[…] a long time for an artist to be able to work into doing something and getting exactly what you want. And just as you're ready to roll cameras or the TV show, the union says it's time for a break or you're going to pay double time or triple time or what have you. And that used to infuriate me used t[…]
[…]down on the location on "Johnny Frenchman." I mean, he's now a very considerable figure in the in the British film industry and right, he's the executive producer I would have thought rather than a hands-on producer.Jonathan Balcon 15:09 Yes, I, I, I've never sort of thought about […]
[…]nbsp;and accessible to anybody who wants to look at it on a on a on a TV screen. So this is one hundred hours of material about the Northeast I've com[…]
[…]or the Scottish Broadcasting Heritage Group's Oral History Project. The interviewer is Janet McBain, the date is 14th July 2018 and the place is the STV studios in Glasgow and the copyright of this recording is vested in the Scottish Broadcasting Heritage Group. Agnes, thank you very much for coming[…]
[…] Tokyo. So course we sat up and, him being an executive for the air-line, we were well dined and all […]
[…] making money. I never got into the lucrative world of TV Commercials because you had to have an Equity card […]
[…]ra looked at?NEVILLE WORTMAN: Yes, that’s it. That’s right. And that sort of developed.DARROL BLAKE: So that was BBC before ITV started.NEVILLE WORTMAN: That was before ITV started, yes.DARROL BLAKE: In Lime Grove, presumably?NEVILLE WORTMAN: Yes, that’s […]
[…] can tell a story with films so I'll pay you 10 quid a week as a trainee." I was in. At that time the Union situation became easier. It was 1955 and ITV was starting, and they were recruiting an awful lot of people. So I was given a provisional ticket under Rule 10c, and I joined the Coal Board unit[…]
