[…]ying. But it went down all right, and that was fine Rodney Giesler 24:57Tell me how you actually went around. This is your first film as a director. How did you go about making it? I mean, did Ram Gopal put on a performance for you? And then you worked out in film terms, how you were goin[…]
[…]ead of Gaumont-British that he couldn't have anything to do with it, and General Film Distributors wouldn't handle it unless it was remade with a new director, different cast, different writers, everything. Hitch was broken-hearted, because by that time he and I were working on 'The 39 Steps', so ev[…]
[…]came Harry's assistant, and this was in 1934, I then was about eighteen and a half. And he was given 'Night Mail' that was his first really important directorial assignment. Now, 'Night Mail' is supposed to... well we all know a lot about 'Night Mail', but it's supposed to have been written by Basil[…]
[…]r. He also did some 16 mill he had a 16 millimeter camera. Can't remember what for, andUnknown Speaker 14:13 Bill was the producer, boss, director, and who else can I remember now by name? There were one or two people who were on the staff of the advertising department,Unknown Speaker &n[…]
[…]and projected the rushes at the end of the day; FY started working for Gaumont in 1917 and left ten years later, by which time he earned £5 a week; a director invited FY to shoot his next film; FY gave his notice to Colonel Bromhead the head of the studio at Gaumont.00:10:00 – 00:17:05 His first fil[…]
[…] on [laughter] and there was a very, very shrewd managing director, who said, ‘Yes, I think you’re just the person […]
[…] set first thing in the morning. And he would be there, right the way through to the end. knew his lines. Absolutely fantastic. Basil Dearden was the director. And we were shooting most of it in a village called Men's Gooner, I think it was called here was terrible. I mean, that was that place was b[…]
[…]e 1970s..? I can't remember now. Something like that. But I was there and I think it was Peter Mullins, somebody called Peter Mullins, who was an art director or assistant art director and he looked at my work and said again "ooh yes, you're a nice little artist", you know, and we looked at the boar[…]
