Search Results for: BAFTA for Casualties (Cutting Edge series 1991)

[…]claimerThis transcript has been produced automatically using Otter.It provides a basic, but unverified or proofread transcript of the interview. Therefore, the British Entertainment History Project (BEHP) accepts no liability for any misinterpretation of the content of this interview.However, the BE[…]

[…]And then from that working on preserving the films themselves, so that’s both photochemical and digital. We still do, try to do, mostly photochemical for most projects. So that’s making new pre-print elements, new prints on 16mm or 35mm and then going on to do digital preservation as well, so 2K or […]

[…]I’m not part of that collections management that, you know, ensure the vaults are working correctly, and so on, although I work with them on policies for keeping and accessing film. But otherwise it’s the film lab teams, and the graders, and film conservation specialists who inspect, examine, compar[…]

[…] Paul Frith (PF) & Keith Johnston (KJ) Date 10/05/2019 Total Length 01:26:43 Part One[00:00:09]PF: Well first off, thank you Chris for taking part in the interview today. I think we should begin where your interests in film and photography developed and perhaps your first experien[…]

[…]ust chatting. When did you first get an interest in becoming, in fact in the entertainment industry? I2: Can I, sorry about this, may I stop you for a moment because I just need to. Right, we're going. I: OK? R: Well, if you want me to go right back to the beginning, I really wanted t[…]

[…]t arrived and Francis was a very dashing wee chap from ATV and London and very much a Light Entertainment specialist, and indeed, hadn't long won the Bafta for a show with Millie [Millicent] Martin, as I recall, as Light Entertainment Producer of the Year when we got it. Anyway, Martin, sorry, Franc[…]