[…]es. That was good, but it lasts a long time. But that was that was worthwhile because it's, you know, what's shown on television is still used in the archives. It's sort of, I think that sort of thing is something could go on forever. Because it'll always be around, you know, I mean, somebody the ot[…]
[…]. And we filmed that on 16mm and blew it up to 35, so it would have that grainy look that the rest of the films would have. That all the archive, being on 35mm, that it would fit in better. And we lit it very much from the front, there was very little back lighting, so that it wou[…]
[…]that was the end of...JPH: Lewis Rudd probably.DS: Yes, I suppose so.JPH: It was £1,000 prize money, which we’ve still got the memo, it’s in the archives.DS: We all had a little piece each. We all had a little piece each out of the thousand. A couple of hundred, yes.JPH: We went to the party, e[…]
[…] the History Project, with great success – sorting out the archive database requireme nts – moving towards making everything more […]
[…] Institute. SF: Yes, ah. So I came down to the archive which was then…. SF: When would this be roughly, […]
[…]dney Giesler Side 1Rodney Giesler:This is an interview with Roy Fowler recorded by Rodney Giesler on the 13 June 2000 for the BECTU oral history archive in whom copyright of this interview is vested.Rodney Giesler:Roy, can you tell me when you were born and where, a bit of your childhood histor[…]
[…]ghter] who was actually asked to develop this MA with, equally with Leeds University and The British Film Institute.SF: Yes, ah.So I came down to the archive which was then....SF: When would this be roughly, do you...?Sixty-five.SF: Sixty-five?Sixty-five to Sixty-seven.6SF: Ah, ha.Name of interviewe[…]
