[…] a children's film. Oh I've missed out all the children's films which we made, for the Children's Film Foundation. We made a lot which won one or two awards, Venice and for children's films. Do you remember Mary Field, she was the head of the Children's Film Foundation and she was a wonderful person[…]
[…]is done now on real locations. Actors have told me that they find that rather good because it gives them more of an atmosphere than possibly even the best sets in the studio.RP: It probably does from the actor's point of view. On the other hand you've got to put up with sometimes extraneous noises a[…]
[…]aughs]. But anyway, and then I worked at Realist for quite some time.Stephen Peet: Now one of the things that you're credited with is being Assistant Director with John Taylor on The Londoners.Philip Leacock: Oh it was a very exciting project.Stephen Peet: What film was that?Philip Leacock: It was m[…]
[…]ort of, I suppose you'd call them documentaries to a great extent. We didn't do anymore big stuff but we did �Roy Fowler: The regular reel was always academy was it?Reg Sutton: Yes we also did CinemaScope reels like the Eisteddfod at Langollen, we covered that in CinemaScope which was rather nice.Ro[…]
[…] someone like Peter Murton. "Death on the Nile", Peter Murton’s best film. 36:30 U Bette Davis story from "Death on […]
[…] him saying at the time he thought that was his best film. Now I wonder if he’d thought after 2001 […]
[…] Oh! What a Lovely War (1969), for which he was awarded a BAFTA. SUMMARY: In this interview he talks in […]
[…] standing relationship with the Samuelson family. GB Samuelson was a director my father photographed a couple of films for him. […]
[…] anyway. All that you're doing in film is always the best you can do at the time and I think […]
