[…]50 years later, they're all being shared and enjoyed. Roy Fowler 1 2:13:04 And that's true of so many miniseries and yeah, TV and cable stuff. Ronald Neame 2:13:09 Yes, upstairs, downstairs and all this kind of stuff, right? They America, America[…]
[…]d. Everybody wanted to get on television in those days...Alan Lawson: [interrupts] Yes...Cyril Page: And er... to see er...like Castro or Shell or Britvic or like that on the box, I mean, it was worth millions of pounds to them all, and wherever we went, we always...people used to say, "Can you do t[…]
[…] processing, and then the printing from the negative for them during that time. Which was quite interesting, because I see a lot of this stuff now on TV that we actually process. In some of these historical documentaries,Roy Fowler 11:43 the Barnes Wallis activities came a little later,D[…]
[…]p;the same day that was the twenty third my sixty. And then I started in. ITV I used to help Paddy leech who. Whose title was on the strange titles De[…]
[…]t hadn’t been so great including the less than perfect use of archive film. So, Anne Fleming also became very much involved in the relationships with TV companies, the footage sales, but also the development of reciprocal deals with television companies. Where IWM would supply footage at advantageou[…]
[…] and Arts department and Nick Rossiter was appointed to be executive producer of it. Nick Rossiter was a… had come […]
[…]10 pounds a week. And the advantage was that you work with every single company there was I mean, we're Granada you work with the BBC, you work with ATV you worked with ABC you worked, you know, so you were going around all over the place. And whilst the cameraman loathed you because they had to lif[…]
