Search Results for: Alan Lawson

Nephew of Flora Robson

Born 1926, prep. school then went to Bryanston where he met Basil Wright and continued his early interest in films. At 17 ½ joined Navy and went on photographic course, left the Navy in 1949 and approached Basil Wright and joined Realist Films as his personal assistant at £3 a week. Spent those early weeks looking after Basil’s dog, eventually went into cutting room where he was drilled in routine by Cliff Boot. At Realist, with Dillon Barry, John Armstrong, Adrian Jeakins, Alex Strasser..the Church Missionary Society as a cameraman in South India, then another as director in Nigeria. After that he freelanced then worked on a film about Hull docks as assistant cameraman to Billy Williams, Ron Bicker and Ron Paynter. After that went with Reg Hughes as his assistant on a Marshall Plan film. Then he worked as Production Manager on a film for the American army in 1954 on a film Military Communication in the Field. Then in 1955 Athos Films was formed by Reg Hughes, Peter and Bert Eggleton, with a close relationship with Film Centre. They landed a good series of films with BOAC (pre British Airways) and followed by a series of corporate sponsored films and from 1955 to 1965 they had a full order book. They moved from Soho to Hanwell with their new name Athos Film and TV Facilities, with 12 cutting rooms mainly used by the BBC and they had their own dubbing facilities.the work they carried out for the MOD; however they did have several unsuccessful ventures: competition became fierce when video arrived, and about this time the BBC gave them 9 month’s notice that they were taking all their work back to Lime Grove and Ealing. They had to get rid of their Hanwell premises and Athos had to find other work. He talks about the arrival of Kodachrome 16mm stock and its use to show off the stained glass in a church in Fairford, Gloucs   St Mary the Virgin.  corporate films – example, the Hawker Siddeley film made in the mid 1970s, the necessary sound research and a good solid writer with names.  Behp0424-peter-bucknall-summarySIDE ONEBorn 1926, prep. school then went to Bryanston where he met Basil Wright and continued his early interest in films. At 17 ½ joined Navy and went on photographic course, left the Navy in 1949 and approached Basil Wright and joined Realist Films as his personal assistant at £3 a week. Spent those early weeks looking after Basil’s dog, eventually went into cutting room where he was drilled in routine by Cliff Boot. He talks about meeting John Alderson who came into the cutting room with a load of film which he had shot in British Guinea (bauxite) with cameraman Reg Hughes. Talks about Reg, who had a very successful Stills studio before the war, in Streatham, and Reg’s work whilst in the RAF. Then reverts back to his own time at Realist, with Dillon Barry, John Armstrong, Adrian Jeakins, Alex Strasser. Reg was offered a job as director, cameraman for a film in the North West frontier and asked Peter to go as his assistant. Reg insisting that they had to have sound. He describes the system they took “Scophony Baird using ¼ inch tape with paper backing (1949/50).On their return the Church Missionary Society as a cameraman in South India, then another as director in Nigeria. After that he freelanced then worked on a film about Hull docks as assistant cameraman to Billy Williams, Ron Bicker and Ron Paynter. After that went with Reg Hughes as his assistant on a Marshall Plan film. Then he worked as Production Manager on a film for the American army in 1954 on a film Military Communication in the Field. Then in 1955 Athos Films was formed by Reg Hughes, Peter and Bert Eggleton, with a close relationship with Film Centre. They landed a good series of films with BOAC (pre British Airways) and followed by a series of corporate sponsored films and from 1955 to 1965 they had a full order book. They moved from Soho to Hanwell with their new name Athos Film and TV Facilities, with 12 cutting rooms mainly used by the BBC and they had their own dubbing facilities.SIDE TWOHe then talks about other films and the work they carried out for the MOD; however they did have several unsuccessful ventures: competition became fierce when video arrived, and about this time the BBC gave them 9 month’s notice that they were taking all their work back to Lime Grove and Ealing. They had to get rid of their Hanwell premises and Athos had to find other work. Reg Hughes had made a highly successful series of films for BBC English by Television. He then goes on to talk about other interests and his grandmother and her sisters.SIDE THREE[recorded 21 Jan 1998]Talks about his days at Realist in much greater detail, about his duties as an assistant editor, about the equipment in use, about arrangement of soundtracks prior to a dubbing session, also about music and composers. Talks of the Director in the cutting room and disagreements between Editor and director. He talks about working in Africa as an assistant cameraman, describing the equipment used and film stock. He talks about the arrival of Kodachrome 16mm stock and its use. He talks about the use of film to show off the stained glass in a church in Fairford, Gloucs (he had forgotten the location) St Mary the Virgin. To film this he describes how two 16mm Kodak specials were mounted side by side, one negative for immediate use, and the other as a safety negative. Talks about cameras in use generally.Goes back to talk about Realist, where he learned about budgeting, and Athos when it was being formed, and one of their first films.SIDE FOURHe talks about making corporate films – example, the Hawker Siddeley film made in the mid 1970s, the necessary sound research and a good solid writer with names.Finally he describes the ending of the Athos Hanwell enterprise.

