[…]. The extraordinary thing is and I would have tocheck the facts on this, I think it was the first time that any British film had beennominated for an award by the Academy, and I got the award for art direction that year. Ididn't get the actual Oscar, I got the nomination, not the award. I think it w[…]
BECTU History Project Interview with HARRY MILLER – sound, sound editorInterview Date(s): 23 October 1987, 12 September 1988Interview number: 20Interviewers: ROY FOWLER, ALAN LAWSON Tape 1, Side 1 ALAN LAWSON: This recording is copyright by the ACTT History Project.  Harry Miller dub[…]
[…]io being built at Pinewood. And that was started at the end of '35 and completed and started shooting in September '36, which was really a remarkable achievement. And the B&D sound department moved over lock, stock and barrel, as Pinewood opened up, and I was there on the first day of shooting. […]
Behp 0698 T Anne Fleming. Transcript. This transcript was originally produced automatically using Speechmatics, and has been edited by David Sharp for the British Entertainment History Project.This transcript has been edited to remove hesitation and repetition where it was felt that the speech […]
[…]s my friend, Walter, his last film. And as usual, I said, Oscar, for goodness sakes, stop it. Of course, you're not going to die because he spent his lifetime. Him he was gonna die. From the minute I married him, he was gonna die. So, of course, I never believed it, because I thought he go on foreve[…]
[…]ed (1906-1976) was a British film director. His films include Odd One Out (1947), The Third Man (1949) and Oliver! (1968) for which he won an Academy Award for Best Director.21 Kevin Brownlow (1938-) is an English filmmaker and film historian whose work focuses on the preservation of films from the […]
BECTU History Project - Interview No. 160[Copyright BECTU]Transcription Date: 2003-08-29Interview Date: 1990-10-15Interviewer: Margaret Thomson and John TaylorInterviewee: Charles WilderTape 1, Side 1Margaret Thomson: ACT History Project number 160, Side one. We're interviewing Charles Wilder whose […]
[…]h this was his brainchild here, he's very glad to deliver it because he's had enough violence. He's worked on enough violence on the screen to last a lifetime. And God's got this nice little musical comedy to follow. But it wasn't at all the devil was the shooting and the cutting went through like c[…]
[…]h this was his brainchild here, he's very glad to deliver it because he's had enough violence. He's worked on enough violence on the screen to last a lifetime. And God's got this nice little musical comedy to follow. But it wasn't at all the devil was the shooting and the cutting went through like c[…]
[…] view of the decline of our industry as well, which doesn't put an optimistic cast on on reminiscence. And my career lacks a certain substance in its achievement. I tried very hard, but in the end, I was making films that most people didn't want to see, or certainly the vast majority of people would[…]
