Search Results for: Alan Lawson

Kevin Francis a British film and television producer.Prior to working in film production, Francis had apprenticed in livestock working his way up to a slaughterman before becoming a livestock buyer.[3] Francis' time working as a buyer gave him additional training in accounting and finance and when approached by someone who worked for a smaller film producer this lead to Francis gaining experience as a producer including on a few films by Hammer Film Productions.[3]He has worked in the cinema as a production manager and producer and in television as a producer and executive producer. He founded the production company Tyburn Film Productions Limited, which Francis, as a horror fan, sought to make Tyburn a successor to Hammer Film Productions and Amicus Productions.[3] . His father was cinematographer and film director Freddie Francis.additional Filmography:And Now for Something Completely Different (1971) (production manager),Persecution (1974) (producer) ... a.k.a. Sheba, The Graveyard, The Terror of Sheba,The Ghoul (1975) (producer) ... a.k.a. The Thing in the Attic,Legend of the Werewolf (1975) (producer),The Masks of Death (1984) (executive producer),Murder Elite (1985) (executive producer).Peter Cushing: A One-Way Ticket to Hollywood (1989) (executive producer)Son of Freddie Francis (cinematographer) behp-0302-kevin-francis-summary[nb There are some faults on the interviewer track, caused by a faulty microphone lead]SIDE ONEBorn 1949 in King’s Cross, London. Comprehensive school, left at 17 to train as a butcher. Met Leon Clore in 1966/67 and gave up butchering to work with Film Contracts, doing odd jobs. Joined ACTT with some difficulty then freelanced as a Second Assistant Director; worked at Bray Studios, worked at ITC as a Production Manager; tells an amusing story about an incident when filming Man in a Suitcase. Back to Hammer, then he became Production Supervisor for ITC’s [sic, but this was a BBC production. DS] Monty Python show made at Pinewood. Together with a colleague he started Tyburn Films, after small films he went to Hollywood and stayed for 18 months. Whilst there he decided that the only future was to make TV films. He then goes on to talk about his union activities, which started with USDAW when he was a butcher, and how he transferred to ACTT.SIDE TWOHe continues to talk about union matters and then goes on to reflect on his present position, and past.[END]

behp0301-john-shirley-biographyJohn Shirley has more than fifty feature editing credits, many listed below, covering every type of production.He has worked with – among others – Directors and Producers such as Cubby Broccoli, David Puttnam [BEHP Interview 600], Arthur Hiller, Guy Hamilton, Lewis Gilbert [Interview 386], Alvin Rakoff, Raoul Walsh and J. Lee Thompson.He has many nominations, including two Emmys and one BAFTA . His credits range over two ‘Bonds’ one ‘Superman’ Chitty Chitty Bang Bang, Reach for the Sky, Lion of the Desert together with the earliest of the ‘Carry On’ series. He has worked all over the World: USA, Canada, Malaya, North and South Africa, Italy, Spain, New Zealand and Zimbabwe.behp0301-john-shirley cv/filmography[NB May be incomplete. DS]Superman IVParadise Postponed (13x 1hr episodes).King Solomon’s MinesHitler’s S.S.KimSavage IslandsExperience Preferred but not EssentialP’Tang Yang KipperbangLion of the DesertCity on FireTomorrow Never ComesWinners IIThe SqueezeThe Man with the Golden GunLive and Let DieThe Internacine AffairZeppelinThe FourteenWhen Eight Bells TollRed Tent (Italian version)Chitty Chitty Bang BangDr. FaustusDrop Dead DarlingPromise her AnythingJoey BoySeventh DawnI Could Go on SingingCarry on Nurse (and 9 more pictures for Peter Rodgers/Gerald Thomas)Sherriff of Fractured JawCarve Her Name with PrideSeven ThundersUp in the WorldReach for the SkyMan of the MomentScarlet SpearHot IceGathering StormBlackmailedWild Justice (2x2hrs)To be the Best (2 x 2hrs)Dr. Jekyll & Mr. Hyde (Michael Caine version)Out of TimeVoice of the Heart (2x2hrs)   I                                   

