[…]ou're happy there. Are you getting anywhere?Erica Masters: Well I'm learning about documentary films, yes, but I'm really - I really want to get into features, and I write more and more letters. And I kept writing to Ealing and saying, "Please, please give me a job, you are my spiritual home, I will[…]
[…]ction is not only in terms of the shot, but also in terms of safetyManny Yospa 30:12 of the crew. Those are camera man in the back of the camera.Nick Ardizzone 30:18 There's some of that goes on to is there. I do remember an anecdote of Harry Hart. I think it was taking a sho[…]
[…]arwick Ward and got taken on todo The Dancing Years at Elstree in 1949. Hell, I did a lot of films atElstree. I stayed from ‘49 to ‘67 and did 30 odd features, maybe more . Inever had a contract. I never had a letter of engagement for that firstfilm. If I had I'm sure I'd have a copy. I got sent by […]
[…] one or two other themes like that, with me on camera. 35 = remember Scott’s – you can edit this out […]
[…]tephanie Silk was the presenter, I think. We did royalty, films about royalty, films about advertising, one or two other themes like that, with me on camera.34I remember Scott’s – you can edit this out if you like but I remember Scott [Meek] telling his parents back in Scotland that his boss was goi[…]
[…]you know, the two, [incomp – 10:23] together. So I used to do an awful lot of the planning really and the doping, as it was called, for the camera. Well, then Jeffryes I think wanted to get off on his own and away from Bruce Woolfe and he took away with him Luytjes [ph] and myself and Joan[…]
[…] the one hand it genuinely happened in front of the camera. But you had to set it in train. SR It's […]
[…]s bird eating his éclair. So that was typical- I did that all the way through I'm afraid. I mean on the one hand it genuinely happened infront of the camera. But you had to set it in train.SRIt's a sort of gray areaJBIt's a gray area exactly.SREverything in documentaries is set up; you have arrange […]
