[…]rion?MG: It was around 1928, 1929. Back home I went to London and found my brother at that time in a flat in Hampstead and when I visited he was busy editing Drifters. The film was suspended from the top of the mantel piece and hung down both of us no fire burning I must say and he used a waste pape[…]
[…]heme going. The best units used to really do this sort of thing, that happened to me, that youKitty Marshall Page 9worked for sort of six months editing, six months behind the camera assisting, or roughly, and – as supernumerary obviously there – and for six months in produc[…]
[…] my experience of filming interviews for the History Project, through editing to archiving and uploading to the web. The process […]
[…] of, you know, fear.Fear, yes, yes, mm.Around actually. I...Now you were actually, you were assisting to begin with but you say that you, you started editing there did you?No, oh no, no, no.Or no?Oh no, that was much later on.That was much later on, yes, mm.Much, much.So you were assistant editor?I […]
[…]And very shortly Oh, I think it was Michael Gordon. But he left and very shortly it was Charlie Saunders replaced him. I never knew a thing about the editing department. But within I should think days I was absolutely wrapped up in it because it was fascinating. And all one own is sort of cameras. A[…]
[…] his early career but he was certainly an editor on those Mack Sennett comedy things, before sound ever came in. And he had a very direct approach to editing which was matching doesn't matter, he couldn’t be bothered with fitting, he said you could cut from a man standing up to a man sitting down or[…]
[…] and Gainsborough Pictures, let me think, he thought I had some sort of promise but he didn't know what so he put me through various departments, the editing department, the script department, I was a still camera man for a time. Eventually he put me in charge of a unit making a small picture with A[…]