298    GERRY ANSTISS           SynopsisBorn 1928, Hampstead. Talented scholar – RAM. Holloway County High School. 1939, leader of junior symphony orchestra. Rock Studios – apprenticeship, 6 months each section.Jimmy Wilson chief cameraman.Called up November 1945, Royal West Kent Regiment. Demobbbed May 1948.ABPC (Associated British Picture Corporation) Welwyn Garden City.Clapper boy – Otto Heller. Cavalcanti.ABPC to Elstree.Dancing years – first foreign location. Stephen Day. Norman Warwick. Harry King – sound. Vic films – Joe Janni. Mario Martelli, assistant in Italy.Interview with Freddie Young at MGM – Ivanhoe. The Hour Of  13.Tommy Howard – worked in Special Effects department. Fed up. Offered job at Pinewood – split team camera. George Ashworth, Vic Margutti, Roy Field.Back on floor as clapper, then focus puller, with Jack Atcheler. Met Harry Waxman, Geoff Unsworth, Chris Challis, John Alcott. 298    GERRY ANSTISS          SynopsisCampbells’s Kingdon, Hell Drivers, A Tale Of Two Cities, North West Frontier. J Lee Thompson. Most encouragement from Harry Waxman. Roy and John Boulting – given first job as operator. Charter Films, British Lion, Elstree – 16 years. Worked on Hornblower at Denham – Harry Waxman camera.Most impressed with Roy Boulting as director. John Schlesinger.Cameras – Debrie, Vinten H and Everest. BMC – Newall. Technicolor – Arriflex. Panavision – Mitchell.Michael Winner. Dick Donner – director.Favourite pictures: Yanks – Dick Bush, Schlesinger. Worked with Gil Taylor for five years.  Merton Park  - AT Dinsdale [??] early days after War.Last picture with Harry W: [Digby] The Biggest Dog In The World.Worked with: Robert Taylor, Gregory Peck, Elizabeth Taylor, Bette Davis, Victor Mature.

One of the most famous theatrical impresarios in British light entertainment Alfred Black produced numerous post war revues and musicals in London's West End and the provinces. Together with his brother George they discovered the comedian Sid Field and brought him to London where he starred in shows such as Piccadilly Hayride and Strike a New Note. Alfred Black was born in Sunderland. The family were steeped in show business, his grandfather was a travelling showman and his father, George, was to become one of London's most powerful producers, presenting shows at the London Palladium and controlling the Moss Empires variety circuit. Alfred's brother George was two years his elder and both of them decided at an early age to go into show business. During WW2 Alfred served in the Army Film and Photographic Unit and in 1942 he married the stage and screen actress Roma Beaumont. George Black Senior died in 1943 after which the two brothers took over the family's flourishing entertainment empire. They presented many star name West End shows including Harvey, starring Sid Field and Wedding in Paris, starring Evelyn Laye. In 1957 the brothers were among the successful consortium (which included the film producer Sidney Box) who invested in Tyne Tees Television. As one of the smallest of all ITV regions the company's ambitions were modest but among their successes were Saturday Showtime, starring the comedian Jimmy Logan, and The One O'Clock Show, starring Sheila Mathews. The latter had the highest viewing figures in the UK for a lunchtime show and boasted more than 150,000 viewers each day. George Black died in 1970 aged 59 and Alfred continued to produce television and variety shows with leading stars. In his retirement he and his wife Roma were noted for their lavish show business parties which they held at their penthouse in North London, once the home of Peter Sellers. Roma Beaumont died in 2001. IMDb Mini Biography By Patrick Newley. BEHP0287-alfred-black-summary  THE FULL INTERVIEW APPEARS BELOW THIS SUMMARY.  SIDE 1  Born 1913, in Roker a suburb of Sunderland. Educated at the Durham School, with his brother George, and came to London in 1926, when his father, famous George Black took over the running and the rebirth of the London Palladium. In 1930, a friend of his father’s, John Maxwell, gave him a job in the camera department. In 1937 he joined Moss Empires to learn “Show Biz”.  1939 joined ENSA,  (Entertainment National Service Association) then joined the Royal Tank Regiment, then joined Army Film Unit, No 2 Unit becoming a Captain. After the war in 1946, he started producing revues with his brother George. In 1959 invited to join Tyne Tees Television with his brother where they both worked as programme directors, each doing two and a half years at Tyne Tees, whilst the other carried on theatrical production. They both left Tyne Tees in 1963. Did Sunday Night in Blackpool for ATV whilst Sunday Night at the London Palladium was having its summer break. George died in 1980. Alf talks about the various shows that were produced by Tyne Tees, and says the experience was five wonderful years.  SIDE 2  Very general talk about television.  NB: Train and Aeroplane noise throughout this recording.     

