[…] this moment.David Sharp [DS]: Yup, yeah. We had lots of paper collections. Yes. Yeah. And materials and-MW: Posters I seem to recall.AF: Posters and stills as well … and designs as well. And of course they weren't formally part of the archive: Posters and Stills were not part of the archive.They we[…]
[…]ling you - you’ve put me in a hot house this is where I belong!” (laughs) He was wonderful - and then he said to me we were taking stills of him - he said “This still you’re taking - we’ll maybe use for publicity?” And the camera - Gary was using stills camera said yes - “Oh[…]
Rodney Giesler 0:09 This is an interview with Christopher miles, recorded for the BECTU oral history project by Rodney Giesler in Wiltshire on March the 31st 1995. Reel one,I mightask you when you were born, Christopher Miles 0:28 right, I was born 19, April 39, in Londo[…]
BEHP transcript DisclaimerThis transcript has been produced automatically using Otter, https://get.otter.ai/interview-transcription/.It provides a basic, but unverified or proofread transcript of the interview. Therefore, the British Entertainment History Project (BEHP) accepts no liability for[…]
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[…]
[…]ss I decided what to do myself. And I began to go around with a still photographer a chap named Len Putnam who was he working for. He was associated p[…]
BEHP 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 content of this[…]
[…]rested in theCarbro process, now that‟s the original, mm, matrix type colour process.That’s where he worked with...And he want over to Hollywood as a stills man and got in with Kalmus back in, oh, 1917, 1918 when Kalmus was only just coming out of, out of his railway truck. And of course, because of[…]
[…]doubt, in most producer’s minds, that a movie had to be in colour once it became practical to shoot in colour. I still loved shooting black and white stills, but I don’t think I… well I know that I didn’t shoot any black and white after I started working in movies. I didn’t shoot a black and white m[…]
[…]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.[…]
