[…]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[…]
[…]stance - all right, the man is dead and one shouldn't speak ill of them - but I remember Paul Rotha had some very outstanding and very talented young directors and writers working for him, and they'd have a script and he'd say, "You've spelt that wrong! You didn't make a comma there" and so on. Whic[…]
[…]n was £900, which was quite impossible. The working conditions in the studio were also impossible really for new work. We had no previous setting and lighting, so that on one day, which began at 8:30 there were two hours for setting and lighting and I think that meant getting rid of the set th[…]
[…] school apart from trying to teach them the basics of lighting and how to set a key light and fill […]
[…] QUESTION before you go on to your career as an lighting cameraman or you know talk about a lot of […]
[…]t of work for two thirds of the time, which is happily engaged in working for other people or making troubleNorman Swallow 23:40 mean moonlighting. Richard Levin 23:41 Oh, yes. They were all doing it won't work properly. Nothing I can do about it all industrious things &[…]
[…]use they were building we went to Stoll's Studio at Cricklewood and we made a film there. Again I can't remember the title, but Sinclair Hill was the director and he also made one at Shepherd's Bush later on with a girl named Sari Maritza which was called Greek Street.John Taylor: What about the oth[…]
[…] Roger Woodburn was asked to do this, [TIME 00.42.32] all lighting cigarettes and things, lighting up and trying to work […]
[…] rather short-lived there! Jack Parker was charming, he was a lighting cameraman, and we were doing terrible Wally and Barry […]
