[…] work out that way. So I thought along all right with them but after a few years.I thought well I've always wanted to be in film making you know film editing directing or whatever.And so I actually resigned I mean in those days you could put yourself where you could find another job people did. long[…]
[…]ame, I became friendly with them all and they were quite supportive. So when he actually said I could learn to be an editor, or do a bit of assistant editing, they didn't, they didn't object. Mary Orrom 8:14 Paul Rotha's first wife, a woman called Bunch Dixon-Spain, […]
[…]5 About post production. Did he edit most of the films? Bobbi Riesel 12:39 He edited everything. Yes, we had an editing suite upstairs, and I knew that it was terribly important that he had films to make. He was then semi retired, and I knew that I had to grin a[…]
[…]pproximately twenty-fifth of May, 1996 in France, talking about her days in television. When I was in sound, in radio, I did a tremendous lot of editing and mucking about with tape and everything went round, either to left or to right on things that turned like wheels, and then as time went on…[…]
[…]on, which again, was marvellous and a unique experience that one could broaden one's training base. That was phase two bekins field studios, filming, editing, editing, everything they had back 10 cutting rooms, I suppose a Beaconsfield and all the facilities are camera department. It was a mini BBC […]
[…]ere all so mad about ACT not getting going with us because we felt we were in a strong position.ALAN LAWSON: When did you switch over actually to the editing department?HARRY MILLER: Well I did that at Denham. I was, I had a liaison with the editing department at BIP but only in the sense that[…]
[…] the cutting room at Gaumont -British where Charlie Frend was editing Oh Daddy and next door was Hugh Stewart who […]
[…]und did slip. So it had to be when you came to edit it by using your front and end clappers. You managed to keep it in sync, a bit of judicious editing. So, normally the front and end. So those were interesting times. We also because Hugh Baddeley had been one of the first commission jobs he g[…]
[…]taught you when you're a producer later, obviously, you had all these lessons ... John P. Hamilton 17:17 It knocks on into editing and everything, doesn't it? John Ammonds 17:19 Oh, yes, the whole thing. And you were working on course, with[…]
