[…]as an extraordinary drunken affair because instead of serving drinks and canopies, they just let bottles of whiskey out on the table. But anyway, the cameraman on that event was Jerry Lewis, who I worked with frequently after that. Now because of this thing of just going off and holding a hand lamp […]
[…]a number of our films. Yes. And can you remember who you have a particular cameraman or did you use different time. No we had. That marvelous cameraman. Freddy.[…]
[…] rough workplace [???] I rebuilt, rebuilt that and fit it with better equipment, which did a lot of [???] Q:Were you actually working with the camera? 00:07:30ADOLPH:Yeah, with the, you were doing everything really. [???], [???], camera, you develop your [???], print it and all, do wha[…]
[…]en I got a job with an American filmmaker called Alan Forbes. Alan made documentary films. He was in London and he taught me about editing, and about camera operating, and about sound, and basically was a very committed filmmaker. And, God, I was lucky to work with somebody who was so inspirational […]
[…]hings. And also, an awful lot of it was done by newspaper men, people who came in from daily journalism and, you know, if they had the nerve to go on camera, didn't mind going on camera and, I must say, some of them loved it! It was a great boost to their egos, which they didn't miss! It worked. It […]
[…]hrew in the job to go and do that and and I it was advertised. It was this little company called crosswind films, basically an American guy who had a camera and a Nagra, and he had, like, his little 16 mil camera and inaugural, and he had some a few lights, and he set himself up in whopping in a lit[…]
[…]– I don’t know if you are interviewing him – but he will extrapolate on how film is supposed to move a little bit, you know, in the projector, in the camera: if it’s absolutely rock-steady you should be suspicious. It’s not going to be like the original. Digital restoration loses that patina very of[…]
[…], Frank Cresswell and Cyril Wilkins, Sammy Sampson and John Brockbank. And Paddy Rigg and I were allocated to sound Frank and Cyril were allocated to cameras, and they became dolly pushers. And Sammy and Brockbank went to telecine to start off with, with Newman, who was in charge of telecine, Sammy […]
