[…]e of it.Unknown Speaker 4:15 I know I was an assistant coming in on blossom time,Unknown Speaker 4:21 which is one of the big productions they made there with Tauber, who wasUnknown Speaker 4:29 the cameraman.Unknown Speaker 4:30 Cameraman was Claude f[…]
[…] it was important for every country to preserve its own production, irrespective of whether it was crap or not, and […]
[…] know, and so on. Anyway, that was the end of production briefly, but very briefly. All the pictures went, rapidly, […]
[…]ho since then has done many different colour processes. And John Hemmings was our feature film contact man who would go off to the set and in the pre-production discussions about the rushes and the look and everything else. He came back to the lab one day and said to me “They’ve said to me there’s t[…]
[…]some need for a kind of group to look at the various professional problems so ASLIB started this, [TIME 22:29] I think it was called, the Film Productions Librarians’ Group. It was a bit strange. So, I became involved with that and they had meetings, etc. and one of the people who[…]
[…]Michael Peacock, John Cleese, Roy Godfrey. We made it look like enormous pool of talent – actually these were all the films I could find. Independent production sector didn’t really exist, kept at arms length by BBC & IBA. But it made an impact on Leon, who persuaded Whitelaw to move off ITV2. W[…]
[…]ea. And we the thing about Merton Park, was it it did a lot of different things we used to have a lot of feature films came in not for their complete production but because either they'd run over at Shepperton or something or they'd done retakes and all that sort of things. And I was just thinking t[…]
[…]CHARLES SMITH: Yes, of course. It was with a small cooperative unit called DATA, DATA Film Unit. And I was taken on, really, in the first place, as a production manager and accountant, again because I could add up a row of figures, which not everybody can—although I wanted to be a technician.&[…]
