[…], "Well now, OK, if I do this, is it going to be, (this, this, this and this?)?" She said, "Yes, it's all wonderful." Of course when I got to it, the sets were terrible, the whole thing was a disaster, disaster. I don't think it appeared at all, I don't think it was ever shown. The idea of the story[…]
[…]er Intimate Theatre, or Manchester Library Theatre it's called now, I think, and put on the first shows there. And I designed 'The Seagull', with the sets and the costumes. And we were so hard-up in those days that the costumes were made by lining materials from - because one of the backers had an i[…]
[…]ecame six and seven. So you had four, five and six and seven were big stages, and you had three small stages, one, two and three, and the some of the sets were enormous at the time I started Rembrandt and night without harbour were the two big films Rembrandt was being made outside over the other si[…]
[…]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[…]
[…]d a very warm close unit, very interesting, he was quite....JL: What was the size of the National Film Board of Canada at the time?DA: There were two sets, there was the theatrical unit and the non-theatrical unit. The theatrical unit had Stuart in charge and that was World in Action and Canada Carr[…]
[…]anything like that. And nobody who doesn't know that would say that it was an odd shot on the on the train. But a lot of the work that I did, I built sets which I wouldn't dream of had them built. I mean, wouldn't dream of building now, a complete railway control room of the old steam days was a bui[…]
[…]in the BBC and filming with television. It's different outside, I realise that, because there's more money outside. But in the BBC you have to accept sets of conditions that are presented to you and make the best of them. And this makes you use your brain as it were and your own ingenuity and things[…]
[…] Film Board of Canada at the time?!DA: There were two sets, there was the theatrical unit and the non-theatrical unit. […]
[…]n my father’s side was trained as a scene painter. He was a scene painter and also a portrait painter as well. It was strange because the artist who taught him, they used to project the image of someone on canvas and then paint over that and I can remember two large paintings in my grand[…]
[…]t. But nevertheless, he was brilliant, you had to recognise, and he was fun. It was wonderful to work with a director like that. Cecil Beaton did the sets for The Winter’s Tale.[15] So every aspect of it was quite superb, really.JR: And it was a sort of ‘onwards-and-upwards’ period in history, as we[…]