BIOGRAPhY:1915 -1930s - Gaumont British newsreel cameraman1940s - War correspondent - Naval correspondent, HMS Valient, HMAS Australia. Sinking of HMS Barham (filmed by Turner). In India with Mountbatten around period of independence and Punjab riots.1950s - 1951 Royal Tour of Canada. Royal rota cameraman, filming the Royal Family, and the Coronation.1960s - Production manager Pathe, then documentary producer

born Claoham south London left Schoo;l at 14 entered catering trade , then arts school scenic Artist worked at Shepperton studios ; as eelctrician for London transport        Mr Busuttil (b.1936) is an Anglo-Maltese citizen with Maltese origins. He started his art training in 1961 at the City and Guilds Art School encouraged by the British artist Carel Weight (1908-1997).Later he also studied painting, sculpture and print-making under Henry Wilkinson (1921-2011). Mr Busuttil is specialised in printmaking at Croydon College under Dennis Masi (b.1942).His works have been frequently shown at the Royal Academy summer exhibition between 1971 and 1989 and other exhibitions in Germany, France, America, Australia and Jersey. His works, however, have never been shown in Malta and neither have they been featured in publications focusing on artists having Maltese connection. Mr Busuttil’s engravings are varied but most of the ones currently on show feature London streetscapes. 

Miriam Maisel a very personal reflection on the industry the job as a continuity girl and the people. Educated in France born in Clacton. Helping out as continuity for 77 Park Lane  film. Film made at Walton in 3 languages at 18. On to Religious film for Rank. Sanders of the River as continuity 1936. Involved with Quota Quickies .Wartime WW 2 worked on documentaries.Employed by Colin Harris as  Political advisor assistant on films. British Studio News Wardour Street. Talks of sexual harrassment on the set at the time. Also acoholism. Worked at Ealing on George Formby films. London correspondent for Hollywood reporter at one time. And for Odeon Publicity department. Career as a journalist with some time on the Northern Echo. 

…ward Thomas. Also, a rumour that circulated about Bernstein’s ennoblement.[END][Alan Lawson wrote;] (It had been hoped that Bill would continue to record at a later date, but he finally told us, havin…

