[…] to London.Norman Fisher: The set up was you had a chief editor and then you had a news editor whose job it was to decide what would be covered and a production manager who organised the necessary crews and handed out assignments.Roy Fowler: How many crews were there when you joined?Norman Fisher: W[…]
[…]ent, and indeed, what the intentions of that reciprocal agreement were? Well, from the DGA point of view, part of that was that if there were runaway productions, either from the UK or Canada to this country, the UK, we would stop them. And Alan said, Oh yes, of course, I'd pull. My members off of a[…]
[…]know more people, and I got to know the way the film industry worked, technically, the financing of the film industry, box office, film distribution, production, the economics of film production. Film distribution was my specialty, so it served me in good stead and the encouragement I got from the e[…]
[…]orking with him from one film to the next keep a core team?PS. He did to a certain extent. He always had the same first assistant director, the same production manager. He had the key people, always had them, and I think that paid off, because they knew his ideas and worked accordingly to incorpora[…]
[…]ivers for the cadets, you know, and tank drivers and that sort of thing, which is so I was there a while, and then told holding Dickinson started the production side of the AKs army, kinematic red society service, which was originally formed as form an entertainment branch for the army of projecting[…]
[…]ey said, Well, would you like to come up and see us? So I did, and I saw a gentleman by the name of Bishop Bert bishop. He was a nice man. He was the production manager for gomats, and then I had to see Mr. Castle tonight. He was the boss in those days. And I went back home, carried on working. And […]
