[…]School as I started to become more involved in the local school Film Society becoming its Treasurer and then playing a major part in creating a new concept in “school film society” by initiating the Edinburgh Schools Film Society. The idea was a simple one born out of the frustration of workin[…]
[…] and they asked me if I’d like to take over actually dishing out the records, so I said, yes please and I learned some of these names by heart and I knew the records numbers Ciraphone-HBC13 would have something like Farid al-Altrash singing ‘Al Rabeih’ which means ‘The Heart’. And by this time[…]
[…]ke, when you were you there for?CF: The training process went on and on. Again, this idea of always training was important that you were learning the new stuff as it came in. Their educational systems, Kodak’s educational systems were fantastic, they were second-to-none in truth. When I look back at[…]
[…]ving the films themselves, so that’s both photochemical and digital. We still do, try to do, mostly photochemical for most projects. So that’s making new pre-print elements, new prints on 16mm or 35mm and then going on to do digital preservation as well, so 2K or 4K scanning, new DCPs and ProRes or […]
[…] DMW: Yes, but today’s documentary makers only look up the dramatic bits. The happy bits are singularly undramatic: happiness does not make good news, tragedy and drama sell.6:42 NS: Only bad news is good news as they say still.6:45 Alan Lawson [AL]: You know what I think a lot of k[…]
[…]or usbecause we were a fairly rich family. It was knife edge for a farmer who was a tenant farmer and hislambs were a few shillings too low, bad, bad news ..Taylor/Peet: Was there a bothy?Denis Forman: There was a bothy and we had lads down from Glasgow. They came down from theslums of Glasgow, how […]
[…]: Paul Frith (PF) Date 16/02/2018 Conducted Via Skype (Length 00:45:41) 00:00:00PF: This is an interview with Simon Lund from Cineric, New York, conducted on Skype by Paul Frith as part of the ‘Eastmancolor Revolution and British Cinema’ project, on 16 February 2018. So, thank you for[…]
[…]traded. He was so good at that I left him in India jobs and housing to build a cab and find the target of everything he had asked him out. And in he knew in Dubai when he was born there. And then he was in charge of the models unsaved to Bismarck. And that was a crucial part of the film because the […]
[…] had the great privilege of having it as my job to watch film every day. MW: Was there a predecessor to you in this role or had you gone to this new thing? AF: Well Clive Coultass had been appointed as Keeper of Film Programming. Well yes. Keeper of Film Programming the year before and had[…]
[…] demonstrate how women became essential to Britain’s cinema culture in new ways during the war. Usually employed in picture houses […]
