[…]es, and read your manual and had to borrow a pair of trousers here, jacket there and whatnot. And they shot this and they and they got a professional editor to work with them overnight, they made a speech, Mark made a speech at this function, which is far better than the Evening Standard managing di[…]
[…]erbal diarrhoea and a nice woman but not of what I might call an artistic bent. [LAUGHTER] Who else now, Peter Tanner was a very nice man, he was the editor who I gathered died recently. Roy Fowler 4:22 Well, I hadn't heard he died. Jonathan Balcon 4:[…]
[…]e going back to college and David Graham said: ‘You can do what ever job you want to do. Downstairs there are two video cameras; sound’ obviously the editors had to be editors but he said: ‘basically if you think you can produce straight away then I’m interested.’ And I looked at all of this and som[…]
[…]he periphery.Martin Spence 1:42:57 And working with other people, I mean, do you have regular, you talked about some of the commissioning editors and producers you've worked with, are there regular collaborators. I mean, at whatever level, whether we're talking about producers, or writer[…]
[…]is in the film, and the MOD also laid on a landing craft and some Royal Marines for the D-Day stage and then all of this stuff was put together by an editor called Jonathan Gili. The film tells the story of a young soldier, played by an actor called Brian Stirner who gets his call-up papers, tr[…]
[…] Film. Another good sto ry there. Russell’s great video tape editor. And I remember we had a standing ova tion […]
[…]er: Ah hmm.Eddie Dryhurst: It was undoubtedly where Frank Capra got his start.Roy Fowler: Yes. What were you doing there?Eddie Dryhurst: I was a film editor then, or a cutter as they used to call us.Roy Fowler: Had you picked that up? I mean as a craft, you'd acquired that?Eddie Dryhurst: Well don't[…]
