Search Results for: Mike Dick

August 2011  BECTU Creative Toolkit - "Five Minutes with -"Michael Carmody, writer/director, freelance.When I set off on my long and winding road it was as a trainee in Pathe Labs, Elstree. When that was completed I was made sensitometric controller. (Only colleagues in the labs will have a clue as to what that means; perhaps that job too has long since gone). I then jumped across to ABPC Studios as a sound trainee becoming later a sound camera operator: shooting/location, post sync (dialogue replacement), EFX (Foley) and scoring theatre. I was promoted to 2nd assistant dubbing mixer, working on The Saint,  French Dressing Ken Russell's first feature, Summer Holiday and Wonderful Life, among many others.I left the industry in 1965, to return in 1974 to the then Thames TV as a freelance sound assistant. A permanent position followed in 1976 and I was later promoted to assistant/dubbing mixer. At the Euston base the output was mainly news, current affairs and docs. I made redundant in 1992. Amongst all of this I wrote and directed two non-exhibition docs: The Dresden Story and It's Not Magic, the latter an introduction to filming for trainee PAs at Thames. I am currently on the 5th re-write of an original screenplay for the cinema.My advice to new entrants?1.  Decide where your real interest in the process of film/TV, production lies and focus on that. "I want to be a film/programme maker" is not enough. Then make a beeline for where you can best prise open a door: easier said than done.2. Personally, I don't think it makes a blind bit of difference whether you have a degree, or not. There are more ways to skin a cat.3. I had the advantage of a three year traineeship, and when I changed course another of two years, but crucially in a working environment and at professionals' elbows. Today, that seems to be nigh on impossible. If you can find an appropriate niche, be prepared not to be "top dog" too soon: look, listen and learn.4. This is perhaps the most important. After you have got a toe-in, or indeed, a shoe-in  get to know as much about your specialism as possible, and go on learning. Make yourself aware of other people's skills and contributions to a production (all grades, trades and skills). And if your ambition, in production, is to become one of the "top dogs", do not forget that you are still one of a team; treat your colleagues properly and they will work wonders, play the big "I am" and you could find it a very lonely place. From other positions, you're not a doormat either! You will have good times and bad times; either way embrace a union membership around you, especially in today's industrial climate and practices.5. When the job is done I hope you'll be able to take pride in your work and anticipate being asked to work again --- hopefully.6. As one who, thankfully, no longer has to rely upon being perpetually motivated, there is, nevertheless, always more to do. 

Her first job out of Art school was working on Thunderbirds (1965) as a sculptor with Derek Meddings. She worked in the Sculptors workshop of AP Films producing the heads for the puppets. She worked on the baddies etc who appeared in different episodes not the stars who were already made when she joined AP Films.At 1967 she was building the moon sets for Stanley Kubrick "2001". She was Miss Joy Seddon then. She was introduced to Bob Cuff in 1964 by Brian Johnson (who was then Brian Johncock working on Thunderbirds with Derek Meddings) when she did some work on a Hammer Film 'She'." She married his son in 1969.[Source: - IMDb Mini Biography By: Domingo Lizcano] FILMOGRAPHYI began painting and drawing seriously, from about the age of 11 years. Hugely inspired by my fathers’ interest in the arts, I left school at 15 to study painting at Kingston School of Art. My father was a commercial artist and encouraged me constantly, nurturing my interest and love of paintings that combined themes focusing on the interaction between people, buildings and the surrounding landscape. At the time I remember that I was particularly inspired by the work of Stanley Spencer and Eric Ravillious, and this remains so. The watercolours I have painted, based on the various banks and areas of the River Thames, reflect the documentary approach I typically use by sketching cameos of people that I constantly observe around me, either at events or specific locations, before composing and commencing the painting.My first commercial role was as a sculptor on the Thunderbirds series’. In the 25 years that followed this, I worked on various projects in moving film, theatre and television as a free-lance painter and sculptor. My most memorable project was working with Stanley Kubrick, on the seminal film ‘2001- A Space Odyssey’, undertaking a number of directives as aSculptor constructing the ‘moon sets’ that appear at various points throughout the film.1989 joined LBRuT [London Borough of Richmond upon Thames] as a Graphic Designer, undertaking a provisional 7-month contract, which then developed into my first ‘steady job’, several years ago. Working within this role allowed me to explore a variety of projects and also enables me to devote increased time to develop my painting, and to explore my interest with calligraphy 2009 I left LBRuT and continue to be a ‘jobbing artist’ and devote time to portraiture and calligraphy.Joy Seddon1964 Sculptor AP Films, Stirling Road, Slough. Worked in the puppet workshop modelling the puppet heads of the characters which appear in each episode of THUNDERBIRDS. Sylvia and Gerry Anderson. Derek Meddings was Special Effect Director with Brian Johnson (Johncock) as Assistant Director.1964 Modelled the medallion around Ursula Andres's neck from the actor who played Leo, John Richardson, in the Hammer film SHE (1965) Sir Robert Day.I worked for Bob Cuff at Les Bowie, Special Effects.1966 Insert illustrations 'thou shalt not steal' these were along the corridor of the school and coloured pages in the wordless newspaper. Director Francois Truffant staring Oscar Werner and Julie Christie FAHRENHEIT 451 (1966) Pinewood Studios1966 Hawk films MGM Studios Borehamwood - Stanley Kubrick's 2001 A SPACE ODYSSEY (1968) - sculptor on the moonscapes and worked with Bob Cuff on the model matte shots1967 - 1970 Abacus Productions Assistant to Art Director Bob Cuff. Design/finished artwork for cameras; pack shots etc miniature set building, painted backings, etc for TV Advertising and Features. Merton Park StudiosAdverts e.g. Badedas, Wall’s Cornetto, Tetley Tea, Mothercare, Actionman, Wilkinson Sword, Tressy dolls, Cusson’s Imperial Leather, Kit e kat, Swish curtain rails, World of Leather (sofas) cough mixture? Deep heat balm? And many others .forgotten with time!!!1967 Hammer Films VENGEANCE OF SHE (1968) dir Cliff Owen, Producer Aida Young worked fro Bob Cuff on the designing and building of the temple entrance - sculpted the head of Ursula Andress for this scene. Also the hand of ‘She’ which burnt in the flames 6 models in the stages of decomposing of rapid ageing!  These Special effects were filmed at Bowie Studios, Slough. http://www.hammerfilms.com/ourwork/31/the-vengeance-of-she1967 Carl Foreman producer. J. Lee Thompson director MACKENNA'S GOLD (1969) produced matte paintings with Bob Cuff. Artwork and artwork for inserts - e.g. map and model of Gregory Peck’s horse for crossing the rope bridge. Merton Park Studios and matte set-up at Technicolor, Bath Road.1967 DANCE OF DEATH August Strindberg (1968) dir. David Giles starring Sir Laurence Olivier (Edgar) Herbert Smith, art director - Two identical oil paintings in the style of Goya, portrait of Geraldine McEwan (Alice) to be destroyed in filming. Twickenham Studios, Barons Court, St. Margaret’s1968/69 Six foreign language versions of MacKenna's Gold title sequence.1969 Kestrel Films - Tony Garnet, Producer.  Roy Battersby, Director.  From Anthony Smith’s book THE BODY.  Design & layout of title sequence. Design & layout of growth sequence of children and growth sequence of hand shot on rostrum camera.August 1969 married Paul Cuff – Bob Cuff’s son. JOY CUFF1970 birth of Simon now a Software Engineer working in Feature Film1971 Kestrel Films - Tony Garnet, Producer. Ken Loach, Director FAMILY LIFE. Design, layout and artwork for title sequence. 1972 Kestrel Films - Tony Garnet, Producer.  Ken Loach, Director.  Design & layout of title sequence LIKE OTHER PEOPLE  1972 Argo Films Design, layout, artwork for ELIZABETHANS IMAGE 1975 birth of Thomas now a Furniture Maker1975 Design layout of title sequence and main titles for Arts Council of Great Britain 16mm Documentary THE RUMANIAN BRANCUSI (1968) Director Sean Hudson1971 - 1988 various- designing, producing camera-ready artwork for miniature sets. Illustrations and paintings for Feature Films, Commercial Advertising Companies and Theatre. Continuing to paint oil and water colour Commissions for portraits to the present day1988 matte paintings working with Bob Cuff for ADVENTURES OF BARON MUCHHAUSEN (1989) Director Terry Gilliam 1988/89 matte paintings working with Bob Cuff. For ERIK THE VIKING Director Terry Jones 

