[…]when I got up to Elstree, right? Well now I’m stuck, I have got sets that have been designed to be lavish in a location where you can’t really do the best with them and the whole contrast was thrown because here I’d got mediocrity… but that was my problem. One very interesting thing, that tells you […]
[…]he location catering.Gerald Chambers 24:27 I remember I remember one of the location locations, which was very beautiful. Absolutely. The best hotel I'd ever been to in New Zealand which was in Milford Sound. Unfortunately, it was later burned down. But two of us went in this light aircr[…]
[…]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 […]
[…]d to come over the sun. And then Peter Sargent started rolling and it was a good shot.My favourite production was Rembrandt, for which I got an Oscar nomination hanging up hereNorman Swallow: That was later wasn't it.Rudi Cartier: That was later in 1969.Working for the BBC gave me the chance of cont[…]
