[…]l a bit before my time so I'm not going to be a to feel that I can tell you too much about it. Of course. The Walker gave exhibitions of films in the musical, which is a big hole in in the main street. The cinemas, the cinemas, it happened rather gradually. So you'd find church halls being used to s[…]
[…]y mix usually deal with the footstep sound, the sound effects, etc. And then Mac would be in the other theatre, doing all the dialogue and add in the music and so forth. And then the prefixes are all come together and be finalised in Mac's data. So but they'd never use the TOS as a, as a unit before[…]
[…]classic films that were on 9.5 at that time. MARTIN SHEFFIELD: The strangest thing, talking to some of our archive friends, that a lot of the British musicals from the [nineteen] thirties still only survive on 9.5. Some, even the short ones.NORMAN J. WARREN: That is true, yes.MARTIN SHEFFIELD: Which[…]
[…]he Drabble film, a whole bunch of films was offered to me - features. I did a film called Melody with David Puttnam, written by Alan Parker, based on music written by the BeeGees, specifically from their songs - so the songs dictated the narrative. Years later, they've ended up with Mamma Mia, as yo[…]
[…]ice. But I knew I didn't really want to do that. The rest of my life and one day there was an advert in the local paper with a big picture a sound of music poster and the local Indie cinema saying be a cinema manager missing recruiting. So I thought I'd have a go at it day. I ended up in a junior as[…]
[…]ence. And so he said "Right, well, I'll teach you editing tonight." And I got to the cutting room. And he handed me a tin of clips and the sound, the music, the Post Horn Galop, and pointed me at a Moviola and said, "Right well, I expect this assembled into something which makes sense tomorrow." And[…]
[…]o a muddle so this was it. I remember this was the one time I did go and see Earl St John and complain about it. Wait a minute it was Caroll Gibbons, musical director. Wrong man for the job because he wasn’t musical. They wrote this chanteuse. And I said to Earl St John, it’s not right. And he said […]
[…]hought I was ‘clean’, and er (laughing) respectful, and er…so I got the job as third assistant on ‘Room for Two’, which starred Vic Oliver, who was a music-hall comedian, and Francis Day, who was a cabaret lady really. It wasn’t much of a film, but it was based on a play, like a lot of films were in[…]
