[…]life than the unlived life of a parent." And so to some extent, I feel I was living my father's unlived life. So I always knew that I wanted to be an artist, even though I didn't really know what that was because I'd never met one. But I knew they existed because I read about them in books. So as so[…]
[…]ou know, and and so much was done in the studio and built which wouldn't have been done in later years, you'd go on location, I mean, you never built sets that they were building madness, I thought really but but because the gear was so heavy, the camera gear and indeed the sound problems because th[…]
[…]fth and daily cost will be issued with an amount of money against each particular department, address in Word write down the list. And you know which sets at the bottom and then a proportion to cover the overheads on the above, which was sort of a non cost as it were and you would that you would the[…]
[…]er. And I said, you know, this isn't right. I shouldn't be having milk and a mask and all kinds of things. And I said, anyway, this is the job for an artist, this a job for a painter. He says, Well, we haven't got a job for a painter to collect your cards on Friday. And that was the end of tha[…]
[…]ery intelligent. And he apparently has been met not because he wasn't. I think again to be checked he was on. A lecturer at some university in modern artists or 19th century art. He knew all that Monet and Manet and everybody else in the first impressionism interesting. And knew a lot of them as old[…]
[…] saw that, I think it was BAFTA one year was giving out a prize to production accountants, but quite honestly I don’t think they contributed too much artistically to productions, I think they’ve done an awful lot of damage but, I really think it wouldn’t be a bad idea if you know they all did it to […]
[…]o the prime mover, pictures. You must remember this, somebody makes the film, I don't make the film, I write the music. I'm like the designer for the sets. You tell me, you raise the money and you tell me I want a symphony orchestra, I want a chorus, I want soloists, I will say yes, if I like the pi[…]
[…]nies to run. He was the secretary, touch secretary. But a certain gentleman went along to him one night and said, From now on, I want you to make two sets of books. One you do in pencil. And he said, not me. You don't. I don't do that. Either do it my way or I don't do it at all. And three weeks lat[…]
[…]cause it was beautifully lit by Ronnie Neame who was then a cameraman, black and white of course, and Carmen Dillon had done a very good job with the sets and the sound was good, John Cox did the sound, and Baron Mason was the sound recordist on the picture and Reggie Beck supervising editor, Peter […]
