[…]s no way of getting in anywhere, and finally, I was out of work for six months, and then I would get on a film. By this time I was an assistant director. I had tried everything, I had been a third, I had been a second. For a few minutes I had been a first, but the electrician, on the fil[…]
[…]s it was a great reward for what we were doing.Stephen Peet 28:34 Yeah, now, I, my second or extended contract came to an end in early in 1956. I think the few of us who had started getting we'd had a single three year contract, and then an extension, I believe you were the same. And tha[…]
[…] College London, but = was quite a good producer - director. And = wanted to take that path, and in fact […]
[…]es you then worked on A Midsummer Night’s Dream with Peter Hall, which I believe was one of his early films… obviously being a theatre director. As a theatre director, how did Peter, sort of, approach that film? And were there any special instructions …PS: Yes, it was a tri[…]
[…] seven or eight sets which you redressed and redressed. PM: Until they wore out. That’s right. That was all at National Studios.DB: Which is now BBC.PM: Yeah. And we had one big stage as you say with the sets around, and then one end of it was green, with mountains.DB: For exteriors.PM: William[…]
[…]hich is a very lousy company. And the financial department told Nigel Kneale the film rights belong to the BBC because you were under contract to the BBC. Nigel Kneale said I give up my contract, So he cancelled his contract and the Nigel Kneale stories belong to him.You ask what I think is most imp[…]
[…] 80s I started doing a lot of work for the BBC. The BBC asked me to do a little Drama thing […]
[…] “She’s the Girl You Don’t See”, Evening News, 7 December 1956. [6] Roy Perkins and Martin Stollery, British Film Editors (London: […]