…nbsp;first on the 1st February 1987 and the second on 6th February 2008 by Mike Dick and Jackie Wilson.N.B. See also interviews #588 Jeff Griffin and #589 Jimmy Grant.

Jimmy Grant was born in Southampton in 1920. He attended King Edward VI School and gained a BSc in Physics at University College, Southampton in 1942. In 1943, he studied piano at Trinity College of Music, qualifying externally as LRAM. During the war, Jimmy was an Experimental Officer in the Ministry of Supply and after the war, he taught Maths and Science at Eastleigh County High School. In his spare time, he played in a jazz quartet alongside the likes of Roy Plummer andNat Gonella. In 1948, Jimmy joined the BBC as a Programme Engineer in Plymouth. A year later, he transferred to the BBC Radio Variety Department in London. Jimmy was never happier than when working in the studio with musicians. If you asked him what his biggest thrill was, he would tell you thatit was a special Light Programme anniversary extravaganza, involving the combined personnel of the BBC Revue and Variety Orchestras, with arrangements specially written for the occasion and featuring the wartime singing star,Vera Lynn. Although Jimmy was at ease in the world of complex musical arrangements and professionally trained musicians, he didn’t let his formal musical education stand in the way of adventure. He produced Jazz Club, devised a ‘Jazz for Moderns’ spot when the genre was under threat, and in 1957, he conceived Saturday Skiffle Club (soon to be renamed Saturday Club). Jimmy will be best remembered by millions as the creator of Saturday Club, the pre-eminent radio show for teenagers – from the era of Lonnie Donegan, through the salad days of Cliff Richard and the Shadows, the Beatles and the Rolling Stones to the psychedelic rock of Jimi Hendrix. In 1972, Jimmy took early retirement to look after his elderly widowed mother. He taught music and English on a casual basis and gigged locally well past his official retirement age. In 2005, Jimmy took up residence in a sheltered retirement apartment in Brompton Court, Bournemouth. He suffered a stroke in September 2016 and was admitted to the Royal Bournemouth Hospital. Jimmydied with his relatives by his side on 16 October 2016. Bill Aitkin      see also 588 and 590

Former BBC radio producer Jeff Griffin whose credits include producing LIVE AID,  BBC IN CONCERT series,Saturday Club and Bowie at the BBC see 589 and 590

 Ken Coles joined the film industry as a clapper boy at Pinewood with his first film being Up in the World with Norman Wisdom  (1956) and he went on to a decades-long career progressing through to camera operator and then DOP, working over the years on films as diverse as A Bridge Too Far (1977), and three of the Harry Potter movies (2004/5).  He worked among others with Marlon Brando, Bette Davis, Peter Finch, Fred Astaire, David Niven and Roger Moore.