[…]ension, the kind of jostling going on between that urge to be completely free and, you know, creative to say whatever you wanted, and the independent producers gradually coming to terms with the commercial realities of the marketplace, which was a very interesting time from that point of view. We ma[…]
[…]o the art director on the film, or whoever it was when...[???] or...Peggy Gick: Yes, I mean that was in the days when the credits would have been the producer, the director, the art director, the cameraman, possibly the editor and that was it. And I think these [rolls/rows and rows] that go on now, […]
[…]ilton. He said, well you look right for it, what have you done? And of course I’d done absolutely nothing so he said for Christ’s sake don’t tell the producer that, so I thought what do I say. I knew well enough that the Liverpool Rep was quite well known so I didn’t dare say that I’d been there so […]
[…]ally, 'The Secret Agent' was a collection of Somerset Maugham's stories which I had to take and make it into one story, and it was a sticky time. Our producer, Ivor Montagu, was staying in the Basel Kandersteg in Switzerland, a lovely, lovely place deep in the mountains. So Hitch and I just went the[…]
[…]nches, at the sessions, when I used to go and book a table at either a hotel or restaurant, get a private room, they was the composers, the director, producer, Steve, recordist, and Chris Greenham, Mary Haberfield, the sound engineer, all the technicians and the heads and myself, we would have big t[…]
[…] There's a man named Leslie easily who had been I think quite a well-known producer. A man named Cecil Hepworth who I see as written I wrote one of th[…]
[…]orked at Denham as a continuity, I started at Shepperton and I was very lucky to have started at Shepperton because Korda was without question an ace producer, a producer of taste and he definitely had the best directors and the best technicians I mean far superior to ABPC (Associated British Pictur[…]
