[…]f the programme. As a stage manager, you had more contact with the people making the programme, and also who were in the programme, the subjects, the artists, whatever, whichever area you were in, you were dealing with them. And between them, it was, it was a great life. I love, enjoyed it immensely[…]
[…]e great films or whatever.Mike Dick 2:06:24 Record pluggers they.Speaker 1 2:06:27 And they, they came to my house and United Artists, the man was called George light. He was a heavy belt man who smoked cigars. And he went to the he, when he was in town, he lived at the Caled[…]
[…]ut the rules together upstairs. It was just rebuilt. And we stayed there for the time and it was good because Sadie mackendrick was, was a commercial artist at one stage of his life and he would describe something Chikmagalur simple the operator would and he will describe a setup he wanted you know,[…]
[…]. The other thing I was going to say is that, initially, of course, you've got to have the producer, you gotta have all those people, whether they're artistic or not, because you've got to get the money. And you know, these days, if you want to do something yourself, you've got to find the money. An[…]
[…]d doing restoration and opticals – this was always maybe a fifty-fifty split at that point. I also continued on with photography and filmmaking as an artist, and continue to until this day. So that’s kinda how I started.PF: OK fantastic. So, if you could go on to talk about your work at Cineric and […]
[…]ere. I know this might not be strictly speaking within the bounds of the project but reversals are a good example where you’ve got the… if you had an artist filmmaker, or amateur actually… I suppose you have been doing some research into that, semi-professional let’s say. You know, you had their mas[…]
[…]as almost identical. But that was Clive when he still cared. He lost it completely in the end.PF: Did Clive have much input?EH: No. No, he had not an artistic cell in his body. He was a sergeant in the army. No, he was very good Clive, he did some good films in the beginning too. What was it called […]
[…] really fascinating… can you think of any particular instances where there was a, I don’t know, a conflict between the product or the process and the artistic demands of the filmmakers that you’re working with?CL: Yeah, I can think of a few. Unfortunately I can give you quite a few. We all, all labs[…]
[…]hibition at the Edinburgh Festival Fringe down in Leith and it was a really remarkable exhibition of paintings, watercolour paintings and oils, by an artist who was blind! She had gone blind, she had lost her sight as a teenager I think so she had a memory of the landscape and what things looked lik[…]
