Search Results for: Norman Swallow

Shaun Sutton OBE  was born in Hammersmith, London and   worked for BBC Television for nearly 30 years, He began his television  career in 1952 producing and writing  children’s series.His major  break came in 1962  when David Rose asked him to direct the police series "Z Cars". He went on to direct "Softly Softly” in 1966. In 1966, he became head of serials for the BBC, and was responsible for the costume drama "The Forsyte Saga (1967) He also supervised BBC2's first colour productions including Vanity Fair ( 1967).As head of the BBC’s  drama group (1969-81) he launched such classics as " The Six Wives Of Henry VIII "( 1970), "Elizabeth R" ( 1971)  "Colditz",  "The Mayor of Casterbridge" , "War And Peace" "Tinker, Tailor, Soldier, Spy", "Smiley’s People" , "Crime and Punishment" ,  "Pennies From Heaven” (1978)   "I, Claudius” and many many more. Other major series included "Doctor  Who” where he  oversaw the casting of three Doctors, Jon Pertwee, Ton Baker and Peter Davison , "When the Boat Comes In", "The Onedin Line" ( 1971) , "Poldark "(1975-77), "Colditz"  He worked with  directors including  Ken Loach, Mike Leigh and Richard Eyre ;  producers  included Kenith Trodd, Tony Garnett and Michael Waring. The writers ranged  from Dennis Potter to Joe Orton  from Simon Gray to  Alan Plater, from Alan Ayckbourn. to Colin Welland. In 1981, he was appointed executive producer of the BBC Shakespeare series, in which all 37 plays were adapted for television.He wrote several books including the ultimate guide to television drama, "The Largest Theatre in the World" in 1982.  behp0239-shaun-sutton-summarySIDE ONEBorn 1919, Hammersmith, London. Mother and father both stage people. Father became a master at Latimer School where Shaun went to school. He describes his early experiences on the stage in some amusing anecdotes. He then went to the Embassy Theatre School at Swiss Cottage as a student, and later became an SM [Stage Manager] there as well as appearing in various plays. In mid-1940 joined the Royal Navy; on demobilisation went back to the Embassy Theatre as Stage Director; in 1947 went to the Buxton repertory company as Director. In 1952 he appeared in Vivian Milroy’s TV production of Huckleberry Finn as well as being PA [Production Assistant]. He was able to stay with TV as an assistant as long as he also appeared as an actor. In 1955 he started writing scripts for children’s serials on TV as well as producing them; then in 1962 he was asked to produce some of the Z-cars series: he did 24 of these.SIDE TWOAs well as making Z-Cars, he was put in charge of Series by Andrew Osborn. When Sydney Newman arrived, he was offered Head of Serials Department, there is a good story about Sydney Newman here. He then took over the ‘classic’ serials including The Forsyte Saga. Later he was offered the Head of Drama [post] by David Attenborough, where he stayed for twelve years. He fought for the system of ‘rehearse and record’; he also introduced English Regional Drama under David Rose at Pebble Mill studios; this then extended when Scotland and Wales got Heads of Drama [posts]. He talks about the ‘Golden Years’ of TV in the 1970s. In 1981 he ceased to be Head of Drama; then was asked to produce the last of the Shakespeare season, of which he did 14 and Jonathan Miller did 10. He also produced some 30 Theatre Night productions. On leaving the BBC (he was never part of the permanent staff), he started working for Primetime and Noel Gay Television.SIDE THREEHe talks about his first viewing of TV, and having no intention of going into it, the whole idea very much frowned upon by ‘theatre people’. He then talks about the advancement of the techniques and about the ‘top personalities’. He also talks about the problems of co-production.Interview restarted on 1st April 1992. He talks about his early days as a children’s programme producer and his experiences working with Freda Lingstrom.SIDE FOURHe talks generally about working in television.[END]

