[…]t planning the sets but also the rotation of cameras, you had to make sure that one was able to leave to pick up for the next scene and of course the artists had to get around and get there and we had to make sure that was all possible without cable knitting. And in the light ent programme like […]
BECTU History Project - Interview No. 381 [Copyright BECTU]Transcription Date: 2001-07-24Interview Date: 1993-08-12Interviewer: Rodney GieslerInterviewee: L.P. WilliamsTape 1, Side 1 L.P. Williams : It's not always easy to remember these things.Rodney Giesler : Could you tell me when you w[…]
[…]ished it free, they weren't due back into 10 hours later. I think it was 10 hours, but that there was that carry on. And of course, sometimes you had artists that didn't turn up until late and nothing could be done. And if they were big enough and important enough, they got away with it, and Ro[…]
[…]me sort of change, it's as though there's a kind of wind of change over the world, which has really happened in music and in art, hasn't it? That the artists of one country are changing, even though they haven't got much contact with each other, and, I mean, now, of course there's every contact, bec[…]
Norman Swallow 0:04 The copyright of this recording is vested in the ACTT History Project. Richard Levin, head of television design for the BBC interview on normal swallow, recorded on the third of September 1991. side one okay. First of all, when and where were you born?Richard Levin &n[…]
[…]nd Imean you don’t really have to learn shorthand to do continuity but it is really an advantagebecause you can take the dialogue down, sometimes the artists say the wrong things andJune Randall Page 17then they say they said it correctly, you say, ‘No you didn’t and I’ll read it back to you’. […]
[…]big way and I was looking after people on theground in various ways in the United Kingdom, to begin with anyway.Stephen Peet: Presumably these were all on film, […]
