[…]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[…]
[…]s earlier, he had been connected with it at some point. Aubrey of course had been in the industry before the war, I think he was secretary of British National, as far as I remember, something like that. But they both came out of the forces. They had made one film before I joined them, which was[…]
[…] write to him again. So she did and to cut a long story short aletter came saying would I go and see John Corfield at Golden Square, whichwas British National headquarters, I think it's now where the Granadabuilding is. I didn't know, what for so one November day in 1935 I wentup there and was put i[…]
[…]lt of a motorboat race. And that began my being terribly interested in editing.I worked on a few more pictures at Ealing and the went to British International Pictures at Elstree which is still there and still Very much as they were in those days. That happened out of the blue. One of the people I'd[…]
[…] in London, and then my first job was in the National Gallery. What as? As a secretary. And briefly that […]
[…] head office there we had the leadership of the sixteen national groups, this would be Romanians, Slovakian, Italian, Russian, Ukrainian... […]
[…] of course every one was on that, or the Grand National, you'd have everybody out on that. The Grand National […]
[…] um, the very first, now I trained her at British National, years ago. Sidney Cole: Who was that? Tilly Day: […]
[…] before the war, I think he was secretary of British National, as far as I remember, something like that. But […]
[…] subjects ought to come. In any country the importance of national culture in films is very strong and Mick believed […]
