Search Results for: Alan Lawson

Peggy Rignold, make-up artist, later to become Mrs Hyde-Chambers, wife of the film editor Derek Hyde-Chambers, She later  worked for Lew Grade as an administrator. behp0357-peggy-hyde-chambers-summaryBorn 1917 into a showbusiness family, mother and father were both actors, so schooling very difficult, both Peggy and her brother Harry started acting at age 4. She can remember working at Stolls on a film with Harry whilst her father was working on the next set on a film directed by Fred Paul. By the time she had reached the age of 14, both she and Harry had decided that they didn’t want to act any more. Peggy got a job at BIP working in the wardrobe; Harry went on his way to work in the camera department. She later transferred to the Make-up Department at BIP [British International Pictures]. John Stafford asked her to go to Shepperton and take over the make-up Department when he opened up his venture. On the outbreak of war, she joined the FANYs [First Aid Nursing Yeomanry] later to be transferred to the AKS [Army Kinomatograph Service] at Wembley where she worked with Freddy Young and Derek Hyde-Chambers, whom she married, working in the cutting rooms. After the war she went to Denham to do sub-titling for foreign versions, then changed over to ‘revoicing’ of actors’ roles; later she changed over again to be a receptionist/administrator and finally working for the Lew Grade organisation in a similar role.This is a very interesting interview from the point of view of the ease with which some people are able to change discipline without so much as a blink.

Born 16 November 1927 Windsor Berkshire. Guildford High School for Girls in WW2. St Andrews University in History. Relates family history. Graduated 1950. Worked on African Queen film wardrobe. Art school Guildford. Joined BBC 1951. Trainee general duties.   Salary £4. 50p per week. Joan Gilbert's social secretary. Sent invitaion to join BBC to David Attenborough. Relate stories of Picture Page events. Rotated through many BBC programmes. Including on Coronation 1953. 1955 joined Sculpture of Ramsgate programme. Wallace Collection English Country Church. First film for Monitor on Rodin. Produced Civilisation Point Counterpoint and America for BBC  behp0348-ann-turner-summarySIDE ONEBorn 1927. Father a GP in Berkshire. Went to High School for Girls, Guildford, got her ‘Higher Schools’ [certificate: exam] but no place in ‘Oxbridge’; went to St Andrews where she got an MA (Hons) in English and History. Worked for a time with Mrs Langley Moore, (Costume Museum lady) [She helped found the Costume Museum, Bath. DS]. Tried for a BBC job, taken on as a trainee, provided she brush up her typing. She talks about her days working on Picture Page, then working with Richard Dimbleby on Around Britain and other programmes. She went off sick with TB and on return worked with John Read on Black on White, then on Read’s second Henry Moore film, as well as two films on Stanley Spencer [Stanley Spencer, Cookham Village DS]. She then talks in some detail about working on the Monitor programme.SIDE TWOMore about Monitor. Then some detail on the preparation and filming of Civilisation – Kenneth Clark’s epic series. She talks about America: a personal history of the United States (Alistair Cook). In 1964 she is at last made a Production Assistant. In that year Donald Baverstock killed off Monitor, but she went to work on Pictures Without Frontiers. In 1967 she is made an Assistant Producer. She then goes on to talk about the planning of Civilisation in some detail.SIDE THREECivilisation continued. Then about Alistair Cooke and the America series. She then talks about her programme on Inigo Jones (1973) then about her series on Pioneers of Photography. She then moves on to talk about the Royal Heritage series and the film she made [Victorian Memory. DS] about the Life of Princess Alice (aged 93, Countess of Athlone, grand-daughter of Queen Victoria). In 1978 she went to the [United] States to make a film about The Library of Congress and a series of ‘art films’.SIDE FOURShe talks about the difficulties of being separated from one’s base. Then about the preparation of the series on Scarlatti [Domenico Scarlatti DS] which were transmitted in 1985. She then goes on to talk about her programme on [John James] Audubon, [The Million Pound Bird Book DS] who was a pioneer in illustrating natural history. She then talks about her last film, on Donatello, which was transmitted in 1986. Finally, she talks about working for the BBC.[END]

