[…]I did, and my anticipating cover, as a maintenance engineer member for a number of years, I was employed here, and also our maintenance engineers and film studios, and in the film business generally, are, as it were working as individuals. And it was not for many, many, many years later that I was i[…]
[…] by funds from the AHRC-funded ‘History of Women in British Film and Television project, 1933-1989’, led by Dr Melanie Bell […]
[…] do fibrous plaster work at night school, he entered the film industry as a plasterer in the late 1930s. SUMMARY: […]
[…]hirty years!" because there was no natural progression from there. They had a Staff Photographer, Harry Wilson, and I was there simply to process his films and, at that time, we used to send out lots of stills to newspapers so that was my job to deal with that and because of Union demarcation and al[…]
[…] of Humphries Laboratories, but still found time to produce a film for the Children’s Film Foundation. SUMMARY: In this interview, […]
[…] on further education of any kind. So I left and went into work. And I happen to live next door to a young girl who was working at the pearl and Dean film studio in the trace and paint department. And she mentioned to me that the animation studios, were looking for a new junior runner basically to g[…]
[…] I had decided that I was going to be the greatest director since David Wark Griffith it was around that time. My mother always said “He’s film barmy” because I was always trotting off or insisting on being taken if I couldn’t get in by myself, even then I was keeping up. Kevin Brown[…]
[…] this is an interview by Katy McGahan, one of the curators in the Non-Fiction unit at the BFI interviewing for the BECTU History Project, Mary Orrom, filmmaker, editor and director. And it's 25th of January 2011. Katy McGahan 0:30 OK Mary Orrom, many thank[…]
[…] in 2015 by the AHRC-funded ‘History of Women in British Film and Television project, 1933-1989’, led by Dr Melanie Bell […]
