Search Results for: Alan Lawson

BIOGRAPHY: Born in Watford, Joy Batchelor worked as a freelance graphic artist and designer on various newspapers and magazines before meeting John Halas through a press advertisement for an animator. They married and together they formed Halas & Batchelor Cartoon Films, making a variety of short animation films both for commercial advertising (particularly campaigns for J. Walter Thompson) and for the Ministry of Information throughout the Second World War. In the post war period Halas & Batchelor made a variety of films, including a feature length version of Animal Farm (1954). They also became involved in ASIFA (Assoication Internationale Du Film d’Animation). SUMMARY: In this interview, Batchelor talks to Kay Mander about her career, commenting other animators and their influence on her, from the early period up to the 1980s, and on the difficulties of running a small business and training animators. She discusses various techniques and aesthetics of animation, and touches on her interactions with the documentary movement and with the ACTT.  

b.London1913    d. London   2016 CINEMATOGRAPHER.   (after  being a JOURNALIST  and PHOTOGRAPHER)Shot newsreels and propaganda films during WW2 then to Ealing Studios. Constantly employed on major films until mid 1980s.London-born Douglas Slocombe has long been regarded as one of the film industry's premiere cinematographers, but he began his career as a photojournalist for Life magazine and the Paris-Match newspaper before World War II. During the war he became a newsreel cameraman, and at war's end he went to work for Ealing Studios as a camera operator, making his debut as a full-fledged cinematographer on Ealing's Dead of Night (1945). Slocombe is credited with giving Ealing's films the unique, realistic look it was famous for. He left Ealing and went freelance, not wanting to be tied down to a single studio, and divided his time between England and America. He won the BAFTA--the British equivalent of the Oscar--three times, for The Servant (1963), The Great Gatsby (1974) and Julia (1977). A favorite of director Steven Spielberg, he was noted for never having used a light meter while shooting Indiana Jones and the Raiders of the Lost Ark (1981), an almost indispensable tool for most cinematographers.- IMDb Mini Biography  BEHP 0068 S Douglas Slocombe Summary[extracted from logsheet]  Side 1: Born in London 1913, went to St Pauls Primary school. At age 12 went to Paris (father Paris correspondent for Daily Herald newspaper) – educated in French schools, whilst at school ran the film club; was interested in photography and journalism, tried to get a job in France – met Korda – then tried to get into the Bush training school, no luck so went to Fleet Street where he joined British United Press as a “sub” responsible for French news. Also wrote the BUP Paris Newsletter for an extra 25 shillings a week. There is a most amusing story of him meeting James Robertson Justice. After 3 years he gave in his notice and started freelancing as a photographer and journalist. Picture Post, Lilliput, Illustrated etc,. took his pictures – also worked as an advert photographer. Saw headline “Danzig Danger Point of Europe”, so he went with his Leica and typewriter and saw the Nazi machine at work; came back after 3 weeks. Picture Post and Illustrated used his photos, and he received a call from Herbert Kline who wanted him to go back to Danzig with a 35mm [Bell & Howell} Eyemo [camera]. In Danzig he photographed the burning of a synagogue, and then Goebbels addressing a Nazi meeting. Got his film out via the Polish diplomatic bag. Returned to UK, then went out again with Kline to Warsaw – bombed out – to Latvia, then to Sweden. Lord Vansittart suggested he join the Ministry of Information as a cameraman. Cavalcanti wanted his material for his films from Ealing – became war correspondent.Side 2: Filmed in the Maginot Line – then to Holland; bombed; returned; then with Atlantic convoys for three years. At Ealing he filmed Painted Boats, For Those in Peril; also second unit cameraman for Thorold Dickinson’s Next of Kin. Back at Ealing he worked on Dead of Night, using a Mitchell camera for the first time. One and only film as cameraman was Cavalcanti’s Champagne Charlie, lighting cameraman Willie Copper. Amusing story here. The there is some technical talk about cameras, meters etc, and colour.Side 3: talking about the use of zoom lenses. After filming Saraband for Dead Lovers he did Kind Hearts and Coronets, Man in the White Suit, Lavender Hill Mob, Hue and Cry. Talks about the wonderful spirit at Ealing, all being in one family. After the sale of Ealing he went with Balcon to MGM, but the feeling wasn’t so good. He talks about Balcon, about Cavalcanti. Would he like to direct? He wonders if he would be happy. He talks about cameramen who became directors. After leaving Ealing(MGM) he went to Germany to film {The Mad King of Bavaria {Ludwig II: Glanz und ende eines konigs]– he talks about working on Huston’s Freud. Huston was “the perfect actor at all times” could be lazy, always had to have a whipping boy.  Various experiences meeting Jack Hawkins etc.Side 4: The Mark, The Boy Who Stole a Million, The Young Ones (a musical), The L Shaped Room. He talks about Bryan Forbes “a literate man”. The about Joe Losey filming The Servant in black and white and got a BFTA award for that. 1964, 20th Century Fox offered him a 3-year contract, amongst his films: High Wind in Jamaica. Talks about Sandy [Alexander] McKendrick, about smallness of budgets, Dance of The Vampires – he says that Polanski is a brilliant and inventive director, who would improvise the script on the spot. He then talks about shooting The Blue Max, when he is hit by an aeroplane (interesting story). Talks about The Lion in Winter with Peter O’Toole and Katherine Hepburn. Ken Russell’s Music Lovers is amusing about Russell.Side 5: talks about Glenda Jackson and Katherine Hepburn, and then about the filming of Murphy’s War – an amusing story here – Went on recce with George Cukor, K Hepburn for locations on Travels With My Aunt, but Maggie Smith replaced Hepburn. His first US Oscar nomination. Worked with Norman Jewison on Jesus Christ, Superstar, his first American musical, taking over from someone else, a thing he never liked to do. Interesting talk about Jackie Clayton’s The Great Gatsby, another BFTA award. Amusing story about The Maids (Genet) directed by Christopher Miles. Love Among the Ruins. George Cukor with Katherine Hepburn and Larry Olivier; Rollerball, Norman Jewison the problems of huge sets with not many lights.Side 6: Enjoyed working with Vanessa Redgrave and Jane Fonda on Julia directed by Fred Zinnemann, got a BFTA award and an Oscar nomination. Talks about making of Caravans in Iran with the equipment bought brand new by the Shah, then talks about working with Spielberg.[End of notes][Editing by David Sharp].

