I can't remember her name, but I remember when she came down to the studios, she was more or less expecting a baby, and this particular morning, there was a music stand actually in the studio. And before she arrived for a session, the first assistant director bought a little a baby set and put it on the music stand, so that when she came in to start a session, she was so surprised. And it was a thank you from the unit. What comes to my mind as a very, very sad case. This is where a Film Unit was going down to the steel works Ebbwa Vale , and the director was David Villiers. I can't remember the cameras name or the camera assistant, but alas, that David Villiers got killed in this accident, and I believe the camera assistantgot killed. I'm not sure, but the cameraman came away from that accident with damaged foot, but I believe he's got a slight limp now, but he won the very lucky ones. But I was told actually, because obviously I wasn't down location. But what I was told that, apparently, when this molten metal over, overfilled or came out to the container, apparently came over and the unit run away from the actual accident. But I was told it had run towards it and under they could have all been saved. As I say that I was in a very fortunate position that when I was a cinema projectionist, it's entirely from Studio, entirely different from Studio dabbing, and by dubbing, there's nothing to do with polishing your shoes. But I was in a fortunate position that, as I said early on this tape that I used to visit the studio and. See my friends working at dubbing. And dubbing consists of where, when they're in the cutting rooms, the actual reader film has reels separate but synchronized, where you would have reel of music dialog and say three or four musics and other tracks. And what actually happens when it comes to the projection room, they've got all these sound reproducers, where these rules were gone, where you were put on the repro machines, where you put on dialog, music and the effects, in order, say, one, two and three, and also you put the picture up. But these all must be synchronized. And on the on the mark, there's markings that on each film where it's synchronized, so that when you run up, they'll run up. And synchronization, what actually happens was that the feed down to the camera mix on the console in the theatre is controlling each running control from each of these machines and now fed through to a sound camera and getting the different levels these four or five tracks or so would go on  to the main master track as what we call mix or married track. Okay, on music sessions as such, especially on musicals or any piece of film material involved music. A lot of the music, any kind of musical, the music is always pre recorded before the picture was shot. And at the same time, they would shoot what they call a guide track. In the old days, it used to be on a disc, but it would be on tape now with the markings on the front of cues and bleep marks on the beginning for when the artist starts and stops. So what actually happens? You shoot the music, but that's kept the main recording copy for the cinema release. But as I say, there's a working disc or tape for guide for the artists, and they take this on location or in the studio, and this is a guide for them. Okay? Yes, often again, when you go on location, you're shooting sound, possibly might be a period film. And when you're shooting on location, you can have quite a number of noises you don't wish to be on the actual track, such as airplanes. So what actually happens that track, the sound chap will shoot a track for that. But what actually happens that will come back to the studio, and they will call the artist into the studio for post syncing session. Posting  ost synching session is where the pieces of trims, a small piece of films, are put into loops and run round, and the artist has earphones on on his ears. And same time a picture runner is a sound track they shot on location and with all these other noises on the track that they don't wish to have. And this is called post synching. So once they've shot the new soundtrack, the other film track that was shot on location is scrubbed, and also

Manny Yospa  33:22  
the artists have got to have lips Exactly. Oh yes, yes, yes, yes. Got to watch what's your projection very carefully.

Albert Critoph  33:34  
When we was making our Scotland Yard series, we had our own car, a water car that used to be the cab cars used by the police some years ago, and the chappy that used to drive, it was our studio driver, because the actual car was used for taking the most important artists back to their hotels or their homes, but it was also used for the pictures of the Scotland Yards in production. And I can remember one time just before they were leaving the studio to go along to the Kingston bypass to do some filming, and they put the police sign on and and the bell on top of the car. And as they were going down to the location, a real police car came along and pulled them in and asked them about the bell and the other things on the car. And they told me there were a Film Unit, and the real police car officers mentioned to him that would they be good enough not to put the bits and pieces on the car till they get to the location? And I can remember another instance, actually, as I say, we made quite a number of these films a young child or a boy or girl acn't remember member off hand , but wrote to the studios, wanted to know why the police car on each film has the same number plate, and in future films, we made up different number plates for filming. It's. Yeah, we just mentioned earlier on this tape, but we mentioned the driver, the police car, as I say, he was actually a studio driver, and his son just trying to think of his answer. But obviously the name, the surname, was Elliot, and he started in our post room, then he moved on to cameras himself as a camera assistant, and he now is a camera operator working on all the very big features. I've been a member of the BKSTS for many, many years.

