[…] props, costumes for Hugh Skillen, so via that, got involved with Cecil Beaton, Oliver Messel. I worked with Oliver Messel quite a bit. There was The Royal Opera House [which] had a Gala Performance of Sleeping Beauty which was the first one after the War. So, it was big, and the French President ca[…]
[…] Oh, yes. I mean, a lot I met. Oh, yes. And in the years to come, I mean, we, because it was a relatively small operation in those day being no television there were, I mean, you could walk out and walk down Water Street, you'd mean six feet, you know, but of course, now that doesn't happen. S[…]
[…]r loader.Michael Aldridge 2:02 The industry then, the film industry that was, became very difficult in the early '60s and I joined Anglia Television, where I spent nearly a year at Norwich on a contract. That contract ran out and I joined the BBC in 1962 as a holiday relief cameraman - a[…]
[…]ets weren't they?Teddy Darvas: I'm not absolutely sure but I believe it is the first time that a film company was actually allowed to shoot in a royal palace, that they actually shot at Hampton Court. I don't think any film company, because it was not such a respectable occupation, it was the f[…]
[…]ople, then you had to double up on the amount of lights. And that caused shadows too. The sound people, of course became the immediate. They were the royalty. There was a man called Scanlon, I remember. And they thought that everything should be dedicated to them. And they were always getting if, if[…]