Worked with Sid Cooper for Amber FilmsAmber worked extensively within the Association of Cinematograph Television and Allied Technicians in the development of the Workshop Movement. In the interview with Bessie Bond, Murray Martin talks about the project being an education for Amber and the workshops as well as contributing to the history of the union. The interviews engage extensively with the British Documentary Movement. The ACTT’s Workshop Agreement enabled the independent filmmaking groups to unionise, pay an egalitarian wage and to work across the different craft skill ‘grades’. Without this, the workshops would not have been able to access the broadcast media and notably Channel 4. ACTT became BECTU, which in 2017 merges with Prospect.Born: September 1912 Work: Laboratory / film processing technician, principally with Technicolor and other film labs in the UK. historyproject.org.ukEarly LifeAlf Cooper was born in Hackney, London in September 1912. He spent much of his early life living in Finsbury Park. historyproject.org.ukHe left school at around age 14. Before entering the film lab industry, he held a job related to butchering (he obtained a “Federation diploma in butchering”) but did not find satisfaction there. historyproject.org.ukEntry into Film Lab WorkCooper’s first work in film was with Kay’s (Kay’s Laboratories), where he started doing “hypo-bashing and chemical fades” — mixing chemical baths, developing negatives, cleaning up waste from processing, unclogging drains, etc. historyproject.org.ukHe later moved to BIP (British International Pictures) and then in about 1937 joined Technicolor. historyproject.org.ukCareer & ResponsibilitiesAlf Cooper’s work was mainly on the “wet side” of film processing. This refers to the steps involving chemical development of film negatives, mixing and handling developer baths, fixing, washing, drying, and so on. historyproject.org.ukSome specifics:He worked long hours, often night shifts, especially for developing newsreel film and “wet side” tasks. historyproject.org.ukHe describes using various chemical solutions, some of them hazardous, such as carbon tetrachloride (“carbon tet”) in cleaning and baths. He later reflected on the health risks of some of these chemicals. historyproject.org.ukPart of his job involved supervising or training others: he once taught people to thread film in white light and then do it in darkness for safety, etc. historyproject.org.ukUnion Activity and LeadershipCooper was active in trade union work. He became a shop steward, and later “convenor” of lab technicians, representing workers in Technicolor labs. historyproject.org.ukHe was involved in negotiating conditions, work hours, disputes, etc. For instance, during a notable lockout/strike (neg developers etc.), he played a role in discussions and in representing lab members. historyproject.org.ukUnder his leadership and through union action, the lab workers at Technicolor won a reduction in the working week from 45 to 44 hours, along with other pay rises. historyproject.org.ukWorking Conditions & Changes Over TimeEarly on, conditions were quite harsh: unpleasant chemicals, working in darkness, long hours, cold, uncomfortable facilities, etc. historyproject.org.ukOver time, as labs modernized (e.g. mechanization of certain chemical baths, better control of chemical solutions, etc.), some improvements in workplace safety and efficiency were made. However, Cooper expressed concern about risks he and others were exposed to, especially with toxic chemicals. historyproject.org.ukLater Life / ReflectionsBy the time of his interview in 1988, Alf Cooper was in his mid-70s (he had turned 76 that September). historyproject.org.ukIn that interview, he reflected with both pride and concern: pride in the craftsmanship, the high standards demanded in film labs (e.g. cleanliness, freedom from defects), and in union achievements; concern over exposure to dangerous chemicals, and the harshness of early film-processing work. historyproject.org.ukIf you like, I can try to find more info: when he retired, any awards, or more on his life outside work. Do you want me to expand?You've got more access see also #175 with Sam Williams. 

