[…]e conditions were really appalling. I mean we lived in a little tiny village. It was mostly Italian crew with like few English that was Wilkie Cooper lighting Harry Gillam operating Cyril sound colic Sarah colic. That's right. Was it was the sound guy directed by a madman. I'd been an art director a[…]
[…]reddie was there as the chief cameraman and I went there, I became Freddie Young's operator to start off with. And after a couple o months I became a lighting cameraman. But Freddie all the time, of course, was keeping his eye on what was going on. There were three others then, there was Freddie Fra[…]
[…]was quite, limited which made shooting Cinéma vérité style in reversal quite difficult because you had to have a lot of consideration of contrast and lighting ratios. And that’s the… really Cinéma vérité is about catching the moment. It’s not about being perfectly… getting a perfect exposure. And pr[…]
[…]at. And how it was lit because it was raised about 4ft? I’m trying to think… 4ft 6? And then on Perspex panels and it was lit from underneath but the lighting of it was just spectacular and I think that was his concept actually. I don’t think that came from Geoff Unsworth I mean, they probably worke[…]
[…]f the contrast and everything else.Roy Fowler  35:11  It's a lost art soDennis Kimbley  35:12  lost. And that was all done by the lightingRoy Fowler  35:14  all the way down the line. To to the one of the people very first person actually we interviewed was Bill girdles[…]
[…]normous shots of their, of their workshops of different sorts and inspection as they're making these huge trucks, which meant an incredible amount of lighting, you know, with three sparks and everything just for a shot of no real interest, but showed how big the place was.... and collecting together[…]
[…]u it's, it's about the actor's day really, the big time actors have all kinds of you know, they have leading lady options. You know, they approve the lighting cameraman they have to approve or approve the director quite often. They seem to have the power and And I'm not sure it's necessarily a good […]
[…]e as extraordinarily unfair is the credit system.Manny Yospa: Oh that, in those days too. In those days only the, sort of, producer, director and the lighting cameraman had a credit, none of us had any credit - I mean screen credits. We had credit lists where we...Charles Drazin: And was that someth[…]
[…]to BBC standards with PPMs with Janet Fields with all the bits you would expect to find in an actual broadcast studio. They had a theatre with proper lighting rigs, big Rank dimmer panel and two tape machines with splice-ball edits. So, as well as the entertainment system where the students sort of […]
