[…]d in in in. Going on to well I had a terrible system actually. They used to use for going across to do video. So I know the school but it was it's in studio. The thing. With mirrors and God knows what. But it wasn't very successful but we never saw that. I mean. We we just had the rushes and that wa[…]
[…]ent with Teddy Carrick. He thought that would be the place to start someone, with Teddy Carrick who was at Blackheath, which was still operating as a studio for the GPO Film Unit/Crown. And in talking with him it became quite clear that I wasn't a draftsman and I wasn't a model-maker and I wasn't re[…]
[…]day night when Monitor used to go out in hospitality to see the programme and possibly to gawp at whatever star. I remember when Callas came into the studio and we were all there for the camera rehearsal which she was virtually directing, she wanted the monitor wheeled in and she would say can you s[…]
[…]ing for his later career; working with Ralph Keene on Under Night Streets.00:29:00 – 00:38:00 Shredded Wheat commercial with Richard Lester at Viking Studios all using reflected light; Lester asked DW to work on The Knack and light the film the same way; DW believed that direct lighting looks artifi[…]
[…]die was in the Army. I was being schooled just round the corner from where Freddie was in the Army Film [Unit], you know, what was it? AKS at Wembley Studios. So, strangely enough, though, we never met in those days. We I was very close to him. Alan Lawson 2:05 What was yo[…]
[…] I found that if I became an electrician I get one and six and three farthings an hour and so I moved over to Teddington to Henry Legion Norman studios. And they were doing a film called Stranglehold with Isabel Jeans, Alan James And that was my introduction to the electrical side.Yeah. What y[…]
[…]f discussing film generally Brian told us we could have one week location shooting.Unknown Speaker 1:22 And I think one week in a kind of studio situation. And Doug and I went out have beer on sandwich together for lunch. We both decided, in fact, this was no way we knew what the budget […]
[…]ecause at that time, Anson Dyer - do you remember him? - he was just, you know, going off out. He'd had his little day. And in fact at that time that studio was doing trace paint for a French firm. And there was also Hoppin and Gross, who made Joie de Vivre and Foxhunt.Kay Mander: Yes, I met them wh[…]
[…] his little day. And in fact at that time that studio was doing trace paint for a French firm. And […]