BIOGRAPHY: Gordon McCallum entered the British film industry in 1935 as a loading boy for Herbert Wilcox at British and Dominions. He soon moved into the sound department and worked as a boom swinger on many films of the late 1930s at Denham, Pinewood and Elstree. During the Second World War he worked with both Michael Powell and David Lean on some of their most celebrated films. Between 1945 and 1984 as a resident sound mixer at Pinewood Studios, he made a contribution to over 300 films, including the majority of the output of the Rank Organisation, as well as later major international productions such as The Day of the Jackal (1973), Superman (1978), Blade Runner (1982) and the James Bond series. In 1972 he won an Oscar for his work on Fiddler on the Roof (1971).  SUMMARY: In this interview McCallum discusses many of the personalities and productions he has encountered during his long career, as well as reflecting on developments in sound technology, and the qualities needed to make a good dubbing mixer.

…eperate interviews conducted with Peter Sargent. The first one was done by Alan lawson on the 12th July 1988. The second one was done by Sallie Richardson on the 19th July 1988 for an MA Thesus.…

British Film Commission member; son of G B Samuelson Sir Sydney Samuelson CBE, has been interviewed on three separate occasions for The British Entertainment History Project. First Interview (on Audio)  No: 42. Covered his family, his early days in the film and television industries and the creation with his brothers of the Samuelson Group of Companies. Second Interview (on Camera) No: 706. Covered how he became Britain's first British Film Commissioner. Third Interview (on Camera) No: 706 (continued) Covered his role as British Film Commissioner, a remarkable and frank assessment of his six years in the job, including the role of government and of the British film and television industries at the time, the difficulties included  during his six years as Commissioner having to deal with nine different government 'Films Ministers', but there was also success. Spielberg's 'Saving Private Ryan'is one example among many others, chiefly from the US.

