[…]ovice crew to tear the set down. Taking big chunks out of the set. And always remember the the Americans the difference between the Americans and the British directors, British directors will never give up. They will always envisage the shot and shoot it as they envisage it. The Americans soon say a[…]
[…] people thatI knew, people got bombed out came and stayed, in the end I was cooking for sixteen people .[30:48]Mm, oh.Because of course, not having a British father and mother in those, during the war youwouldn’t perhaps remember all this, you’re not old enough to but you had to have aBritish father[…]
[…]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[…]
[…] said to me, "There's a film being made by a German director called Wilhelm Tiele who directed some films in Germany...this was the time when Gaumont British and UFA were getting together. And we were, at this time, of course at Gainsborough studios in Poole Street. And Wilhelm Teile had made a film[…]
[…] How was it funded? Erm, well there was American and British Animal Welfare Charities; RSPCA; British Union for the Abolition […]
[…] provided in 2015 by the AHRC-funded ‘History of Women in British Film and Television project, 1933-1989’, led by Dr Melanie […]
[…] rental side. And during the late 60s and early 70s, British film production largely through American investment was flourishing. And […]
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[…]
