Peter Manley
Interview date(s): 16 March 1999
Interviewer(s): Teddy Darvas, Dave Robson
Production Media: audio
Duration (mins): 210
behp0448-peter-manley-summary
A Summary of the PETER MANLEY Interview. File 448.
INTRODUCTION:- Peter was able to provide us with a complete list of all the motion pictures he was involved in throughout a remarkable career in which he was always in demand and therefore never without work. Remarkable indeed, for an industry not exactly famed for its continuity of employment!
To enable the list on pages A B and C [located under the biographical tab as a cv. DS] to be used as a cross-reference, each title has been given a number which refers to that particular side of the cassette on which the production details, personal experiences and comments can be found. According to the list, there is a grand total of 138 features, including TV serials.
We began our interview with his early formative years: Now read on:-
SIDE ONE
Born in Cleethorpes, Lincolnshire in 1924. He moved with his parents to Ealing a few years later and settled there: He was educated at Ealing Modern in the late thirties.
He recollects his first glimpse of film production by observing a 'battleship' on the backlot of the ATP Studios which were quite near. The film being made there, he subsequently discovered, was MIDSHIPMAN EASY, 1935, d. Carol Reed.
One day whilst cycling past Ealing Studios with a friend, he was approached by a man who invited them on to the set as extras to ride their bicycles, for which they received ten shillings: It was a George Formby picture and he relished the experience.
On the outbreak of war, he went to work for a firm of aircraft engineers as a draughtsman. His wages were 22 shillings and sixpence, [£1-12.5 pence] increasing to 25 shillings [£1-25p] a week. He tired of engineering drawing eventually, and at the end of 1941 he was introduced to Carmen Dillon by his father who worked in the Scenic Department at Denham. After a chat about the industry's ups and downs, she placed him in the Art Department where he studied the construction of film sets and how it all went together, an experience which was to prove invaluable. He describes his work with Ted Vibash on the store’s accountancy side.
His first picture was IN WHICH WE SERVE. He describes how the destroyer HMS Kelly was built on hydraulic actuators and steam driven rockers, and many other details of the production on Stage 5 including the visit of the King and Queen, and the sad loss of the head electrician who was also the pyrotechnic expert, blown over the side of the ship due to a premature explosion. He mentions his salary of five pounds a week - a fortune in those days. The next picture was THE LIFE AND DEATH OF COLONEL BLIMP.
There is some discussion about Rank's first film for the Organisation THE GREAT MR HANDEL, and its complete lack of appeal!
After his work on the first five pictures listed on page A, Peter wanted to get on the floor as a cameraman and pestered Bert Easey, head of cameras, for a job, but without success.
Eventually he was offered a job at Islington Studios as 3rd. Assistant on GIVE US THE MOON, and this was really the start of his 'floor' career. His pay was two pounds a week, plus overtime but he soon received an increase and enjoyed every minute of the job. He describes the responsibilities of the 1st, 2nd, and 3rd. Assistant's jobs and the work involved.
After WATERLOO ROAD he was moved to Lime Grove Studios to work on a little 3-week short directed by Jessie Matthews, called VICTORY WEDDING, 1944.
He was then called up for military service in the Army, an earlier application for the RAF having been apparently mislaid by the authorities! He recalls his earlier service in the Home Guard and the wearing of battledress at work, because there wasn't time to change. In the Army he became a machine gunner, course instructor, and eventually, sergeant.
SIDE TWO
On demob, he returned to Lime Grove Studios. He then talks about the next 24 features listed on pages A and B which he was involved in, either as 1st.or 2nd.Assistant Director.
BOYS IN BROWN was an 'independent frame' production, and the technicalities of 'independent frame', 'process' projection, and the technicians involved in the development of the system is discussed.
SIDE THREE
Peter continues his narrative with THE SEEKERS. He also mentions three productions he worked on for Associated Rediffusion. These were short teleplays earmarked for eventual transmission during the early days of ITV.