Geoffrey  Foot (19 May 1915 – 9 September 2010) was a British film editor. He was born in Putney and began his career with Ealing Studios. Foot was a co-founder of the Guild of British Film and Television Editors  . After the Second World War, during which he worked for the Crown Film Unit, he assisted David Lean, most notably on The Sound Barrier (1952), written by Terence Rattigan, which won an Oscar. His work was noticed by Walt Disney, who hired him for Rob Roy, the Highland Rogue (1953). In 1967, Foot was supervising editor on the cult television series The Prisoner. This interview was recorded on the 6th January 1988. Synopsis:Born 1915 Putney, went to Latimer School leaving at 18Father was a Journalist working for the Baily Herald - mother did'nt want him to become a journalist because of the lack of social life - so his second choige was films. His father's friend on the Herald Sydney Moseley (film critic) got him an interview with Bill Hammond at BIP and then with Bill Lott of ARP Ealing, where he started in the camera dept, but about one later he went into the Cutting Rooms where Thorold Dickinson was cutting "Sing as we go", Ray Pitt was Thorold's assistant, Within in no time was working an 80 hour week. Started at no salary and after 3 months was earning 15 shillings and after a further 3 months it rose to 25 shillings. Some 4 years after Ealing start moved to Denham working with Walter Stokvis, Hugh Stewart, Robert Hamer Mayflower Productions period. Then moved to BIP worked with Harry Biller, living at Denham Village. Worked with Hamer ete Eric Pommer, David Lean, Jack Kitchen, Sid Cole. War years when Hamer went to work with Crdwn FilmUnit, he joined Crown working with Humphrey Jennings and Jack Holmes. Called upinto the Tank Corps after basic training moved to OTC as tank driver, then 'claimed! by Thorold Dickinson for AKS at Wembley, cutt then directed training films there. Demobbed in 1947. Gota call from Tony Havelock Allen to become his P.A at Cineguild. About a month later took over as Editor on "Take my Life", Ronnie Neame's first feature films as well as Geoff's first feature , then "Blanche Furt", Passionate Friend" poome good stories about David Lean from whom he leamnt a great deal. An amusing story ~~vabout "Sound Barrier" and his argument with David Lean. Random talk about "Another Time another place","Stolen Holiday " went to work with Warwick Films 1958 mdde seme 12 films with them including "Peter Finch's" Oscar Wilde, very interesting recollections on. that. Made several films with Johnny Hough.Talk about the different techniques of then and now, dubbing techiques, cutting etc. Recruited into ACT by Sid in 1935, has been Chairman of Editorial Section, was on Pinewood Committee also its Chairman, together with Wyn Ryder after the war years > helped to get some order into the ACT Records.Then went to to talk abont working with Launder & Gilliat.Interview runs approx 1 hour 15 ithiyutesTT

