[…] gradually took on writers to train as script editors to help with the, you know, the new, well the new wave really because in those days most of the productions that went out were theatre based and writing for television hadn’t become the art it did later. And poor Michael Barry who ran the departm[…]
[…]th. But we were in the studio by and large and over on East 52nd Street by the river, which was the warehouse where the sets were made and stored and production meetings and things were held. So we were kind of a family a first names gang as I said before and not as disciplined as we might have been[…]
[…]tage door one Saturday; I suppose the matinee, planning to go to the performance and to call on Miss Morton before the performance.There was a lovely production, newish production of Casse Noisette- The Nutcracker, two acts, the Christmas Party and Land of the Sweets. This was preceded by another ba[…]
[…]ciated and I wanted to be a part of it. And when I went to The Bush they said to me, "You stay until the war is over and then we'll help you get on a production," which they did. Roy Fowler: Ah hmm, good. So you were a moviegoer, presumably? Andy Worker: Hmm, two or three times a week! [Ch[…]
[…]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[…]
Erica Masters ( production manager and assistant director) b.1917 by admin — last modified Jul 29, 2008 05:36 PM BIOGRAPHY: […]
[…]ced, in 1951, a number of improvements in quality were made. Emulsion technology developed and the emulsions were made finer grain, sharper, colour reproduction was improved and so on. And so every few years, [as the result of product development work in the research labs, we released] an improved v[…]
[…] Despite other successes in the 1940s, he worked in B-feature production, particularly horror films, for much of the 1950s and […]
[…]y warning about climate change – this is all in the seventies – but he hadn’t worked on The World at War, which was the Thames Documentary Department production in the early seventies, and he’d always, he’d quite fancied the idea of looking at a historical subject, making a film on a historical subj[…]
[…]which was a year later, I joined the Cambridge University's Mummers and the ADC and my career as a director took off. My first significant production for the Mummers was Ondine by Jean Giraudoux and it was a huge hit. I'll never forget that John Tusa played the Knight, the eminent John Tu[…]
