[…]f excursion into theatre at about this time I think because in your biographical notes to that Academy later on, you credit yourself with directing a production of "Macbeth".EC: Oh yesSC: Tell me about that.EC: Now that there were no films to do, in between jobs, the next job was with Basil Dean. I […]
[…]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[…]
[…] Despite other successes in the 1940s, he worked in B-feature production, particularly horror films, for much of the 1950s and […]
[…] moonlight. SPEAKER: M3 Well I talked to Tony Walton a production designer and I said look if I see any. Sex […]
[…]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[…]
[…] it was important for every country to preserve its own production, irrespective of whether it was crap or not, and […]
[…] Sid Cole, Alan Lawson Interviewee: Edward Carrick (Craig), Art Director/ Production Designer Sid Cole: Te d d y, i t ' […]
[…]end of six months it was sink or swim. You either left or they extended the contract and, you know, I was quite lucky because I'd done quite a lot of Production of bits and pieces. I'd organised a festival in Edinburgh and all the rest of it so, I mean, I had that kind of skill in my background and […]
