[…]with it because no one can object! He has that right. But, generally speaking, it isn't done. Not in Hollywood, anyway.Charles Bennett : It has to be colour now.Stuart Birnbaum : The script that we made wasn't... certain films should be in black and white, but this one needn't be. It's a colourful d[…]
[…]he next thing i i took pictures in those days, the first job I had to do, I'll always remember I worked. We worked out in one four King Water Street, film house Water Street, just up the road. And I had to go to Marble Arch, where the Duchess of Kent no the Duchess of Gloucester. I was going to open[…]
[…]40. Left for BEF HQ at Arras, that's when I changed over to the army. And Paris oh yes Paris. January 24th patrol demonstration; 28th presentation of colours to Royal Ulster Rifles, and so on, and so forth; 30th First militia fighting unit in France, I don't know what that was actually; contacted In[…]
[…] which was terribly cumbersome, very good, to make the three colour separations in Technicolor labs. So of course the old […]
[…]d "How do you white-balance?" And "Why is this white-balance not going to work?" "The pictures look a bit yellow!" But the problem is, we didn't have colour viewfinders then so the guys were not able to make good colour judgements on the basis of what they were seeing because they were used to seein[…]
[…] time, or basically light for them because we were doing colour and they weren't. John Turner: Tell me, how many […]
[…] Buckingham Palace and decide which stories would be rotarised andwhich would not. In the end, we had a little bit of bother because, when we went to colour we hadthe problem of processing. Processing in colour obviously took longer and what we did was, weorganized it so that we would do - we - and […]
[…] you didn't work with Sydney because he was a rather colourful character. So is there much that you can tell […]
