[…]ed at the time that he would have said politically aware if he happened to have thought of it at the moment, but what he meant clearly was the I must diverse my future documentary programmes from direct political content. Now, of course I argued about that I said, "David, I'm not er I have never bee[…]
[…]d that. Except for maybe once or twice when she sort of doubted that I had sort of had been behaving myself. Most of the time she she appreciated the diverse. I was workingJohn Taylor  3:15  all the time. And he knows a lot depended on the wife didn't really I mean, that being, you know, s[…]
[…]which was a year later, I joined the Cambridge University's Mummers and the ADC and my career as a director took off. My  first significant production for the Mummers was Ondine by Jean Giraudoux and it was a huge hit. I'll never forget that John Tusa played the Knight, the eminent John Tu[…]
[…] across both industrial and critical contexts. Despite Harris’s long and diverse career spanning six decades, this article will focus particularly […]
[…]rld had a huge travel library and many of his photographs so with big photographic libraries, like LME, and so on.Speaker 2  8:06  So quite diverse interests. Yes,Unknown Speaker  8:09  yes. Yes. He lives down in South Devon.Speaker 2  8:13  So was your father supportiv[…]
[…]– he took quite a big step, but never regretted it. I hope I can say that. And so we then started producing gardening programmes, so there was a very diverse mix; and then the person who then became my long-term business partner at Flashback, David Edgar. He’d been a cameraman. A different approach […]
[…]ough, that Channel 4 was starting in 1982 and I saw an, and companies were just starting up and employing thirty people in one go and one of them was Diverse Production in Olympia although then they were based just off Oxford Street. And David Graham was a producer/director from Panorama and Jeremy […]
[…] because at that time Tonight was working from Alan Blowerey?, at the New Barnet studios, I believe  and the equipment that we use was very diverse, lots of different makes, and, all had its idiosyncrasies. And I remember well, with Alan Blave? his Wall camera being stuck in the middle of […]
[…]ng, but the intricacies of what music and what numbers are in what shows and what film once I was I didn't know. And, and he his music was incredibly diverse. And, and so there was there was a lot to learn. I mean, to say these hundreds of music and musical numbers and scores that I've got is you th[…]
[…].LW: I’ve got All for Mary as 1955, and True as a Turtle as 1956WT: That’s rightLW: What was the set up at Rank in comparison to KordaWT: It was more diverse, there were so many people in charge. There was Earl St John, James Archibald joined, who was brilliant and he was my producer on The King’s B[…]
