[…]n’t think what it was called – The Whisperers with Dame Edith. And then The Slipper and the Rose, which was one of my favourite ones because it was a musical, and it was period, and there was the lovely Richard Chamberlain, who was just divine, and lots of good people like Michael Hordern. My favour[…]
[…]up.Oh yes.Oh yes, everything was done at The National Screen.What was the locality of it at that time?Denmark Street.Oh Denmark Street?Yes.That’s the music street these days, or later.That’s right.Y es.We were there for quite a while.Ah.And then we moved to Broadwick Street.Esther Harris. Tape 1 Sid[…]
[…]pproached by Columbia to design Oliver!; the director was to be Lewis Gilbert but was later replaced by Carol Reed; neither JB nor Reed had worked on musicals; all of the film was made at Shepperton; colour was important, black Dickensian London; audiences in New York cheered during the ‘Who Will Bu[…]
[…]; the film was lit for colour and shot in black and white (everything was in focus); a lot of Two Cities films came through Denham; they did a lot of music recording for other studios; Scott of the Antarctic was recorded there; BN worked there until Denham closed – the last full picture was Treasure[…]
[…]e groups and sort of things that to appeal to younger people and I decided to change the sort of the style of the programme completely. So I took the music out. And really, we did these kind of - I did it for about two years. And they were they, were they were extraordinary sort of programmes,[…]
[…]LK: YesRF: Or previously?LK: No no, here, which made some films and worked with quite eminent people. It was Malcolm Sargeant[xiii]who used to do the music for them, James McKechnie[xiv], Bruce Graeme[xv], they made army films – The Shortest Route, Kitbag and so on and so forth. So this Pi[…]
