[…]ens, but just thinking when I see a film made possibly by an old fashioned director or old fashioned camera, it is sometimes more trouble to do it by moving a camera or changing a lens, but I think the end result is more peaceful and more conducive to the. Good filmmaking, but that, again, everybody[…]
[…]es Bond film because of somebody else and therefore, if it happens too many times, that’ll be it and they’ll go somewhere else and you did get people moving. We had a film being shot in… I think it was Czechoslovakia, and they burned a cornfield and Kodak had a stock defect on it and it caused a lot[…]
[…]s working in Syria at the moment, extreme circumstances and you do discover stuff about yourself and the most extraordinary situations. I mean deeply moving, deeply troubling. DB: But you keep filming. You know what I mean. PB-C: Yes, that’s right. There’s that old thing, do you help a cha[…]
[…]m talking about wide I suppose, people are constantly looking to seeself advancement which is to do with ambition and what have you, and you're often moving people away from where, from jobs that they do very well into jobs that they don't do very well and you don't need anyway just actually to get […]
[…]WARREN: The BBC is a funny company to work for because hestarted winning awards and they didn’t like their technicians to become names so theystarted moving him down to less interesting ... they took him off drama and put himon to really boring stuff. And that’s when Brian, so he left the BBC a[…]
[…]rview No 473] whom we’ve missed out.CJ: Tony Smith was wonderful, we should have talked about Tony, yes.MW: David got on with Tony, the Museum of the Moving Image was built forLeslie Hardcastle...CJ: Absolutely. It was the best period under Tony. He was fabulous. MW: And Wilf was Deputy Directo[…]
[…]ded at the same time as the dialogue. I had a kind of drumhead and pounds and pounds of lead shoe and I stood at the side of the set enthusiastically moving this drum backwards and forwards to produce the sound of surf. The first few times I did this, I asked the sound recordist, Dallas Bower, how i[…]
[…]so much I got dizzy.Reggie Beck: Correct.Wyn Ryder: And for no reason often. That must have made editing very difficult, keeping the camera moving about all the time.Reggie Beck: No again we did the same thing on Hamlet as we did on Henry. I didn't agree with all that. […]
[…]apart from being physically heavier as the batteries were heavy, everything was just chunkier in those days! Well-made but just chunkier. I: So, moving to camera and E.N.G., there must have been a sense of more like freedom and even just, you can run around because the cameras are... R: Ab[…]
[…]nute programmes, Michael Mills divide and reflect the history in ’51 of popular entertainment for the turn of the century. Notably elaborate and fast moving it made use of as many as a hundred and five sets per programme, which could be by, be why some of the technicians he enlisted look back on the[…]
