Search Results for: Royal Television Society Gold Medal 1988.

…Organisation he did one other film, Miracle in Soho. Then moved to Granada Television on a three play a year contract then in 1960 went back to the BBC to produce and direct No Wreath for th…

…i. In 1961, Dale signed a contract to record nine ballets performed by the Royal Ballet over three years, enabling her to document one of the most exciting periods in that company’s history. In h…

…p;Des Teufels Advokat (1977), Green turned to directing American television films.BibliographyBrownlow, Kevin, David Lean (London, Faber & Faber, 1997)McFarlane, Brian,&nb…

… Temptation Harbour.] Towards the end of his career he also worked in television, as art director on series such as Colonel March of Scotland Yard, Department S and The S…

Son of Billie Williams, cameraman at Walthamstow Studios from 1910Billy Williams BSCPartial filmography. [NB Some dates have been corrected]FEATURES & SHORTS1990 SHADOW OF THE WOLF Jacques Dorfman1989 STELLA John Erman1988 RAINBOW Ken Russell1987 SUSPECT Peter Yates1983 MANHATTAN PROJECT Marshall Brickman1984 ELENI Peter Yates1984 DREAM CHILD Gavin Miller1984 ORDEAL BY INNOCENCE Desmond Davies1982 THE SURVIVORS Michael Ritchie1982 MONSIGNORE Frank Perry1981 GANDHI Richard Attenborough*1980 ON GOLDEN POND Mark Rydell**1979 GOING IN STYLE Martin Brest1979 EAGLES WING Anthony Harvey1978 SATURN 5 John Barry1978 BOARDWALK Stephen Verona1977 THE SILENT PARTNER Daryl Duke1975 THE WIND AND THE LION John Milius1974 THE DEVIL’S ADVOCATE Guy Green1973 THE EXORCIST (Iraq sequence) William Friedkin1973 VOYAGE OF THE DAMNED Stuart Rosenberg1972 THE GLASS MENAGERIE Anthony Harvey1972 NIGHT WATCH Brian Hutton1971 KID BLUE James Frawley1971 SUNDAY, BLOODY SUNDAY John Schlesinger***1970 THE BALLAD OF TAM LIN Roddy McDowell1970 ZEE & CO Brian Hutton1969 WOMEN IN LOVE Ken Russell*1969 THE MAGUS Guy Green***1969 TWO GENTLEMEN SHARING Ted Kotcheff1968 30 IS A DANGEROUS AGE, CYNTHIA Joseph McGrath1967 BILLION DOLLAR BRAIN Ken Russell1967 THE MIND OF MR SOAMES Alan Cooke1967 RED AND BLUE Tony Richardson1967 JUST LIKE A WOMAN Robert Fuest 1965 SAN FERRY ANN Jeremy Summers*Academy Award Recipient**Academy Awards Nomination***British Academy Nomination behp0226-billy-williams-summarySIDE ONEBorn Walthamstow 1929, father Billie Williams a cameraman who started working at Walthamstow Studios (Wood Street) in 1910. He describes the work that his father did and the types of camera in use. Billy left school in 1942 to work as an assistant to his father at £1.50 a week working on Admiralty training films; he says his father was a hard taskmaster. In 1946 aged 17 he went with his father to work with the Colonial Film Unit in West Africa where he met Bob Paynter and Bill Sellars. In 1947 did National Service in the RAF before being demobilised in 1949, when he decided to break away from his father. Got a job with the Transport Film Unit where he was sent to Hull to join the unit making Berth 24. He talks about the training he got with the Training Unit and the people who influenced his career. He left the Unit in 1955, now earning £11 a week. He then went to film Centre having spent all his saving on the purchase of an Arriflex camera. He was sent out to Iraq where he worked with John Shearman who had a permanent Film Unit, he talks about the making of The Rivers of Time.SIDE TWOHe talks about working in the extreme heat. He then worked for Ethos Film working on European Tapestry when he had Harvey Harrison as his assistant. Then he moved to Merton Park [Studios] with Film Producers Guild; here he met his wife Anne, he talks about his family and in particular Clare who went to the National film School to graduate as a Director Cameraman. He talks about the difficulty of moving into features. In 1957 he started to operate for TV Advertising who had a basement studio in Film House, where he became a lighting cameraman earning £50 per week. He talks about making commercials with Ken Russell and John Schlesinger. Then in 1962 he freelanced still making commercials. Then in 1965 he got his first real