Brought up by mother from baby. Normal schooling. Mother PA to an MP. Lived in Fulham. Stepfather in RFC. Moved to Wickford until 21 years. With uncle built first wireless receiver in village of Wickford for early BBC broadcasts. Heard Dame Nellie Melba singing.Joined a bank. Called up in army ended in Queens regiment.Promoted to Staff officer. BBC Dramas after army .Early programmes. Panorama with 35mm film. With Percy Thrower on Gardening Club all live. Ballet. Worked in France live programmes from Paris.Pioneered first programmes from USA on film before Videotape. Brains Trust. Union difficulties working in USA. Blue Peter. Songs for the Times. Produced with Malcolm Muggeridge on George Orwell programme.Returned ot BBC as Freelancer for last years.Guild of TV producers member. Behp0341-john-furness-summarySIDE ONEBorn in Worcester, 1911. Parents separated when he was still a baby, he talks about being fostered; his mother took a job as a secretary to an MP and worked at the Houses of Parliament. She remarried when he was seven, and sent to another foster home where he stayed until he was 21. He talks about growing up in the village of Wickford, Essex. Left school at 16, his step-father got him a job in the Anglo-South American Bank. Side 1 is full of interesting social history about village life.SIDE TWOAgain he talks about his growing up period and his interest in the theatre.SIDE THREEHe continues to talk about his interests; he also talks about earning £5 a week playing the piano at the Florida Club – his bank wages were £3. He has moved to another bank, the British Overseas Bank. When the war started joined ENSA [Entertainments National Service Association] and in 1941 moved with them to Denham House; was sent to the Oxford area to look after Queen Mary’s Entertainment for the Troops. After Dunkirk, was called up: joined an NCO’s [Non-commissioned Officer] course, later selected for an OCTU [Officer Cadet Training Unit] and by the end of 1941 was commissioned and asked to join the Indian Army. He talks about this period.SIDE FOURHe continues to talk about his Indian period and the time when he took charge of troops sending radio messages home. In 1946 on demobilisation he joined he joined the BBC European Service as an SM. He then managed to get a transfer to television at Alexandra Palace, and again talks at some length of his early days there.SIDE FIVEHe talks about early episodes of Panorama (1953); Brains Trust (TV version). He talks about Andrew Miller Jones, Mary Adams, and the first use of a teleprompter, by the Earl of Harewood. Howard Thomas and The Brains Trust; Then Gardening Club, with Percy Thrower. He then talks about the expansion of programmes from the regions, which took away some of John’s programmes. However, he then went on to produce the Barry Bucknall D.I.Y. [Do it Yourself] series. He then goes on to talk about Andrew Miller Jones and the production of Panorama.SIDE SIXMore about Panorama, when he took over from Miller Jones. He then talks about The Brains Trust which he produced from 1955 to 1961 when Donald Baverstock killed off the programme. Owen Reed of Children’s Television asked for John to take over Playbox, which he produced from 1961-1963. He talks about the programme in some detail. He then went to produce Blue Peter.SIDE SEVENAfter Blue Peter he was loaned to Jamaica TV which was starting up after independence, and he talks about that period. On his return he took over the training of new producers. His next series was to be Songs for the Times, followed by the An Evening with series.SIDE EIGHTHe talks at length about An Evening With and people who took part. Then came a 13-part series with Spike Milligan. [Muses with Milligan]SIDE NINEHe talks about the programme he made with Lady Margot Asquith. He took early retirement at 59 and joined the staff of the Polytechnic of Central London. He then talks about the BBC in general and the types of staff he met.[END]

 behp0339-joan-baddeley-hugh baddely-cvJoan Baddely.Married to Hugh Baddeley (Director, Writer (non-fic), 21 Jan 1912-11 Nov 1992). Lived in Dagenham and moved to Wood Green. Left school 1948. Worked for Legal & General in various depts. Price Waterhouse in 1954. Provincial Newspapers, also 1954. In AMDRAM [Amateur Dramatics] Wood Green. Trent Players joined by Hugh Baddeley in 1961.April 1962 married Hugh Baddeley. Joined Hugh Baddeley her husband on location trips for his documentaries. Worked alongside her husband on projects . Extra recording is Hugh Baddeley talking to his mother. She was involved in making lantern slides.[There follows the tribute to Hugh delivered at his funeral; and then a letter from Joan to Bryan Langley regarding Hugh’s career and awards, in the context of a possible publication. DS]Hugh Baddeley.HUGH BADDELEY F.R.P.S. M.B.K.S. F.A.C.I.Hugh Baddeley died on November 12th aged 80. He leaves a wife Joan and two daughters, Philipa and Antonia.In the intense mid-day heat of equatorial Africa the drone of a light aircraft engine above the incessant chirping of the cicadas heralded the arrival of the little five seater Missionary Aviation Fellowship plane. The pilot banked steeply as he lost height for his final approach and then skilfully brought it down on to the crude airstrip hacked out of the jungle. That was in October 1983 and it brought Hugh Baddeley - and me as his sound recordist - to the