Peter  Newbrook BSC (29 June 1920 - 19 June 2009) was an English cinematographer, director, producer and writer. Peter Newbrook was born in Chester.  He began his career as a 14 year-old messenger boy at Warner Brothers' Teddington Studio. By 1937, he had worked his way up to focus puller. In 1942 he was employed by Ealing as first assistant cameraman. During the Second World War he made Army training films with the Army Kinematograph Service at Fox Studios and was commissioned as a Second Lieutenant. After the war In 1947, with drummer Carlo Krahmer, he co-founded Esquire Records, which specialised in jazz music.  Peter was the focus puller on It Always Rains on Sunday (1947) directed by Robert Hamer and photographed by Douglas Slocombe. In 1948 he went freelance and worked with the directors Charles Crichton, on Against the Wind (1948) photographed by Lionel Banes , and Charles Frend, on Scott of the Antarctic ( 1948) photographed by  Osmond Borradille , Jack Cardiff  and Geoff Unsworth . In 1950 Newbrook made Changing Face of Europe, a series of five documentaries shot in Technicolor to show the Americans how money from the Marshall Plan was being spent.He went to work at Alexander Korda’s Shepperton Studios. The first film was The Sound Barrier (1952) with David Lean photographed by Jack Hildyard , followed by  – Hobson’s Choice  (1954) again photographed by Jack Hildyard ,Peter then went on to David Lean’s Summertime (1954), The Bridge on the River Kwai (1957) both photographed by Jack Hldyard  and was one of the three ‘second units’ on Lawrence of Arabia photographed by Freddie Young.He worked as second unit photographer with Freddie Young on the classic long shot of Omar Sharif riding a camel as he emerges from a mirage at the beginning of David Lean's Lawrence of Arabia (1962). Later in the 60s his  work as cinematographer – and  producer – included  Gonks Go Beat ( 1964) ,The Sandwich Man (1966), The Smashing Bird I Used To Know (1969)and  his sole directorial credit - The Asphyx (1972).In the 1970s due to the decline of the British film industry he turned to television. He worked as a freelance lighting director   at Granada TV on shows such as Coronation Street,  and Yorkshire Television’s Emmerdale Farm   In 1977 Peter  joined Anglia Television   in  Norwich, making episodes of the popular drama series Tales of the Unexpected. He retired in 1990 as a senior lighting director.Peter was President of the British Society of Cinematographers from 1984 to 1986. BEHP 0374 Filmography taken from BFI database in 1996.All credits GB1949 Melody Club. Photography1952 Sound Barrier. Aerial photography1953 Captain’s Paradise. Camera Operator1957 Bridge over the River Kwai. Camera Operator1962 Lawrence of Arabia. Second Unit photographer1963 That kind of Girl. Photography1963 Yellow Teddybears. Photography1963 In the Cool of the Day. Photography1964 Saturday Night Out. Photography1964 Black Torment. Photography1965 Gonks go Beat. Producer, Photography, author of original work1965 Rig Move. [Documentary for BP, in Libya] Photography1966 Sandwich Man. Producer, photography. [Covered in Side 10 of interview]1966 Press for Time. Producer, photography. [shot at Beaconsfield; covered in Side 10]1967 Corruption. Producer, photography. [shot at Isleworth; covered in Side 10]1969 A Smashing bird I used to Know. Producer, photography. [Reel 5, side 10]1970 Doctors wear Scarlet. Executive producer. [location in Cyprus]1971 She’ll follow you anywhere. Producer, author of original work. [Breakup of original company – Titan closed]1971 Crucible of Terror. Executive Producer, photography. [with Disc Jockey Mike Raven]1972 Asphyx. Director.  [Last film with Freddie Francis; 35mm Todd-ao, quadrophonic sound. Discussed on side 11 of interview]There was an interview with Peter Newbrook in Perfect Vision, v.6, no 21, Spring 1994, pp61-63.   

Gerry Humphries was a prolific sound technician, and former head of Twickenham Film Studios, Humphreys’ 250 film and tv credits include many directed by Richard Attenborough. Nominated for five BAFTAs he won twice for A Bridge Too Far (1977) and Cry Freedom (1978). Other credits include Blade Runner (1982), Gandhi (1982) and Hamlet (1990).He was nominated for two Oscars - A Chorus Line 1985 and Gandhi in 1982 in the category Best Sound.Gerry joined Twickenham Film Studios as Sound Recordist and, with the departure of Stephen Dalby in 1969, he became Head of the Sound Department. A talented mixer, Gerry was much in demand by directors. Richard Attenborough mixed all of his films with him at Twickenham and Gerry’s credits appear on many famous films throughout the 70’s, 80’s and 90’s. During the 1970’s and 80’s, Twickenham Studios continued to do well, both on the stages and in the theatres, so much so, that it was decided to expand the facilities.Gerry succeeded Guido Coen in the running of Twickenham Film Studios in 1996.  behp0364-gerry-humphreys-summaryBorn in Llandrindod Wells in1931. Educated various places, left school in 1947 first job as office boy at Nettlefold Studios – has some interesting stories about those days. Was promoted into the Sound Department as a general hand. 1949 National Service in the Royal Air Force. Demobbed 1951, back to Walton Studios as Boom Assistant to Fred Ryan. Then when Fred was promoted to Recordist, he became boom swinger. The Adventures of Robin Hood series; I was Monty's Double Talks about location work and problems of batteries. Then Technicolor added to the problems created. In those days there were never any redundancies. He talks about the differences he noted of working practices between Walton and ?[Summary ends abruptly at this point]

