[…]act that “There’s a hair in the gate on camera 4 on that shoot with the 5 cameras”, “That one there doesn’t look good” or “There’s an issue with your lighting” you know. I think it was First Knight they were shooting at Pinewood, and one of the problems that they had, or continued to have there, was[…]
[…]iate family?NEVILLE WORTMAN: My immediate family – I’ve got twins. A boy and a girl, Mathew and Rosalind. Mathew is a drama feature director and he is just about to start his first feature film which has just been financed which is going to be shot in Brazil and I am a sort of exec[…]
[…]never worked like it did when you had hard water. These are fundamental things that Hollywood, hang on – that film it’s a9whole lot different. Is the lighting different? And it was the water quality as I understand it.CJ: Extraordinary. Yes.MW: These are things I only heard about, but I imagine thes[…]
[…]bsp; “The Yellow Rolls Royce” – Ascot race course story – worked with all three Art Directors: Elliott Scott, Billy Kellner, Vincent Korda.20:57 - &nb[…]
[…]rley , Max Adrian , The sister of David Nivens called Grizel Niven , who gave it up shortly; became an eminent sculptress. But we got this job with a director, I mean an impresario you could say, who sent out first tours, who was notorious for two things; paying the lowest salary and going after the[…]
[…]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[…]
[…]mpany was called London District cinemas limited, and they were owned by a proprietor, chap called Wainwright. Mr. Wainwright, I can't name the other directors, and their head office was based at the capital cinema in Epsom Surrey, that's since been gone quite a number of years. And as I say, I work[…]
[…] purposes? Norman Fisher: We had a certain amount of permanent lighting, of course, and we had an electrician as well. […]
[…] Robinson (1961) demonstrating her knowledge of how different kinds of lighting and colour processes would affect the costume’s final look […]
