[…]c, New York, conducted on Skype by Paul Frith as part of the ‘Eastmancolor Revolution and British Cinema’ project, on 16 February 2018. So, thank you for agreeing to take part in this Simon. To begin with if we could talk a little bit about your background in film and photography, and how that reall[…]
[…]I’m not part of that collections management that, you know, ensure the vaults are working correctly, and so on, although I work with them on policies for keeping and accessing film. But otherwise it’s the film lab teams, and the graders, and film conservation specialists who inspect, examine, compar[…]
[…]ly using Otter, 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 BE[…]
[…]he great wombs of animation, turning out all these little babies, you've got the OBE and your laden down with honours and prizes and life achievement awards and you’ve got an EMMY from our American friends, so your great talents are recognised worldwide and it has been a remarkable life, quite remar[…]
[…]ly using Otter, 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 BE[…]
[…]BH: Yes, into television. Television started in 1946 and I with a lot of the others applied to go over. We were accepted and of course we went over before the studios opened. In those years we had two studios, A and B. One was Marconi and the other was Baird. We did a week in each studio. So we used[…]
