[…]ncle’ Mac in the family – he was never an uncle but in those days you called everybody uncle. He turned out to be David MacDonald who was a reputable film director in those days. I went down to Lime Grove studios with my dad and sat on the set. In his chair. And started work next Monday. In the scen[…]
[…]angeover. And I remember waiting in great anticipation to be allowed to take a changeover which meant going from one projector to another on the same film because they were on 20 minute spools and a feature film would consist of up to five spools of film. However because the progress was so slow I l[…]
[…]ity for generating the revenue. ITV was obliged to pay us a proportion of their revenues in exchange for being allowed to sell the airtime on Channel 4. So the separation between the financial responsibility and the editorial responsibility gave the new channel terrific freedom. And the third thing […]
[…]pening title sequence which was extremely complex as far as I remember, with all kinds of frames that moved and cameras that moved. You weren't using film, it was far too expensiveNorman Swallow: It was all liveDavid Attenborough: It was all absolutely live and it was all very stylish and it was a g[…]
[…] they'd teach you what they could as regards making a film up and joining the two reels together, and making […]
[…] they'd teach you what they could as regards making a film up and joining the two reels together, and making […]
[…] frames that moved and cameras that moved. You weren't using film, it was far too expensive Norman Swallow: It was […]
[…] Mallett, who has a long and distinguished connection with our film industry. I trust this isn't too un-gentlemanly to ask […]
[…]nds a week. And for about two or three weeks, or a month, they would take this money off you and they'd teach you what they could as regards making a film up and joining the two reels together, and making joins. Because you didn't have the automatic joins in those days, everything had to be done wit[…]
