[…]f you wanted anything, you got it alright. There were no problems at all. I found the Directors and, I think, the staff, I mean there was one chap, a Lighting Director called Hugh, Hugh McLeod? I: McLauchlan, yes. R: Hugh McLauchlan, on the show and he nodded to me a few times and I didn't[…]
[…]in Aberdeen in the Maritime Museum which, if anyone has ever been there, it's on several stores, floors, so we were on multi levels and it's glass so lighting is an issue and a problem and we had to get people like Christopher Brookmyre to come to Aberdeen for eleven o' clock in the morning! I met C[…]
BEHP transcript DisclaimerThis transcript has been produced automatically using Speechmatics.It provides a basic, but unverified or proofread transcript of the interview. Therefore, the British Entertainment History Project (BEHP) accepts no liability for any misinterpretation of the content of this[…]
[…]er months, late spring months. Ernest Maxin 42:27 However, once again, a continual learning process and I learned my lighting for shows from a man called Robert Nesbitt, who was a very good lighting designer in the West End theatre. And however Where did I get to? Wh[…]
[…]p; 26:47I mean, it was all so new then to people. I mean, I made a film years later, I mean, 20 years later, on design and steel. And the, one of the designers, I went to Holland, to shoot, a wonderful, articulated, animal, steel animal that he'd got, which was in the museum there, Eindhoven Museum.[…]
[…]ink but with the next door neighbours, but there was no television after all, I think we listened to the radio sometimes. There was never enough good lighting in the drawing room at Upper Parrock to read books properly, I used to go up to my bedroom to read. We had, like many families who[…]