Patricia Foy was a distinguished producer and director for the BBC  most famously for  her work with Margot Fonteyn and Rudolf Nureyev,. She will be remembered for persuading Margot Fonteyn (who became a close personal friend) to tell the full story of her life for the first time in the memorable BBC documentary “The Magic of Dance “ in 1980. She was a prolific director and producer (for the BBC from the 1950s) responsible for the British debuts of Nureyev, the Fontaine-Nureyev partnership, Placido Domingo, Jacqueline Dupre etc., having responsibility for such programmes as 'Music for You' and 'Gala Performance'. Musically-trained initially, her passion led her to work with a large number of world-renowned stars, notably Menuhin (60th Birthday tribute) and Tito Gobbi. She also produced and co-directed with Nureyev, a full-length ballet of Romeo and Juliet, choreographed by Nureyev. She was married to Richard Levin who was head of design for BBC Television from 1953 to 1971 ( Interview 215)

… Alasdair Milne, Denis Mitchell, Greg Miller, Charles Parker, Steve Saunderson, Norman Swallow, Richard Somerset Ward,  Huw Wheldon.   

b.  Ostrava  Czechia 1926       d  London 2002    He came to Britain in1938 aged 12. After Cambridge he taught in London. Wrote a landmark study " The Technique of Film Editing "  Directed short films  shown at NFT where he was Programme Manager. He directed 9 feature films and produced many more until  1990.  SOURCES. Halliwell's Film Guide   (2008)Encyclopedia of British Film  written by  Brian McFarlane     pub  BFIDB Behp0193-karel-reisz-summarySIDE ONEBorn in Czechoslovakia in 1926, educated there until the German invasion, when his parents sent him to the UK, where he went to a Quaker school along with his brother; at the age of 17 joined the Czech air force, sent on a short course (six months) held at Cambridge, got his wings three weeks before the end of the war. Was demobbed in Prague, went to search out his parents, but found no trace. Returned to UK, went back to Emmanuel College wher he finished his degree in chemistry. Joined the Film Society while he was there; came down in 1948, did supply teaching for three or four years, then started to write reviews for the Monthly Film Bulletin The British Film Academy asked him to edit their proposed book on editing (Focal Press). This had a so-called committee consisting of Thorold Dickinson, Sid Cole, David Lean and Jack Harris, but as he said, you cannot write a book with a committee! So for eighteen to twenty four months he watched all kinds of films on a movieola and the book was published; to the question “was this the definitive book on editing?”, he replied, “No, it's the only book on editing, and its sold all over the world.”  He later became the programme director for the National Film Theatre, and when the Experimental Film Production Fund was set up, together with Tony Richardson, and a £300 grant they made a film Momma Don’t Allow, which went into the NFT programme series Free Cinema. This was based upon Humphrey Jennings poetic approach to film; with two other films, made by other people O Dreamland and Together. He saw an advert put out by the Ford Company looking for a Films Officer, applied and got the job on his terms that once a year they would provide the money to make a non-commercial film. This produced Every day except Christmas Day and The Lambeth Boys, which went out on the circuit as a second feature. He then got his chance to make a feature film. Made for Woodfall Films, their first was Room at the Top (Jack Clayton) then Tony Richardson’s Look Back in Anger, then Reisz’s Saturday Night and Sunday Morning and then came This Sporting Life, directed by Lindsay Anderson and produced by Reisz.SIDE TWOHe talks about his first disaster film Night Must Fall, and the break up of the group; he then talks about his great success with Morgan, A Suitable Case for Treatment. He also talks about the consortium who bought British Lion (He together with Tony Richardson and Oscar Lewenstein along with the Boultings, Launder and Gilliat and Joseph Jannie). Their offering was Morgan. He then made Isadora, which was a very unhappy experience, because of Universal’s request to make it a “road show” in the way The Sound of Music was exploited. He then made The Gambler, working in the USA, after that Dog Soldiers (called Who Stopped the Rain? In the USA). He then started talking about the French Lieutenant’s Woman.SIDE THREEFrench Lieutenant’s Woman continued. He has continued to work in the USA because no British company is coming up with the type of money now required to make feature films.

