[…]he princes arm of two pound 10 a week. I went back to them in the May of 39 at two pounds 10 per week, and stayed there as secretary to the publicity director for three years and again, Fox British lives, but they did get me across to Pinewood to work with Hugh Alexander, who would publicity for 20t[…]
[…]id get a better dialogue track. Then along came microphones with much more gain so you were able to come away from the artist a bit more so the lighting cameraman would light a bit more and say Don’t worry that microphone has got a big gain we will push you out a bit more before we get the mic[…]
[…]OJECTEDWARD CARRICKINTERVIEWED BY SID COLE WITH ALAN LAWSON.The copyright of this recording is vested in the ACTT History Project Edward Carrick, Art Director/Designer, recorded on 30th January 1991.Interviewer, Sid Cole.SC: Teddy, it's lovely to see you after all these years. In these interviews we[…]
[…]d so forth. But say you, say you finished at five thirty, I mean if you've been able to keep up during the day, I mean it's, again, it depends on the director, I mean you might do seven or eight shots a day you might do twenty, and it depends how you have been able to keep up as to how many hours yo[…]
[…]age. You were there with maybe a reflector or things like that and a theodolite in the early days but things bumped up a bit in scale so you would be lighting maybe interiors, maybe night scenes, and you would tend to, you would tend to try and make the interiors look as natural as possible as far a[…]
[…]aw and do shoot - and (stutter) we shot it - at the time no problem - and they loved it - and it looked greatQ: Yeah - well it’s better for the lighting isn’t it!01:52:05JOE: It’s better yeah! Exactly because you can light each set up (laughs) lovely but yeah they loved it - (interviewer: um -[…]
[…]one rang one Saturday morning and I think it was Hal and there was an entire unit at Ealing waiting to start shooting. The carpenters were there, the lighting men were there, the actors were there but there was no electrician there and nobody would dare touch the main switch. And I remember Mick say[…]
[…] director general manager. He wasn't he was the managing director. He was managing director Bill rule was the studio manager. And of course it was in lighting this was 1960 beginning of 1960. Is this pre or post Bentley. This is pre bent treatment events. Right. So I went down. Bill role was a chara[…]
[…] teachers for conductingAlexander Faris: Richard Austin was the conducting teacher to whom I owe quite a lot I must say. And Sir George Dyson was the director, and Herbert Howells was the great Composition teacher of those days. But I eventually went to the director and said I don't think I'm doing […]
