[…]all spare-time jobs really for people?Eddie Dryhurst: Really, yes.Roy Fowler: Including the projectionist?Eddie Dryhurst: Yeah, most of them were moonlighting. Er, I think the projectionists were also moonlighting, yes.Roy Fowler: Were they union members already at that stage?Eddie Dryhurst: There w[…]
[…]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[…]
[…]nknown Speaker 0:04 The copyright of this recording is vested in the ACTT History Project.Unknown Speaker 0:10 Lionel Baynes, lighting cameraman, interviewer, Peter Sargent, recorded on the 28th of July, 1988Unknown Speaker 0:23 side one.Unknown Speaker 0:27[…]
[…]dangerous to put a check there. You know what I mean? And I also worked out we worked out together sort of a liking scheme for should you bring extra lighting up at night and things. And so we did that wrong went out with one sortie for two and two weeks or two came out with this lovely stuff, you k[…]
[…] his wardrobe mistress was and his make-up girl was and I did know most of them because they were his crew. And he said do you know Ronnie Taylor, my lighting cameraman, and I said I don't think we have ever met. He came over and I said I am glad to meet you at last, I'm such a fan. He said we've me[…]
[…]ore professional?Robert Beatty: I think so. And having to keep their costs down. There was a seemingly casual way, especially with the cameramen, the lighting cameramen, some of them could be very slow, somewhere quite good, Otto Heller was always fast, he was boom boom boom. Some of the other ones […]
[…]btinternet.com.Speaker 1 0:11 Out of this recording is copyright of this recording is vested in the ACTT History Project. Jeffrey Hermes, lighting, camera man interviews, Gloria Sachs and Alan Lawson, side one.Speaker 2 0:38 Okay, right, once upon a time, starting at the begi[…]
[…]Side 4, 6 mins]In front of that knock of 10 feet for the fire lanes and public exits and these dreadful men in the London Fire Brigade. Then get your lighting director to show you what you want and he will go white because there is about half the studios lighting he cannot use, with a live studio au[…]
[…] by that time I'd been upgraded, I was no longer the number boy, 1 was the first assistant, I think I was working to Sid Bonnet, Percy Strong was the lighting cameraman.Arthur Graham: You say you were a number boy when you started, what exactly did you have to do?Alan Lawson: Putting up the number f[…]
[…]day, working in conjunction with Chief projectionist Percy Gough who I had primed to play the “Fire Evacuation music cue” and switch on the emergency lighting signals that went with this at a time of his choosing rather than the way we traditionally did it by rote after the pep talk. As I blandly ca[…]