He talks about the transition from Assistant Director to Production Manager, and the increase in salary.
An early production for Rank of LAWRENCE of ARABIA with Dirk Bogarde which was planned to be shot in Iraq, had to be aborted at the last moment due to political instability in the Middle East. (This is a fascinating and detailed account of the length of time, money, and energy expended on a production which came to nought. Ed)
Peter even went down with pneumonia during the preparation and woke up in hospital. As a result, he gave up smoking - for ever! (It must have been a Production Manager's nightmare. Ed).
Fifteen production are covered on this side.
SIDE FOUR
Peter continues his narrative with AN EPISODE OF SPARROWS and continues to entertain us with production details and anecdotes of another 33 features and 30 episodes of THE SAINT, ending with CALL OF THE WILD. We also see him progressing to Associate Producer.
SIDE FIVE
Continues with the on-going account of CALL OF THE WILD. (Harry Alan Towers).
Peter was a keen and early member of ACT and a staunch Trade Unionist. He joined in 1941 and remembered his number which was 4361. He remembers the days when everybody knew everybody else and would meet up at AGM's.
Restrictive practises began to appear in the post-war period, but these were mostly caused by silly, personal animosities that were not necessarily Union policy. Peter rarely had problems, and the odd ones could easily be sorted out by negotiation. He goes on to give some examples of how it worked on the set. He disapproves of 'all-in' deals.
A total of 31 features are covered on this side, which also includes his transition to Producer. [END]
PETER MANLEY was interviewed by TEDDY DARVAS.
DAVID MATHER ROBSON recorded it and wrote this summary and he makes the usual disclaimer about the correct spelling of some names, which need to be verified.
behp0448-peter-manley-cv/filmography
PETER MANLEY
A fairly comprehensive list of productions on which he has worked since starting in THE INDUSTRY
PAGE "A"
All mentioned on SIDE ONE of the recording
From the end of 1941 until spring 1943 all at Denham Studios:
IN WHICH WE SERVE Art Dept. Assistant.
THE LIFE AND DEATH OF COLONEL BLIMP Draughtsman
THIS HAPPY BREED Art Dept Assistant
HENRY V Art Dept. Assistant
THE WAY AHEAD Art Dept. Assistant
Then moved to Gainsborough at Islington and Lime Grove.
GIVE US THE MOON 3rd Assistant Director
WATERLOO ROAD 3rd Assistant Director
VICTORY WEDDING 2nd Assistant Director
From the beginning of 1944 until the end of 1947 the army On Demob: a return to Lime Grove.
All mentioned on SIDE TWO of the recording
MY BROTHER’S KEEPER 2nd Assistant Director
HELTER SKELTER 2nd Assistant Director
QUARTET 2nd Assistant Director
CHRISTOPHER COLOMBUS (part)
THE BAD LORD BYRON (part)
THE LOST PEOPLE (Cockpit) 2nd/1st Assistant Director
It was at this time that Gainsborough at Lime Grove and Islington ceased and [Peter] moved to PINEWOOD.
From then onwards I became a freelance.
CARDBOARD CAVALIER 2nd Assistant Director
BOYS IN BROWN 2nd Assistant Director
THE ASTONISHED HEART 2nd Assistant Director
SO LONG AT THE FAIR 2nd Assistant Director
TRIO 2nd Assistant Director
THE CARD 2nd Assistant Director
NIGHT WITHOUT STARS 2nd Assistant Director
During 1949/1950 I was also the Assistant Director working on the development of the Travelling Matte System (Blue Backing)
HIGHLY DANGEROUS 2nd /1st Assistant Director
DICK TURPIN'S RIDE 2nd Assistant Director
HOTEL SAHARA 1st Assistant Director
PAGE "B"
All mentioned on SIDE TWO of the recording.
