[…]t programme and the regional programmes which developed into other programmes eventually.Roy Fowler: Was it called the light programme, wasn't it the national programme?Reg Sutton: Yes the National Programme and the regional programmes. It became the Light and Home Service during the war. So it was […]
[…]o into partnership with The NFA as it was at that time, but relations weren’t great between Ernest Lindgren, Curator of the NFA – MW: That’s the National Film Archive. RS: That’s the National Film Archive.- and my ultimate bosses, the Director and Deputy Director at the IWM. So we ended up[…]
[…] consultant, which was also fine because it meant I could keep a few ties and fade out at about that time or slightly before I become involved at the National Film School in bekins field, I'd always, you know, supported them and done what I could for them as a sound department while I was in charge.[…]
[…]table, I know they're not Johnny Speight: Warren and I used to get lots of, at one time we started to get some very nasty mail, vicious mail from the National Front I think it was, calling me you Yid bastard. Now I'm not Jewish but if I was it wouldn't matter to me, it would just one of those accide[…]
[…]th water chutes, when the boat was in heavy weather and water, coming down.Roy Fowler: You worked in a variety of studios. BIP lot, ABPC lot, British National, Denham and now you're at Ealing. Did you have a favourite studio to work in?Robert Beatty: Definitely Ealing. Thinking back. I always enjoye[…]
[…]r carriages and, and cars in the 1920s and 1930s. So, no. So that's that. So that that was chartered, then when I left school, there are some days of national service. Unfortunately, my parents weren't, weren't well off enough to pay for university fees. And in those days, Somerset was an Agricultur[…]