interior of Zaire. Our job in the following nine weeks was to make a series of films for just two of the many charities for whom he worked over a long and successful career - The Leprosy Mission and the Baptist Missionary Society.For Hugh this was a return trip to Zaire. It came thirty-four years after his first visit in 1949, when it was still the Belgian Congo and he'd just taken the momentous step of throwing up his bank job and turning professional. That initial trip to the mosquito-infested Congo Basin was to make a film for the Salvation Army. But even then he was no raw beginner having won his spurs - a Ten Best Oscar - in 1938 with a l6mm black and white production for the Planet Film Society. That film, carrying his credits for script, direction, and editing, and called Refuge had received considerable critical acclaim.This present assignment in Zaire took us to the North East Corner of that country for the leprosy film and then to isolated Baptist mission stations on or near the banks of the Congo (Zaire) river and finally back to the capital Kinshasa in the west, travelling mostly by these light aircraft, over limitless miles of tropical rain forest. “We haven't lost a missionary for seven years” they assured us, and I'm not altogether certain that put us at ease, nor, I’m sorry to say, did the pilot's prayer for a safe journey before each take-off. When flying was out of the question transport was by hard-sprung Land Rover over rough jungle tracks or squeezed into narrow pirogues (hollowed out tree-trunk canoes) down or across the wide Zaire river. All our equipment - three cameras, film stock, recording gear, tripod, lighting and personal baggage travelled the same way. That we lost nothing on that trip still amazes me.Operating in these remote places was the norm for Hugh Baddeley Productions, the company he ran from his home in South Hertfordshire. The comparatively low-budget - but none the less professional - films he made were a Godsend to his charity clients who probably couldn't afford any kind of film were it not for Hugh and a few producers like him. In addition Hugh made educational and industrial documentaries as well as slide-tape and film-strip productions but there is no doubt, as you discovered when you talked to him, that these 'appeal’ films gave him the greatest satisfaction. And it all started because he was a successful amateur.Hugh was a founder member of the Planet Film Society in North London back in 1933. The original club was formed by a group of friends who had all left school together and who were interested in amateur dramatics. They acquired an old Pathé 9.5mm hand-turned camera and tried filming some of the sketches they'd written for themselves. "The results were quite disastrous", Hugh admitted to me. But the enthusiasm was such that the group persevered and later rented an attic over a Wood Green factory turning it into a passable studio where several ambitious productions were made. Later they moved to a room over a Palmers Green shop where their noisy and eccentric activities would no longer disturb the neighbours or strain the electricity mains when they switched on their studio lights. It was there that they recruited a variety of talents including a Set Designer and a Special Effects expert. And it was in and from this studio that the l6mm neg/pos Refuge was made.In his article in last April's [1992] AF&VM [Amateur Film & Video monthly],Hugh describes the shooting of part of that film and how, after the war, he was introduced to a local history teacher who wanted a series of films for the classroom. Out of that small beginning Gateway Films was formed as a l6mm production company with Hugh as managing director, and was very soon thriving making educational, industrial and charity films. I first met Hugh when I joined Planet in about 1948. He was chairman at that time and Planet was a leading club both in London and the whole country winning many IAC and Ten Best awards. I sat in on the recording of the music for their l6mm optical sound film Hour of Darkness - the first such amateur production. Doing nothing by halves they commissioned an original score played by a local amateur orchestra and recorded it on disc (no tape recorders in those days) in a church hall. Soon after that I left to start my own club but kept in touch and watched Hugh's career and the fortunes of Gateway flourish. Hugh was a frequent and very popular visitor to our club showing his latest productions and relating his adventures in far off places. And I never missed Gateway's annual public show organised as a promotional exercise.Gateway's staff and output grew steadily until Hugh found himself administering a complex organisation that sent crews all over the country and the world making every kind of documentary film. Educational, industrial, sales, instructional and charity appeal productions rolled off the assembly lines in Palmers Green. I nearly called them 'Non-Theatrical' films