Manny Yospa  35:35  
Can you just say what the BKs British? Oh, the British. British

Albert Critoph  35:38  
oh the British Kinematic sound and  Television Society. I've been a member for many, many years, and as time progressed, I went to many, many lectures, and obviously at the end the lecture as an open discussion with the audience, there was a tape machine involved. And after a while, I got to operate this tape machine at the end of the lecture for recording the discussions for the journal. And I did this many times. Also. I did slide shows, film shows, and helped the lecturer in any way I could. And I was awarded with the Honorary Fellow, the big one, Honorary Fellow, delete the fellow, honorary member of the BKSTS. And after many, many, many years passed, I was still doing this work, and I was offered the Roland Chase award. Are so pleased to receive?

Albert Critoph  35:39  
What sort of people were in BKSTS Can you who was the sort of Secretary in the Chairman and the committee? Can you remember

Albert Critoph  36:52  
in the early days about BKSTS meetings where it wasn't called BKSTs, it used to be just called BKS, and our lectures were more  often every Wednesday evening at film house in Wardour Street. And you had to get there about six o'clock, six o'clock in the evening to get a seat. And very, very nice to actually, because we had a small buffet there. We had sandwiches, tea, coffee and cakes. And we'd love to get there very early to say we could have a nosh and get a seat. But as I say, the lectures were every Wednesday, and each lecture, lecture, obviously was a different style. For one week, they will be on film, projection and dabbing. Another time on cameras, another time it was on sound.

Manny Yospa  37:38  
Did because I was going to mention that the type of lecture  was the very latest developments and the latest scientific research on all these things, yes,

Albert Critoph  37:58  
the the film house where we had our lectures. I belonged to Gaumont  British. And in the actual theater where we had our lecture was there their viewing theatre. And also there's another little  theatre alongside where they run double head. And I was very friendly with the chief projectioniss there who made the bookings for the theatres. Was a chap by name of Abbot. I can't think of his Christian name, but he was very, very good and very interesting person to listen to more often. I used to get to the lectures early to have a chat with him and he took me to his workshop in the building. And he was a man for repairing the cameras for the Gaumont  British news, and also you to take pieces home. I believe he lived in Harrow, and he made bits and pieces in the shed with his lathe to bring back a few days later, to put this camera right for the for the news.

Manny Yospa  38:55  
Another thing about I've got this first Abbott, that is part of a big family

Albert Critoph  39:04  
Are you still running on that? Yes, keep running. And to say, to mention about Mr. Abbott, two or three sons were in the film business. In fact, one of the the Abbots was the chief of sound at Merton Park Studios, and he was a very strong willed Man. He did a very, very good job at being head of sound, but he was disabled, and it was amazing how he managed to do the work.

Manny Yospa  39:32  
Was John Abbott, yes.

Albert Critoph  39:34  
John Abbott, I'm not sure whichAbbott  it was, but he was a sound mixer at Associated British studios at Elstree.

Manny Yospa  39:42  
John Abbott is the camera man. 

Albert Critoph  39:44  
I beg your pardon. I've just been booked right as I say, it was a cameraman, but another one of the boys of the sons was a sound mixer Associated British studios at Elstree, mentioned about the chief of sound, Ron Abbott, as I. Said earlier on this tape that, sir, he was very disabled, and his car was especially fitted out to drive the car. But when he used to arrive at the studios, when he got out the car, he's in such pain, but he was a very, very brave man. But when he came to do a day's work, he really did a day's work. He answered the phone this that  and the other  also did the Dubs. And in those days, when you were dubbing, you were shooting on what they call photographic film, and you're running down a lot of sound stock, and you're running the the tracks on the projection room when they run, as I say that, sir, yes, certain volumes on certain tracks, music, dialog, what have you. If you missed a cue , you'd have to stop and put another 1000 foot roll of optical film on the sound camera. These days, they don't have this problem because they're shooting on magnetic they can stop and start and run back and pick up the synch again. So really they had a lot of problems in those days. So if you was sound recordist in the theatre, sound mixer, you had to be on your toes. Took a lot of concentration, and also breathing down the back of your neck. You got the producer and director, and this is very off putting, and you really had to be a very strong character to do the job.

