[…]go for Western." So the Western Electric...Bob Allen: Can I just interrupt there, just to clear up a little point for people listening - this was the Gaumont-British, or British Acoustics, rather...Mickey Hickey: The British Acoustics, yeah.Bob Allen: The British Acoustics system, which actually was[…]
[…]en hired a small teacher by a mobile Casa buddy. I said, Well, we've already got us studio, we've got the insert stage at the back of the Hammersmith Gaumont is quite big. We use it for all sorts of things, and raised there but it isn't soundproof, we can't possibly use it. We got to have dialogue. […]
[…]? Andy Worker: Yeah, hmm. Roy Fowler: Ah hmm, so in terms of production finance there was no problem? Andy Worker: No problem. GFD and Gaumont used to put up half each in those days. Roy Fowler: What kind of accountability was there? If the film went over budget was there conside[…]
[…] or um... Si dney Cole: Yes - no, he was Gaumont British. Bernard Vorhaus: Gaumont British that's right. And er - […]
[…] there was no problem? Andy Worker: No problem. GFD and Gaumont used to put up half each in those days. […]
[…]duction properly," see? Well a friend of mine who is a big noise in the film world - later he was - he was then, and his father was a big director in Gaumont-British. And this friend of mine, we were young, almost kids together, I knew him well and his name was Hughie Orr, and if you get the Childre[…]
[…], one's called Sid. I can't think the other person name, but the cinemas that they had was theAlbert Critoph 30:51 cinema in Kilburn, the Gaumont state Kilburn, theTrocette at Tower road. Big cinema down in Mile End Road, I can't think name of it,Albert Critoph 31:04 an[…]
[…] of reasons. One was that he was obviously someone prepared to learn in all sorts of ways from experience. I didn't know him when he was in charge at Gaumont in the days of Victor Saville and Alfred Hitchcock at the Lush but I have a feeling that the influence of people like Ivor Who worked for him […]
