[…]aughs]. But anyway, and then I worked at Realist for quite some time.Stephen Peet: Now one of the things that you're credited with is being Assistant Director with John Taylor on The Londoners.Philip Leacock: Oh it was a very exciting project.Stephen Peet: What film was that?Philip Leacock: It was m[…]
[…] films. The first film was being directed by Adrian Brunel, I remember that, Ivor Novello was the lead and then. I fell into the hands of an American director called T. Hayes Hunter. He turned out to be a very nice man but he was very severe on me to begin with. Eventually Balcon and Gainsborough Pi[…]
Interview with Marion GriersonInterviewer: Margaret Thompson MT: This is Margaret Thompson interviewing Marion Grierson; documentary film director, editor reporter, literary editor and writer.these were the professions that she followed in the early years of documentary filmmaking. She later we[…]
[…]ally know what it was about, I think he just didn't like Leslie Arliss. Roy Fowler: Was Leslie Arliss dislikeable? Andy Worker: Who was the director... No, no, I found him quite nice. Roy Fowler: Yes he'd been one of the Gainsborough writers hadn't he, along with Val Guest? Andy […]
[…]sed what I really wanted to do. I appeared in Richard III, with Emily Williams, which was directed by Tyrone Guthrie, who I think is one of the great directors of British theatre. He was tall and very beaky nose, and he er…used to rise up in the stalls and suddenly there’d be this giant telling me ([…]
[…]h a colour unit, which others had experienced. That was basically an American unit brought over from Pennsylvania. Yes, a producer for which, and the director of which were American and the two engineer,Gerald Chambers 31:19 yes, the engineer, the producer was called Paul Schmidt. And th[…]
[…]brick wall so there i was on the scene with Cyril Crowhurst and and myself sort of in the upper layers of the department and i know that our managing director at that time was Kip Heron and he had i think found himself a little frustrated Because he felt that Cyril plain maybe wasone of the old scho[…]
[…]but he’s still very busy so I think he kind of just wanted to come in at the end but… Sometimes with restorations we do work with the filmmakers, the directors, or even the cinematographers, and they will come in and sit with the colourist and, like, have a lot of notes for that but Roger just came […]
