[…]t with MGM and it has another two or three years to run. I think it had three years to run actually.So we had meanwhile been lent out to 20th Century Fox to do a film called Night in the City with George Duffin and I began to think well what is the point of working for MGM when we never work for MGM[…]
[…]n, or whatever it was called, broke the monopoly between Kodak and technical I didn't they,Unknown Speaker 1:50:31 well now, 20th Century Fox, yeah, 20Unknown Speaker 1:50:35 court, yeah. AndUnknown Speaker 1:50:39 although we know we had, you see, we had a three […]
[…]l effects we're not we're against blue screen, we tend to did concentrate much more on blue screen, which had its own inherent problems have a lot of foxing around the edges sometimes, but more often than not. In fact, I think we were probably on that film. And I did go over to America on that on sp[…]
[…]the opportunity to take groups of students, trainees on tours of the Kodak Museum which was the most wonderful place. It had samples of Joseph Niépce,Fox Talbot, it had a Technicolor three-strip camera. All of these things were really like at the core or the heart of the birth of photography and als[…]
[…]f, you if you looked at that bidding process, Comcast paid way over the odds, all the people are saying they paid … just over £17 a share, when Fox, the next bidder, was under £15 a share, right? And I think it's partly because they recognised that they also need to be more global, right? They[…]
[…] not great. Before I left, invited by Huw Wheldon to a dinner for APs, turned up with Tony Palmer, to find no name badge and to be turfed out by Paul Fox – “a bit brutal”. Saw Paul several years later when he turned up as MD of Yorkshire TV – “Ah, we’ve all made the change then”. 33.50 - […]
