[…] be interested in being Executive in Charge of Production'.
I practically had an erection, it was so totally unbelievable. 'It sounds very interesting,' I said, trying not to leap up in the air. He said, 'I’ll start you off with £10,000 a year' - which was pretty goo[…]
[…]three, which went on I think for about, I can’t remember, was it six weeks, or two months, or something, but it was basic studio managing techniques, sound effects up through microphone balancing and basic recording and things like that and then we were attached to various parts of radio. I was in s[…]
[…] Robert Burns; they then went on to make a series of farces including Rookery Nook; five cameras were operated in booths whilst filming these farces; sound techniques – one mike on a long boom; FY discusses long working hours; FY talks about working with Jack Buchanan and Tom Walls; not a great deal[…]
[…] it? - or Bernard? He was the head of the sound department in Shepherd's Bush, Lime Grove [NB. Actually, it […]
[…] later made into the first British feature film with synchronized sound. Other writing credits as a collaborator with Hitchcock include […]
[…] (BIP) at Elstree were getting fitted out with the latest sound recording kit, to enable them to make talkies. He […]
[…] for documentaries. I remember Lou Hanks, who was mixing the sound, asked Peter if he thought the BBC would allow […]
[…] it involve being midway points and all that, Ian Rutter 10:48 all of that we with radio links in those days. We didn't do sound, we only did the vision. So it involved rigging two foot or four foot dishes up masts, up on Eagle, towers up on water, towers, all sorts of pla[…]
[…]! So, the exhibition was on in the Hunterian Museum and it must have been a slack news days in STV because they came to record the exhibition and the Sound guy, whilst fumbling with my blouse, putting on the mic, said to me, "This is quite like a set! You know, they are looking for set designers!" N[…]