EvansAfter two years in Dental School, Len realised that looking into a camera viewfinder was much more interesting than looking into people's mouths so joined Paramount Pictures as a trainee.Joining Studio Film Laboratories in 1952 for further training in laboratory practice, he fell in love with the place and continued to work there for over 40 years. After involvement in sensitometry and chemical control, grading, printing and processing Len was appointed Director and General Manager of Studio Film and Video Laboratories in 1980.Len was particularly knowledgeable about film treatments for restoring damaged, shrunken or warped films and was very involved in the 'Film Clinic' which specialised in these techniques. Len was an avid collector of technical journals and equipment related to the film industry, much of which he stored in his office over the course of his long laboratory career.Len joined the BKSTS in 1951 and became a member of the Laboratory Committee in 1979.As well as a distinguished career as a film laboratory technician Len was, in his spare time, a Special Constable in Central London and, when he was not working, Len enjoyed the freedom of the skies as a keen aerobatic pilot.In the early 1990's Studio Film and Video Laboratories became Soho Images and when he retired from Soho Images Len set up a homeopathic practice from his home in which he has practiced for many subsequent years.  behp0286-len-evans-summarySIDE ONEBorn 1929, Mitcham, father and uncle both dentists. Educated at St Joseph’s College, father wanted him to be a dentist but while on his course he visited the studio where The Guinea Pig was being made, they wanted youngsters for a crowd, so he put his name down; the next day while he was at his course the studio rang his home with a call for the next day. Father was furious and a family row occurred, so he left home and got a job with Paramount Film Services in the Publicity Dept.He saw and advert in the Cine-Technician, Studio Film Labs wanted a projectionist. He applied and was interviewed by a man who he later discovered was the owner, a Mr Larkin. He was taken on not as a projectionist but as the “buck up” man (now called the Chemical Mixer). He talks about the lab which was on the top floor of 82 Wardour Street [London]; he worked here with Alf Dossett, working his way upwards in in 1968 he was made Technical Manager. In 1971 he was made Assistant General Manager. He talks about the establishing of ‘The Film Clinic’.SIDE TWONick de Rothschild joined the company, bringing his Electronic Picture House under the SFL banner. He talks about the Home Movies market, and the rebuilding of the labs, the founding of Photo-Electric Products. He then starts giving the history of SFL.SIDE THREEHe continues with the history of SFL, and recalls how The Elephant Man was nearly processed by SFL, also how SFL “nearly” bought Hammer Films.[END]

Born 11 November 1915, educated Westcliffe, left school at 16, worked at Twickenham Studios; left to work on equipment supplied by Radio Relay, left to work at the BBC Recording Dept in Delaware Road in the early war years. he then moves on to the immediate post war years at Alexandra Palace, and his meeting with Phil Dorte (Head of OBs and Film) and early days of television newsreel.His first meeting with Mr Kirk, Head of BBC Research Dept., the trip to the USA with Bob Verrall and John Buyers [?] to seek information on the American methods of handling magnetic film – the role he played in obtaining camera equipment for the TV newsreel.The purchase of Lime Grove was his next challenge and the way it had to be adapted to meet the Film Department’s demands a series of productions at Riverside Studios using the Electronicam System.The purchase of Ealing Studios, the state the studios were in and the restriction imposed on the Film Dept., that no money could be spent. The Second Everest expedition, and the equipment used, and Birmingham and Manchester, Glasgow and Northern Ireland. Colour Processing. He then talks about “sub-regional” requirements. On his retirement from the BBC he worked as a consultant for Perfectone, where he stayed for fourteen years; he talks about the different methods of ordering equipment by the ITV companies, as opposed