[…] he disappeared from that and I actually in the end got a job and I was very fortunate I became an assistant boom operator and I went on to that very production. So Denham at Denham and followed up all the post synchronisation, the effects and then we were roaring around Denham lau[…]
[…]fferent in those days, it wasn't, sort of, fighting for your job or anything. If your face fitted, everybody was nice to you. So they put me into the production office, with the production manager who was doing Alex's set of short films. There was Lobsters... (what was it?) The Gannets...Sidney Cole[…]
[…]ross cutting and so on. And it was a source of great satisfaction to me when the film was subsequently trade shown and one comment was made about the production was about the editing. So I really felt that I'd been successful there. And thenStephen Peet 42:50 just one more thing, did you[…]
[…]ade some films for Tiffany Stahl and my father sent me to see Maurice Elvey and Maurice Elvey said I'll pass you on to L'Estrange Fawcett who was the production manager. And L'Estrange Fawcett said you've come at the right moment, there was movement going on at the camera department, I think David L[…]
[…]So, I was taken on and was posted to TV Centre and found myself in, what was then called, television recording department which nowadays we call post-production. That encompassed videotape operations and telecine and film work and transmission and that sort of thing. So that’s the department I found[…]
[…]k that part of getting franchise back was to employ more women so, you know, it was an ideal to have, because when I started there were female P.A.s [Production Assistants], now Tina Wakerell would have been the only female Director, I think, at that time, and I was a female Designer and Morag Torbe[…]
[…] May the 10th 1941 the night the St Paul's night then I came and the door right he was so productive about doing the right productive. We had a woman production manager who was very unusually but the very chauvinist outfit the key pair for me but it was decided that we put the unit's we've got not s[…]
[…] I'll pass you on to L'Estrange Fawcett who was the production manager. And L'Estrange Fawcett said you've come at the […]
[…] Highgate 20:00 place, and he encouraged me to go into television, and so I applied for a job in television. And I got a job as, what was then, production secretary, it was called and my first job, this was working on ‘This Is Your Life’ with T. Leslie Jackson; who died about six months ago, I[…]
[…] other than secretaries, make up, wardrobe and I wasn’t interested - and hairdressers - I wasn’t interested in doing any of that. I wanted to go onto production, especially after I had been in documentaries for three years. So he took me on as a ‘runner’, and I was quite happy about that and John Cr[…]
