[…]. The first one was very good. Actually. The second one wasn't very good. But the third one I did was okay. I got a lot of micro Elliott Mills was my photographer. I was allowed to bring him over. And John Richardson was a special effects man. He did a wonderful job for me. He's terrific. Terrific, […]
BEHP 0720 T RENÉE GLYNNE TranscriptBritish Entertainment History Project – Interview No. 720 26th January 2018INTERVIEWEE – RENÉE ALMA GLYNNE INTERVIEWER – DARROL BLAKE Transcriber – Linda Hall-ShawDARROL BLAKE: So, can you tell me your name and[…]
TRANSCRIPT OF CAROL OWENS INTERVIEW BEHP – REVISED BY COCarol Owens - IntervieweePaul Collard - Interviewer29th November 2017SPEAKER: M3 [Paul Collard]This is a British Entertainment History Project interview with Carol Owens at home in Ealing. The date is the twenty ninth of November 2017. The came[…]
[…]ause of the sound quality really, but there was nothing we could do about it. And the show got wiped.DARROL BLAKE: I think there are one or two stills I’ve seen of it, you know, of them on that stage. I think even a bit of film but none of the actual programme of course. NEVILLE WOR[…]
[…]sp;And then some kind of hero.Noreen Ackland 37:45 Oh gosh, yes, I'd forgotten about that. That was with Marvin, Marvin Lechner who was a stills man. And he made a lot of money with his stills he was an American and Malcolm Cook had cut had been the editor on it but he was left to go on […]
Alan Lawson 0:01 The copyright of this recording is vested in the BECTUhistory project. Raymon Morse known professionally as Ramos, actor, set designer, model maker, makeup artist, a man of many talents. Interviewer Alan Lawson, recorded on the 26th of August 1993.Side one.Right he[…]
[…] We were very successful.The man who is writing about the school where I am produced some stillsfrom our work at that time and I couldn't believe it. Not very modest of&n[…]
[…]FY describes the colours used in tinting and toning; he then moved up to the studio as assistant cameraman, first cameraman was Arthur Brown; FY took stills, processed the film and projected the rushes at the end of the day; FY started working for Gaumont in 1917 and left ten years later, by which t[…]
[…] of mine called Martin Dunkerton who had done some wonderful stills during the miners’ strike, steelworks and stuff, and he […]