but Hugh often managed to bring real drama into unpromising subjects - such was his gift.The Gateway premises and staff expanded to include a small studio, dubbing and presentation theatres and well-equipped cutting rooms. In the end Hugh realised that he was directing less and less and managing more and more. So when Gateway were taken over by a large visual aids group, who installed their own manager - with whom Hugh didn't always see eye to eye - he decided to leave Gateway and start again with a small unit that would enable him to get back to the thing he loved most - making films.I can't put an accurate date on the formation of Hugh Baddeley Productions - probably around 1978. Anyway, about ten years later when I had retired from managing the film and video facilities at the Central Office of Information, he asked me if I would join him as sound recordist on future productions. He didn't have to ask twice. After one film in this country we made two in the USA, four in Zaire, one in Hong Kong, one in Australia and three more back home plus several slide-tape productions before he began to slow down on approaching his 8Oth birthday earlier  this year.  My job was recording sound and looking after the lighting (Redheads and Blonds) and all the electrics involved, transporting a lot of the gear, and doing a proportion of the driving. I would then help him with editing, track laying and dubbing. On our journeys he would discuss scripts with me as I drove or in airport lounges or over meals and all the time tell stories of his adventures across the world and of the people he had met. He was a wonderful raconteur and mimic and a master of several accents and I now know that I should have recorded some of those stories. I was never less than fascinated and tried for a long time to persuade him to put them down in book form which he eventually did, but up to his death hadn't found a publisher. I hope someday Joan will have more success.Hugh was a remarkable all-rounder. A shrewd business man where his early bank training came in useful; an efficient producer who knew the industry intimately and helped to shape the 16mm section of it; an experienced script writer (I once saw him write a documentary script in two hours flat), with hundreds of films to his credit. He could assume the role of producer, director, cameraman, sound recordist, editor, and projectionist as and when required. And of course, he was an author. He began by writing a number of books for amateurs on subjects like holiday filming and editing as well as regular articles in Amateur Cine World. But he is best known world-wide for his comprehensive manual 'The Technique of Documentary Film Production' (Focal Press) that has been a source of information on every aspect of the craft for countless professional as well as amateur film makers. It was in the publisher's lists for decades and went into several revisions and reprints .But Hugh never lost touch with the world of amateur movies from which he came. He was chairman of the IAC George Sewell Trust for many years and gave talks to amateur groups and judged film competitions when his incredibly busy schedule allowed. He was no stranger to competition awards himself as the shelf outside his penthouse movie theatre testifies. It is laden with trophies won at film festivals down the years.I found him a staunch and generous friend and owe him debts that could never be repaid. With his death the world of documentary as well as the amateur world has lost a pioneer and champion the like of which we may never see again. His deerstalker and bow tie were familiar sights in Brookmans Park as he walked his dogs every morning when at home, his piano and organ playing, his work in Rotary and the BPS, his enthusiasm for history and politics and his dynamic energy left one breathless.When we were in Hong Kong, making probably his thirtieth film for the Salvation Army, he was interviewed by the feature writer of the prestigious South China Morning Post. The subsequent article that appeared in a Sunday edition reviewed many facets of his remarkable career and concentrated on films he had made of suffering humanity in the world's trouble spots. Of his award winning technique the article said 'He seemed to have found the knack of getting the right angle on distress, of focusing closely on disaster, of bringing home to the well to do of the world the plight of those less comfortable, of making the dying moments of a starving child a soul-wrenching, gut-tearing experience with a visual impact that forced those in lucky countries to open their wallets as well as their hearts.'Hugh would say he was not just interested in the human drama found in a refugee camp or an African feeding programme, a leprosy treatment clinic or drug abuse centre; he was genuinely moved by it. He had tremendous admiration for the dedicated people who gave their lives to this work even though he didn't always subscribe to their