[…] and be involved in the casting and the crewing and and it wasn't to be like that. The whole point is you can only have one creative producer and one director. So quite early on, I went back to gerado and said, Look, this isn't working. Marta keeps wanting to make decisions, and we can't do it that […]
[…]e directors too had ideas on the subject...I mean, [some of the] more creative directors?Peggy Gick: Oh yes! Well you wanted to have a chat with your director...trouble is with some of them to get them to communicate.John Legard: And did you have your favourite lighting cameraman to do your work jus[…]
[…] exchange of jobs, whether he did, did the direction while he was still Script Editor or not but he did direct and then he decided to go off and be a director.Mm, mm.And it all came about roundabout the time we moved. So I, I would say I had roughly a year at Marylebone Road and doing this quite hea[…]
[…]geable man, very helpful as a producer. I was very lucky indeed. I learned from all of them, and I needed to.LW: Can you remember your first day as a director.WT: I certainly remember the first day on the set of All for Mary, I've a picture of it. It’s a picture of me taken with strangely enough Joh[…]
[…] the years when Hitchcock was more or less a journeyman director... E.M. Smedley-Aston: Well Hitch left about the first or second […]
[…] and then he decided to go off and be a director. Mm, mm. And it all came about roundabout the time […]
[…]l] apparatus that you needed for the other early types. And therefore it was at the leading edge of making colour films. However, the big problem for producers and filmmakers was the fact that you were very tightly controlled by Technicolor. You were forced to employ a Technicolor colour consultant […]
[…] of his name properly in a minute. Top, top, top director. [Karel Reisz] DARROL BLAKE: And you first met Joe … […]
[…] it came to what the scene was, you asked the director. The soundman would say, "Well if he goes in that […]
