[…] 14 of course I was choreographing a film called, which was quite interesting, a film called Pagliacci, and I think I'm right, I think it's the first British film ever to have any colour in it.LW: Richard Tauber. Yes, it's got a sequence in colour at the end and at the beginningWT: Do you remember y[…]
[…]check densities – Beaconsfield I learned an awful lot, because we had our own little lab, which when the studio wasn’t working did release prints for British Lion, for oh what was his name, Smith.LH: Herbert Smith?WR: No Herbert was the younger brother, big brother[?] they had quite a good distribut[…]
[…] as a young Jewish kid felt quite persecuted at school. They would institute things like let's chase Schlesinger, it was a sort of pogrom. I mean the British have been nothing if not anti Semitic I think tradtionally. And I remember the sort of interest in German expressionist films at that tim[…]
[…]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[…]
[…]l, he came down. Billy Shenton also came down and did some extra scenes, or some extra camerawork. We also did some experimental sound recording with British Acoustics but it was a full width track and the picture camera had it's two back legs in a special kind of booth in the sound van and it was a[…]
[…] I went to see it, and all the well known British and American films. Charles Drazin: Now at that time […]
[…] extra camerawork. We also did some experimental sound recording with British Acoustics but it was a full width track and […]
