[…] course, it was in the days when we all smoked, unfortunately. We spent quite a lot of time, Roger Woodburn was asked to do this, [TIME 00.42.32] all lighting cigarettes and things, lighting up and trying to work out how long it took to burn down. And Roger was working that out in terms of frames. A[…]
[…]aw and do shoot - and (stutter) we shot it - at the time no problem - and they loved it - and it looked greatQ: Yeah - well it’s better for the lighting isn’t it!01:52:05JOE: It’s better yeah! Exactly because you can light each set up (laughs) lovely but yeah they loved it - (interviewer: um -[…]
behp 0629-t-harry-fowler-transcriptInterviewee: Harry Fowler [HF]Interviewer: David McGillivray [McG]With occasional interventions by Mrs Catherine “Kay” Fowler [KF]Transcription by David Sharp.NB: Some background noise is present from time to time. Where possible I have clarified points made, and i[…]
[…]eah yeah I was. Yeah. I was in … Rodney Giesler:Made sure everyone hit their cues? Roy Fowler:Absolutely in the prompt corner and yeah like lighting cues the whole thing, curtain up curtain down. Yeah, yeah I mean that's easy enough it's just a matter of intelligence. But when it came to i[…]
[…]'ve got a star, which Bebe Daniels was a star, and Friese was the cameraman she wanted, and Friese was very good with women from the point of view of lighting effects and things. And when Friese was good he was very, very good and these things take time as you well know.Roy Fowler: He was slow?[…]
[…]nknown Speaker 12:15 ButUnknown Speaker 12:17 Michael, he recently has acquired the light he has bought from Eagle Trust, the lighting side of the equipment. He calls it Michael Samuelson lighting.Unknown Speaker 12:35 He is still at Dutton Hill lane.Unknown Speak[…]
[…] come in the next morning. You know, it was a very, I must say, for those days, it was a very casual affair. Yes, we didn't have a lot to do, not the lighting people. Where about speed living that during this period? Well, in this period, I lived here, we bought this house. Oh, really, we bought thi[…]
[…]Y MILLER: Well it was a bit in and out. We had our little cliques of Union in the studios but we found that there were lots of people doing moonlighting and stuff. In the old days the editors paid their assistants they took a price for cutting a film and then they paid the assistant, or[…]
[…] don't think it turned out to be very bad at all but to make sure that he kept his mouth shut and didn't claim a lot of damages, they promoted him to lighting cameraman. Well this is the story I'm told, whether it's true or not, I can't say - I don't think I'd say too much about this, old chap. But […]
[…] wanted to do, he used to leave it to the lighting director and me to get on with the job […]