religious motivations and tried, to the best of his ability, to record their achievements faithfully on film.Ron Prime. M.B.K S. November 1992 [Joan Baddeley’s letter]28th July 1994Dear Bryan,My apologies for taking so long to reply regarding Hugh's manuscript and I am indeed interested in your proposition. In actual fact, I have never read the "book" (which I have just done) as I felt that I ought to know what we are talking about. The reason that I was never shown it was the fact that I offered what I thought were helpful suggestions in the early days. This was taken as arrant criticism - the one thing that Hugh couldn't take! Even viewing rough-cuts of his films one was supposed to say "Super, marvellous" and never "don’t you think if". So, in the last few years, my opinion was never sought!Having read the book, it confirms my view that Hugh was a marvellous raconteur but the anecdotes do not transfer into a cohesive book.                                      Having said this, I would not throw it away, but I would be delighted if someone was interested enough to put it into archives.Surprisingly, there is very little about early techniques and problems which would interest film students. There is a section which he didn't put in this book about the real beginnings and Planet Film Society. As far as I know, the only left from those days is Len Andrews who got him the Murex job.The first office-cum-Girl Friday of the Gateway days is Maureen Martin (Bysouth) who lives somewhere near Coventry.  I did meet her 4 or 5 years ago and I am sure that she can be traced.   Many of the old Gateway staff are still around and I expect that they can be contacted. David Garner who used to work on the Armand Denis films is living in Glasgow although suffering badly with arthritis. To answer your paragraph 7, I will make   brief summary:1) Born 21.1.1912, died 12.11.19922) Educated Enfield Grammar School3) Joined Barclays Bank Ltd approx 1928/294) Became F.R.P.S 13th June 1955; Became a member in 19515) Chaired panel awarding RPS of Cinegroup M.B.K.S - One of the original members, before they were given Membership Nos. About 1979/80 he was given No.74? F.A.C.I 10th August 19866) Joined Rotary of Southgate 1952 President 1979/80; Paul Harris Fellow May 1991- Rotary Ideas Bank.   Certificate of Appreciation for THIS FRAGILE EARTH with Marie Stopes.1991.RPS Awards:Hood Medal - Bridge of Return for Leprosy Mission 1968George Sewell Trophy - Medieval Society 1973George Sewell Second Award which I should have to research further.BISFA Awards: 1975 Gold Award for THEY CAN BE HELPED (National Children's Home)1975 Silver Award - THE INDUSTRIAL REVOLUTION (Educational HB Prods)1977 Silver Award - FACES OF BANGLADESH (Salvation Army)1981 Slide/Strip -MOUNTAIN BOY (Leprosy Mission)Published Books:How to Edit, Focal Press First Edition 1951; Reprints 1954,1956,1958, 1960,(Translated into German, Danish, Dutch, Swedish, Spanish & Italian) 1968,1973How to Make Holiday Films, Focal Press, 1952-1957The Technique of Documentary Film Production First Edition 1963-1975In the loft is a copy of the "Daffodils" film (mentioned in the book). Pre-Blue Peter Children's TV which must have historic interest.If you would like to start the ball rolling, I will give any help that I can. Now I remember, there was a man from Hull University called James Carter who wrote a paper on the early educational film makers. He came to visit Hugh in 1992 to get his facts straight.   I have a copy of this work.I hope that all this gives you a basis to work from. There may be even more treasures in the loft that I haven't found yet.Next week 30th July to 6th August, I shall be away with Tonia and the children in Devon.  So please feel free to go ahead as you think fit. My regards to PhyllisYours sincerely[END]  BEHP 0339 S Joan Baddeley synopsis.[The interview itself follows this synopsis, below]SIDE 1.Born in 1932, King’s Cross London. The early part of this interview is an excellent slice of social history dealing with the period in which she grew up through the (just) pre-war years an the war years up to age 16 when she left to go to work just prior to taking “Matric” [Matriculation – school examinations] then talking about her first job the accounts department of Legal & General Insurance. Her early life is covered on this and SIDE 2, leading up to her meeting Hugh Baddeley, whom she married and she talks about their “honeymoon”, a working period when Hugh was making a film for Babcocks about the Aswan Dam, and an educational film about the Suez Canal.SIDE 3.She talks about the films Hugh, her husband, made for The Leprosy Mission and The Salvation Army, then she talks about going into educational film strips. She then talks about their moving to Moffats (their house, in which this interview was recorded, which dates to c 1675). She goes on to talk about the death of her husband, whom she describes as a “workaholic”, and then she reflects on her life with Hugh.

