[…]sing the result of a motorboat race. And that began my being terribly interested in editing.I worked on a few more pictures at Ealing and the went to British International Pictures at Elstree which is still there and still Very much as they were in those days. That happened out of the blue. One of t[…]
Name of interviewee Susan Crockford DRAFT Tape 1 Side AThis transcription was provided in 2015 by the AHRC-funded ‘History of Women in British Film and Television project, 1933-1989’, led by Dr Melanie Bell (Principal Investigator, Leeds University) and Dr Vicky Ball (Co- Investigator, De Montfort U[…]
[…] Anyway, sorry. But just an interesting point, because I always recall was such a pleasure leaving Crown film in it and joining Edgar Anstey at British Transport films in Savile Row where everything was on safety stock, so didn't have to worry about yeah, that's always wonderful. lovelyl[…]
[…]tter, https://get.otter.ai/interview-transcription/.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 BEHP wants t[…]
[…]formation but information. And during this on one of my holidays I scrounged a visit to, I've forgotten the dear old publicity man's name, at Gaumont British in Lime Grove, can't remember his name, anyway I went and found the studio and there they were, they were shooting one of the Aldwych farces a[…]
BEHP 0721T Norman J Warren TranscriptBritish Entertainment History Project – Interview No. 721 Thursday 5th April 2018INTERVIEWEE – NORMAN J. WARREN, DIRECTOR INTERVIEWER – MARTIN SHEFFIELDTranscriber – Linda Hall-ShawMARTIN SHEFFIELD: Over to you No[…]
[…]there that my granny frequented, and who I was brought up by, by the way, by granny, and he was telling everyone [American accent] “how wonderful the British are.” And he left the pub and he was interviewed again by somebody on this newspaper and he said “yes” and as they left, he put his hand into […]
[…] I'll go back now to the States. Well, after a while, and mother got herself a job. It was some secret work. I don't know what it was. It was for the British purchasing commission in New York. And that afforded her enough to get a small flat, which we did, which was on Lexington Avenue, overlooking […]
[…]d from time to time as assistant for other cameramen. Other cameramen I worked for—I remember working for—were James Ritchie, later a producer at the British Rail Unit, and John Reed [UNVERIFIED], John R.F. Stewart, and Bill Pollard. It was with Bill Pollard I remember having possibly my most enjoya[…]
[…] that probably was a wise move actually because it just meant that it could be done by other people as well as…I mean, your project is defined around British films, and the contribution to British films so, in that sense what happened over in America isn’t so relevant I guess, but there were variati[…]
