[…]eased to sell the studios to Mick for £14,000. And in fact, if you go there, even today although the site is being developed, on the big wrought-iron gates into the yard it quite clearly says Gainsborough Pictures, or Gainsborough Productions. And I believe the gates have got a preservation order sl[…]
[…]y used to do to you!Sidney Cole: So what did Frank Kelly do?Tom Peacock: I'll just tell you. Any rate, the works committee get together and they instigated a bit of a revolt. And they said, "It's not right, you shouldn't do this. You should at least give 'em a week's notice." But no, they wouldn't h[…]
[…]k before the mix and I was going spare getting these. And therewas chaos in the cutting room. We come to take the film out of EMI Studios roundto the Gate to run the film. There’s a reel missing: a reel that Lolita was in abathing dress, very mild today, and they had a lot of trouble with cameramenc[…]
[…]ucation. Yes.Colin Moffat: Well first of all when you arrived where were your parents living?Philip Donnellan: They were living in a in a house in Reigate, in Surrey. My father was teaching in Reigate after the First World War and in 1919 he landed up in the 5th Brigade in Galway. He was education o[…]
[…]ue.Roy Fowler: How did you find them?Eddie Dryhurst: I don't remember, somebody put me onto them, some siren voice. It was run by a man called Edward Gates who looked like a rather hungry grocer I remember. Anyway, they agreed to distribute the picture and when I had made it I think I'd had the nega[…]
[…]ery unwanted and very miserable. However there was an old camera in the camera room, it was an old Bell and Howell and it was not the type of clapper gate that you had the clips for but you had to undo two scripts to take it out. And it was known as the Ideal, I think because it had come from Ideal […]
[…]as to a proper grown up play in D, D was the object. So and I did musical shows, dreadful things that Dicky Attlee used to do, Jukebox, with the gates that never worked and of course everything was live which was an interesting exercise just in planning. I used to enjoy doing the studio plan be[…]
[…] and I used to come up, and there, if I was lucky enough to be working on a film, there'd be anything up to about a hundred guys standing outside the gate, waiting, hoping that the foreman would say, "Such-and-such wants a plasterer..." or the head chippy wanted another chippy and things like that. […]
[…]because I didn't like the idea of telling fighter pilots up there what to do you see, but anyhow... I found out of course because the sentries on the gate at Duxford had got gloves with barbed wire wound around them, they hadn't got any rifles, they hadn't got anything. They'd got no arms; they didn[…]
