[…]hat since we were such close friends, and we knew each other, that I could suffer a bit to help a colleague. And that, of course, is a very sensitive director. And if anyone moves in an actor's eyeline and Roy is ... they're ordered off the floor immediately, because people rarely underst[…]
[…] already had some photographic experience?Eric Cross: Oh yes.Arthur Graham: What kind of reaction did you get from your parents on you going into the film industry?Eric Cross: They didn't worry about it at all. My father by that time was in Canada anyway, so it was only my mother that was interested[…]
[…]e particular night we went to the station, and the policeman said “We’re full. But go to Lincoln’s Inn Fields but go now.”, because we could hear the bombers coming and she put me on her back – she was a tiny wee thing and she put me on her back, and she ran like a [horse] in the Derby or something,[…]
[…]e was saying that he was involved in the, in the Art Department. He’s a Vice, Vice-Chair I think now and he was involved in the Art Department in the BBC. Like he used to come on home in uniform from the RAF and, mm, and go to work in the BBC , and he was saying that some of the people he worked wit[…]
[…]didn’t join until he came out of the Army, he was Ernest Irving’s assistant, until Ernest Irving retired, and then Doc Mathieson took over as Musical Director. Ernest Irving was the top man, then there was Doc Mathieson who was his assistant later on, there was Jimmy Crawford who was the librarian a[…]
[…]ew. So we were thrown out and I went back to sea in the Merchant Navy until 1925, after which time I was rather tired of the sea, so I applied to the BBC. They took me on as an engineer, and I was with them for three years. Then I got involved in a squabble, nothing to do with me at all, but I put m[…]
[…] time I've ever had that kind of disloyalty from a director. So although I had George with me as gaffer on […]
