[…] like old masters because Ducky Slocombe used to go and study paintings at the National Gallery before he'd start to shoot things and get ideas about lighting and so forth. Anyway that that all went very successfully and then I guess I was wanting what we were going to be assigned to when Michael ca[…]
[…]en I'll feel better. And I'm very like that, but as I say I'm very basic, all my life at the BBC I never took it seriously. I mean to become managing director of BBC Television was beyond my wildest expectations. And when I got I used to stand there and I used to look at the building and I used to s[…]
[…]ell. He was a bit of a rough diamond in those days but we made quite a good team. He had very little help. He was a one man band really was doing the lighting and the operating and everything but he was a very sound technician. He knew exactly what he was doing and if they were very lucky to have hi[…]
[…] no I: Well, as an assistant, I don’t mean actually lighting CB: He was so very rarely on the set. […]
[…] can remember a very talented young designer, Lionel Radford, God love him, he's, he went far too prematurely with some dreaded thing. And I had, the lighting director was Geoff Shaw. and his console operator was Ken MacGregor, and I mention that because Ken MacGregor must have been associated with […]
[…] too prematurely with some dreaded thing. And I had, the lighting director was Geoff Shaw. and his console operator was Ken […]
[…]camera, it’s said. I don’t know. Do you remember that?CB: No I don’t think he worked on the camera, noI: Well, as an assistant, I don’t mean actually lightingCB: He was so very rarely on the set. He used to just sit and watch oh, I’m sure he did plenty- a stuntman?I: It’s said he did stunts on it. N[…]
[…]d also one famous occasion, actually, when suddenly on the screen, one suddenly saw on the right hand side of the screen a Wilkie Cooper, who was the lighting camera. You saw him walking along with a handbash open his hand beautifully.Unknown Speaker 15:58 And Wilkie gave you a plain loo[…]
[…]transmitted by them, they weren't a mathmatical calculation.KGY: You've worked also on black and white films. What difference would you say is in the lighting for black and white.CC: The basic difference is that with black and white you're trying to create the illusion of depth. In that all you have[…]
[…] and of course they went on to become the biggest lighting rental company in Europe. And of course at the […]
