[…] to communicate. John Legard: And did you have your favourite lighting cameraman to do your work justice as it were? […]
[…] to go to the scene master, the property master, the lighting engineer was that the girl, I, would do carbon […]
BECTU History Project - Interview No. 182 [Copyright BECTU] Transcription Date: 7 February 1992 Interview Dates: 30 January 1991 Interviewer: […]
A brief Memoir from a member of the sound department at MGM Borehamwood which sheds a little light on the […]
[…]u it's, it's about the actor's day really, the big time actors have all kinds of you know, they have leading lady options. You know, they approve the lighting cameraman they have to approve or approve the director quite often. They seem to have the power and And I'm not sure it's necessarily a good […]
[…]one rang one Saturday morning and I think it was Hal and there was an entire unit at Ealing waiting to start shooting. The carpenters were there, the lighting men were there, the actors were there but there was no electrician there and nobody would dare touch the main switch. And I remember Mick say[…]
[…]ing to be coming soon-ish. It was 1965 I think when it did happen. So I had all the arrangements to do, all the arrangements in the Abbey and all the lighting. We used to light for TV as well at that time, or basically light for them because we were doing colour and they weren't.John Turner: Tell me[…]
[…]l you wanted to have a chat with your director...trouble is with some of them to get them to communicate.John Legard: And did you have your favourite lighting cameraman to do your work justice as it were? I mean, did you have favourite people then?Peggy Gick: Well I only worked on [such] a lot of sm[…]
[…]dangerous to put a check there. You know what I mean? And I also worked out we worked out together sort of a liking scheme for should you bring extra lighting up at night and things. And so we did that wrong went out with one sortie for two and two weeks or two came out with this lovely stuff, you k[…]