Gerry Anstiss

Forename/s: 
Gerry
Family name: 
Anstiss
Work area/craft/role: 
Industry: 
Interview Number: 
298
Interview Date(s): 
1 Sep 1993
Interviewer/s: 
Production Media: 
Duration (mins): 
80

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Alan Lawson  0:04  
The copyright of this recording is vested in the back to history project. Jerry antas, camera operator feature films. interviewers, Alan Lawson, and Sid Wilson, recorded on the first of September 1993. side one

first and foremost, when and where were you born?

Gerry Anstiss  0:39  
I was born 1928. in Hampstead it's like the old St. Mary's Hospital right close of the, like a mountain formed up there. Yeah,

Alan Lawson  0:53  
that's where I was born my grandchildren when they've gone there too. What about schooling?

Gerry Anstiss  1:00  
Well, I I want to the normal infant area that you know you went to primary school with and what have you we're quite happy. My father was a professional musician. Ted Anstey. His name was he was Assistant General Secretary of the musicians union in the end. And I was taught the violin. And through the violin, I want to special talent scholarship to the Royal Academy of Music. When I was about eight and a half, nine, and that special talent scholarship paid for my schooling. And I went to the Holloway County High School, up until the outbreak of war, and then we were evacuated. And we went to toaster in Northamptonshire. And I went to the toaster Grammar School. still continuing my music, because I used to have to go through to northhampton most of the time, to a professor there who carried on the teaching that was started at the Royal Academy in London. But in 19 In fact, in 1939, I was a leader of the junior Symphony Orchestra at the Albert Hall, played at the Albert Hall. dad wanted me to become a professional musician. In fact, I was offered jobs with the London Philharmonic and things like that when I was 16 and 17. But I always wanted to come and live in business. I'd always been interested in films, I used to have one of those old and crank projectors, with the Popeye films and the Chaplin films and all those kinds of films. And dead new lady, y'all. And through him, I got an introduction to rock studios in 1943 44 years. And I was taken off for a two year apprenticeship at Rock studios. It was six months, six months, camera, six months editing six months in production. And at the end of the two years, I was asked what department I wanted to go into my chose camera table.

Unknown Speaker  3:31  
That was that was British National.

Gerry Anstiss  3:33  
It became British National was rock studios. And Fred Swan was the studio manager in those days. Jimmy Wilson was the chief cameraman there. And he was the man that gave me my first job. So anyway, I went into the camera department with ROC. And I was there until I was called up. When was that? Was in November 49. November 45. Yeah. I beg your pardon. November 45. And I was inducted into the role was kept in the army. And I did my I was as Ed reservist actually. 13 soldiers, and you know, we were we were machine gun corps brangham. And, of course, a war finished. And it was a waste of time as far as I was concerned because I really hated the army. I couldn't wait to get out. And I was demobbed. I should have been demobbed in November 47. But my group was deferred for a further six months, and I eventually came out in May 1940. And during this time, of course, rock had become British National. And they'd actually closed. So my six months reinstatement was with a BBC at one in Garden City.

Back in the camera, back in the camera years I came back as a clever boy. So hello. We did queen of spades with Orleans without Dickinson as he was writing over a number of films, there was guilt is my shadow. And for them that trespass and there was a couple of other films being made at the same time, which was Bond Street. What else was Cavalcanti was out there with that. Anyway, what happened was that when a garden city was shot, they closed down. We were all transferred to a b Pc Elstree. Everybody came from from wanting garden and just went into went into to Elstree. But there were too many camera crews that illustrate that and, and, you know, you It was, like waiting for dead man shoe. You know, you used as a clock on eight o'clock in the morning and clock off again at 630 at night Even though you didn't do any work, you know, you just set my camera. But I was lucky for the fact that i i did dancing years which was really the first location first foreign location that have been done since just after the war. We were in Austria went to some both gangs, in fact, in fact, into the white halls. In fact, that's where we were that's where we stayed in the White House on silver. Okay. And in Vienna, we went to Vienna to shoot all the sequences in the old corporate the other

Alan Lawson  7:27  
What were you want the collapse collapse yet

Unknown Speaker  7:30  
still practice.

