Manny Yospa 0:05 This is a BECTU history project. The number is an interview number is 344. Graham, Smart, Manny Yospa The date is the 28th of February 1995.Graham Smart 0:41 Right, I'll just quickly read something from a book which actually is probably easier. Actually, this[…]
TranscriptBEHP transcript DisclaimerThis transcript has been produced automatically using Speechmatics.It provides a basic, but unverified or proofread transcript of the interview. Therefore, the British Entertainment History Project (BEHP) accepts no liability for any misinterpretation of the conte[…]
[…]here again, I was out of work, and I was sitting around and my, my my late wife had a son, so obviously was my stepson, but And he was started out as stills photography man and doing photographs for brochure, like furniture, clothing and this type of thing. And he went on to bigger things and doing […]
[…]o we said, it's not been very good there, it was cloudy and we had to stay an extra day. But I had a still camera supplied by the studio to take some stills and of course I'd taken some pictures of these girls on the Sunday as well. When we got back to the studio these had to be very carefully remov[…]
[…]ilm, left John Hurt and the penguins, cut Susan Fleetwood and me and Madhav Sharma and everybody else out in the bin. I was told to go and forget the stills and the photographs and take them home quick. Mike Dick 1:05:54 And it was nothing about performances or anything at[…]
[…]orces into that actually they needed to become more active and this is more true in moving-image material.There was a bit more continuity in terms of stills, the IWM’s Photo Archive has better but the – everything you’re saying about the change of technology is absolutely true. I mean first of all w[…]
[…]ing about this shoot, was that because of these awful budgetary considerations about half or even more than half of the film had to be recreated from stills and such material, basically stills. And Arthur Worcester has a large double garage, which in fact, I've often used as a very practical studio.[…]
This recording was transcribed by funds from the AHRC-funded ‘History of Women in British Film and Television project, 1933-1989’, led by Dr Melanie Bell (Principal Investigator, University of Leeds) and Dr Vicky Ball (Co-Investigator, De Montfort University). (2015).BECTU History ProjectInterview n[…]
BECTU History Project - Interview No. 101[Copyright BECTU]Transcription Date: Unknown - draft analytical transcription by Sarah Easen, British Universities Film and Video CouncilInterview Date: 1989-09-25Interviewer: Roy FowlerInterviewee: Norman FisherTape 1, Side 1Roy Fowler: Copyright of the foll[…]
Nancy Tbomas DRAFT Page 1 This recording was transcribed by funds from the AHRC-funded ‘History of Women in British Film […]
