[…]hing like that. A big movie anyway and his next person that he always worked with was Carmen Dillon and she was doing something else so he really was casting around and Harold suggested me, which was great and there was, it was a great experience working with Joe , although once we actually got to s[…]
[…]ree and it was hammer. We all to Robert hammer enormously. He was our line director an excellent director. He died unfortunately because yes because Eric moreover wo[…]
[…]st job I always think. Because you could always get somebody to do the books and pass invoices, etcetera, etcetera. But the art, if you like, was forecasting.John Taylor: Hmm.Charles Wilder: Forecasting the costs and if they were going over schedule.John Taylor: You worked closely with the producer […]
[…]ordist they did not even understand what a sound recordist was in those days because there were only two ways of doing it – you either went into broadcasting or gramophone records or films and it was practically unknown for anybody to be interested in such a thing.I was always fascinated by sounds a[…]
[…]d here or jump round there. Well, I remember an occasion with him when he came out with a brilliant idea after about two hours of rehearsing, and the director said, but that's what you've been already doing for two hours. He just didn't seem to remember, no any others you'd like to talk about.Unknow[…]
[…]but to be honest, those sort of commercials are so simple because it is all storyboarded even though I had to go, as is part of your contract, to the casting session. The agency people they had already chosen which children they wanted so you just went throughthe process saying “Oh yes, I agree.” Yo[…]
[…]ean, my exact contemporaries. In my promotion, there was Claude Miller, who's who's done reasonably well. Not many others seem to have become feature directors though, of that particular motion. But as long as like, Oh, no, was the one after me and he he's done well,Rodney Giesler 5:30 &[…]
[…]hat he was a really a daddy of film. And then I worked with another, in 59 I did my first epic biblical in Spain. And that was something, firstly the casting was odd, Maude Spector was casting and they’d already been filming the battle films. It was called Solomon and Sheba. There was a character ca[…]
[…] and the second and third also, It is Midnight Dr Schweitzer, was 1953. So I said yes. I said I cannot discuss terms with you, you have to go to Broadcasting House to the financial boss. And what they offered for a years contract made me laugh. They offered me £1118 for a year. So it worked out abou[…]
[…]for quite a few years and then I gradually graduated back into into picture editing. Went to Merton park, to get a break, really, and I worked with a director called Phil Ressler on a series called chemistry for six forms. Work with the orals. Remember Professor Pryor, who told me that, that he had […]
