[…]il 1988 in the executive room of ACTT at 111, Wardour Street. The subject is Edward Dryhurst, interviewed by Roy Fowler. Eddie is a producer, writer, director, going back a long, long way. Edward, the fact is that you have written recently about your life in great detail and so I thought on the tape[…]
[…]ty man. And he had four sons. I was one of them. And we were all involved in in the film industry. He the eldest one was Jerry. He was a film editor, director, producer. With good credits like Out of Africa, Gorillas in the Mist, you know, films that we know about. I came next. Also a film and found[…]
[…] details of Caesar … with L.P. Williams who was Art Director, Brian Desmond Hurst who was Co -Director, Marjorie Deans […]
[…]ly have a small towel across there [Indicates body private parts] And he was discussing details of Caesar... with L.P. Williams who was Art Director, Brian Desmond Hurst who was Co-Director, Marjorie Deans who was Co-Scriptwriter. And he more or less didn’t stop but he included a […]
[…]as sitting there minding my own business … I mean obviously I did have quite a lot of contact with people who worked in the Film Department, well the directors who used the Film Department and someone kind of from the film department came in and said “Oh well you know we’re desperate for somebody to[…]
[…] as I say, a cooperative unit. The chief producer was Donald Alexander, and other producers were Jack Chambers, Jack Holmes. Budge Cooper was a director. Francis Gysin was a director, later head of the Coal Board Film Unit. I can't remember any other names offhand. INTERVIEWER: Well, that[…]
[…]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[…]
[…] should add he wasn't getting on very well with the director. At the rehearsal stage I think things had not […]
[…] the story could come first I think you’ll find that the inspiration for good photography comes from within the writing. And it’s surprising how many directors you work for who haven’t the faintest idea really how to photograph a film but if you’re inspired by the writing and the ideas in the story,[…]
[…]hought how to answer this question, but I will try now. It's a valid one. I think they felt that, that they wanted to retain the support of the Shell directors, which was forthcoming, the freedom that they gave to the film makers. And it was complete freedom, really. They wanted it to be free of any[…]
