[…]culture as all the other Europeans who went to Argentina did. But the British, it was a sort of very specific kind of mercantile immigration. So they set up the stock exchange and the tanneries and the meatpacking plants, and the railways, which ran on the left until we built the railways. And so, y[…]
[…]ons. He was also involved in the popular rate strike in the 1920s, representing the counsellors who were taken to court and by the government for not setting a rate. So he was involved in radical ideas, radical politics throughout the 20s and 30s. And with trade union movement, as well, increasingly[…]
[…] know who you’re going to see and what, do. I mean the interesting thing about Kentucky Fried Medicine was, I’d been working on it, we’d been working setting it up for a long time, two-part series, they were sixty-six minutes long or something. No, no constraint of, it’s got to be fifty-two minutes,[…]
[…]ifferent today. Except now, of course, the crews are mainly two but, even on news in those days, it wasn't unusual to go out as a two man crew with a set of Colortran and a camera. So those techniques have not changed a lot, as such, except the equipment has got a lot lighter.Interviewer 8:05 […]
[…]ery, very small indeed, I can't be exact about how small but very small, I was taken to Gainsborough Studios in Islington, where I went onto the film set and saw, I think it was a Pash dance ( ?), I can't remember even what the film was, but I was aware of a film set. And, and also, I think, Ro[…]
[…] quite an artfellow who taught me that was Bob Thompson. Oh really because I was Bob's assistant for some time as well. And Bob used to make me set the Finder for him. And that's how I learned parallel. He used to explain it to me. Especially if you're on a split Yes. And the finder was pulled[…]
[…] What was your job?Carmen Dillon: By then I was an assistant art director.Sidney Cole: Yes.Carmen Dillon: Almost immediately. Because I had to get it set into it. But I had a very dear little man who was trying to carry it on, and he was a glorious dopey drunk.Sidney Cole: [laughs].Carmen Dillon: An[…]
[…] use one camera, and all the artists would be rehearsed to come in to position like this. And there was another one, Harold, he used to have the same set whether it was a little suburban two up and two down or a grand palace, because the entrances and exits were same, therefore he knew his camera an[…]
