[…]Windmill Street, opposite the Windmill Theatre, we were on the top floor. And then we moved to eighty-nine Wardour Street, where we took over Edibell Studios - the Edibell company - they had a studio on the top floor and we had the top two floors. And I remember very well we paid three hundred[p1] a[…]
[…]Side 1Sidney Cole: Well it's nice to meet you Tom and to ask you about what you remember about that film which we were both associated with at Denham Studios all those years ago, 1942 in fact. Would you like to tell me about your involvement in that?Tom Peacock: Well I became very interested in this[…]
[…]ted to go to live action. I joined Film Producers Guild and did animation for about eight or nine months and then had the chance to go to Merton Park Studios where I stayed for just over a year as a clapper loader.Michael Aldridge 2:02 The industry then, the film industry that was, becam[…]
[…]panded a bit more and then it seemed to me that it should be time to kind of move on a bit; and I think what I thought that what I wanted to be was a studio manager because I’d been doing all this… I mean in the studio and handing them discs and fiddling around with microphones and levels and […]
[…] the way I don't know, but I got in. I was the first of a new breed called the junior maintenance engineer and I was sent to Newcastle-on-Tyne to the studio centre and I went there in 1936 when Sir John Reith was still director general and Noel Astbridge was chief engineer. And I went into digs up t[…]
[…] maintenance engineer and I was sent to Newcastle-on-Tyne to the studio centre and I went there in 1936 when Sir […]
[…] camera and sound technology in the early period of the Studio System and some information o n some small production […]
[…]ested in the girls ['and food' ]. What happened then?PS. Well, I spent two years as a clapper-boy, and I don't think I learnt a thing, and Lime Grove Studios where I was the clapper-boy, and then I went up a notch as focus-puller. You know what that is? Yes. And I went up a notch to that, then they […]
[…] massive redundancy after the all the initial losses, the DI d v suffered particularly Rediffusion as one of the flagship companies, building Wembley studios, converting the television and all that stuff. And as a head of a section then in sound, I haven't lost a third of my staff. And obviously, we[…]
[…]e, you know, put outside the theatre in older shop portraits. So he mentioned it to Mason, and he said, Well, that'd be interested in going to a film studio. And costs I was and the reason he was able to do that was that his son was called Bert Mason. And Bert Mason was an operator at Riverside stud[…]
