[…]tock you see. But of course when the boys come down, I'm talking about the art directors, they knew what they were doing on, they wanted to put their best foot forward, obviously, don't they. They want a good show, they want a good set, it's his reputation. So he didn't want stock, so you had to mak[…]
[…]money, you haven't got unlimited amount of equipment and you haven't got unlimited numbers of people. You have to accept what you've got and make the best of it and this, I think, is one of the things that is so marvellous about filming for television, or being in the BBC and filming with television[…]
[…]ember Frank.Kitty Wood : And eventually I did manage to get into the union, but not until February 1942. Probably in the normal way it would take the best part of two months, it would now wouldn't it, really?Jim Connock : Oh yes, yes.Kitty Wood : So you see that isn't all that long. But I had to mak[…]
[…] born people, in their 900 plus collection, - the Television Academy Foundation is an interesting website located at https://interviews.televisionacademy.com/interviews on. […]
[…] in particular, working for Odeon Cinemas and becoming its managing director from 1985 to 1990. THE HISTORY PROJECT The History […]
[…] in particular, working for Odeon Cinemas and becoming its managing director from 1985 to 1990. THE HISTORY PROJECT The History […]
[…] open it, or... Yeah. Controlled opening. And it was an award, [laughs] we’d won an award. It was really quite […]
[…] of the director and also puts the actors in the best light or the most appropriate light for each particular […]
[…]really have the time to pull together an authoritative brief for the Presenter and the way it was done then was about harnessing expertise to get the best possible product for the viewer. You can say that there was too much money spent on it and that the people who worked on it had too good a time a[…]
