[…]s was only black and white and it was only BBC1, and it probably stopped at half past nine at night or something, Armand filmed everything on 16mm in colour, positive Kodachrome 1. And although we were cutting rooms he in fact did edit all his films himself at his home in Nairobi on the master Kodac[…]
[…]wanted to use the phone. Or like sometimes I remember the President of somewhere in Africa, it must have been Kenya or something, he was white, not a coloured person, he was a white man and he was ever so important, with an entourage. And they come, ‘Would you type this, Miss Shadwell’. And I w[…]
[…]ther programs and natural history programs. There's most fascinating footage there. What Britain looked like at that time on 35 millimeter an Eastman colour negative. And then there's nothing on that television is horrible 16 millimeter black and white badly exposed the wrong stocks used. So I thoug[…]
[…]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[…]
[…] We were working on this film Maytime in Mayfair with Michael Wilding and Nicholas Phipps and all the other Wilcox Repertory Company, it was really a colour sequel to Spring in Park Lane. And at that time Herbert Wilcox said, well if you ever want to leave MGM I should be very happy to employ you in[…]
[…];They refused the passport and I lost my place at University.Rodney Giesler:You lost everything then?Roy Fowler:Yah, yah, which I suppose to this day colours my attitude towards any bureaucracy but especially the way in which this country is run. This country is for the pits as far as I am conc[…]
[…] last scene, where Oswald is going mad, sitting at his chair going mad and Mrs Alving is in great distress. And he's just said the thing about cherry coloured velvet, soft to stroke, and she realises that he's going mad, and she rushes to the door and bolts it. And she cries "Oswald!" rushing to the[…]
[…]films you want me making..." He said, "We've got the stories, everything. All we want you to do is to do the animation, black and white." Because the colour hadn't come in then, in sets, you see, not many. So I said, "How much?" "Oh, five minutes, eight hundred pounds." "Oh" I said, "Eight hundred p[…]
[…]u've got five release prints going round.Dicky Leeman: Well they were sort of cast as "Ghost Train brown", "Ghost Train red" - they all had different colours appertaining to them.Rodney Giesler: And which other people did you come across at that time? I suppose you knew Arnold Ridley who wrote 'The […]