ROBIN HOOD (Disney) 2nd Assistant Director
THE PLANTERS WIFE 1st Assistant Director
THE SWORD AND THE ROSE (Disney) 2nd/1st Assistant Director
TURN THE KEY SOFTLY 2nd Assistant Director
ROB ROY (Disney) 1st Assistant (2nd Unit)
THE RAINBOW JACKET 1st Assistant Director
MEET MR LUCIFER (part) 1st Assistant
All on SIDE THREE of the recording.
THE SEEKERS 1st Assistant (New Zealand)
THE COLDITZ STORY 1st Assistant
A YANK IN ERMINE 1st Assistant Director
THE LOVE LOTTERY (part) 1st Assistant Director
Three productions with REDIFFUSION 1st Assistant Director
TIGER IN THE SMOKE 1st Assistant Director
LOST 1st Assistant Director
PASSAGE HOME 1st Assistant Director
GUILTY (WHITE BLOOD) 1st Assistant Director
THE SPANISH GARDENER Production Manager
THE ONE THAT GOT AWAY 1st Assistant Director
THE CAPTAINS TABLE Production Manager
LAWRENCE OF ARABIA Production Manager (this was the Rank production)
All on SIDE FOUR of the recording.
AN EPISODE OF SPARROWS 1st Assistant Director
Four months of Artistes Tests for Rank Production Manager
INTERPOL CALLING Production Manager (European Locations)
JACK THE RIPPER 1st Assistant Director
THE SIEGE OF SYDNEY STREET 1st Assistant Director
KIDNAPPED (Disney) 1st Assistant Director
PLEASE TURN OVER 1st Assistant Director
CARRY ON CONSTABLE 1st Assistant Director
GREYFRIARS BOBBY Production Manager
THE HOR5EMASTERS 2nd Unit Director
THE PRINCE AND THE PAUPER Production Manager (not mentioned)
THE CASTAWAYS Production Manager
THE HORSE WITHOUT A HEAD Production Manager
THOMASINA Production Manager
ALLEZ FRANCE Production Manager
DOCTOR SYN Production Manager
THE LEGEND OF YOUNG DICK TURPIN Production Manager
THE MOONSPINNERS Production Manager
DAVID COPPERFIELD Production Manager
THE RED BARON Production Manager
GREAT EXPECTATIONS Production Supervisor
THE SAINT (30 episodes) Production Supervisor
PAGE "C"
MY FAMILY AND OTHER ANIMALS Production Manager
ZEPPELIN Production Manager (Malta Locations)
WHEN EIGHT BELLS TOLL Production Manager (Malta Locations)
THE LOST CONTINENT Associate Producer
A FUNNY THING HAPPENED ON THE WAY TO THE FORUM Prep. Spanish Locations
HELP Production Manager, Bahamas & Austria
MARRAKESH Production Supervisor
CIRCUS OF FEAR Production Supervisor
MONTE CARLO OR BUST Production Supervisor
RUNNING 5CARED Production Manager
CALL OF THE WILD Associate Producer
WHAT CHANGED CHARLEY FARTHING Associate Producer (prep.)
THE SLIPPER AND THE ROSE Production Supervisor
All on SIDE FIVE of the recording.
OUT (3 hour TV serial) Production Supervisor
FOX (13 hour TV Serial) Associate Producer
LITTLE LORD FAUNTLEROY Production Supervisor
HEAT AND DUST Associate Producer
HIGH ROAD TO CHINA Production Manager
GIVE MY REGARDS TO BROAD STREET Associate Producer
KIM Associate Producer
THE CHAIN Associate Producer
LOST IN LONDON Producer
THE SECOND VICTORY Associate Producer
THE STUFF OF MADNESS Producer
A CURIOUS SUICIDE Producer
A BIRD POISED TO FLY Producer
SAUCE FOR THE GOOSE Producer
UNDER A DARK ANGEL'S EYE Producer
THE CAT BROUGHT IT IN Producer
THE LADY AND THE HIGHWAYMAN Producer
THE SECRET LIFE OF IAN FLEMING Associate Producer
[END]
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