[…]he supply to the motors went - they'd lost the supply to the motors, but we had the DC for the arcs. So, I'm not telling you a lie, it was hard work cranking that machine for the last hour of the show! [Laughs]. We had to hand-crank it! And another thing, you see which used to happen at the end - it[…]
[…]was terrible comedies made at Highbury Studios - Jimmy Edwards and people like that. Highbury Studios was supposed to have been the nursery for Rank, that’s right and so they tried everything out there. They really made some terrible films. TD: Can I just ask about the ACTT? D[…]
[…]AF Film Unit at Pinewood Studios. And one day I was sent for by our commanding officer, which was Teddy Baird, and Pat Moyner[?], and they said, "The Rank Organisation are looking desperately for an assistant director and there isn't anybody available," you see, the war was still on. So he said, "Wh[…]
[…]hild that used to go to the pictures two or three times a week I certainly wanted to be in the film industry and had written all the usual letters to Rank and to Sound City at Shepperton, any names I could get that were appertaining to the film industry I had written a letter and got all the usual l[…]
[…]e in the desert. So we got Sean to write and the story Robert Westerby towrite the script and then finance. Eventually after touting it around we got Rank tofinance it. And it cost £125,000 poundsAlan Lawson: It must have been as beginners quite difficult to raise financeMonty Berman: We had made a […]
[…] to do effects producing them in the studios?Michael Colomb  0:30  Well, that the, this is where there was obviously. Now going back to the Rank days where, you know independent frame was thought about and they brought in even ABPC, I remember the BBC effects people being brought in things[…]
[…]tant things to be okay with us. We made I made tea and also as a messenger going to the various laboratories. And at that time, the laboratories were Rank laboratories on the north circular road, they did all our black and white processing, and Colour Film Services, who now moved to Portland Place b[…]
[…]as nothing but guide-tracks. And so he said, "That's fine", but two weeks later the phone rang and it was the producer, a very aggressive man called Frank Hoare. He said, "I'm in the theatre, waiting, where is it?" "Where's what?" I said. He said, "We're dubbing." I said, "We're not dubbing, we're n[…]
[…]ry much. I adored Huw Weldon, he was a very, very good producer, and a sympathetic producer and quite a critical one. And I didn't think much of him frankly fronting the programme. I think he moved his hands around too much and rather fond of his own voice. But he was a wonderful producer for me. An[…]
