[…]rtainment history project.Okay, good thing. Today is Monday 20th of June 2016. The interviewee is Howard Lanning, president of the British cinema and television veterans, the interviewer is Derek Threadgall. And the camera man, Steve booksmith. Look good so far. Okay. And we were put in here is thre[…]
[…]p; Q: Papillon?00:53:14 JIM WHITTELL: Papillon. Now Papillon we had the television rights to and the licence was just about to run out so I went to see the owner who happened to live in Paris with a view to rebuying - I we[…]
[…]y. Yeah. So you you made uh three sections is that right for the mother goose which you then strung together.SPEAKER: M8Yes they were separate items. Television was just coming and I thought I would make them for schools and I uh I went around to different schools to see what they would like to see.[…]
[…] Well, I'm when I was in one of the musicals I met my my first partner, Cyril Ornade and when we started writing songs, and in those days, television used a lot of original material in the musical shows, in a Saturday show, for instance, it was boat race day or if somebody was coming over[…]
[…] for a good hour. And, you know, I mean, if he hadn’t had Muriel Belcher to keep him going and Karl Waite - Karl Waite gave him a studio in the Royal College when he was going through a bad time - I mean, unsung hero of the art world, he even saved Hockney’s bacon - pardon the pun - but Hockne[…]
[…]Dean Street?Yeah. Shaftesbury Avenue, that was... nobody was in Shaftesbury Avenue then. At that stage it was – which was ’68 – it was Royalty House and the other office in Dean Street.SF: Yeah, I remember.And so I did that for six years, including I set up the photographic department[…]
[…]a little too Arty, for him the whole film, and he didn't think it would make money, really. And there was the epilogue at the end. I did tell this on television, the epilogue at the end, that Pamela Brown who plays a part of the news had been painted in gold. The whole of her body was painted in gol[…]
