[…]ed, mm, it was deemed unsatisfactory by the history project itself? Would that be correct? Well, it was again lack of control. I suppose I sound like Roger Bolton here and a bit of a control freak but, mm, they wanted money to buy equipment and, and tapes and things like that. Well, for G[…]
[…]es, they catalogued the film material. There were people who looked after the technical aspects who checked it and made sure it was technically sound. People who worked in the storage areas. I can’t remember how many people there were. There were probably about twenty I should thin[…]
[…]rviews. If you want to help, please contact BEHP Secretary, sue.malden@btinternet.com.Unknown Speaker 0:00 Sorry, okay, I'm rolling sound, steady, microphone, theUnknown Speaker 0:08 other way. The copyrightMike Dick 0:10 of this recording is vested in the B[…]
[…]ough experience. And so he said "Right, well, I'll teach you editing tonight." And I got to the cutting room. And he handed me a tin of clips and the sound, the music, the Post Horn Galop, and pointed me at a Moviola and said, "Right well, I expect this assembled into something which makes sense tom[…]
[…]ushould think about applying for the National Film School, because somebody I know, Colin Young, has just gone over there to start it up, and it sounds as though it’s going to be a really interesting thing to do.’ So, I thought, I don’t know, I haven’t done any film. And... And, I suppose,[…]
[…]nd visible splash and ripples. But after 1970 you drop the stone, it was as if you drop the stone into a pool of Trico or golden syrup, no splash, no sound and no ripples after a year's work after a year is very hard work. What went wrong? Well, I think in the first place, our weakness was that we h[…]
[…]t in the finished product. And everybody knew their jobs and they knew how to work together in co-operation with the other. I mean the camera and the sound people, I'd keep telling 'em to keep their mikes out of the picture! [Chuckles] And the - and the soundman would tell us to keep our cameras qui[…]
[…]rcumstances is quite extraordinary. WellDennis Kimbley 35:30 taught me an awful lot he was, he was Charlie Parker's from from Kay's whose sound and he taught me anything I knew about sound. And Bill Goldstone taught me an awful lot about camera work and looking at the film and seeing wha[…]
[…]roduction. He ran that no Stewart Stewart was the producer over the world and action series. monthly series of 10 minute films for cinema release. It sounds strange nowadays, to talk about the Panic of producing a monthly black and white 10 minute film, but I can assure you with a lot of library mat[…]
