[…]cript has been produced automatically using Speechmatics.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[…]
[…] of pictures in England in that period, features and all kinds of things. Oh yes, he was a busy man.Roy Fowler: There was a fairly healthy English or British production organisation at that time, was there not?Eddie Dryhurst: Well it was struggling to be born in a sense I think. There were a lot of […]
[…]– Fuji were doing exactly the same thing.[00:35:05]PF: Just talking about Fuji there then Brian, did they ever really have much of an impact on British film production would you say?BP: Yes, very much so.PF: When really did that start?BP: It started in the late-70s really and they became quite[…]
[…]materialistic. You got a job immediately, you could work.Interviewer (unidentified): When did you get a job?Jill Craigie: Well I was working with the British Council, and that increased during the war.Interviewer (unidentified): How did that start?Jill Craigie: I wrote something and sent it in. I wa[…]
[…]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[…]
[…]cript has been produced automatically using Speechmatics.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[…]
[…]r spoke to the school and asked whether they would take me on. I was 12 ½ then as a refugee. Because the British government was admitting children on condition there was a guarantor. And they did that[…]
[…]y. But, you know, I mean it’s the usual thing I suppose, I wanted to do good for the world, I wanted to go back and rescue India from the bloody British, you know, that kind of thing. And I think that was all part and parcel of it, you know. I sort of saw myself on a white horse – a w[…]
[…]Harry Watt pioneered, as you were saying, and it was a tremendous step forward. But for many years I used to say to Edgar [Anstey] in the old days of British Transport, I'd say, "What a pity we can't do a little more dialogue shooting, I'm sure it'll be a good idea, you know. In certain films we cou[…]
[…] been made up to Assistant, so Paul was...Paul was er focus pulling...Errm... and I did a couple of films there. Then I went back to...er Elstree, to British National...er, back to er...[sneezes]'scuse me, errm...Yes I finished Sound City, then I went back to Elstree, cos Jimmy had moved during the […]