to the BBC.He talks about Harlech TV and Granada, gives his reasons for eventually retiring and looks back to his early days when he worked for Harrods bank, when he joined the London Amateur Film Club, run by A. J. Bromley and he talks about the equipment they used and the films they made.He continues his looking back with a story about the Compton Organ Company installing a cinema organ, as a possible replacement or as a stop-gap when the Cathedral [?] organ was being overhauled. Behp0283-norman-chapman-summaryThis interview is full of detail about the film equipment used in television. SIDE ONEBorn 11 November 1915, educated Westcliffe, left school at 16, worked at Twickenham Studios; left to work on equipment supplied by Radio Relay, left to work at the BBC Recording Dept in Delaware Road in the early war years.SIDE TWOThis deals with the early disc recorder and its updating; about the Stille steel tape recording system; he then moves on to the immediate post war years at Alexandra Palace, and his meeting with Phil Dorte (Head of OBs and Film) and early days of television newsreel.SIDE THREEHis first meeting with Mr Kirk, Head of BBC Research Dept., the trip to the USA with Bob Verrall and John Buyers [?] to seek information on the American methods of handling magnetic film – the role he played in obtaining camera equipment for the TV newsreel.SIDE FOURContinues to talk about newsreel equipment and the first sound truck for the film department; and searching for editing equipment.SIDE FIVEThe change over to 16mm film and the search for a combined 16mm sound and picture camera, then about processing equipment for news film, and about editing equipment problems and his first meeting with SteenbeckSIDE SIXThe purchase of Lime Grove was his next challenge and the way it had to be adapted to meet the Film Department’s demands.SIDE SEVENHe explains the problems the BBC had to face with the royalty demands from both RCA and Westrex and the final resolution; about the tussle with the Board of Trade about the purchase of US sound equipment; the early days of coverage of Wimbledon tennis and the installation of processing equipment at Lime Grove and then into the regions.SIDE EIGHTHe talks about the introduction of the double camera and its demise; and the McKinsey Report advocating use of 16mm film and talks in detail about the various cameras that were tried and purchased.SIDE NINEMore about camera equipment.SIDE TENHe talks about the development of crystal control for both sound recorders and cameras and the experimental use on a series of productions at Riverside Studios using the Electronicam System.SIDE ELEVENThe Electronicam system was used at one film at Pinewood, Stop the World I want to Get Off! With Anthony Newley; the production was only one week on the floor; the quest for better lenses, talks with Taylor Hobson, Zeiss, and Schneiders. The need for quieter mobile generators was another problem to be solved. The purchase of Ealing Studios, the state the studios were in and the restriction imposed on the Film Dept., that no money could be spent.SIDE TWELVEEaling continued, then he talks about dubbing studios at Alexandra Palace, Lime Grove, Television Centre, and then Ealing.SIDE THIRTEENMore about dubbing equipment and then he goes on to talk about the development of regional film equipment at Bristol.SIDE FOURTEENThe Second Everest expedition, and the equipment used, and Birmingham and Manchester, Glasgow and Northern Ireland. Colour Processing. He then talks about “sub-regional” requirements. On his retirement from the BBC he worked as a consultant for Perfectone, where he stayed for fourteen years; he talks about the different methods of ordering equipment by the ITV companies, as opposed to the BBC.SIDE FIFTEENHe talks about Harlech TV and Granada, gives his reasons for eventually retiring and looks back to his early days when he worked for Harrods bank, when he joined the London Amateur Film Club, run by A. J. Bromley and he talks about the equipment they used and the films they made.SIDE SIXTEENHe continues his looking back with a story about the Compton Organ Company installing a cinema organ, as a possible replacement or as a stop-gap when the Cathedral [?] organ was being overhauled.

