Peter Graham Scott

[…]. But it was good experience I think, at least I was handling actors, because the actors I had were not good actors, they were just practically crowd artists y’know, who didn’t respond to direction at all, and didn’t – you know, it was useless talking about motivation or anything like that, but even[…]

Bill Ward

[…]ut throwing any shadows anywhere, which was the great problem, where's the key? Like cam, there it is. And we can't get a mic from there to there the United history. Can what the boom? I'll swing it. So I did boom. I did sound, sound mixing, all sound I then I went on to do a little bit of camera wo[…]

Julia Cave

[…]er, Planet 24 then, had absolutely nothing…I think they did a couple of rekkies or something -Bob Geldof- flew over on Concorde to see, you know, the United States, (Bob’s not frightfully polite about this.) and the… then sort of dropped out of it but has got a credit.41:00 So, about 3 years ago it […]

Dicky Leeman

[…]t was when - I remember the period that Equity were on strike, and therefore we couldn't use actors as such. We could use - in those days the Variety Artists' Federation was a separate - so we were able to use them. So I did a programme which consisted of Jack Parnell's resident orchestra, a visitin[…]

Jean Anderson

[…]anged her mind about what she should be until they were getting desperate in Spain. In the end the Maude said I’m sending out Jean Anderson. It was a United Artists film, I was the only English woman with Harry Andrews , there were only about three of us, Larry Naismith again, we go out there, again[…]

Roy Parkinson

[…]ctual running costs of the picture, above the line is the costs of the story, the writer, the producer's fees, the director's fees and your principal artists. The minor artists come below the line under the cast budget. You've then got your finishing costs which is really below the line but is budge[…]
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