[…]azine, we got to know about films. We went to films and ended up knowing a bit. And the good thing about Sequence was that it was a discovery for its editors.Also it wasn't in any way theoretical or academic, even though it did start at Oxford. So that for instance the French influence which came la[…]
[…]order to make it a bit more plausible. It starts at the outs the beginning and the end are actually live action shot at the oval Cricket Ground and creditor wax is six which takes off and all the effects were done by camera effects and an actual cricket war, which was photograph is superimposed phot[…]
[…]ound to that was that I got the New Statesman sent by Dick Crossman who was then the assistant editor for nothing. I did contribute a few articles. I signed myself infantry officer because I couldn1t really sign myself w[…]
[…]ht’. And he’d say ‘Well alright, well if we can't do it again we’ll forget it’, you see. And, and say well so and so is not right to you, to the editor, I've spoken to the director and he's said it's okay so, you know, that's it.Did you have any discussions about what used to be the famous thin[…]
[…] Tonight, he worked with Denis Mitchell and me as an editor and then he moved on to Tonight as an […]
[…] season as a whole, we have Vera Campbell who was editor of Unpublished Story in 1942; Winifred Cooper on Tomorrow […]
[…] difference to the volume of production. Things were changing, of course, in the network as well. There was the new network set-up, the Commissioning Editors that were set up by the network to commission programmes so you had to sell all your ideas through these Commissioning Editors, which could be[…]
[…]after two years? NEVILLE WORTMAN: I came out of National Service and at that time the BBC … it was all in black and white of course … the editor of a local newspaper had got a contract to do short stories on television and so I illustrated those. I did some illustrations for televi[…]