break on a film San Ferry Anne, 1967 came Just like a Woman, then followed others. He talks about equipment, both lighting and cameras etc. and the "war" between Moles, Sammy's and the Lee Brothers [Lighting and camera companies].SIDE THREE He continues to talk about the "war". He then talks about The Billion Dollar Brain and the reason he got the job. He talks about the great help he got from Dave Harcourt, Camera Operator; he talks about the position of the Operator as he sees it. He worked on The Magus at £300 per week with Guy Green directing. He sold his own equipment which he says was a great mistake, he talks about cameras, lenses and the use of Zooms. Back to the Billion Dollar Brain when he talks about Michael Caine; he then talks about the making of Women in Love, then about the relationship of the cameraman with his ‘Gaffer’ [Chief Lighting Technician].SIDE FOURHe continues to talk about his own Gaffer, George Cole, and how the English system differs from the US one. Then goes back to the making of Women in Love, the nominations for an Oscar and a BAFTA Award. He was offered the chance of filming The Devils but didn't like the script and turned it down. 18 years later Ken Russell asked him to film The Rainbow which he enjoyed making. Then he talks about the Film Workshops: he takes in the National Film School and also at Rockfort in Maine (USA).He talks about the making of The Shadow of the Wolf and its problems. He talks about a cameraman's relationship with the cast of a film, working with Faye Dunaway, on Gandhi with Ben Kingsley. He talks about working in the States but has never worked in Los Angeles; [he] is a member of the local 644 [?] based in New York. He then goes on to talk about Women in Love.SIDE SIX (NB there is no side five)He continues talking about Glenda Jackson and her role in Women in Love.   He then talks about the relationship between cameraman and Director Then about working on On Golden Pond, with Henry Fonda, and Katherine Hepburn.He relates a story about Katherine Hepburn and Jane Fonda. He then talks about the filming that he did for The Exorcist in Iraq. He says that in the present day [1991] there aren't many good producers about. He then talks about his first USA film which was made in Mexico, Kid Blue.SIDE SEVENHe relates the time when was cast in a Peter Yates film Suspect, he talks about working with Sean Connery, then about Eagles Wings, shot in Mexico 1977. Then he talks about On Golden Pond, then about Gandhi.SIDE EIGHTHe talks about the making of Elaine and then about Peter Yates film Suspect which was shot in Washington and studios in Toronto. He then talks about the making of Stella which he says was a very unhappy experience. Then about Dream Child, a script written by Dennis Potter who was also Executive Producer.        He then talks generally about 'releasing printing', projection brightness, and the lack of any recognised standard of screen illumination. He also talks about the transfer from film to video and the different requirements, and although he has safeguards written into his contract none of these have been taken up.[END]

… collector’s clerk at 30 shillings [£1.50] a week. 1949 National Service in the Royal Sussex Regiment (becomes a corporal); came out, signed on [at a Labour Exchange for National Assistance – benefits…

… in 1957 Anderson moved into theatre direction, forming a relationship with the Royal Court that would last for much of his career. His feature film debut came in 1963 with This Sporting Life, and was…

BIOGRAPHY: Len Harris trained as a Cameraman in the British Kinematograph Society’s course at the London Polytechnic, Regent Street, and then began at the Gaumont British Shepherd’s Bush studios as a …

Johnny Speight (2 June 1920 – 5 July 1998) was an English television scriptwriter of many classic British sitcoms.He emerged in the mid-1950s. He wrote for radio comics Frankie Howerd, Vic Oliver, Art…

…cts with the archaeologist Sir Mortimer Wheeler, In 1967 he became head of television arts features producinnnng Kenneth Clark's Civilisation (1969) and Alistair Cooke's …