Unknown Speaker  7:35  
Stephen Doodle, Steven

Gerry Anstiss  7:41  
I think I've got a picture of somewhere of the whole camera crew, it was normal work was the operator. And in Craig was the was the technical technician because it was a technical picture. In fact, we carried that bloody great size all over all over the mountains. And especially Bali that takes it and especially you know, especially technicolour Dali, because there was a there was a sound man, I think his name was RV key. who was in charge of sound appc who wanted direct sound. And when we got it back to England, oh, you can hear the crickets and the birds right there. She couldn't hear into the dialogue. So it'd be read up all the way through. But we can write that down great safe around all over the place. That was it was it was great fun, though, because it was my first foreign location. And they were good people they you know, it was it was a great film to work on. It didn't make any money. But what do you think it did? But it was a very good film, very enjoyable film to work on. And then what happened after that? Oh, I was offered. I was offered a job with a fake films. Josefine Oh,

Unknown Speaker  9:05  
yeah.

Gerry Anstiss  9:07  
And I went to Italy and worked in the Italian film business. With a I was an assistant to a cameraman called Marissa martelly. From the old school era studios, which are no longer in existence. We, when you

Alan Lawson  9:25  
say worked as an assistant, but

Gerry Anstiss  9:28  
jack of all trades capricor if at all, because he used every shot we had. And as you know, testing blood, I used to do those in my room at night when we got back off the location to give him first thing in the morning just to show him that the film had come out. But it was it that was interesting too, because I I stayed I stayed there for over a year.

Alan Lawson  9:56  
Did you speak Italian? Yes, I

Gerry Anstiss  9:58  
did. Yeah. Big Have you had it when you're there you'd learn to speak it modulates very rusty now what I used to go back to Rome I went back to Rome every year up until about 1956 it was it was a beautiful beautiful I had a flattened me parioli district which is like the hampsten run via rocky mountains but the it's only a business at that time was just beginning to get more militant and I couldn't get a work permit. That was the the problem suddenly you needed a work permit and you needed to belong to the union. So I came back to England came back to England and I went for an interview with Freddy young up at MGM in those days was he was about 50 real Tata in those days Mr. Young Mr. Young or sir and so you were invited to call him for it? Yes, it was definitely Mr. Young also, excuse Kelly. Williams operator and crystal heard of crystal Lynette Bonnie Franco and if Nick rogue was was there at the same time In fact, I worked with Nick when he was first promoted from Kappa boy to focus on the our 13 that was the first job he did this focus and he was the senior clapper voiceover status Kappa boy and when on the on the crew with it. But Freddie got me a job. And we did Ivanhoe and a couple of other smaller Well, as I say the era 13

and I've worked I did a lot of I did a lot of stuff with Howard the special effects concert because first, Tony, tell me tell me how Yeah, I worked in the Guinness any special effects department did that for about nine months. That was at MGM. MGM. MGM. But that drove me around a bend it was a floor man. I wasn't you know, fiddling around with especially effects except drive me up the wall.

Unknown Speaker  12:45  
In concentrated into tears.

Gerry Anstiss  12:47  
Yes, it is. It's very interesting. I mean, you You learn a lot. Yes, you learn a lot, but it's not like being on the floor. Not at all. Now. You're remote from everything else. Get on with it, do a painted mat. Do this do that. You know, we used to do all those kinds of things that we were afraid with Tommy. But I got fed up with it in the end. And I couldn't get back on the floor. And I was offered a job at pine wood to help develop their splitting camera is that we developed to to split beam cameras. This was the offshoot of coming from the special factory and we developed this split being camera and I can't think of the boffins name, who came from ici he he was a chemical genius with colours and what because it was flipping camera was you know the blue backing and also the sodium lighting. We did this already in it as well. Yeah. George Ashworth built in built the camera and I helped develop that. Does one of his crew think ma goody goody was in charge of a tennis ball that was there as well tennis and Roy field. That was the that was a group. But I was I was given a contract with Pinewood and I Burt easy, who was the head of the camera department. He put me back on the floor again because he he thought I'd stop moaning about all these tests and stuff that we were doing for this weird thing gamma. So I went back on the floor which is where I wanted to be actually where I wanted to be

Alan Lawson  14:59  
as a Clifford They're still crap.

