[…] think about tomorrow's work. I'd go on the set two or three times, but providing all was going well by 10 o'clock that day was done.2. Locations and unionsRP: You always had all your movement orders to work out, if you were going on location, whether you were going abroad, or whether a daily locati[…]
[…]couldn't do anything, but when I'm not away and not on foreign locations and not terribly busy then I used to like, I thought well if you belong to a union you ought to know about it, and, and make it non-political and, and it's there for the benefit of the technicians, and I think that's terribly i[…]
[…]oming back, and they had asked me to become a small part and crowd casting director, because the film artists Association, which was the crowd artist union, was getting stronger, and they had started and inaugurated various conditions of service, but captive heart. I almost remember great clarity, b[…]
[…] to death in order toget their budget and their cross plot look good. The Union is not just there toprotect us against the employers, but in our dealings with […]
[…]r a studio. And I got up next morning went and had breakfast at and then went to the studio and there they were they were still shooting and the only union of any consequence of having any muscle in those days was electricians and their only power was in the fact that they had to have a meal break e[…]
[…] pictures. And I was in on the forming of the union there. My card in the Association of Motion Picture […]
[…] had a lot to do with the running of the union at Denham. Betty Bachelor: He was a convenor there. […]
[…] 1960s and also touches on the effects of the Trades Unions on working practices, providing several details of his rel […]
[…]fairly regular meetings. Because I worked in Dean Street, there was laboratory meetings for once every couple of months. And although they were union meetings, they were quite interesting because you could talk to the other ... I mean people from Humphries and Kays and Technicolor were there a[…]
