[…]irst day of the sort of assembly, and that was the day after finish shooting was five days from the start of the production. And on the Monday and my editor then Peter Musgrave said, No, we can't work on your film we've been blacked, and then I rang the laboratories and they said, Well, […]
[…]ields: He wasn't a bad bloke was Red Law was he?Maurice Askew: No, no...Jim Shields: Burns Red! [Chuckles]Maurice Askew: [Chuckles] Brilliant dubbing editor.Jim Shields: Ex Naval man, of course.Maurice Askew: Of course [Hulton?] was absolutely new you know, it had just been installed - it all worked[…]
[…]at if you do want to print it up you know how far the shot is without having to spend the money on printing blindly. And these notes are given to the editor, that’s who you’re making them for, and you obviously keep a copy for yourself. The production office likes them and on top of that in the old […]
[…]en@btinternet.com.Sid Cole 0:00 The copyright of this recording is rested in the actt history project. Leslie Norman, film director, film editor, associate producer, and producer, interviewer Sid Cole recorded on the 22nd of January 1990.The Elstree Studios side one I suppose going[…]
[…]ne? Why? And I got the jobs. Why are you isolating me? What have I done? That's wrong. Every job I've done has been okay. I asked Roy drew he was the editor. He's quite happy with it. Why am I being pushed out? Why? And I got a job. That was the attitude, really was. And when you think about it, it […]
[…]quite rightly.Yes. It would have been inconceivable a quarter of a century ago, a woman lighting cameraman, exactly, my example, yes.That would be... editors, yes, I mean there was the odd, one or two editors then and certainly assistant editors. Some in the art department. I don’t know if there wer[…]
