[…]de Gaulle, and that made quite a good story. I got to Dakar and that was a fiasco, de Gaulle was pumping out messages there and they were firing back shells and things at us. The Resolution was in the harbour and got torpedoed, which was how I happened to know later on what a torpedo sounded like. A[…]
[…]a very expensive material on top. They had the patent for that. Victor couldn't use it. You see, Victor couldn't get records was quiet. They were all shell act records. Then, you see, but then we changed over to Victor because they wanted the artists, all these things get done by the by the commerci[…]
[…]who was I mean, he came as if he and I had claimed to work in Hollywood and cutting through Um, sir, he may well have done, but he was suffering from Shell Shock. We used to take lots of trims home in his pockets and things like that. And he would and then he disappear of a museum or something. Anyw[…]
[…]y kind of 16mm production at any time?Eric Cross: I can't remember, yes when I finished up with the Crown, not the Crown, the American golf thing for Shell, they went over from 35 to 16mm and we shot the last three years on 16mm.Arthur Graham: Why wasn't it used earlier?Eric Cross: They didn't think[…]
[…] London, just around the corner from what became the Gainsborough Film Studios (Islington) in Poole Street. He first visited the […]
[…]ing. I remember the first swimming programme John and I did for grandstand about two months after I started working for them, and that was a bit of a shell shock for both of us, I think, because, you know, in those days, you had to get the numbers. It was like horse racing. I had to get the numbers […]
[…] and Leo Genn as well but that was my first film. After that. When I came Captain Boycott which was […]
[…]d an inquiry from the government at Schubert over the establishment at Shoeburyness, they wanted a camera which they could put in a pit to photograph shells and all that sort of thing they were doing down there. And then we were all put on overtime getting this, this prototype camera together, which[…]
[…]bsp;well, wonderful. I mean, people like George Butler, J will Thompson, Ashley, having done at Crawfords, Arpad Alpha even. I mean, oh, the monster, Shelly Shelton, the monster, monstrous man. But, yes, of course, very good. I don't know what they're like now, but then they were very good.Roy Fowle[…]
