Kent Houston

[…]as been spent. Darrol Blake  15:42  I worked with a director, well, I mean, in the next office, as it were, to a director at Thames, who, after she'd shot her piece, would take it into the mending shop, which, which was her name for editing. Yeah, Kent Houston &nbs[…]

Peter Graham Scott

[…] direct bits of this, I don’t like car chases, I don’t like shooting in London” he said “you can do all the car chases as a scene on the banks of the Thames”, or in fact, in the wash of the Thames where the tide’s gone out, and there’s a scene of someone walking along looking for something. And er…”[…]

Cynthia Moody

[…]he ex-wife of Ken Clark [ph] who was a very good operator who did quite a lot of work for me later on. But we did a lot, we worked with Yorkshire and Thames. And I did that frost fair...                  &[…]

Barbara K Emary

[…]o they weren 't. It was after that, of course. Second Mate was made on the river, we went up and down the river on a barge, and I got sea sick on the Thames, because I was down underneath making notes and doing things, underneath in the hold and it was awful , the way it was swaying around underneat[…]

Alan Masson

[…]wful lot of film material, probably all of it, was being shot on 16mm Kodak negative film at the BBC. In fact, I also knew the chief technical guy at Thames TV, and they were doing it as well.PF: Okay. Thanks. I think that pretty much covers all our questions. Is there anything that you can think of[…]

Simon Rose

[…]ateur film. For its time. It was all like briefing counters. It was a lady having an illicit relationship with a glamorous young cyclist on the River Thames. Nice. And I was her son. So I got carried around a lot by this very glamorous lady from the amateur dramatics society, and I thought that was […]

John Brabourne (Knatchbull)

[…]re gonna shoot it there. They know what what they can do in the studio. And while they're there, I by my life changed because I've been a director of Thames Television, yeah. For a number of years, about 10 years and the interest was the chairman. And the time came and the new licence was coming up […]

Guido Coen

[…]say I don't want to hear about that, change the script, so I got once a script in which there was a lot of night shooting with police launches on the Thames and I said you're just wasting your time, he said well change the story, I said there is not even the beginning of a story for £13,000, well ch[…]
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