[…]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[…]
[…]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[…]
[…] looked around for something else that would use my zoology and would give me a satisfying life. And I had the greatest good luck to hit upon Gaumont-British Instructional, who at that time, were making a great number of natural history and zoological films under the guidance of Julian Huxley, and P[…]
[…] extra camerawork. We also did some experimental sound recording with British Acoustics but it was a full width track and […]
[…]arles Wilder: Yes. I did that one, that was at Shepperton. I did most of the films at Shepperton. Because I was partly under an agreement to work for British Lion at one time but Maurice Ostrer wouldn't - I was still working for the Ostrers and he wouldn't sign the agreement so I just carried on wit[…]
[…] I went to see it, and all the well known British and American films. Charles Drazin: Now at that time […]
[…]04:00 [laugher] all together as it contained both sexes and also it was the time when there were a lot of intermarriage between the Indians and British service people, and there were a lot of Anglo-Indian children at this school and they were very disturbed because if they happen to have come […]
[…]u better write to him again. So she did and to cut a long story short aletter came saying would I go and see John Corfield at Golden Square, whichwas British National headquarters, I think it's now where the Granadabuilding is. I didn't know, what for so one November day in 1935 I wentup there and w[…]
[…]ifferent parts of the studio, you see? ROY FOWLER: It was one large stage?HARRY MILLER: Yes, well they had two very large. This was British International Pictures, Elstree, and you’d have three units, a Hitchcock and, I can’t remember at the moment, Monty Banks, Wilcox, all the old[…]
[…] 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[…]
