[…]affed with Frank Bush wholater went to Technicolor and Arthur Lawson who later got anOscar with Mickey Powell. Arthur was with Relph for yearsand years. Michael wasmy associat[…]
[…]that was MGM’s first major production in this country wasn’t it?HARRY MILLER: Robert Donat.  Yes that got, I think that got in the line for the Oscars and things but in those days dubbing editors never got Oscars, they all went to the sound department, you see?  And I think they ga[…]
[…] The Spy Who Came In from the Cold, and an Oscar for Fiddler on the Roof. The interview with Walter […]
[…] in the 1960s, concluding with a detailed account of her Oscar-winning work for Darling (1965). The reason for this focus […]
[…]t was exactly the same, the sound was terrible. And these boys were they had high intensity carbons, like Bankrate had with a copper coating, but hand-fed not not motor fed. So you had to keep screwing them together all the time as they burned away. And I went out there on my evenings off and just h[…]
[…]nce of Being Earnest, in colour again, and Carmen had her staff, there was Ernie Archer, John Box, Jack Stevens and me. And Carmen had already got an Oscar for… she was set decorator I think, on one of the ones with Laurence Olivier at Denham before the war, but they only used to get a little plaque[…]
[…]a year you'd like to to bring to the fore so to speak from your experienceHoward Lanning  38:03  being tuned for work with Topol who was in Fiddler on the Roof with in interesting, very pleasant, and what you see is what you get, I mean, he's charming man, lovely man. There was there was a[…]
[…]sequently one did get shipped around a bit but it was Enfield Grammar, Edmonton Grammar and also Latimer's. I went through the system until I did my A-levels which in those days was I think called the Higher School Certificate wasn't it? Rodney Giesler:Were you evacuated at all?Roy Fowler:No, n[…]