Manny Yospa  41:20  
Because I remember in those days putting the when ot  on location with the sound. They had a great big sound. Then, yeah, and the sound camera, the sound cameraman, had to take tests, yes, off of every rolls. It's

Albert Critoph  41:39  
very,

Manny Yospa  41:40  
very technically those days. I now anybody can do it.

Albert Critoph  41:43  
Yeah, so, my memory jogged  by Manny here, who's acting  on the interview with me, he mentioned about this sound truck, especially the one we had at Merton Park studio. It was a very, very big van. It was a converted biscuit van, one of the big Huntley  Palmers, or what , one of the big manufacturers. And this was fitted up with a sound camera. As I say, this sound camera was optical camera, and inside had charges. You had banks and banks of batteries, and those go to on locations. And this particular van they had in use when all over when all over the country, and it's kept in good steed . It was a very solid type of Van. To mention the this particular soundtrack is Western Electric with variable density. Manny was just saying, He's talking about all these complications where he got push pulled this that and the  other and compression and Manny he wasn't too short, it was. But I said to Manny, it must be to something to do  with sex. I think my way Merton Park Studios no longer stands now. It's now housing estate, but when I was there, obviously a lot of people got their notices and leaving the company. And there wasn't many people left. But I happened  to be one of the fortunate  ones to stay and office staff. And what actually happened the two studios there went over to what they call forewarning. This is forewarning is where you bring your own production company in makeup, carpenters, another personnel  involved in film production and Merton Park Studios asked me if I would like to stay on to run the rushes and also to point out one or two things for people coming into the studios, and obviously looking after studio rushes, I made the bookings and sent the receipts into the office for booking the amount of time they used in the theatre. So obviously you have strange people come studio people like electricians. This that and  the other use coming. I was shown with a power  house was another bits and pieces, another tradesman that came in. I showed them all around. But after time, they all got to know where it was. But I just had to be there to run the rushes.

Manny Yospa  44:15  
So you're more or less in charge. Well, I don't there

Albert Critoph  44:18  
was studio manager. I can't remember off hand , but more or less I was the only I was the only personnel there 

Manny Yospa  44:37  
 There's fore warning they had to close down,

Albert Critoph  44:40  
close. And as I said, was all pulled  down, fore  warning for, are you still shooting? But fore warning for quite a number of years, actually. And course, in as I say, it closed down. Eventually I went and and myself. I was out of work, and. And

Manny Yospa  45:04  
looked after you when you went, Yes,

Albert Critoph  45:06  
yes. I got my redundancy pay because I was there for so many, many years. And also I now that I'm retired, I receive a pension from the Norwich union through the Merton Park Studios pension fund. Then I was out of work for a short while after the studio closed, and I had friends in the BBC projection department, and I told them what I was out of work. And they said, Would I like to join their projection team? And at that particular time, well, for some time, actually, I was never very keen on joining the BBC. I always preferred to work for a smaller company, but my wife persuaded me to go for the interview and take the job. So I rang up my friends and arranged an interview for me, and as you know, when you join the BBC, you go as temporary staff. So when I just interviewed, they said, Albert, would you like to take holiday relief? So I said, Yes. So I stayed on holiday relief for a short time. Then the project senior, senior projectionist said, would like to go permanent. So there's a lot of paperwork filling when you go permanent, and also you have to take a test. Doesn't matter how many years you've been in business, you have to take a test with the BBC. You're more or less like going as a new boy. So I passed, and I stayed permanent when I was with the BBC for about nine years, and also I now receive a very small pension from the BBC. There was at white city or Ealing when I first went to the BBC, I started at Lime grove. Lime Grove was the old film studdios  belonging  to Gainsborough  pictures, and I started my job there, and as as the BBC policy is to move staff around. So after that, I went to the old film studios of Ealing, that now belongs to BBC Television Center and other premises around London. The idea is to move you around, is that anytime a projectionist is taken ill, you can go to those premises you're walking and start machines up. The machines in the the BBC are all different types of makes or equipment. So when you walk in, you don't walk into a strange place. You can walk in straight up and start, start machines up. Yes, I was very, very very happy. But the ending with the BBC, they're very good people to work for, but I'm afraid the money wasn't very, very big pay. But if you went to other companies such as ITV London Weekend or Thames for the same position, the same job, you would often get more money for the same type of job. But the point is, it was no good for me saying I'd like to go to Thames or London Weekend because my age was against me, they wouldn't be interested.

