[…]sp; She's been on two managerial courses and she doesn't know the outcome yet. David is sound recordist and he's gone freelance. He worked for ATV, no Anglia, and then he went freelance. Robert, he worked for the Observer, he started his trade for the Observer as a cameraman. He was assistant […]
[…] were so much simpler then. First of all, the sphere of activitywas considerably narrower, people made films, now there's films, television,satellite tv, all the things they all have a value for the union but it's much more difficultto organise them and represent them properly. The other is that the[…]
[…]. He cutme down £10 which is typical of ABPC. We'll talk about the money later,but he cut me down. And I stayed there was 18 years with nothing.When lTV started in the ‘50s everyone was asked if they'd like to have acontract because they were frightened of losing staff. I wrote backand said I didn't[…]
[…] on commercials and the difficulty in pleasing all parties involved; the cost of making a commercial are insignificant to the cost of playing them on TV. 14/08/1987Side 500:00:00 – 00:06:10 Commercials and why they take so long to make; the director isn’t given the freedom they have on a featur[…]
[…] editor, who is best known for her work on BBC TV drama adaptations of classic literature. She  worked on key BBC […]
[…] Abbey and all the lighting. We used to light for TV as well at that time, or basically light for […]
[…] its title. But, later, very soon later, I became a TV director for Edward Small - who was very important […]
[…] at them and solving them. Sid Cole: These were the TV agreements, not the fi1m agreements so much. Betty Bachelor: […]
[…] editor, who is best known for her work on BBC TV drama adaptations of classic literature. She  worked on key BBC […]
[…] establish the new genre of music videos, and did innovative TV work such as ‘Spitting Image’ and ‘Network 7’. By […]