John Shearman was an active young member of the wartime documentary movement while working at the RAF’s film unit. Post-war, he enjoyed long stays in two key organisations. At omnipresent production consultancy Film Centre, he was a significant behind-scenes influence on the advance of oil filmmaking, particularly Shell’s. On the home front, he became trusted right-hand man to British Rail Films supremo Edgar Anstey. Shearman’s many productions included the sequence of films documenting the 1960s construction of London Underground’s Victoria Line. Patrick RussellBEHP 0023 John Shearman – biography and career. Born Wistaston, Nantwich, Cheshire, 24th December 1912. Son of John Shearman (1886-1966) and Ludmilla Isabelle Shearman (nee Davy) (1881-1968).Educated at the Hall, Hampstead, and Westminster School, London. Married 1st October 1938: Betty (Liz) Bradley (1909-1966) a daughter of Robert Noel and Gwen Bradley of Chester. One daughter, Sarah Frances Elizabeth, born July 2nd 1944. After a general railway apprenticeship, joined the advertising and publicity department of The London, Midland and Scottish Railway where he was mainly employed on writing, directing and editing documentary, staff information and training films.Served during World War Two in the Royal Air Force as a fitter in Bomber Command and afterwards in the RAF Film and Photographic Units in Britain, France, Belgium, Holland, Italy Jugo-Slavia and Austria. Demobilised in 1945 as Squadron Leader RAF Volunteer Reserve. Joined the Shell Film Unit as a film director and worked on the series How an Aeroplane Flies and other aeronautical subjects.At Basic Films wrote, directed and scripted films on Army Radar, Liver Flukes (Venice prize-winner), The Severn Suspension Bridge (River to Cross), and others mainly through the Central Office of Information.Joined British Transport films under Edgar Anstey at its inception and looked after all training films in the early years of the Unit’s work, and was also responsible for some public information films and (in part) for the beginnings of the R.T.F Visual Aids Department. Directed Train Time (B.T.F.1951).In 1952 was seconded from Film Centre Limited to the Iraq Petroleum Company, and with British and Canadian colleagues set up a film production unit in Baghdad which in six years made some forty films for public information and for technical training in the Arab world. This unit also trained some twelve Iraqi film technicians to an internationally acceptable standard. From 1953 – 1961 was film advisor to the Iranian Oil Operating Companies in Tehran.Then worked for Film Centre in London on such films as Shell Centre, London; Usutu, and All in a Lifetime for associated Electrical Industries Ltd.Rejoined British Transport Films as a producer in 1963, where he was responsible for most of the technical training film production programme, including s series of some thirty films on electric traction skills, and also produced Under The Wire; The Great Highway; Lost, Stolen Damaged; Courtesy; Locomotive Maintenance Control; The Conversion of Hector the Checker; Next Stop Scotland; Prospects of Ireland; Working With Pictures; Solutions; Having a Fresh Look; London Ride; Britannia – a Bridge; Wires Over the Border; and a series of films on the building and operation of the Victoria Line tube railway. At BTF assisted in some scientific research filming, some exploratory work in the use of film for train driving simulator practice, and in the application of time-lapse cinematography for ergonomic research. Was active in the application of television techniques in industrial information and safety practices. Worked on film records of the (aborted) Channel Tunnel for the Department of the Environment. Produced the first film, E for Experimental of British rail’s Advanced Passenger Train’s development.Retired from British Transport Films in 1974. Author of The Land and People of Iran, ( A& C Black 1962) and of sundry articles on the Middle East, Iran and film techniques. Member of the ACTT; BAFTA; British Industrial and Scientific Film Association; Fellow of the Royal Commonwealth Society. In 1976 became the Honorary Secretary of the Kipling Society. Also in 1976 became a governor of the London International Film School. 1979: Member of the Cinema & Television Veterans.

Full name Rowland Hill Berkeley Mason born in Kings Norton, Birmingham, England to Elsie Ann (née Berkeley) and Edward Daniel Mason; Elsie's father Rowland Hill Berkeley had been Lord Mayor of Birmingham in 1904-1905.Mason was educated at Gresham's School, Holt, between 1929 and 1934.[3] After six months as a stockbroker, he went up to Christ's College, Cambridge, where he read English and joined the Cambridge University Film Society.[4][5][6]In the 1940s, he moved to Hampstead Heath, London,[7] with his wife and son Nick Mason, who became the drummer of Pink Floyd.[1] A filmmaker and amateur racing car driver, because of a lifelong passion for motor sports Bill Mason specialized in observing them as a maker of documentary films.As well as making films,[10] Mason was a script writerFilmography as director: Le Mans(1972),Racing Mercedes - Part One (2001),Racing Mercedes - Part Two (2001),Racing Mercedes - Part Three (2001)

Harry Miller was a sound editor who worked on Blackmail  Alfred Hitchcock's first sound feature film in 1929. He went on to work on Laurence Olivier's Henry V as a dubbing editor. Other notable films included Goldfinger, A Man for All Seasons, Chitty Chitty Bang Bang. Sides 1-7 are the interview with Harry Miller. Side 8 is additional valuable material supplied by Harry himself