Manny Yospa  48:15  
What sort of sort of jobs were you doing? Because they did use a lot of films, yes,

Albert Critoph  48:21  
yes as

Manny Yospa  48:23  
no as a.......................................................

Manny Yospa  0:02  
This is ``  Manny Yospa interviewing Albert Critoph. This is tape two, and the date is 24th of July, 1989

Albert Critoph  0:17  
with the BBC. They're very, very good people to work for very good conditions. And as I say, if you keep your nose clean, you got a job for life. But as I say earlier on, that the money was not all that good, but I had very happy nine years with the BBC.

Manny Yospa  0:34  
Were you doing? Maybe

Speaker 1  0:37  
little well, you got moved around, if I was at Lime Grove, I've been working on Nationwide, I was classed as as so I've gotten the name what they call it call it stopping this right when I was at Lime  Grove, I was allocated to Nationwide and Panorama, and so I'll stop the draw  mention Nationwide and Panorama. The unit was called current affairs, and I was allocated there for running rushes, because in Lime Grove, we never had such thing as dubbing facilities, though, just purely three theatres and purely for running rushes and preview work or cut sequences. And I looked after studio number four. Though there wasn't four studios four theatres as  such, but it was known as studio four, and each morning we'd I'd run cut sequences for Nationwide and also for Panorama. And more than often, this was on 16 mil, more than often, running sequences for run through, whether done alterations or pieces added to it when it was running the projection room a matter of 15 minutes or so, was taken from the projection room and taken straight through and put on transmission.

Manny Yospa  2:15  
Laboratory. No

Speaker 1  2:16  
no laboratories in I say there's no laboratories. There was laboratories at Television Centere Oh, yes, they did their own processing, yeah, processing, yes. And they're going to say I was working at Television Centre on different types of production. It  involved in many, many production. We might be on projection on 35 mill or 16 mill projection room at Television Centre was a very wide open plan projection rooms you know about. So about five or 6 16 mill projectors for separate picture and sound. The other side of the projection room will be 35 mill projection with the same facilities.

Speaker 2  3:04  
This was this in black and white days, or had colour, oh, no, colour, yes, colour. So when they shot 16 mill colours transparency, was it, or was it negative, positive?

Speaker 1  3:21  
Sometimes you was in what sometimes you have negative sometimes in the between reels,

Speaker 1  3:33  
as I say in runnings, 16 mill cutting sequences, more than more often, some parts that the reel will be in negative form, but the actual roll that you're running through on the 16 mile projector will go out on transmission with separate picture and sound and more often, certain parts of film will be negative. But this can be reversed electronically when it goes out in transmission. Weren't they worried about

Manny Yospa  3:59  
damage? Do they make no no.

Speaker 1  4:10  
Some time ago, the BBC made about seven in the series connected with the royal family. I can't think of name the title now, but they were, they were very well made. But one evening, Prince Charles came along down to see the cut sequence, because these were always vetted before they went on transmission by the Royal Family. But this particular evening was booked us down for overtime, and Prince Charles arrived about half past five. I didn't actually do the projection that particular theatre, but I was in another cubicle on other films, but I was working overtime also the projectionist that was going to show the film for the Prince Charles the project, as I said, this projection room was open plan. So I was projecting this particular particular film, and he was going to the viewing theatre this particular royal  film. And obviously there's quite a number of people with him. When he arrived, and he walked past and he smiled, and I just didn't know what to do to what to say, I think so. So all I did was say Good evening, sir. But when I go into my wife home and told her that I'd seen Prince Charles, I said I didn't know what to do to curtsy or what have you. So all I said was, Good evening, sir. And he gave me a smile, and I mentioned this particular preview theatre right about half past five, but from about one o'clock they polished. All the theatres already been cleaned by the cleaners, but it was repolished. The viewing  table obviously wasn't moved. But the chairs in the actual were in the preview were just ordinary chairs, and they were taken out and armchairs put in for the occasion, and also the the projection room in Television centres on the first floor. And also the same thing applied with the lift, it was all cleaned up. Had been cleaned two or three times before his arrival. While this film was being projected, there was two entrance actually, to the viewing theatre. On either side was the security men that usually follow Prince Charles around. One was at one entrance and one in the projection room. Good. I've just been reminded about Gainsborough  studios, but the Gainsborough  studios. In particular. I can go back to Gainsborough Lime Grove , but I will mention that in a moment. But talking about Gainsborough  studios at Islington, I never been inside a studio, but that particular time, I was doing my day's relief at this particular cinema in Islington, in my tea break, I love to go along about five minutes walk from the cinema. I was doing the day's relief to the Gainsborough  at Islington. And I often used to stand outside. And I'd love to go in studios. And I've never set foot in the studio before, but I was just fascinated just to stand outside this studio to Islington, and the studios has been used on number occasions by the Crazy Gang, Bud  Flanagan and the other, the other, the gang. But I believe the actual studios in this early day, they're very, very old and very old building outside. But I was told it was, at one time, a bonded warehouse.

