[…]pre-planning of the jury selection committees. I did my share of those.Kay Mander: That would be for what, for the BFA, British Film Academy days? Or BAFTA?Joy Batchelor: BAFTA. And abroad too. I was on the Venice Film Festival, and one in Portugal, one in Spain. There was a general consensus, and I[…]
[…], but a bit Noel, somehow they're not, they're not about to anything. Oh, I say this, but I do, and I do feel that I wanted to tell you about my rich city oil company and color after we'd been working in Baghdad for about two and a half three years in monochrome. And as I told you, part of our brief[…]
[…] for what, for the BFA, British Film Academy days? Or BAFTA? Joy Batchelor: BAFTA. And abroad too. I was on […]
[…]ery helpful. Whenever he’s been asked to do anything he’s always done it gracefully and, and happily, joyfully. Full marks. Relations with BAFTA? Mm, mm. Let’s move on. Right ho. Relations with BAFTA. When did they develop, how did they develop, mm?&n[…]
[…] sign the Official Secrets Act but became really the official cartoonist for the Air Ministry. That was in my National Service. So, I was living at home and based in Park Lane [Laughter] So it was a kind of cushy number really.DARROL BLAKE: What happened when you left Nationa[…]
[…]ract ran out and I joined the BBC in 1962 as a holiday relief cameraman - as an assistant cameraman.Interviewer 2:24 Okay, where were you living? How did you get to and from work?Michael Aldridge 2:30 Well, I was living initially in East London and, of course, working in West[…]
[…] things there. And this was his biggest thing he did. He did a wonderful job. Then I suppose I still see a lot of him where he was he is a trustee of BAFTA.Unknown Speaker 38:51 Yes, IUnknown Speaker 38:52 see him.Lord Brabourne 38:55 And he he'd actually working […]
[…]e three that were successful. The other two were totally different. Onewas the film on design of stamps, called Picture to Post, which I got the BAFTA for, and again, Arthur was my cameraman – no, he wasn’t – sorry, it was Douglas Ransom. Andthat was, again, a glossy film but it was g[…]
[…]e. Yes. Yes I see him from time to time. He could have done better at BAFTA. Yeah. Yeah. Now what about all the the equipment and so on. Was all […]
[…]to leave so much but probably wouldn't be a bad idea. So then I went back to Ealing and the job gone of course but I had I had the fortunate thing of living next door to a cameraman called Jack Whitehead and Jack Whitehead got me a job in the sound department at Chip's Bush studios. Why were you so […]