…RY: More detailed accounts are available, but this interview (conducted by Norman Swallow and Alan Lawson) offers a valuable insight into Anderson’s life and career in British cinema and the…

A British television producer who initially trained as a secretary, Thomas joined the BBC after the war and became a prominent figure in the Talks Department controlling live studio productions. She launched The Sky At Night in 1957 and produced the magazine show Monitor (1959-1963), shaping the show’s content through her arts expertise.

Producer/director Stephen Peet was  one of the key figures in the development of post-war British documentary. He is best known as the creator of the award-winning Yesterday's Witness, presented by the BBC from 1969 to 1980. Yesterday's Witness was the world's first oral history television films series. Peet began his filmmaking career in the 1930s as an assistant in a documentary unit run by Marian Grierson the sister of John Grierson, who is regarded as the father of British documentary film. Peet later worked for seven years as a director and cameraman with the Central Africa Film Unit, making narrative educational films for village audiences. During the 1950s and 60s, he made many documentaries as a lone director and cameraman in Europe, Asia and Africa. He also directed many films for British television current affairs programmes including "World In Action" for Granda Television and produced more than 80 editions of "Yesterday's Witness" for the BBC.      behp0163-stephen-peet-summarySIDE ONEBorn Penge, 1920. Quaker family, went to Sidcot Quaker school, left 1938, tried to get a job in the film industry, met various people including David Lean (ex-Sidcot) who told him not to try. Also met Alwyn Vaughan and Basil Wright who suggested he should read Pudovkin’s book on the cinema, which was to become his ‘bible’. He bought himself a 16mm Ensign Kinecam and a projector and proceeded to make movies. Olwen Vaughan introduced him to Marion Grierson [BEHP Interview No 104] in 1930 and [he] was taken on to her staff, where he joined Alan Izod and Margaret Thomson [Interview No 99]. He earned 15 shillings [75pence] a week. When war broke out, Marion Grierson’s Unit, TIDA [Travel & Industrial Development Association] became the British Council’s Film Unit under A.F. Primrose. Being a Quaker, he joined the Friends Ambulance Unit [FAU]working in London’s East End during the blitz. Sent to Africa with his unit, was captured by the Germans and spent the rest of the war years in Austria and Germany. On his return he made a film for the FAU and was then offered a job to make a film about the International Students Service; this paid him £3.10.0. a week [£3-50p].SIDE TWODeals with his days with the Central African Film Unit under Alan Izod, working as a Director/Cameraman, 1948-56 When he returned, with the help of Chris Brunel he was able to get his ACT card, scripted a film for Anglo Scottish about Aberdeen, and did the odd work for Mining Review (National Coal Board).SIDE THREEWorking for The Mining Review, Film Workshop and the GPO, worked as cameraman on The Aldermaston March (1957) being directed by Karel Reisz[Interview No 193], made various documentaries, put a ‘proposition’ to the BBC for a film wanted by The Save the Children Fund, which was accepted; with ACT’s permission he went to Korea single-handed with his own Bolex and 60 x 100 ft rolls of 16mm film. Made two films working out at 2.5 to 1 ratio. He talks about the impact that The Far Cry had, raised £10,000 within the first week after the transmission. After this he went to work at Transport House for a short spell but then got involved with the 1959 election, making ‘party-politicals’ for The Labour Party. After this Sasha Mawson [?] suggested he go to Italy to make a film about the work of Danilo Dulci. Again, he made a proposition to the BBC who accepted his plan and off he went to make Murder by Neglect.SIDE FOURHe talks about the making of the film. He then talks about various films he made while with Granada’s World in Action, and his trip to East Germany where he was able to film just whatever he liked. He talks about filming again in Africa when he made a film sponsored by Courtaulds and the Colonial Development Council. He also talks about the making of The Unforgotten, a WHO [World Health Organisation] sponsored film, which he made again with the backing of the BBC.SIDE FIVEHe talks about filming an OXFAM film in South Africa and at the same time was collecting material for a World in Action report on conditions in South Africa; his cameraman was Chris Menges. In 1963 he finished with World in Action. He then joined This Week, working with James Cameron, Paul Johnstone, Desmond Wilcox. At the end of his contract he went to work for Westward Television (1965) and then to BBC Bristol to direct the Rene Cutforth series Report.SIDE SIX [Approximate start]Was offered a two-year contract with [BBC] Bristol, but Gordon Watkins (London) wanted him to direct the new Malcom Muggeridge series Looking Back. A very amusing series of stories about this comes out in the interview. 1967, his contract came to an end, he applied for a ‘permanent’ job in BBC’s Documentary Department, but didn’t get it. Instead offered a three-month contract when he made I don’t know how I found the time to go to Work, then another series to make One Pair of Eyes.SIDE SEVENHe talks about his problems getting on to the permanent staff at the BBC. In 1980, when he was sixty, he was allowed to finish off a lecture tour he was making in the States. 1982/3 he was involved with the making of The History of Television for Granada. He then goes on to talk about his thoughts for the future.[END]

