[…] Yes, yes. I see. Because, no, the real trouble with all that stuff out at Wembley was that we were still in the clutches of the awful union problems and it was unbelievable because of course theoretically I should have been a union member. To Equity? Well, of something.&nbs[…]
The copyright of this interview lies with the \british Entertainment History ProjectInterview with Rosamund JohnInterviewer: Rodney Giesler RG: Could you tell me your background Rosamund, how you started acting and what was the situation?RJ: Well I don’t know why, I always wanted to be an actre[…]
[…] the world, they are amazing and they don't look at union rules, they work any hours if they love the […]
[…]t. I found that the music Department had allocated a budget of £900 for ballet. That was it. I read all the directives from Equity and the Musician’s Union and all........Fortnum and Bennett. It was perfectly clear you could not do a ballet for £900, if you obeyed the rules. If there was a small com[…]
[…]n't know. But I'll tell you one thing which was awfully good in those days, we could all learn our jobs without any barriers. I don't mean this anti -union. But I'm just pointing what I did, for instance, I was able to go and work in the cutting room, being a writer, being gag man on the set. I coul[…]
[…] Dicky Leeman: Well I knew him because I'm a Rugby Union fanatic and he was at one time president of […]
[…]ople did you come across at that time? I suppose you knew Arnold Ridley who wrote 'The Ghost Train'?Dicky Leeman: Well I knew him because I'm a Rugby Union fanatic and he was at one time president of Bath! [laughs]Rodney Giesler: Oh was he?Dicky Leeman: Yes. I never actually worked with him but occa[…]
[…]g people...Lew Grade : And we have great creative talent. Our technicians are probably the best in the world, they are amazing and they don't look at union rules, they work any hours if they love the project, love the people that are involved with. I found them absolutely remarkable, here.Alan Sappe[…]
