[…] frustrated I was from not being able to get a job in the industry. I mean I'd done a bit of work with John. I can't remember his name now who was of sound record was actually working as a cameraman then. We did a film for children down the East End but that was not much fun because I was the man ho[…]
[…] I mean, they'd be an amateur theatricals and things like that, but nothing more.So how long did you stay at Wharton Hall?I stayed there until really sound came in British Acoustic andTimeline when roughlythat was 1929. I remember I sort of half joined the sound department of it with Stuart Rome. He[…]
[…] boon. If you learn how to do diagonal joins. This was part of my forte in later years, because when I went to prime but I always used to cut optical sound diagonally, which usually used to infuriate all the dubbing edges as ever work was because I never seem to be able to catch on. But but it's in […]
[…].But not terribly serious, important. Roughly, at that sort of same period, I made a film called High Speed Flight, part one approaching the Speed of Sound, which I think in its way, it was a very significant film, because it wasn't even possibly is still a standard work in the Russian Air Force, th[…]
[…]nit, Alexander Shaw, who was making a film, which was famous in its day called The Future's in the Air [1937].Jack Ellitt was there, he was, he was a sound editor, who had really worked as a partner with Len Lye, on his famous sound, animating, animated films, when he drew sound on films and he was […]
[…]e President could sign the tab. So we used to troop over there at lunchtime. And again, I digress, but it's amusing because Ian, Ian, little man, the sound recordist, smelly little man SOC would troop over there, and there would be another, yet another unedifying spectacle of everyone trying to arra[…]
[…]ng over to DeForest ... Films at Clapham, he said would I go with him as a Cameraman so I ditched the Still Dept and went with him. And everyone said sound films would never come to anything and I was mad. Anyway, we had a small studio at Clapham Common and a booth, with a flexible drive which used […]
[…] so if you did camera on one, you would do sound, well not sound so much in those days, but […]
[…] their wisdom didn’t give us a first-class crew. It was an OB crew, you see, who really only shot sports actually. And they couldn’t handle the sound system so in the end we went to the Odeon. I think we did it in the Odeon. That was right wasn’t it I think?DARROL BLAKE: The […]
