[…]ard Lester at Viking Studios all using reflected light; Lester asked DW to work on The Knack and light the film the same way; DW believed that direct lighting looks artificial and takes longer to set up; DW’s technique required more lights but less set-ups which saved time; DW talks about his work o[…]
[…] 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[…]
[…]ible thing that I would sometimes I can remember, towards the end of my time there I was the principal camera on a fairly major industrial shoot, the director was going to cut it himself. But then found he was urgently required to to shoot or maybe cut something else. So with some reluctance, he all[…]
[…]ible thing that I would sometimes I can remember, towards the end of my time there I was the principal camera on a fairly major industrial shoot, the director was going to cut it himself. But then found he was urgently required to to shoot or maybe cut something else. So with some reluctance, he all[…]
[…]ted over with Anna, you know, having chocolates and cup of tea and talking about men and, you know. And then I got to know the company, you know, the director Fyodor Otsep, and the producer, a man called Klement, Klement, yes, Klement, he called himself Klement. And the man who financed the whole th[…]
[…]we were the regulars so we were just down there every day. The first unit had a little bit but ours was the main one. But Carol Reed was a remarkable director and I think he was probably my greatest teacher, erm, he was a man who worked for two units, he directed both units, night and day.I was goin[…]
[…]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 […]
[…] For example we plan to interview Will Wyatt, former BBC Director of Television. We are please that Will has also […]
[…] then I got to know the company, you know, the director Fyodor Otsep, and the producer, a man called Klement, […]
[…] Krampf and, indeed, he was one of the very greatest lighting cameramen. Vernon Sewell: Yeah. He moved to me and […]