Manny Yospa  7:47  
This was before the war. Was

Speaker 1  7:49  
it this around during the war? During the war? Yeah. Okay, yes. Another thing I just remembered, as I say, I really recorded my cinema days, but one particular cinema I was working at was this Imperial cinema at Clapham Junction. And it was to do with the Derby. And there was this particular newsreel  one news all Gaumont  British news. And in those days, at Lime  Grove in Shepherds Bush belonged to Gaumont once, but in the same building, though, besides the studio down in the basement was the processing  laboratory for the news and cause we had plastered all outside the cinema this evening, The Derby will be screened at last show on the newsreel and my job was to go down to Shepherd's Bush at  Lime Grove, go down and pick up the small piece of films, about two or three minutes of the Derby, and then rush back and join it in with the news. It was shown at same particular night. In those days, it was really something to the show. The same night was like now you got video tape. Now you can play it and play back straight away, but all this fuss  to rush down there  and rush back with this small can of film with the Darby. So that was an experience. I never thought that in those days that I'll be working at Lime Grove

Speaker 1  7:49  
because the lab boys must have worked pretty Oh yeah, pretty quick, yes. 

Speaker 1  9:30  
Mentioned about  about waiting for this piece of film in the Derby, and I was there for, say, about 10 or 15 minutes waiting for this piece of film. I tried to edge my way along to see if I could get farther into the building while I was waiting for this film, but they put the block on me, talking about unions as such as I say, I went to the Merton  Park in June 1943 and I was never. In any film unit of any time  when I was in cinema. But as I was going into film studios, I was requested to join the union. For some reason, on those days, they had studio projectionist  in NAATKE  and also in the ETU, and I was advised to join the ETU. And after some years, they requested that I joined the NAATKE because also at that particular time there was NAATKE electrician. So what happened? They took NAATKE electricians into the ETU and the ETU projectionasts went into NAATKE

Manny Yospa  10:36  
I think they just swapped with the ACTT as well.

Speaker 1  10:41  
I'll come out. You shot, that didn't you? Yes, , as I say this, this was what happened with the unions, the the projectionists of the in , the in the laboratories, they come under the ACT

Manny Yospa  10:55  
act. That was another little spot.