Born 1918, Peckham, London. Schooled locally. Went to Borough Polytechnic took photographic course, father a bookmaker, set him up with two others as a landscape gardener in Dunton Hill, Neasden.  the firm went bankrupt. For a time, he worked in his father’s betting shop,  His father had a friend at Pinewood, probably one of his agents called Bill Street, who spoke to Bill Law, the Camera Department Manager at Pinewood and in 1937 he joined the Camera Department; and also at Elstree. With the outbreak of war, called up into the RASC. Sent to France 1940. Talks about his escape at Dunkirk and then finally being called for an interview at the Marylebone Hotel to meet David MacDonald, with whom he had worked on This Man is News. He is sent off to join AFPU No 1, [Army Film & Photographic Unit] and he talks about the poor quality of equipment and the difficulties of filming tank battles.He arrives in Tunis and joins up with the AFPU No 2, is in on the invasion of Sicily, gets wounded also receives the MM [Military Medal]. He is then sent to [Monte] Cassino and joins up with Bill (Eric) McConville. Gets severely wounded again and finally is sent back to Pinewood to become an instructor but as Grade C2 is excused all kinds of duties. On demobilisation joins Pathé News along with John Rudkin, another AFPU cameraman. with Pathé  News he was sent to Korea, and then later to Malaya. He talks about making documentaries in Kenya and .eventually making feature films as a Lighting Cameraman.  behp0282-billy-jordan-summarySIDE ONEBorn 1918, Peckham, London. Schooled locally. Went to Borough Polytechnic took photographic course, father a bookmaker, set him up with two others as a landscape gardener in Dunton Hill, Neasden. (The site is now occupied by Samuelson Lighting). Unfortunately, one of the partners had his hand in the till and the firm went bankrupt. For a time, he worked in his father’s betting shop, but as he says his spelling was bad and by the time he got it written down the race was over and the bet invalid. His father had a friend at Pinewood, probably one of his agents called Bill Street, who spoke to Bill Law, the Camera Department Manager at Pinewood and in 1937 he joined the Camera Department; he talks about his period at Pinewood and then about his freelance period; some interesting material about working at Pinewood and also at Elstree. With the outbreak of war, called up into the RASC. Sent to France 1940. Talks about his escape at Dunkirk and then finally being called for an interview at the Marylebone Hotel to meet David MacDonald, with whom he had worked on This Man is News. He is sent off to join AFPU No 1, [Army Film & Photographic Unit] and he talks about the poor quality of equipment and the difficulties of filming tank battles.SIDE TWOHe arrives in Tunis and joins up with the AFPU No 2, is in on the invasion of Sicily, gets wounded also receives the MM [Military Medal]. He is then sent to [Monte] Cassino and joins up with Bill (Eric) McConville. Gets severely wounded again and finally is sent back to Pinewood to become an instructor but as Grade C2 is excused all kinds of duties. On demobilisation joins Pathé News along with John Rudkin, another AFPU cameraman. He talks about Ken Gordon and Jock Gemmell. Whilst he was with Pathé  News he was sent to Korea, and then later to Malaya. He talks about making documentaries in Kenya and about equipment.SIDE THREEHe talks about making documentaries and his problems with a director (Mike Furlong) with whom he settled his differences and they worked together a bit later. He also hints about his marital problems, and eventually making feature films as a Lighting Cameraman. Here is a technician who has enjoyed every minute of his career.   [END]

Alice “Queenie” Turner was a British film-laboratory worker whose career and memories are preserved in an oral-history interview recorded for the British Entertainment History Project (Interview no. 281). Her testimony documents day-to-day life in a mid-century film lab, the skills of assembly and processing work, and the labour issues that affected lab staffs as the industry changed. historyproject.org.uk+1Early life & entry into the labsTurner (commonly known in the interviews as “Queenie”) appears in the History Project’s catalogue as a laboratory assembly worker — a role that typically combined careful manual work on film prints and parts, paperwork/dispatch, and close co-operation with wet-side and optical technicians. Her interview is filed under the project’s “Laboratory Assembly” area, showing she was part of the specialised workforce that kept film print and processing operations running. historyproject.org.ukWork and responsibilitiesIn her recorded recollections Turner describes the practical tasks and routines of the lab: handling film sections, working with colleagues to prepare prints and sections for further processing, and coping with the long shifts and exacting standards that laboratory work demanded. Her testimony is typical of the oral histories gathered from film-lab staff — focused on craft, teamwork, and the small but crucial procedures that preserved image quality. historyproject.org.uk+1Redundancy and later yearsTurner’s interview also records the human side of industrial change. She recounts that when the lab closed she and her colleagues received redundancy pay — a significant detail she highlights in the tape — and she reflects on what those payments meant to staff at the time. Her story helps document the wider pattern of closures, reorganisations and job losses which affected many film-lab workers as the industry contracted and technologies changed. historyproject.org.uk