[…]now - sixteen mill film in fact sometimes it was thirty-five mill film - yeah - so it was very good for me because you were in a cutting room with an editor saying oh don’t do that because I can tell you we don’t have anything to cover this - and you know you learnt editing - very quickly. Oh and of[…]
[…]t of them still around?Oh yes. When I finally went to Channel Four, this is quite funny, thirteen years ago, Mike Custer [ph 31:41] was arts features editor.SF: Yes, indeed he was.And he walked in, he walked past, I’d not met him. He walked past and, Naomi Sergeant, kind of paused him and said ‘Oh M[…]
[…]tting rooms with Gaumont-British Instructional, on the top floor of Lime Grove. And I made all the mistakes that you do when you're training to be an editor. Dropping the centre out of a roll of film and thinking all you've got to do is to rewind it, and ending up with the whole staff stretched down[…]
[…]t I met Dicky Attenborough there at the time. But no, I was working mostly in editing with Peter Baylis, who unfortunately died, he was a really good editor. And he was in the RAF Film Unit throughout the war, and again I learnt quite a bit about editing from him cutting.Rodney Giesler: And he went […]
[…]m to room. And really, the whole thing clinched itself a mutual friend, David McCallum and he used to live in the homes with a brother who was a film editor, Douglas I've only didn't meet him very much. But he was the senior fire guard. Yes. And we live next door to the deputy Fire Guard who so we s[…]
[…]ournalist. But the lack of the drinking took more time I think than the writing my grandfather was a rather eminent ecclesiastical writer. He was the editor of the Church Times and he wrote for the evening your regular column for the evening news by any claim. Families claim to fame was that we used[…]
[…]nbsp;John I. John was it British Transport films. I think John was an assistant editor. I remember John as an assistant editor. Remember John used to sit on the[…]
