[…]amongst themselves, their commercials, their film, cinema commercials, because ponen Dean obviously financed it by coming to them, but it gave them a scope creatively, to make prize winning films, which obviously Paul and Dean didn't approach and when they came to get that expertise that we should W[…]
[…]t, and I just thought, there's got, we've got to try and figure something out. Because, you know, we there's no way we're going to be able to write a scope this and reshooting it. Bear in mind the various issues with the production of "Brazil "was going to be very unlikely, and it was quite a key se[…]
[…]he technique's surely the same, isn't it?Joy Batchelor: Yes, the technique of cartoon animation is virtually the same. Animation you have rather more scope for design and colour, rather less for animation as such. Because if the animation's good enough you don't need to bother about the design. The […]
[…] animation is virtually the same. Animation you have rather more scope for design and colour, rather less for animation as […]
[…]sometimes not very successful, but lessons were learnt and they weren’t done again. But I don’t think the mistakes were repeated at all, but at least scope was given for producers to try their hand at things. Do you remember those days, Norman?Can you name a few, I mean programmes you remember? One […]
[…] think the mistakes were repeated at all, but at least scope was given for producers to try their hand at […]
[…] he was doing at the time but the gross and scope of the film he didn't always remember, so it […]
[…]een takes he would be writing letters or switching on his tape machine you see, so very often he knew what he was doing at the time but the gross and scope of the film he didn't always remember, so it was essential for... Anyway, having got on so well with me on the [Ronald] Shiner picture, would I […]