estor Montague 'Monty' Berman, producer and cinematographer, born 1912; died June 20 2006. an East End Jew, from Whitechapel, east London. After University College school, Hampstead, he went to work at Twickenham studios, eventually becoming a cameraman, an early notable credit being Michael Powell's semi-documentary The Edge of the World (1937). Later, he worked with the second unit on Carol Reed's The Third Man (1949). He made his debut, as cinematographer and director respectively, when he and Robert S Baker co-produced A Date With a Dream (1948) and Melody Club (1949), two low-budget comedies Berman and Baker were soon established as suppliers of modest, second-feature thrillers, sometimes featuring fading Hollywood stars and boasting titles like Three Steps to the Gallows (1953) and Bond of Fear (1956). They diversified slightly with Love in Pawn (1953), starring Bernard Braden and Barbara Kelly, and produced several films in Ireland for Emmett Dalton. Blood of the Vampire (1958), with Donald Wolfit in a typically unrestrained performance and Berman making the most of a garish colour process, was followed by Jack the Ripper (1958) and The Flesh and the Fiends (1960), with Peter Cushing and Donald Pleasence in a reworking of Burke and Hare. unexpectedly good reviews for The Siege of Sidney Sreet (1960), Probably Berman's most notable production, also as cinematographer, was What a Carve Up! (1961), an adaptation of The Ghoul, co-written by Ray Cooney, Their first commission for TV from Grade was the black and white run of The Saint (1962-65),  Gideon's Way (1965),  The Baron (1966), paired with writer Dennis Spooner, Berman made The Champions (1968), Randall and Hopkirk (Deceased) (1969-70), Department S (1969-70) made a star of Peter Wyngarde,  Jason King (1971-72)After The Adventurer (1972), with Gene Barry, Berman retired from production. He lived to see his work revived on video, satellite television  A pdf of Monty Berman's (partial) filmography; and of a cv-publicity handout will be found below the tabs.

Born 1928 in the same house as now; local school, then UCS Hampstead. During the war got to know Gordon McCallum who later was able to introduce him to Denham Studios where he got a job as an assistant in the sound department.  move to the BBC Television Film Department. He then got involved in the design and manufacture of a lightweight blimp but to do so had to leave the BBC.his travels when working with Dick Cawston on a programme on Global Television. He talks about equipment maintenance whilst on location, sound systems used by the BBC, and about the fibre glass blimp he and his ex-BBC colleague Neville Bruce [designed?]. They were working from Radlett in a farm building. He also worked outside as a sound recordist with their new blimp, working with Denis Mitchell.  He has an interesting tale to tell when his new company, . He then goes on to talk about the changing role the company played due to the fast changes of practices in the industry. He talks about the difficulty of set-up training programmes faced by small companies. The firm changed over to provision of hardware, and not without providing crewing and equipment hire [?] He talks about the use of radio mics. behp0358-michael-colomb-summaryNOTE: This interview is rather technical as Colomb is a technician who has always been involved with the technical side of sound recording. However, the interview is full of anecdotes which are well worth following through.SIDE ONEBorn 1928 in the same house as now; local school, then UCS Hampstead. During the war got to know Gordon McCallum who later was able to introduce him to Denham Studios where he got a job as an assistant in the sound department. He talks about those days and then his move to the BBC Television Film Department. He then got involved in the design and manufacture of a lightweight blimp but to do so had to leave the BBC.SIDE TWOTalks about Independent Frame and the making of Sound Effects. He talks about his travels when working with Dick Cawston on a programme on Global Television. He talks about equipment maintenance whilst on location. He goes on to talk about various sound systems used by the BBC, and about the fibre glass blimp he and his ex-BBC colleague Neville Bruce [designed?]. They were working from Radlett in a farm building. He also worked outside as a sound recordist with their new blimp, working with Denis Mitchell.  He has an interesting tale to tell when his new company, Better Sound, took over part of the bonded film store in Endell Street.SIDE THREETalking about taking over the lease of Endell Street and later buying the freehold. He then goes on to talk about the changing role the company played due to the fast changes of practices in the industry. He talks about the difficulty of set-up training programmes faced by small companies. The firm changed over to provision of hardware, and not without providing crewing and equipment hire [?] He talks about the use of radio mics.SIDE FOURThis side deals mainly with recollections.END