[…]was an interview with Professor Bill Miller, Professor of Politics at Glasgow University. Danny Livingston was the Cameraman, Dorothy Le Grove was on Sound and of course, in those days, camera crews tended to be paired off. It was Danny and Dot or Danny and Ken McNeil and Gordon Coull and John McGui[…]
[…] far away we were from advertising. We were really exploring er - the new technologies with the aid of the new, modern medium of exposition. The, the sound film. INT What was the process for selecting the topic for the films you worked on? Was it from some committee within Shell or ...? A No. No. We[…]
[…]in it. So it was very, it was very useful in terms of building up and learning how to work with crews, as well, you know, we did actually work with a sound recordist and a camera person. And then somebody would come and do the kind of fine edit at the end. But but the offline edit, which was the ess[…]
[…]now what so I wrote one in my bed set just the lyric obviously. A song called express her Bongo kid from a backstreet where the crazy beaten all this sounds like what am I going to do? I've got no dots, no music. So I went to a shop run by a man I'll say this carefully called Duck Hunt. And he hired[…]
[…] in.SPEAKER: M4It was fine but the guy next to me on the other side he paints a bit took a spin out of and dropped the grenade into the ditch and the sounds are very commonly picked it up through it. I have a spare. A.SPEAKER: M2Few years later. A very but it saved us from what might have been death[…]
