[…]icularly in the cutting rooms and the theatre and the recording at Cleveland Street.Stephen Peet 31:14 Did you were you working with sync sound, for instance, down the mine or was it all added sound added later, you recall? Because it usual to work with sync.Alan Izod 31:27 N[…]
[…]y fond of each other at that stage. And he introduced me, he was a dentist and he introduced me to a patient of his who was a cameraman at Crown.Who, sounds very interesting.Yes. And he actually talked to me about the whole documentary film movement, and this stirred up a great interest in me at tha[…]
[…]in reality mainly because you were able to get this stuff from. Yes it may sounds it may sound characters that that one is reading reading modern languages but&[…]
[…] I moved off and went. More or less freelancing. When I worked at Whartons studios like that. With varying editors. And. Then went back to them as it sounded.[00:17:15.040] - SPEAKER: M6 But when you were freelancing that was about me doing this is it really all about the work.[00:17:21.520] - […]
[…]monn Atkinson and was a shoe shop. My lesson used to be after a ballroom lesson because I always remember changing, putting on my ballet shoes to the sound, from above of Victor Sylvester ‘I love the moon’ (sings) ‘ I love the moon, I love the stars’. If I ever hear that tune I go right back to bein[…]
[…] I mean, they'd be an amateur theatricals and things like that, but nothing more.So how long did you stay at Wharton Hall?I stayed there until really sound came in British Acoustic andTimeline when roughlythat was 1929. I remember I sort of half joined the sound department of it with Stuart Rome. He[…]
[…] boon. If you learn how to do diagonal joins. This was part of my forte in later years, because when I went to prime but I always used to cut optical sound diagonally, which usually used to infuriate all the dubbing edges as ever work was because I never seem to be able to catch on. But but it's in […]
[…]k he went to Berlin - where he became a film doctor. Films that were unshowable, obviously silent films ..John Legard: Special type of editor it sounds like.Teddy Darvas: That's right, unshowable, you had to try and make it showable and if it was showable you got paid. And one of Zoli's st[…]
[…].But not terribly serious, important. Roughly, at that sort of same period, I made a film called High Speed Flight, part one approaching the Speed of Sound, which I think in its way, it was a very significant film, because it wasn't even possibly is still a standard work in the Russian Air Force, th[…]
