[…]camped to London. Completely fell into the Gods of Heaven in London! I had a beautiful flat in Marble Arch and commuted in my sports car to IPC [International Publishing Corporation] in Kings Reach Tower and was Features Editor of Horse and Hound. [06:21]Then again, it was even more of a niche […]
[…]It would be interesting to see that film wouldn’t it if we could dig it out. I wonder what it was called? I’d like to see that film.AL: Well probably National Film and Television Archive will have it.Yes, they’ll have it, mm.Yes, yes, yes.If we could find the title somehow.Yes, yes, yes.So anyway wh[…]
[…]meeting that was better. I always know I always I'm a strong believer in a national agreement at least a national agreement sets the it sets the standard. Okay&[…]
[…]nbsp;the youngest moon. Or no not VIP. And I just tried to think a British national yes I tried British national and I think as a studio manager he was&nbs[…]
[…]t think it achieved very much in its life. My first contact with Carl Foreman was on a film called The Mouse that Roared which was a skit on the international scene with the Americans meeting the Russians and things like that. It was quite a good film, lots of sound effects any rate. Much more sound[…]
This material is the copyright of the ACTT History Project, Daphne Anstey widow of Edgar, editor with the National Film Board of Canada under her maiden name, Lily, interviewers JohnLegard [JL] and Gloria Sachs [GS], recorded in her home, in Hampstead Garden Suburb, 3 May 1989. Recordist Alan […]
[…]ssistant director to man called Dallas Bower , who was a highly experimental character man who liked to play around. We made a film at the Teddington National Physical Laboratories and one of the things we did was the see the windmill on which they test out models of air aircraft and I remember bein[…]
[…]ston: So yes...we finished about mid December 1932 and then the next one...Roy Fowler: Can you paint us a picture of BIP [N.B. British International Pictures] in that period of time? The atmosphere in the studio and the people you were with.E.M. Smedley-Aston: Well, the atmosphere in […]
[…]s, you had to have a silent camera as well for the cutaway shots. On the big jobs such as the Cup Final of course every one was on that, or the Grand National, you'd have everybody out on that. The Grand National was something different because being spread out over such a large area with a lot of j[…]
[…] 17:22 after I think 60 years ago,Speaker 1 17:23 after two or three years, I believe it was that they amalgamated with first national, it was called first national papi. And of course, even in those days when they amalgamated, they started getting rid of staff. And as I was […]
