[…]t the film was, but I was aware of a film set. And, and also, I think, Roy Fowler 3:31 Silent or in the very early days of sound, Jill Balcon 3:34 No, it would have been silent. But I can also remember, long after that, when I was growing up, and[…]
[…]" So poor Cecil never really knew why he was there. Naturally, the Yank got the girl at the end, or something like that. Heh Heh!Arnold Schwartzman : Sounds like another film called 'Chumps at Oxford' [N.B. 'A Chump at Oxford'] with Laurel and Hardy.Charles Bennett : Or 'A Yank at Oxford'.Arnold Sch[…]
[…] that, to go to the revitalised British Film Institute which Denis Forman had been appointed to and had taken over, and edit their magazine Sight And Sound, which he pretty well created. And of course it was those days which were very active and Denis Forman was a very important chap because it was […]
[…] of 16 millimetre and particularly out of 16 millimetre synched sound and here you could see this wonderful stretch from […]
[…] and had taken over, and edit their magazine Sight And Sound, which he pretty well created. And of course it […]
[…]led Glendhu anymore, it was called Glendarroch and in fact that was because my mother's maiden name was Darroch and I thought it had a quite resonant-sounding name and we kind of flew by the seat of our pants for two months! I: And Garnock Way had been produced before that? R: Oh yes! But […]
[…]to develop, put it another way, the way that a new cinema was beginning to develop out of 16 millimetre and particularly out of 16 millimetre synched sound and here you could see this wonderful stretch from 16millimetre non-synch which produced the artists’ films associated say with the London Film […]
[…] and just some boxes there. There's was this little balcony but it must have had about five seats in it. And so that's where the console was. And the sound control was put over the other side. Similar position. And Nesbitt performed his usual manner. We didn't need a mic for because he could just ta[…]
