[…]ing and we’d got agreements signed and all that sort of business I wentand saw Bert Newton. And, mm, I also started...And start insult him?No, it was pathetic. [Laughter] All he could talk about was the fact that he’d been sent to America and just come back. Asked me if I wanted a job.34Big deal.I a[…]
The copyright is vested in the BECTU History Project. Time Code 00:00:00:00 to 00:45:46:00Ossie Morris Side 1 I worked I worked on was the Morris lighting camera and interview laws on this recording is the copyright of this recording is vested in the ACTT history project. Side one. Ozzy.SP[…]
[…]and toning. Tinting consisted of ordering any one of umpteen coloured tints in which the celluloid, the base, was coloured - one I of them was called Pathe pink I remember and there was all sort of hues. The idea being that all the transparent parts of the film, the hi-lights when projected would co[…]
[…] nearly all the newsreels - well all the newsreels except Pathe - Pathe hadn't used it. And I noticed that […]
[…]assive in Latvia, I didn't go over because it was going to cost too much money. But the good conductor poor man was was very good. And he was very sympathetic to the whole sort of thing. And I thought the piece was very nice. I have to say it lasts about 45 minutes. It's in five movements. There are[…]
BEHP 0721T Norman J Warren TranscriptBritish Entertainment History Project – Interview No. 721 Thursday 5th April 2018INTERVIEWEE – NORMAN J. WARREN, DIRECTOR INTERVIEWER – MARTIN SHEFFIELDTranscriber – Linda Hall-ShawMARTIN SHEFFIELD: Over to you No[…]
SIDE 1 INTERVIEWER: The date is the 6th of July, 1993. This [is] interview number two-seven-one, with Charles Smith. Right. Okay, when—when were you born, and what sort of childhood did you have, and what your parents were. CHARLES SMITH: Well, I was born in 1920, May, in Rugby in Warwicks[…]
