[…]sp; 00:02Dallas Bower: producer, television director, television producer, sound recordist, film editor, drama producer. Dallas, when and where were you born?Dallas Bower 00:19Kensington Hall Gardens, London 1907.Alan Lawson 00:25Now what kind of schooling did y[…]
[…] in the film industry, and later you went back to documentaries - were your languages, the fact that you could […]
[…] chose him. Julian had way b ack some experience of documentaries and might have known him then. He turned out […]
[…]will.” And that was made on short ends, black and white, and after finishing that, yes, I got work as a cinematographer in commercials and documentaries and some of those were in colour, until I shot my first professional film which was Peter Watkins’ film Privilege.PF: Right, so bef[…]
[…] things that, I think it was a sense of humour on their part, because of Gus's background in World in Action and journalism and, you know, high level documentaries and all the rest of it, Gus thought he would end up the Chairman of the factual Committee that commissioned documentaries and stuff but […]
[…]tographed, it's reasonably well edited, it has a rather conventional sort of commentary on it. Er - but it was a good, straightforward example of the documentaries of that day. Er - the er - the great days, I think, began to dawn when er - Arthur Elton produced and Geoffrey Bolt directed - this was […]
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[…]o was search for strong male dancers, familiar music. I had to look at how ballets were presented. I hadn’t at that time got around to thinking about documentaries. I was only aware of performance. The notion of programmes about ballet, other than ballet for beginners was something that only came wi[…]
[…]es, who was the cameraman on it, it was the first film he made that was a dramatic film. He'd done Target for Tonight and F for Freddie and all those documentaries and this was the first thing he'd ever done dramatically. And it was exactly what I wanted it to look like, I wanted it to look a bit li[…]
