[…]t it, I can't even remember who my agent was, probably Al Parker, he was a character.Roy Fowler: Ealing as I remember had three stages.Robert Beatty: Sounds about right.Roy Fowler: Was San Demetrio a big film in terms of the studio.Robert Beatty: Fairly big. They had a model stage as well, which mig[…]
[…] fire the gun. John Taylor: Couldn't they just put the sound on. Billy Williams: There was no recoil, no smoke. […]
[…] and had taken over, and edit their magazine Sight And Sound, which he pretty well created. And of course it […]
[…] and lower and lower until actually you thought he was sound asleep because his head was on the table but […]
[…] And that was just when things were changing over to sound. Jack Rockett: That's right. Sidney Cole: Yes. Jack Rockett: […]
[…]to print the photos, develop and print the photographs that the photographers would take so I saw an advert for a Stills Photographic Technician that sounded great in Scottish Television and this was, I stayed there for a couple of years and then I applied for the job with Scottish Television and, f[…]
[…]ining up the machines and there were two 35 mm machine speeds which mostly did commercials and then there were two 16 mm machines and a magnetic film sound transport and there was also a brand new Rank-Cintel Mk III Telecine which we could actually, it was much more like a VTR, we could fast rewind […]
[…]B: The Grip, yes. I knew him as a scene shifter prior to that! PB-C: Really. And we had two electricians. DB: Ah. 25 mins PB-C: A sound recordist, Peter Evans, and an assistant sound recordist. And Peter and myself. Oh, and Dick had his assistant. DB: Barbara Saxon. PB-[…]
[…]e done. So things went along for quite a number of years before there was a lot of changes. I mean, we were still running reel to reel film with mono sound. And it was the same when I when I actually left the regal and went across to the Odeon in 1960. We were still running rail to rail and now no s[…]
