[…]ob gone of course but I had I had the fortunate thing of living next door to a cameraman called Jack Whitehead and Jack Whitehead got me a job in the sound department at Chip's Bush studios. Why were you so keen on major so keen on getting into the films. I haven't the faintest idea. Did you go to f[…]
[…]t it, I can't even remember who my agent was, probably Al Parker, he was a character.Roy Fowler: Ealing as I remember had three stages.Robert Beatty: Sounds about right.Roy Fowler: Was San Demetrio a big film in terms of the studio.Robert Beatty: Fairly big. They had a model stage as well, which mig[…]
[…] of 16 millimetre and particularly out of 16 millimetre synched sound and here you could see this wonderful stretch from […]
[…] Elisabeth Furse, Tape 2. Yes, and, and then... David Lean, Sound Barrier, Carol Reed The Man Between, you know, and […]
[…]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 […]
[…]very vain man who had an inflated sense of his own abilities. He did have a vision, which was to make the complete artistic expression with music and sound and performance and colour and you know the whole thing, which they did with Tales of Hoffman and The Red Shoes to some extent that was on, on t[…]
[…] 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[…]
[…]d gentleman, always wore a black trilby hat and an overcoat, regardless of what the weather conditions were. And had never realised you were shooting sound. So he used to wander around the set mouthing all the words all the time, because obviously when he did the silent films he used to speak the wo[…]
[…]e to be shown in this way with polarizing spectacles in neutral colors, which permitted films in full color, and were also going to have stereophonic sound, which was extremely novel in 1951, and, again, was the first time that stereophonic sound had ever been put before a public audience. And […]
[…] at Ealing and I hadn’t seen it before I would take it along to stage 1 where the white piano was, hastily pick out the main points and make it sound reasonably like it should, and then when I came along to play it to you, you would be able to say whether you liked the tune or not. I developed[…]
