[…]cause the big one you're talking about was the silent stage which is now at Shepperton and is going over to Pinewood, is it going over to Pinewood or Elstree, anyway they're moving it once againAlan Lawson: But that was used as aircraft storage or something during the war, wasn't itFreddie Francis: […]
[…];satisfiedDo you really every part didn't like was getting out early in the morning and hated their old workman's trying to earn enough to get out to Elstree high mode or something like that and because they all the studios were out in the country in those days was the city of go see I mean, you did[…]
[…]2Interviewer: Jim ShieldsInterviewee: Maurice AskewTape 1, Side 1 Jim Shields: This is a recording made in 1972 at the Gate recording theatre at Elstree, of Maurice Askew, who was the dubbing mixer there - and a very find dubbing mixer too. [break in recording]... You know, just when you starte[…]
[…] of many colleagues. There is particularly rich material on BIP Elstree in the early 1930s, with discussions of Robert Maxwell, […]
[…] He remained with Wilcox, moving to British and Dominions at Elstree and working on films such as Victoria the Great […]
[…] film was not a film unless it was shot at Elstree or Denham or Shepherd's Bush with sets and lights […]
[…] have got them, because there were two big groups. The Elstree group had a load of cinemas, was it? And […]
[…] he was one I wrote to and Bill Haggis at Elstree I wrote too. I forget who was in charge […]
[…] was ’34. Thirty-four? The beginning of ’34. Yes. Right. At Elstree, BIP Elstree, yes. Tell us about the people that […]
[…] because although I was freelance, I... Rodney Giesler: This is Elstree? Dicky Leeman: Yes. I worked, seemed to get a […]
