[…] want you know this. There's no coffee clutch here. You know.Speaker 1 16:01 There is a lot of exterior work on was that studio? Was that location? Well,Speaker 2 16:07 part, half and half. I mean, often the designs were in such a way that you could they looked real, you know[…]
[…]hat you know of.VG: Yes. But I don't think Maxwell knew much about films.RF: I want to ask you about Maid of the Mountains generally, but was there a location trip on that picture.VG: Yes, Cheddar Gorge.RF: Not to Spain.VG: No such luxury.RF: The reason is Harry Miller was talking about a location t[…]
[…]said as I explained earlier Ronnie said if you can photograph Golden Salamander Now what he didn't say was that half the film was going to be made on location we weren't going to see the rushes. Anybody like myself started a photograph of a movie. The one thing I want to see from day to day is the i[…]
[…]rnational Film Festival and Films of Scotland which acted as a sort of national liaison contact for film companies planning shoots involving Scottish locations. It was with the 1968 Edinburgh International Film Festival that Graham and I became enmeshed with these organisations on a more than casual[…]
[…] was built sets in those days. The wonderful thing about location in those days was that if the sun didnÔÇÖt […]
[…]ica, and was considered a great star, that was allowed a longerschedule, I think we went 12 weeks on that as far as I remember, that was including thelocations. I mean it was very unusual to do location, nothing was done on the location if itcould possibly be avoided, if we could possibly build it i[…]
[…]ewhere like six hours. And they showed two hours, one week, the second two hours, the next week, and the third two hours, the third week. She went on location to share money. And I remember as a kid of, I must have been let me see I was born in 1911. She made this in 1923. So she didn't my father wa[…]
[…] scenes. Because there are a lot of scenes intercutting the location work with exteriors on the lot at Pinewood with […]
[…]kets and ties and everything on the set, no casualwear. But then that was more practical then because in point of fact there was comparatively little location shooting, it was nearly all studio work.Yes.Which again, it was when the practicalities of going and standing on street corners in the middle[…]
[…] were renting Beaconsfield while Ealing was being built, and I went – we had two trucks – two sound trucks, designed for the desert, designed for big locations in America. One was only a bank of batteries and a petrol generator (a standard) and two recorders side by side so that for newsreel you cou[…]
