[…]es were just, the rushes were just awful, you know, because Noel Langley had never directed before, he had all this big cast of people. It was a good script, Pickwick. And, he was, you know, doing these tight ten shots and things like that, and you know, panning and scanning all over the place, and,[…]
[…] used to have in The BBC, offering to run the Script Library at Television. And so I applied for that […]
[…]ell, it was still, still nice but I mean I was still the junior, you know. And I saw a job on the board, used to have in The BBC, offering to run the Script Library at Television. And so I applied for that and got it and joined the Television Service in 1955, the same week that commercial television[…]
[…]sp; A fixed flat rate you see. I got a memo which I've got it here which when I went on to this job of more responsibility and I did quite a few scripted shows like with Dick Bentley "Gently Bentley" some of Roy Spear's shows they gave me and Johnny Simmons shows with Mr. Music with big bands l[…]
[…] be able to explain to me the difference between a Script Supervisor, Continuity, Script Girl, Unit Continuity. That’s what it says. […]
BEHP 0720 T RENÉE GLYNNE TranscriptBritish Entertainment History Project – Interview No. 720 26th January 2018INTERVIEWEE – RENÉE ALMA GLYNNE INTERVIEWER – DARROL BLAKE Transcriber – Linda Hall-ShawDARROL BLAKE: So, can you tell me your name and[…]
BEHP transcript DisclaimerThis transcript has been produced automatically using Otter, https://get.otter.ai/interview-transcription/.It provides a basic, but unverified or proofread transcript of the interview. Therefore, the British Entertainment History Project (BEHP) accepts no liability for[…]
[…]tter backfrom Stella Jonkia [ph 04:36] saying I'm very sorry we, we, you know, have no vacancy for a trainee continuity, but we have a vacancy in the Script Department, andif you’d care to come along and see us. So after six months at Paramount in WardourStreet I went to Ealing in February 1942 and […]
[…]nary mixture of talent and. And sort of a Boy Scout really key. On the artistic side he had no equal in ease his concept of movies is he writing this script writing is his colour concepts is his camera concepts quite superb and on the other side of the coin there was this Boy Scout he loved to play […]
[…]Rather open air?Philip Donnellan: Yes very open air.Colin Moffat: Mildly progressive.Philip Donnellan: Yeah exactly. That's a very reasonable description mildly progressive. Well I took a scholarship to go to Bryanston in 1936 and didn't get it. So I didn't go to Bryanston, I went to the cheap[…]
