behp0184-francis-gysin-summary
[Transcribed from David Robson’s handwritten notes. DS]
SIDE ONE
Born in London of a Swiss father and a Scottish mother. Educated at Highgate, went to Cambridge, St Catherine’s, went up in 1940 to read modern languages. Father was in the grain business and ship broking in London for a Swiss company. Joined Film Society at Cambridge, has 9.5 mm film equipment – always interested in films as a child – had access to 16mm equipment as well. Took over secretaryship of Film Society for two years until 1943. Met Rotha in 1941 and devoted vacations to working with Paul Rotha Productions. Joined Rotha as assistant in 1943. First films: All those in Favour (1941); Highland Doctor (1943). Worked for Ministry of Information. Was influenced in early days by American cinema and later by French and German cinema. He talks about pre-war (World War Two) cinema – four hours or more entertainment for a shilling [5 pence]. More interested in documentary and public service films. Borrowed 16mm prints from Central Film Library. Highland Doctor made at Kays, Carlton Hill, but mostly shot on location. Set up Data under Donald Alexander’s leadership at 21 Soho Square, and made a few films at Data, but was seconded to work with Rotha on Land of Promise, and A City Speaks as director, editing own material. Returned to Data and at cross purposes with Grierson on one project. Alfred Robens, later Head of Coal Board was a narrator for A City Speaks, with Robert Donat. Rotha – a forceful person, intelligent but with varying success. Mining Review – Crown made first ten episodes, but contract offered to Data under Alexander’s producer-ship – it went on for 36 years with Gysin as producer. By 1958 they were distributing to half the screens in the country. Alexander unhappy with Data as a company. Coal Board unit established in 1952. Decided to shift production from Data to Coal Board. Data as a company subsided fairly fast but continued as a to distribute.
Worked in Venezuela for Shell on documentary films and staff training for 5 years. Returned to the UK in 1963 to take over the Coal Board Unit at 2 Grosvenor Place, which moved to Dorset Square in 1964.
SIDE TWO
More discussion about Venezuela and types of equipment used and method of operation. Difficulties in relation to obtaining Kodak colour stock. Poor emphasis on safety. Returned to Coal Board in UK in ’63. List of producers, editors. Section moved to 68-70 Wardour Street at Roben’s instigation – five floors of space. Unit had grown to 40 people, output of 100 reels a year. Scopitone juke box machines used for playback of cassettes in colliery canteens. Short safety message was spliced onto the front of entertainment films. Film budget arrangements discussed on an annual basis. Money came from public relations fund. Dispensation from ACTT to train staff. Moved to Hobart House in mid-seventies. Forced upon Unit because of financial stringencies. New theatre installed at Hobart House at considerable expense. Discussion of Roben’s career – easy to get on with, very supportive. Succeeded by [Lord] Ezra, who was succeeded by [Sir] Norman Siddall and later by [Sir Ian] MacGregor who was a “shit” of the first order. Interesting anecdote in relation to Mrs [Margaret] Thatcher [then Prime Minister] and Ezra.
SIDE THREE
Because of the nature of their work, the crew became mining engineers in effect. Gives examples of types of film made, some shown theatrically. Alternate sponsors found for Review alternating with Mining Review. Colour arrived in 1972. Educational films also made for schools. Sponsored films produced a new lease of life. Many films were remade to bring them up to date – examples are given. Mastersingers made in collaboration with BBC. Large stock-shot library available for use by BBC and ITN etc., which made money. Many films shown overseas, distributed by Unit. Some productions were made overseas. 40 Years On made in 1978 to replace a lecture! Contact with N.U.M. [National Union of Mineworkers] was good – films supplied to miner’s summer school. Retrenchment on the way: NUM strike killed it off in the end. Mobile TV trucks in late 1960s for interviews at pits. Finally wound down in the late 1970s. Staff came from ITV and BBC. Little contact with [Arthur] Scargill [miner’s union leader]. Most films available from the National Film Archive, 100 hours available on videotape about the Northeast. “Closure of the pits is the abandonment of a major source of energy.” All staff made redundant on closure.
SIDE FOUR
Equipment disposed of to Samuelsons, (cameras), some to a firm in Archer Street. Newman Sinclair camera was clockwork driven due to Coalboard safety regulations. Description of flame-proof equipment used at the coal face, lighting gear was especially produced. Restriction of use discussed[?]. Underground set built at Hobart House used for making filmstrips in conjunction with St John’s Ambulance Brigade. Set depicted a mine roadway. Video cameras could not be used underground because they could not be flame-proofed. Shooting was much easier in US mines, few safety regulations. The Coal Board was not overcautious: there were no accidents, to prove the point. Several amusing anecdotes revealed about shooting in collieries in relation to John Slater. Finally, a discussion about nitrate v. acetate stock, including a discussion about the Matcham [?] family of York who were film buffs and had a complete cinema underground.
Francis Gysin retired in 1986 at age 65; tragically lost his wife Kathy a year later. She had been in features as a continuity girl and worked on [Edgar] Lustgarten series among others.
NB Please verify any spellings of some names mentioned in this text.
David Robson, 23/1/91