[…]really know what that was. But my friend Hazel said, it's an interesting job. And you'll be doing something different every day. And I said, Oh, that sounds wonderful. So I went for the interview. And then I got the job. And I started working there in August 1955. In the opening night office, so we […]
[…]. We’ve been doing a lot of work on reproducing prints, faded prints, the contrast range of things like Vision premiere prints. We’ve been working on sound reproduction because each era has its own soundtrack formats and problems with those formats. So we’ve been scanning soundtracks coming up with […]
[…]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[…]
[…]; Question: sounds like problems stemmed from scheduling rather than producing the programmes. 1.38.30 - &nbs[…]
[…]t to handle film. So he was working on the AOSB (unclear) film then, do you know, the War Office film and it was all, had all been shot, RG: all sync sound? SE: sync sound - and he just handed it over to me and told me to get on with editing it. So you know, the first bit of real film thing I did, I[…]
[…], we’ll carry on there, I did pause it.When I, when I saw these pictures of Sharpeville my first instinct was to think they weren’t real. I know this sounds you can’t quite believe it now but I thought, I thought this is some kind of test of me and I thought no for me my experience of policemen were[…]
[…]e never seen the light of day. SC: How did you get on with Daphne du Maurier? DM: I never met her. SC: You never met her? I suppose it sounds like she didn’t bother about the dramatised versions of her books, she just took the money and ran. DM: She became a hermit. She went off […]
