[…] Fowler: The way pictures went through, the process, there is the writing section, howearly was the liaison between what they were working on and the production departmentand the art and department. How long the lead timeMaurice Carter: It couldn't be very much. I don't think we had a script much mo[…]
[…]as good time good time because right at the time it was 50 58.SPEAKER: M258 right. Of course were going great guns at the time in terms of their film production and distribution. And of course they had the clout the films I had Genevieve and doctor the house but they were also distributing Universal[…]
[…]r her previous secretary, and I, and then I heard while I was still with Hannah in the house, that somebody at Walton Studios, which now was wanted a production secretary, and was I interested, and I said, Well, I don't really know what a production secretary is, you know, I've only ever really work[…]
[…]t he paid you.VG: I honestly don't remember but I would have thought if I got £50 I would have been very very lucky.RF: And this was taking the stage production, the book of the stage show and adapting it.VG: Yes.RF: Did you stay with it for the shoot?VG: I was in it, I played one of the juvenile bi[…]
[…]friends happened to know Leslie Parkin, who at that time was with PFF, one of the joint managing directors, and arranged for me to go and see him.PFF?Production Facilities Films, which was the holding company for the Rank Organisation. I mean all the artists weren’t under contract to the Rank Organi[…]
[…] and arranged for me to go and see him. PFF? Production Facilities Films, which was the holding company for the […]
[…]t . Anyway that film was made in Berlin and we actually have a copy of that film and my mother had a small part in it.Furthermore there’s a wonderful production still that we’ve got of the whole crew in front of this ghastly, cheap looking set. But it’s interesting because it’s got three cameras all[…]
[…]r as he and I was concerned, of doing this picture in Manchester, was a difficult picture, the Rosman Johns thing so on. And I introduced Tony Keyes, Production Manager. And Michael came up there. I did a whole, did the rewrite where every, almost every damn thing, Noel Roberts was casting. And, you[…]
[…]part of a camera team. You then got the experience, but you'd had all the background to start with.Interviewer 3:16 Do you think that the production techniques changed from the time you started to the time you became qualified within the BBC, taking on a senior position?Michael Aldridge […]
