[…]ally at the finished stage, and shot. Because they used to do movie shots to start with, but I mean on how the film was done in the end they were all stills. Usually black and white stills. 0:07:13.9 MIKE: Great. Just tell me, you're settling yourself in to this great movie, what was your…[…]
[…]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 […]
[…] I could get back I had a job as a stills photographer with the Sub Secretariat in Barcelona. And while I […]
[…]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[…]
[…]in the 60s and 70s such as The Flaxton Boys (1969-73) and Dixon of Dock Green (1955-76).[15] Sir Cecil Walter Hardy Beaton (1904-1980) was an English photographer, interior designer and stage and costume designer for film and theatre. Beaton is best remembered for his iconic photographs of Winston C[…]
[…] Christ, which had caption sequences, in theory does that devised by Michael Ratney?, but in fact by me, with A B cameras of all things, lumbering up stills. And we had 15 century paintings details appearing out of when Herod saw the visions, the babies, we had this little Christ Child Banuamanane? […]
[…]s in one end as a young man, and comes out the other end of a Turkish bath as Blimp. I can’t remember how they did it, and Perinal, this great French photographer who was our first Oscar winner I think – he was [Alexander] Korda’s cameraman, and it took two days. Well, I was used to 40 to 60 set-ups[…]
[…]well managed by Graham Benson because Bridgey and myself, Cecil and Elizabeth were all placed in the front row you know so that we were there for the stills and all the rest of the rigmarole. [LAUGHTER] But now I think on the whole I was absolutely horrified to find Jasmine really as poorly as she i[…]
[…]30 I started at Gainsborough studios in Islam what made you chuck up first and go there? Or I, I absolutely just love photography doing at that time. Stills no but when I was I suppose as young as about 17 or 18, I joined an amateur Film Society. I think it was cool, the amateur Film Society. Then i[…]
[…]have it copied for the BFI, we'll ask the BFI to copy it so that it can go into their library.Eddie Dryhurst: Right-oh, yes.Roy Fowler: And any other stills that you've got, they'll do.Eddie Dryhurst: Yes I will I'll dig it out.Roy Fowler: Good, okay. It's interesting these things do turn up for exa[…]
