[…]rlock to see it’s not slipped.” And this became the practice of the day and it still is I should imagine. And the same thing happened at Shepperton, I had the same experience at Shepperton. So I take a little credit in showing this bit of lace up business to these two studios.&nb[…]
[…]o far ahead.E.M. Smedley-Aston: I think I said to Mary, "I'm strictly pre-war." I mean I've got a host of stuff post-war with all the stuff with Shepperton and that sort of thing...no sorry that was pre- war. But it's very difficult to be, shall I say, not logical but controlled on this because[…]
[…]ause it was genocide. Mackey at that time Anne Frank became personal manager at Shepperton. Frank Frank was a lovely guy. He suffered bit with his health but he[…]
[…] of directing. Alex Price was there a long time. . Tony Cummings came there. Bill Gillette was there as a producer. John Cox who was head of sound at Sheppertonwas a mixer there and so was George Burgess. In those days they mixed in a booth. They used. To come out to talk to on the set. Jemmy […]
[…] I, I really worked on myself, I hope I did, yes. Anyhow, so I worked, then I worked in studios, and then... No, then I got, then I landed in, in, in Shepperton, and there I was lucky, because Thornburn, you know the, the studio director, liked me, liked me. And he didn't mind my being pregnant all […]
[…] said “Can’t you talk the old man to let us go even for a week, somewhere tropical?” No. So, we built it all in a sandpit, the river was built inside Shepperton studios, no … inside Bray studios, the swamp, river they all went through and the jungle was brilliant piece of work by Bernard Robinson, w[…]
[…]ice people on that.SC: So then what?EC: Then Warwick Film Productions, "Red Beret".SC: That was still at Pinewood?EC: No. Now the "Gift Horse" was at Shepperton and so was the "Red Beret".SC: That was quite a successful film too if I remember rightly. That was wartime stuff you had to do, still on t[…]
