[…]peaker 2 1:15:38 no, I don't, too. I mean, I think producers are very important. sectors. And you know, I was definitely a man behind the camera. Yeah, I was definitely the man behind the camera. I'm not too good at figuring out the money side of it. And I'm very good. I'm very disciplin[…]
[…]got to imagine. DB: And there you were, there you are.PM: In those days you could get away with it. Black and white – and they were hour-long co-features; and I think they were released in America as a television series.DB: Oh.PM: Yeah. And again all kinds of people came through as Directors…DB[…]
[…] Olsen and Johnson even stopped at times to talk among themselves, you know, like Groucho, naughty Groucho who invented that business, looking at the camera. [Does an impersonation] Brilliant, brilliant. Can you believe that I had the privilege of working for Elkan Allen regularly, they had a show, […]
[…]d have happened to me, I had to laugh with everyone else who wason their backs with their legs in the air screaming with laughter. I did not see this camera. They must have seen me go over to the drawer then immediately switched on, it wasJune Randall Page 16somewhere hidden all through the fil[…]
[…] and made a lot of films with.Margaret Thomson: Well he started with Gaumont [?] actually.Charles Wilder: Oh did he? Yes.John Taylor: Well no, but in features.Margaret Thomson: Features yes, yes.John Taylor: He was one of Box's and he made a whole...Charles Wilder: I worked with Sydney Box and Peter[…]
BILL COTTON JRRestricted copyright and pUblication only with writtenpermissionInterviewed by John Taylor, with Stephen Peet and Alan LawsonBill Cotton Jr was born on 23 April 1928, educatedArdingnye College, SussexSIDE 1, TAPE 1John Taylor: Your father started working with the band early on, before […]
[…] six months I moved on to a department called "General Features" I think it was. SUE MALDEN 24 Hours wou […]