Left school at 18 went to work for Kodak in offices. Called up to Army 1942 into Paycorp.The transferred to Army Kinema Services as assistant under Sergeant Tilly Day working alongside A A Englander and Freddie Young. Demobbed in 1946 went to Denham Labs as a Negative Cutter. Had previously joined the Union ACT in 1943. Then long career working as asst to Reginald Mills on the films of Powell & Pressburger. On the Red Shoes as Assembly Cutter where Anne V Coates was also asst.For the Third Man film she edited the sewer sequence and was credited under her married name Noreen Best married to Richard Best (#8). Dubbing asst on The Malta Story. Asked by Michael Powell to edit her first film Peeping Tom in 1959 at £35 per week. To Television as Editor on the series The Prisoner. Appeared and edited a special on Michael Powell in 1992.Her editing roles with Powell and Pressburger were: The Queen's Guards (1961) [Editor]Peeping Tom (1960) [Editor]Ill Met by Moonlight (1957) [assembly editor] (uncredited)The Battle of the River Plate (1956) [assembly cutter] (uncredited)Oh... Rosalinda!! (1955) [dubbing editor] (uncredited)The Tales of Hoffmann (1951) [assembly editor]The Elusive Pimpernel (1950) [assembly editor] (uncredited)The Small Back Room (1949) [assistant editor] (uncredited)The Red Shoes (1948) [assistant editor] (uncredited)Black Narcissus (1947) [second assistant editor] (uncredited)A few credits appear beneath pdf tab below. 

Full Name: John Richard SchlesingerBorn: 16 February 1926, London, EnglandDied: 25 July 2003, Palm Springs, California, USAEarly LifeJohn Schlesinger was born into a middle-class Jewish family in London. His father was a physician. After attending St Edmund’s School, he studied English Literature at Balliol College, Oxford. While at university, he developed an interest in acting and filmmaking, experimenting with 8mm films.Early CareerAfter military service in World War II, Schlesinger pursued acting, appearing in small stage and film roles. In the 1950s, he began directing short documentaries for the BBC, which established his reputation for realism and observation.Breakthrough in British CinemaSchlesinger’s debut feature film, A Kind of Loving (1962), was part of the British New Wave and captured working-class life with grit and sympathy. It won the Golden Bear at the Berlin Film Festival.He followed this with Billy Liar (1963), a satirical look at a young man’s fantasies versus reality, which cemented his reputation.In 1965, Darling, starring Julie Christie, portrayed the glamour and emptiness of London’s swinging sixties. It won Christie the Academy Award for Best Actress and earned Schlesinger an Oscar nomination.Hollywood SuccessSchlesinger achieved international fame with Midnight Cowboy (1969), a groundbreaking film starring Dustin Hoffman and Jon Voight. It was the first X-rated film to win the Academy Award for Best Picture, and Schlesinger himself won the Oscar for Best Director.Other notable films include:Sunday Bloody Sunday (1971) — a groundbreaking film for its frank depiction of bisexual relationships.Marathon Man (1976) — a tense thriller starring Dustin Hoffman and Laurence Olivier.Yanks (1979) — depicting American soldiers in wartime Britain.The Falcon and the Snowman (1985).Madame Sousatzka (1988).Later Career & Television WorkThough his later films met mixed success, Schlesinger remained active in both film and television. He directed operas and TV movies, including An Englishman Abroad (1983) and Cold Comfort Farm (1995).Style & ThemesSchlesinger’s films often explored themes of alienation, class, sexuality, and shifting social values. He was known for mixing realism with satirical or ironic tones, and for drawing powerful performances from actors.Personal LifeJohn Schlesinger was openly gay, at a time when few directors were. His openness influenced his sensitive portrayals of sexuality and identity on screen.Death & LegacyAfter suffering a stroke in 2000, Schlesinger’s health declined, and he passed away in 2003 in California.He is remembered as one of Britain’s most important postwar directors, bridging British realism with Hollywood storytelling, and leaving behind classics like Midnight Cowboy that continue to influence cinema.  