[…] fetes and similar events. During the war he worked at Welwyn Studios on MOI shorts and trailers, including the ‘Food […]
[…], but at that time there were a lot of jobs going in the film... I wasn't called up because of my TB, I didn't pass the medical. So I started work at Welwyn Film Studios - er Warwick Ward was the pseudo-manager, chief of the camera was Ronnie Anscombe, who is quite well known. And he took me under h[…]
[…]happens". And then I was told by BIP Directors that I could stay and I could have the Art Direction of not only one picture but two at a time. One at Welwyn and one at BIP and see how you get on with it. And that was the beginning of how I started in the film business. Now doing the two together was[…]
[…] after me as a baby. I was shipped off to Welwyn Garden City, my grandparents, his mother and father. And […]
[…]f, and my father was the Chief Projectionist at the Plaza, Lower Regents Street. So there was nobody to look after me as a baby. I was shipped off to Welwyn Garden City, my grandparents, his mother and father. And I was brought up at Welwyn for quite some time. I don't know whether you know Welwyn, […]
[…] [N.B. Low suggests Ambiphone at Elstree, and Klangfilm Tobias at Welwyn] But they were sausage mics and so were the […]
[…] industry as a sound engineer at British Instructional films in Welwyn, working on early sound films such as Asquith’s Tell […]
[…]o have some German system called Noyhaven[?] or something, I can't remember exactly. [N.B. Low suggests Ambiphone at Elstree, and Klangfilm Tobias at Welwyn] But they were sausage mics and so were the ordinary mics. They were a sausage like that with a little sort of thing at the bottom like this, l[…]
[…]xperience was the only type of person they could apply to to run their sound department at its inception, so I ran the British Instructional Films at Welwyn. And after I think about two years with them, the Sound Chief of Gaumont, George Gunn, he asked me if I would care to make a change. Well owing[…]