[…]had some association with the colonial... but you’ll find thatout. Anyway, and then when he came back to England again after that he went down to the National Coal Board research place near Cheltenham, Stoke Orchard, as a scientific film photographer there. And through that and his other things[…]
[…]cognize it as a factor in my mental makeup that I'm not particularly coherent in my in my range of attitudes about crucial things – war, peace, love, nationalism and so on you know.Colin Moffat: Of course I heard you mention it but because of your very much later large film about the army, the thesi[…]
[…]ut at Pinewood was a very important stage. So who was your next contact?Rodney Giesler: I left Pangbourne when I was 17 and a half. Of course one had National Service coming up then. I tried to get in the Navy, but they weren't taking anyone except as stokers. I waited for my call-up to come. In the[…]
[…];Working for it you know working with a Swiss company in London perhaps an international company anyway. But anyway having arrived at Cambridge I then joined the Fil[…]
[…] DSMW: Well although we didn’t call our first interview the first one, with David Francis, this is our second interview with archivists from the National Film and Television Archive in the UK.The copyright in this recording is vested in the British Entertainment History Project and the name of […]
[…]ERVIEWER: Oh, sorry to hear that. Yes, and then what happened next? CHARLES SMITH: I shot my first film as a cameraman in 1951. That was for the National Coal Board, and it was a film on fires underground and how to fight them. This was made in the wake of a serious disaster which killed a cons[…]
[…]t this. I think I was always born to be with pavements. RL: 12:15 I always assume that you, sort of, you'd got, become, involved with National Hunt racing when you lived in Ireland. GM:  12:23 I did, yeah, because my dad used to have a bet. He used to go to the r[…]
