[…]n documentaries, yes of course you do. I mean I did it myself. I mean you know I've done documentaries and operated myself. Different thing: that's a documentary. On a feature film you've got artistes you’ve got lights, you’ve got propping you’ve got everything. Can't be done. In my opinion.&nb[…]
[…]t's just go back to...where were we, 1939 or something like that?Peggy Gick: Hmm...John Legard: The end of the feature period and getting involved in documentary.Peggy Gick: I seem to remember at the beginning of the war we were all totally out of work, wondering what the heck was going to happen! [[…]
[…]inter, the plasterers, the carpenters, stage hands and it was a friendly atmosphere. It wasn’t quite as rigid I think as the big studios in the union sense. Today it would be classed as left of Stalin I guess but in comparison to restrictions that used to be imposed it was not – it was j[…]
[…] player. Fortunately I had said that first.TD: This would have been 1950 Alexander Faris: 1951 or 1952. Then I got a chance to write Some music for a documentary called Robinson's England.TD: You started with god save the king, you'd started Composing and arranging.Alexander Faris: Started arranging[…]
[…]e job, which was very sensible of them. And then that wasso what happened to you then?I was I was dabbling with some chums and we started a sort of a documentary. Job. And we did finally get a job with the Ministry for photographing the beginning of the Pirbright camp. The military camp that started[…]
[…]p;the films that I worked on you know, even when you're doingAlan Lawson 28:11 makeupRay Morse 28:13 where we didn't have any unions in my day you see I mean, that film I said Hullo Fame that was a musical designed designed all the sets I did all the makeup I was in it I wrot[…]