Speaker 1  10:59  
Yeah, but, but film laboratory projectionists was always ACT as I say, that I had nine happy years with a Beeb, and then, because I was 60 years of age, I had to go. So there again, I was out of work, and I was sitting around and my, my my late wife had a son, so obviously was my stepson, but And he was started out as stills photography man and doing photographs for brochure, like furniture, clothing and this type of thing. And he went on to bigger things and doing women's magazines. Then he got the opportunity to shoot still for Vogue magazine. So he was more or less classed as he one the seven photographers in the country, top for photographers in the country. But he always wanted to go to a movie directing eventually did actually to work, to do commercials. But the only thing is that he had to direct the commercials with another director alongside him because he had no ACT ticket. But eventually he got his ticket, and now, this particular time, now, he lives in Hollywood. What was his name, Michael Bukowski, Michael Bukowski and as say, he moved to Hollywood. He's been there some years now, directing and writing commercials. And this particular time that I was out of work, he was doing commercials here in England. And this particular job that I did go to eventually, he did his dubbing dubbing. This is in St Anne's court just off Wardour Street, called Mag Masters. And I was out of work and nothing doing 60. And obviously my age is 65 and my wife said to her son, when you go around your dubbing theatres around town, and when you go to Mag Masters, ask them if they want a projectionist, a dubbing projectionist, you know, a good one. So on his rounds, and he did most of his dubbing at Mag Masters in St Anne's court, and the company had only just recently started up in those days, and he just happened to be in the theatre. And the actual Mag Masters company is run by two comany directors, a role. So the recording the theatres two theatres, then the working directors. One is called Steve Cook, and the other one is called hold. It's terrible memory. Can you stop a minute. Two directors was Steve Cook and Dave Maiden, and as I say, My stepson was talking . Do you know anyone who wants to studio projectionists? And strange enough, they did want a projectionist. One of the projectionists was leaving. And actually the projectionist was leaving, he was going he wanted to leave the business, go on the stage. He was going to a school to train as a mime artist. So I went along for the interview and got the job. And I was working for five years. And a very small company, but a very, very busy company, and I pleasure of working the projectors partly  on dubbing . I met so many celebrities on the voiceovers, people like David Jason and many more. I. And it says, commercials. Was it? Yeah, commercials, yes.

Manny Yospa  15:08  
So of course there would be, we would have the

Speaker 1  15:10  
lot of voiceover, well known  celebrities, but there again the the brain boxes. Of brain box has gone, but I was there for five years, very happy years, and they came a lot of young people in the projection room . We had two projection rooms there. There again, there was  open plan with dubbing heads this that and the other , but they're all young chaps. And obviously I was the oldest one there, and the other two projectionists more or less near my age. And the young people that gave me the greatest, greatest respect.

Manny Yospa  15:40  
And also, you presumably taught them a bit, a few tricks and things. Oh

Albert Critoph  15:45  
yes, yes, yes, as I say that, talk about little things, about tricks of the trade, different things they were very grateful for. And

Manny Yospa  16:01  
yes, I was going to say that one of the things that we older people in the industry had been doing was training the young ones that came out. Yes, and I think we did perform quite a useful service, because I've plenty of young chaps who are my players? I still see their names up,

Speaker 1  16:25  
but I shouldn't, but as you were saying about tricks of trade, for instance, when you get a slight picture jump on the screen, you got gate adjusters. this that and  the other but when you do just these adjusters on the gate, sometimes you still got to jump. And I sort of mentioned the fact that it was pretty jump. There's not much you do about it, son, obviously, some could be done, but obviously can't do it now because we're working but, but I managed to show the a  little piece of cardboard and little piece of packing piece and make sure, obviously, don't put too much tension on gates and got them out of trouble, but there are little tricks and trades as well as

Manny Yospa  17:07  
a very useful thing. Instead of taking all the older ones, people

Speaker 1  17:16  
said to me in the past, and I've been doing this job for many, years, and people say to me, how do  you pick all this up, you know, you're so interested. I mean, you're not just showing a bit of film. You've seen another, bits and pieces about projectors, this, that and the other, and I say they're going you just picked up as you go along. It's what we call years of experience. You pick it up by experience and learning

Manny Yospa  17:40  
from other people, yes, and then passing that knowledge on to the young,

Speaker 1  17:45  
yes. But also, as I say, though you've been in business many, many years, you can't know everything. You're always learning. But as I say, that Mag Masters now, I believe he's been going for about seven years or so now, and I spent five years with them, and they're very, very good, but they're again  I was 65 they would love to keep me on, but obviously, because of my age, I had to go. But they treated me very, very well, and they asked me what I'd like for farewell present before I mentioned about the present, actually I also brought a lot of work into the company, because when I found I was working in Wardour Street, I met many, many friends. I mentioned about the studios, they came along and they look at the equipment, met the bosses, and also brought a lot of work into the company as well, from people who make commercials as well. But when I departed, because I was 65 they said to me, Albert  what would you like for a present? And so we don't want to give you the real  thing about a watch or anything like that. They said, we know you love travel, but would you like to have a holiday, either in Holland or Paris, because Paris is my second love. I've been there so many times. They gave me a present of a long weekend in Paris, also, I believe, some  spending money, but they gave me a gift that to go and enjoy myself. And when I arrived at my room in Paris, they laid everything on the hotel room, four star hotel. When I arrived at the hotel, in the room I got there was a bottle of champagne waiting for me from Mag Masters. Do you still

Manny Yospa  19:41  
visit them when? Them.

