[…]definition and as beautiful as the slow one. But we were seduced into using the fast one because it made life a lot easier and a little bit faster in lighting because it had quite a lot more sensibility. PF: There have been people in the past who have had an affection for the original Tec[…]
[…] facts of life very quickly! I used to work the lighting board, and the lighting board consisted of the old […]
[…]e side set or something and as we were doing this chat with somebody I saw a boom shadow. So I said OK right hold it studio hold it everybody and the lighting director lovely Dickie Hyams who died a couple of years ago he slid the glass thing. Open and said What have you stopped for. And I said well[…]
[…] By the end of the decade he had become a lighting cameraman and in 1940 he joined the Crown Film […]
[…]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'[…]
[…] interview is with James Gilbert interviewed by John Taylor with possible interruptions by Stephen Peet. James Gilbert has mainly been a producer and director for television and the date is 5 March 1990, File No 130.SIDE 1, TAPE 1John Taylor: Just start at the beginning. When were you born and where[…]
[…]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[…]
[…]t of, little corridors (like that). And I worked in the men's dressing room, where I really learnt the facts of life very quickly! I used to work the lighting board, and the lighting board consisted of the old dimmers, um...how can I explain it? There was a - sort of - an electric wire that went dow[…]
[…] from a concrete corridor, open a door and go straight into a pine forest. And when they were shooting on it, it was absolutely marvellous I mean the lighting effects you can get with trees but it was absolutely sick with trees. That's another one of my recollections of night without armour. Now the[…]
[…]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[…]