Head of Outside Broadcasting, Head of BBC Enterprises 

Chief Engineer, BBC Television Born 1908, Tony  describes his early childhood and schooling; his father got a job in Canada and so the family moved to Toronto where he went to the University of Tonto, aged 16. His father’s job folded so they came back to the UK and he went to the Wireless Telegraphy School (Marconi) and was padded out and went to sea as a Third Wireless Officer, didn’t see a future, and via his father’s contact over Baird Company share issue, joined Baird Company in 1928. He describes his early experiences with Baird’s and then he joined the BBC to transmit the original 30 line television transmissions. He describes the early days of Alexandra Palace and the close down for war, and he then goes on with his wartime experiences. He then talks about his role in the reopening of BBC television services after the war and his becoming the engineer in charge of the newly formed OB (Outside Broadcast) Unit and then his rise to become chief engineer of the television service.

Sydney Newman was born on April 1, 1917 in Toronto, Ontario, Canada. He was a writer and producer, known for The Avengers (1998), The Avengers (1961) and Doctor Who. He was previously married to Elizabeth McRae. He died on October 30, 1997 in Toronto, Ontario CanadaAs one of the most powerful men in British television during the 1960s, Sydney Newman was responsible for television legends such as The Avengers (1961), Doctor Who (1963), The Wednesday Play: Cathy Come Home (1966) and The Forsyte Saga (1967).He was the head of ABC (Associated British Corporation) Drama (1958 - 1962) and the head of BBC Drama (1962 - 1967).While at the BBC, he recommended actor Barry Letts for a directors' training course. Two years after Newman left the BBC in 1967, Letts was made the producer of Doctor Who (1963), which Newman had created.When he was interviewed for Melvyn Bragg on TV: The Box That Changed the World (2017), director Ken Loach was effusive in his praise for Newman and said British television no longer had the people who would take risks like he did.[on his inspiration for Doctor Who (1963)] We required a new programme that would bridge the state of mind of sports fans, and the teenage pop music audience, while attracting and holding the children's audience accustomed to their Saturday afternoon serial. It had to be a children's programme and still attract both teenagers and adults. Also, as a children's programme, I was intent upon it containing basic factual information that could be described as educational, or, at least, mind opening for them. So my first thought was of a time-space machine with contemporary characters who would be able to travel forward and backward in time, and inward and outward in space. All the stories were to be based on scientific or historical facts as we knew them at the time.I came to Britain at a crucial time in 1958 when the seeds of Look Back in Anger (1959) were beginning to flower. I am proud that I played some part in the recognition that the working man was a fit subject for drama, and not just a comic foil in middle-class manners.