The interview with John consists of 4 sides of tape and was recorded on the the 30th March 1994. There is a note on the cassette box saying " Interview to be completed at a later date" Unfortunately it never was. BEHP 0322 John Schlesinger Filmography. (Incomplete) extracted from BFI Database 1994.All GB productions unless indicated otherwise.1946 Home Movies, including Venice.1948 Black Legend (as Producer, Director); Home Movies, including Switzerland.1950 Home Movies, including New Zealand.1952 Starfish (Script, Director, Photography); Home Movies.1953 Single Handed (Cast); Home Movies: Salzburg.1954 Home Movies: Bavaria.1955 Deal in Diving (Cast).1956 Sunday in the Park (Director, Producer, Photography); Home Movies: Bullfight; Pony for Joe Crazy Horse (cast).1957 Now Let Him Go (Ticket Inspector); Song of the Valley (Director).1958 Omnibus ed:02/02 (Camera Operator); Circus (Camera Operator, Director); Paris: The Left Bank (Director); Italian Opera Company (Director); Brussels Exhibition (Director); Cannes Film Festival (Director); Benjamin Britten (Director); British Student Orchestra (Director); On the Pier (Director); Backstage at the Rep. (Director); Innocent Eye (Director).1959 George Simenon (Director); Hi-Fi-Fo-Fum (Director).1960 Private View (Director); Time To Kill (Second Unit Director).1961 Terminus (Director, Script); Class (Director).1962 A Kind of Loving (Director).1963 Billy Liar (Director).1965 Darling (Director).1967 Far from the Madding Crowd (Director); Israeli (Director).1968 (US) Midnight Cowboy: Jon Voight screen test (Director)1969 (US) Midnight Cowboy (Director); Midnight Cowboy Light Show and Ultra Man Light Show; Liquid Wheel Light Show; Childers/Morrisey underground film.1970 Film Training: John Schlesinger (subject of film); Omnibus: John Schlesinger (on-screen participant).1971 Sunday, Bloody Sunday (Director); (US) Once: Dustin Hoffman screen test (Director); Once (Director).1973 (US) Visions of Eight, episode 8 (Director, screenplay).1974 (US) Day of the Locust (Director); Day of the Locust- le predicament de Cherie (Director).1976 (US) Marathon Man (Director); Marathon Man -joke reel (Director); Magic of Hollywood is the Magic of People (On-screen participant).1979 Yanks (Director).1981 (US) Honky Tonk Freeway (Director).1983 An Englishman Abroad (Director).1984 Separate Table (Director).1985 (US) Falcon and the Snowman (Director); Believers (Director); Believers – Joke Takes (Director); Madame Sousatzka (Director, Screenplay).1990 (US) Pacific Heights (Director); Coral Browne – Caviar to the General (On-screen participant); (US) Waldo Salt – a Screenwriter’s Journey (cast member).1991 Lost Language of Cranes (Derek); A Question of Attribution (Director).1993 Innocent (Director); Northern Lights (on-screen participant); Aspern Papers (Director)**possible unrealised project? 

…levision and students interested in the cross-over should find this rewarding. [Alan Lawson 1994].SIDE ONEBorn 1921, Northern Irish side of County Tyrone village of Caledon. Father a minister, mother …

Pamela Mann-Francis (née Pamela Anne Mann) was a distinguished British script supervisor, known for her meticulous attention to detail and significant contributions to cinema. Born on March 26, 1927, in London, she developed an early passion for film, frequently attending local cinemas during her youth, even amidst wartime air raids. Leaving school at sixteen, Mann-Francis acquired proficiency in Pitman shorthand and embarked on a career in advertising and music publishing. Her entry into the film industry began with a position at The Rank Organisation, followed by a role in the publicity department of Wessex Films at Pinewood Studios. Her dedication and skill led to a pivotal opportunity in 1955 when she stepped in as a script supervisor during the production of “Summertime,” marking the start of her  career in continuity. Throughout her career, Mann-Francis worked on numerous notable films, including:• “The Bridge on the River Kwai” (1957)• “Billy Liar” (1963)• “Star Wars: Episode V – The Empire Strikes Back” (1980)• “Raiders of the Lost Ark” (1981)• “Star Wars: Episode VI – Return of the Jedi” (1983)• “Never Say Never Again” (1983)• “Indiana Jones and the Temple of Doom” (1984)• “Little Shop of Horrors” (1986)• “Who Framed Roger Rabbit” (1988) Her expertise ensured consistency and continuity across scenes, contributing to the seamless storytelling of these cinematic classics. In her personal life, Pamela married acclaimed director and cinematographer Freddie Francis in 1963. The couple first met while working on “Saturday Night and Sunday Morning” and grew closer during the production of “The Innocents.” They remained together until Freddie’s death in 2007. Pamela Mann-Francis passed away on August 23, 2020,  A pdf list of key names has been added to the biographical field.

