[…]. Well I carried on at Dulwich, and then one afternoon got a call from Flora, and she said, "I know you're more interested in what goes on behind the camera rather than in front," she said, "all these technical things they don't interest me but they obviously do you!" [Laughs.] She said, "We're maki[…]
[…] I liked about it were the stories from behind the camera. They always gave you a list of films in […]
[…]sed to cost threepence in those days.Rodney Giesler: Also it wasn't a total film fan magazine. What I liked about it were the stories from behind the camera. They always gave you a list of films in production, and I thought I'd love to get round a studio and see what's happening. So I looked at the […]
[…]see through other people's eyes. So what one is tempted to say, and has been known to say to him is, look, I'll take this role away. Now, there's the camera and everything. Turn around, do what you like, thinking to yourself as a pity is doing it with my lighting. You know, pity I can't switch all l[…]
[…]a title?Reg Sutton: Sound recordist.Roy Fowler: Then what? Tell us about Movietone then and how they operated?Reg Sutton: One would work with a sound cameraman. And you'd have a car, I started with a Sunbeam Talbot, the roof of which was specially reconstructed and strengthened and rubber lining put[…]
[…] Martin Gray who was the soundman and he transferred to camera. We can't all be perfect, so I went in […]
[…] they had a terrible accident. It was a street strick camera was on a crane and they had a breakaway […]
[…]o-writer of Jackson's Seven Keys in 1961 - is this correct?]John Legard: Henry BlythPat Jackson: Henry Blyth. He got a job at Welwyn Garden City as a camera operator. He was a very bright lad. And there was suddenly a vacancy for another camera assistant, so he rang me up and said, "Come on down, Pa[…]
[…] camera assistant at Nettlefold Studios before gaining experience as a camera operator, sound recordist, art director and editor. He also became […]
