[…] front as an example of a Caucasian. But the first production I actually produced was that Mary rang me up, […]
[…] Legard: Hmm. Hugh Stewart: So Dora Wright, who was the production manager said to me, "Well why don't you say […]
[…] the website. In the Barry Lyndon Art Department we find Production Designer Ken Adam, who previously worked with Kubrick on Dr […]
[…]e've interviewed Glen. R: Oh, I'm glad! I'm glad. But yeah, it was an exciting time because we were creating jobs, we were making Glasgow into a production centre and that was the most exhilarating period without a doubt! Without a doubt. [16:04] But then of course what began to happen was that[…]
[…]incidentally whereas commercials are, you know, a vitally important industry, they’ve kept the industry going and it’s essentially they or commercial productions, commercials production that has trained people, you know, so maybe Ridley Scott came up through commercials it wasn’t through working at […]
[…]And by stealth it’s happened.[0:11:16]And I think one of the things, one of the things, I was thinking about it today, about Vanson Wardle and Vanson Productions, has been that we’ve been very prophetic. We’ve always been a bit ahead of the game. I mean, were we that smart? I don’t know. Were we jus[…]
[…]antly, various members of the Osterer family I remember. Roy Fowler 23:39 C M of course backed your father in a very early production. Jill Balcon 23:44 Did he? Roy Fowler 23:44 Yeah, it was his money. I think it was hi[…]