[…]clock and it was head down and you worked but sometimes I used to go in next door because really it was so exciting to see these little models on the sets of these special effects, you know, and the rolling road and they had the burning inferno and all this and I mean, they used to set fire to it, a[…]
[…] do is forget all you know about architecture, because film sets are designed differently." Which was perfectly true, because the […]
[…]thing, which is...Peggy Gick: I remember Edward saying, "now the first thing you've got to do is forget all you know about architecture, because film sets are designed differently." Which was perfectly true, because the whole thing on a film set is your detail has got to be at eye-line. Now normally[…]
[…]ow, so I was always, had a can under my arm. And that way I went into the theatres, I went on to everybody’s set. I was always down on other people’s sets when I wasn’t needed and that sort of thing, watching what was happening.
Mhm. You were bitten by the bug obviously.
Yah, I think so. I mea[…]
[…]and up and I suddenly found myself forward to secrecy on a radar course. Which that was that was in the early months of 1940. There weren't any radar sets around but I went to a place in North London and started learn the rudiments of radar. Our operation and theory. And again, I say all the time we[…]
[…]p; But Lachman and Monty together were quite a problem – one would want to do one thing and the other would do the other. And he’d build these sets and he couldn’t get them to do it and this set would gradually melt, it was made of snow and they would melt and put it back another day. B[…]
[…]onderful exaggerated characters larger than life. The illustrations, by fears are all larger than life. And so John said, Well, I'm going to make the sets larger than life. So the sets were all sort of theatrically in large, but were built in perspective, which gave an exaggerated picture and it gav[…]
[…]made for Jim. But then came the other things up in Manchester. So but it was still the same thing of using every inch of the and, of course, building sets within the four walls because they were big enough and the grounds and the river.Roy Fowler 14:20 Yes, there's a lot you could do the[…]
[…]inerock and Wally Fairbrother were the focus pullers I worked with. And we used to make all these films at Danziger studios for United Artists. And it was a great experience and a great training. My key moment, or my key thought I ever had was from John Winbolt whe[…]
[…]e history in ’51 of popular entertainment for the turn of the century. Notably elaborate and fast moving it made use of as many as a hundred and five sets per programme, which could be by, be why some of the technicians he enlisted look back on the series with a respect that still contains traces of[…]