Albert Critoph  19:42  
Yeah, began because I got to take something in for Max and I was just going from time to time

Speaker 2  19:49  
because I suppose all these years have been in this  bus. know , hundreds and hundreds of people may all know, especially when you're being active in BKS

Speaker 1  19:59  
Yes. Hey. And I think also, when you're on projections while viewing dubbing, you meet the celebrities. You just can't help

Manny Yospa  20:07  
you get in the directors and the producers, yes, because

Albert Critoph  20:10  
your connectives, you know, we have close liaison together. I mean, they bring the films in, or they want to talk about something,

Manny Yospa  20:18  
about the film. Of course, you must very closely. Want to come

Speaker 1  20:21  
up to project rooms and come up with the editor. They might just do a minor adjustment, even in the projection room. It was anything too serious, I would take it back to the camer room ???

Manny Yospa  20:32  
You're also a member of the veteran cinema

Albert Critoph  20:35  
veterans. I think I mentioned it tonight.

Speaker 2  20:39  
No, you mentioned the BKS I thought I mentioned on the other words, Goon to all the reunions and yes,

Albert Critoph  20:55  
and yes, I'll meet Manyy Yospa there sometimes 

Manny Yospa  21:00  
about one. Just record it, of course. Now you've retired, I don't suppose you put your feet up and just sitting No,

Speaker 1  21:22  
I can't, I can't sit still. No, are you sure? No, you're just running back. Oh, you didn't tell me. No, I find that I don't lay in bed too long. Possibly, latest  might be up half past eight, nine o'clock, but no, I find a lot of things to do because I love walking, I love swimming. I love my travel. Try and get away soon as I can. As I say, that my mind, people say to me, oh, but don't you get fed up with nothing. I said, No, I love walking,

Manny Yospa  21:55  
work at the BKS lectures and

Speaker 1  21:57  
give them occasionally. Yes, not so much now, but occasionally. But as I say, getting back to Mag Masters after I  I retired from time to time. They used me for holiday relief, but I wasn't very keen on doing that, actually, because I had to pay income tax. So they said, Oh, please, would you do it? But I do it to help me out, because even when I'm retired, I have to go, I mean, you've got to go through the usual channels and pay your tax. So I work with Mag Masters, and I paid my income tax when I was retired. But I'm not very keen on it, because I feel I shouldn't  be taxed, but there you  are, but also

Albert Critoph  21:59  
bit too much. You kept not get knocked occupation 

Speaker 1  22:08  
off. Very, very true. Yeah. But as I say, when I went back to  Mag Masters, I done on off holiday relief, say, for about three weeks or five weeks, or the odd day when somebody wasill this that and the  other and and I said to him at the time that I don't really want to do because I've got to ay income tax I always said, try and help us out. So why do, as I say, holiday relief. I worked and I paid income tax. It keeps you busy. Yeah. Anyway, as I say, paying income tax, there was a few bob to pay my rates and other bits and pieces of electric and that thing, but, but as I say, I love my walking and I love my travel swimming. I don't mind. I love swim, but I'm not a very good swimmer, but my favorite pastime is walking and traveling abroad. And as I said, mentioned about Paris, I've been to Paris about 18 times, and I love it there. And people turn around and say, Oh, Albert  don't know why, because it's like London busses. Of course, you got a little caravan as well as a caravan down in Kent in a place called the Isle of Sheppey. I go down there most weekends. It's a quiet life and and what I do actually, I mean, my bookshelf at home is full of travel books of different countries of this that and the other , and I take them off and read them from time to time, read bits and pieces. And the whole shelf is full up with travel books. And one shelf has got film technical books from the past.

Manny Yospa  24:18  
Also, you still keep it, meet a lot of people in the industry. Oh

Speaker 1  24:23  
yes, yes, yes. I don't disappear. I think it's a type person I am. You know that I like to mix with people and see people and go and see people. I think that's my nature. And

Speaker 2  24:36  
it was very nice retirement, love life. That's yeah, I......................................................