[…]we needed, you know.Roy Fowler: Minimally equipped. Or did you have enough equipment for purposes?Norman Fisher: We had a certain amount of permanent lighting, of course, and we had an electrician as well. So anyway, anything else that was required it was brought in from outside. Of course the budge[…]
[…]everything is out of sync. The boom operator wears headphones, he should know if it is out of sync. I thought, Good Lord if this man is the technical director we are really in trouble.On the next day we went to the studio. We were met by Gregory Ratoff and introduced to everyone. He said, these two […]
[…] course, it was in the days when we all smoked, unfortunately. We spent quite a lot of time, Roger Woodburn was asked to do this, [TIME 00.42.32] all lighting cigarettes and things, lighting up and trying to work out how long it took to burn down. And Roger was working that out in terms of frames. A[…]
[…]e hotel rooms on the floor in a in a rehearsal room, and we, we basically blocked the whole thing. We spent the week before we shot with the with the lighting, camera man, vit old stock, and, and we, and we worked it out and, and the designer was Gemma Jackson. I mean, it was a fantastic team, and t[…]
[…]marvellous, he take me on one side so I am what he wants, because it was my first after major arts film and you know, it was quite big deal with huge lighting setups and the business of having to under crank on the tracks with Bill Paget was marvellous timing these things so when it was run, proper […]
[…]e or colour, and even if it would be made at all. But I didn't know just exactly how much difference the colour made to the costs. Added a lot to the lighting costs. But what else is the processing and everything? I don't know, but I know that there used to be a lot of haggling about it, whether it […]
