[…]a fat man who said “he’ll do!”. And er, I said “what am I supposed to do?” and he said er. “you’re a page boy in a hotel.” So, I went down to the new Pinewood Studios which had just been opened…this is in 1938 I think it was. I must have been about 15 or 14. And er…was dressed up in a page boy’s uni[…]
[…]Shoes.Roy Fowler:Really?Rodney Giesler:Not at Mickey Powell’s invitation but at Ronnie Neame’s invitation because I was on, I visited Oliver Twist at Pinewood …Roy Fowler:Yes.Rodney Giesler:… and Ronnie very kindly invited me up and I sort of spilled over because Red Shoes was on the next stage at t[…]
[…]n... you didn't have the best facilities, and things like that. So I didn't really make it. Then I went more into scriptwriting, and was two years at Pinewood. I suppose The 'Million Pound Note' was the best thing I did, with Greg Peck, and that was fun. And I helped other people with scripts quite […]
[…]ing one? What is it? And he told me a little bit about it. And I said, Well, if you're willing to try, so am I. Where was that made? That was made at Pinewood. And I mean, even even there on the phone, he was he said, How much do you want? How much will you will be asking and this? I said, we will n[…]
[…]peare Company, so they had played the thing for about two years. And we had about three weeks in which to put it on film, and we had a stage at Pinewood and I thought, well, you know, there’s no way one’s going to be able to light every set up and finish it in three weeks, so what I’ve got to […]
[…] – a cameraman –there was the initial kind of growing together process which was always tough, but itdidn’t last too long. I made a film in Pinewood, one of the last films I made, and thereagain, you know, it was very tricky. I mean people called me ‘Ma’am’ and, oh God, youknow. But b[…]
[…] were studio based because you had thriving studios you had Shepparton you have Pinewood you had MGM you had a BPC history you had Merton Park and you had&[…]
