[…]'d come over to Birmingham with some of his friends who had already been here as a carpenter. Yeah. And that's our decade berberian 1926. And when it settled down here, we followed in 1930, but I must tell you about because it's a cinema talk, I must tell you about my introduction to the only introd[…]
[…] meant that the picture never really got its money back - which was a dreadful bit of spite on the part of C.M. Woolf. Anyway, 'The 39 Steps' was all set again, and then I just continued to work with Hitch. We did 'The Secret Agent' with Madeleine Carroll and John Gielgud - a young John Gielgud, who[…]
[…]34?Pat Jackson: Well, it would be about 1932.John Legard: Oh it's earlier than that? Yes.Pat Jackson: Oh yes...'32...'31/'32. Welwyn Garden City. The set was still up for 'I was a Spy' which...John Legard: [over interviewee] Madeleine CarrollPat Jackson: [indecipherable]... Saville, you see...had do[…]
[…]ructor with Thunderbird Field was there, because he was training British pilots.John Taylor: You had wings by this time.Jimmy Gilbert: yes, I had two sets of wings.John Taylor: Why two sets.Jimmy Gilbert: You graduated as an American naval aviator, they called them and as an RAF pilot so you were al[…]
[…]n little sellers, who was then the colonial Film Unit boss, with a man called Eric White, who was, I think, their senior camera man, editor. And they set up a small unit, but again, I don't think made many films, but I liaised with them, helped out, because there I was not officially part of the uni[…]
[…] part of C.M. Woolf. Anyway, 'The 39 Steps' was all set again, and then I just continued to work with […]
[…] nice art director to work with, and I'd seen the set designs before we went on the floor and there was […]
[…] nice art director to work with, and I'd seen the set designs before we went on the floor and there was […]
[…]ple because so many white collar workers had to go because so many. I said put me the top of the list. And that's when I I lost start in that job and set up gazelle.SPEAKER: M3That's what brought me to Bristol in the first place.SPEAKER: M8I wouldn't know what brought me to Bristol because she was g[…]
[…] edit it, we photograph it in exactly the same way that any film is done but with the cognisance that you've got to get your audience quickly and the set ups perhaps you'll get closer than normally, use more close ups but you are working in film and she would never accept this. And years later when […]
