[…] you on to that job so that you’d have more time for yourunion work. Got...Blimey I, we had a lot of time with that mate when you had to do four sets a day, and not only do you have to, not only did you, did you have to hyper sensitise them you also had to, to re-humidify and, mm...Yes, but I c[…]
[…]opposite as it could possibly be from Love on the Dole, but you had to finish on Love on the Dole and start the next day on Old Mother Riley. And the sets and everything had to be all waiting, ready for the sets of Love on the Dole to be whisked away and Old Mother Riley to come in. And that was all[…]
[…] community in which you live. I was profoundly moved by that honour and I shared the moment with a great friend of mine, John Ward, who was a fine RA artist and who subsequently then on my retirement as Chairman of the Canterbury Festival, he painted the portrait which was commissioned and paid for […]
[…]d then see you as part of the problem and that was a really interesting education on job one of, wait a minute, these people are, there are two angry sets of people here! There's two opposing, one very very angry set of people looking for an object for their anger and the Management's not here so th[…]
[…]ge restructurings at the BFI were already under way by then, and his own position had been undermined and all of that but he had established and FIAF sets up its Congresses three or four years in advance, and he had booked the FIAF Congress for London in the year 2000 as the Millennium in London, as[…]
[…]out him. He was a great organiser I wouldn't say was the best director but he was a very good producer and organiser. We travelled from we have three sets of gear, complete sets of equipment, camera sound. Hedge hopping from one country. We started off in London, with a fortnight in London. Then we […]
[…]er writing, you know, brain never stop working. But then you can't always know when you start a film, you know, might read well, but then some of the artists may not be as good as they should be in the scene falls flat and certainly the right artists in the right part then the whole scene just just […]
[…]ving on to Pinewood; JR became friends with Doris Box; for The Prince and the Showgirl, Dawson worked on the women’s costumes and Furse the men’s and sets; JR discusses her experiences on the set and begins talking about Marilyn Monroe’s white dress in the film before the tape ends.Side 300:00:00 – […]
[…]ture things used to go to the big laboratories like Denham, you know, and places like that, mostly Denham.And I wondered if you remembered any of the artists who did, who worked on the animation as required?In my department, in my, in my company?In NSS, yes.What, on the trailers do you mean?Mm.Oh ye[…]
