[…]rd, and still is the standard camera of documentary filmmakers. I.Speaker 1 0:00 In your work? Did you tend to favor rather low key style lighting, or you had no particularSpeaker 2 0:13 preferences? Well, it depended on the subject, but I was brought up to have only the mini[…]
[…]nt Frame was such a rigmarole let the Rank Organisation in for an immense amount of money, building the most enormous kind of transportable grids and lighting rails, and rarely it was an exercise for David Rawnsley to display his his skills, which were considerable I might say...Sid Cole […]
[…]irely the fire crew, no actors again, and we shot it actually during the blitz in London. And it was during a slight pause in the blitz, but it meant lighting up the whole of Dockland which had already been bombed very heavily, which was in fact not looked on too favourably by the locals, who weren'[…]
[…]ight, and we really did work day and night, on Sundays and everything you know.Alan Lawson: Who was the cameraman over there?Leonard Harris: Well the lighting cameraman on the first picture I went on - I'm trying to think.Alan Lawson: Was it Basil?Leonard Harris: Hmm?Alan Lawson: Basil Emmott was it[…]
[…], I'll take this role away. Now, there's the camera and everything. Turn around, do what you like, thinking to yourself as a pity is doing it with my lighting. You know, pity I can't switch all light, because actually, if he wants to do it, he should learn to do the whole thing and then develop and […]
[…]and of merry battlers. Jack Cox and Arthur Crabtree and when I started directing there, I upgraded Phil Grindrod who was our operator and he became a lighting cameraman and he did several for me. They all knew their job. Basil Emmott was another one. He was a terror. He'd been so used to photographi[…]
[…]s around.Speaker 1 25:14 That was roughly the sort of crewing Oh Brendan Stafford, of course, yes, yes. He came on a little bit later for lighting the bigger subjects, the sort of thing I used to do for British Council and some of one or two of the fairly decent sized sponsored jobs like[…]
[…]n't actually involve himself and I got the set-up with you, you liked it, I liked it and I turned around to Denys I said “it’s all yours, do the lighting” and walked away. That’s another thing, I always walked away and never fiddled until it's my turn to fiddle. Everyone had their turn. An[…]
[…]eah yeah I was. Yeah. I was in … Rodney Giesler:Made sure everyone hit their cues? Roy Fowler:Absolutely in the prompt corner and yeah like lighting cues the whole thing, curtain up curtain down. Yeah, yeah I mean that's easy enough it's just a matter of intelligence. But when it came to i[…]
[…]'ve got a star, which Bebe Daniels was a star, and Friese was the cameraman she wanted, and Friese was very good with women from the point of view of lighting effects and things. And when Friese was good he was very, very good and these things take time as you well know.Roy Fowler: He was slow?[…]