BEHP 0310 S Bob Angell Synopsis.Born1921. Schooling: Marlborough; joined the TAs at the age of 17, called up September 1939 into. the Royal Artillery; de-mobbed in1946, tried to get into the Regents Street Polytechnic to take the cine course but it was full up. Got a job as an assistant editor. Finally, after starting at Technicolor in the Negative Assembly Dept., he got his ACT card but soon after the Poly offered him a place on their Photographic Course. After one year, having passed he then got himself an assistant editor's job: with The Crown Film Unit in the Beaconsfield studios.He worked to Bill Freeman, working on World in Action also did research and direction; When the Tory Government closed down Crown in 1951/52, He applied to the BBC but Shell Films offered him an Asst directors job, he talks about working on a 3D film with Denis Segaller. Together with Godfrey Jennison, Arthur Wooster, and Dick Marsden they started “Film Partnership", making films for the COI and sponsored films. Through working with Stephen Hearst and Peter Hunt, met Richard Dimbleby, who came into the Company as Chairman, bringing the much-needed extra finance. in 1965 he. started to freelance, he then joined up with Ronnie Spencer to make sponsored films under the under the banner Lion Pacesetter Productions, but when the British Lion was subject to a takeover by property developer John Bentley, they managed to buy the company back and set up shop in 82 Wardour Street.  He talks about the books which he wrote for the BFI, and his time as Chairman of BAFTA's Programme Committee. BEHP 0310 S Bob Angell Synopsis.SIDE 1.Born1921. Schooling: Marlborough; joined the TAs at the age of 17, called up September 1939 into. the Royal Artillery; de-mobbed in1946, tried to get into the Regents Street Polytechnic to take the cine course but it was full up. Got a job as an assistant editor. Finally, after starting at Technicolor in the Negative Assembly Dept., he got his ACT card but soon after the Poly offered him a place on their Photographic Course. After one year, having passed he then got himself an assistant editor's job: with The Crown Film Unit in the Beaconsfield studios.He worked to Bill Freeman, working on World in Action also did research and direction; When the Tory Government closed down Crown in 1951/52, 100 members of the staff were axed. He applied to the BBC but Shell Films offered him an Asst directors job, he talks about working on a 3D film with Denis Segaller. Together with Godfrey Jennison, Arthur Wooster, and Dick Marsden they started “Film Partnership", making films for the COI and sponsored films. Through working with Stephen Hearst and Peter Hunt, met Richard Dimbleby, who came into the Company as Chairman, bringing the much-needed extra finance.SIDE 2He continues to talk about Film Partnership providing facilities for various BBC programmes. When Richard became ill the heart went out of the company and it started to die. On the death of Richard, David Dimbleby bought them out. So, in 1965 he. started to freelance, he then joined up with Ronnie Spencer to make sponsored films under the under the banner Lion Pacesetter Productions, but when the British Lion was subject to a takeover by property developer John Bentley, they managed to buy the company back and set up shop in 82 Wardour Street. They prospered reasonably well until they found there were too many companies chasing fewer and fewer slots in Channel Four.SIDE 3. He continues to talk about the problems of small companies trying to get commissions from the ITV companies. He talks about the books which he wrote for the BFI, and his time as Chairman of BAFTA's Programme Committee.He also gives the history of, the Founding of BAFTA via The British Film Academy & The Guild of TV Directors and then the Society of Film and Television Arts. Finally, he talks about making commercials.N.B. This interview was recorded in BAFTA's members’ bar so there is fairly heavy background noise.END. 

Born in Ireland.No electric light in house.Father carpenter.Moved to Birminham 1930. First saw lantern slide shows advertised. Built a home cinema using 9.5mm and developed film at home. Grammar School scholarship. Schoolboy visit to projection box in 1932 still had sound on disc equipment. First job making metal signs. Rewind boy in Cinema first job in cinema Handsworth 1936. Stayed in Cinema at start of war. Promoted to Chief Projectionist at 18. 1940 joined RAF. Worked in RAF cinema. Left RAF 1945. Private cinema in Handsworth as projectionist. Joined Rank Cinemas