NOTE. At the end of this transcript is an earlier shortened version highlighting the main pointsBEHP transcript DisclaimerThis transcript has been produced automatically using Otter, https://get.otter.ai/interview-transcription/.It provides a basic, but unverified or proofread transcript of the[…]
[…] naturally. Bob Allen: How did you find him as a director then as...? Mickey Hickey: Oh he's great. He's a […]
[…] naturally. Bob Allen: How did you find him as a director then as...? Mickey Hickey: Oh he's great. He's a […]
[…] yes? is to the people who do the same jobs as them, so maybe. And often it’s very narrow, it’s not even just all the Camera Department it’s just the lighting camera or just, you know, camera operators or just focus pullers, I mean elsewhere. And the same is true about editors, the same is true abou[…]
[…]studio – “It was a very interesting way to be trained by the BBC”. Told to watch a live transmission one week, and do it the next. I was a Trainee as Director – credited as Director. 26.49 - &n[…]
[…]ant art director Bob Laing; JB talks about working with Berenguer on the Leningrad sequence which had a hazy and wintery look as a result of the dark lighting; costume designer Anthony Powell was brought in to replace Yvonne Blake.00:42:00 – 00:47:10 Approached by William Friedkin to work on Sorcere[…]
[…]ell on the OB and that. But er - and also, as I say, while I was at ITN I did five pictures for Norfolk International, Smedley Aston being one of the directors, Smedley Aston Junior, being one of the directors of the company. I did five pictures for them in the period of five years, one a year, as t[…]
[…]troduction to industry, I think, I wasn't really impressed with that. But I was the chap who, at that time we had banks or photo floods. That was our lighting. We had a bank of 50 photo floods with reflectors on and these had to be assembled and so you're screwed up the lamps reflected onto the thin[…]