Gerry Anstiss  15:04  
But I became focused almost immediately. I was, I was teamed with with Jackie Aquila. And we were almost a permanent second unit to most films being made at. Pinewood at that time

Alan Lawson  15:35  
about what data we?

Gerry Anstiss  15:38  
Well, I was. I was there from 5050 to 257. Those were the five years because as contracts came up for renewal, it was I think it was Burt's instigation. So it was furious way that because I had to get rid of now they had nearly 19 camera crews. As the contracts came up for renewal, they weren't renewed. So it was a natural, wasted flow state. Harry was there. That was when I first met Harry, Harry Watson, because I bought focus for him on a couple of things. And Jeff Jones was there and Chris Chalice Bob Thompson, Ernie steer. They were the operators. Yes. Yeah. It was the mood was the CEO of David Harcourt. W level. My role there at that time. And we were all a giant Johnny oh god and myself really, to senior focus. And I did numerous films. Numerous. I have to have Kate Kate. My wife was the she was a wardrobe master. So that's how we met. But we did things like Campbell's Kingdom Hall drives that was with Brian named Brian was the was the cameraman on the unit that we were working on. Dangerous playground. Tile for tooth that is Gypsy and the gentlemen. captain's table. NorthWest Frontier

Unknown Speaker  17:48  
has directed

Gerry Anstiss  17:50  
jelly jelly tops. Yeah, that was Jeff and it was a cameraman on that. There weren't with that. There were numerous thumbs. I did a couple of dirt. Oh god pictures. It's difficult. What you're asking? I certainly find Yes. Let's

Alan Lawson  18:19  
change horses. But talking about the camera menu you worked with I mean, quite incredible characters. Which was the one that gave you the most? What should I say encouragement?

Gerry Anstiss  18:34  
I think Harry was Harry. Harry was was was I don't think it was anybody. more technically brilliant than Harry. Harry new cinematography inside out completely. And I've now another cameraman with even bigger names and Harrier founder of Atmel ask him how to do a certain thing. And how he has been able to pull it out of the fire for and horizontally. If you ask Harry. Why he was doing something you'd actually stop and tell you. Which a lot of cameramen don't do these days because I think half a dozen don't even know what they're doing anyway. But but that's that's, that's my opinion. My saying to get it done by accident will hurt rather than by design, or by having a good gaffer with them, you know, because I'm sure I'm sure I'm sure a lot of them couldn't tell you what my read number was or anything you know. They're completely non technical. I call themselves artists but was it they used it as a painting with light? And today? I think they distemper with it. I don't paint?

Alan Lawson  19:51  
Did you end up drawing and painting with light?

Gerry Anstiss  19:53  
Did you ever work with guy green at all? Yes, but only he was only he was a director. I see. I didn't work with him as long as I can. Mmm because he was one a directed error 13

Alan Lawson  20:03  
Yeah, I agree because he was the man who painted me like really did

Gerry Anstiss  20:08  
well I did those kinds of people are no longer you know because I think the first camera Mona ever worked on film was unnecessary going back to going back to your start again

was consequent when we did was it it was a direct demand he picked nothing order when everything was liquid without contract there was a bite he would like, you know? I think Jeff did too. I mean, Jeff was a terrific guy. And, and certain other people, you know, around that era, you know, the French

Alan Lawson  21:09  
Correct. Correct.

Gerry Anstiss  21:11  
No. Go get my MA he was at Denham. Yeah, he was also he was. But yeah, she was paranoid. I mean, he was also with with, with the group down at Sheppard and was with quarter and white crowd.

Alan Lawson  21:32  
You're the first person I've come across his work who worked with Steven de when he was a cameraman. And he seemed to completely disappear.

Unknown Speaker  21:42  
He did.

Gerry Anstiss  21:44  
The last time I saw Stephen, he just come back from Africa on the years, years and years ago. But I remember we used to I used to have to get all those light strips, located for technical signage, extra reps and put them in a book with the same number, the type number and the date we shot it. So the the end of the picture I presented him with his book with every shot of the picture. Because he did he did that Frederick marks picture as well when he was at Columbus was at Columbus, Columbus.

Unknown Speaker  22:34  
I think I think you're right. Yeah.

Gerry Anstiss  22:36  
Yeah. He was nice manages to very insular man who was a Steven always captains of terms. Yes.

Alan Lawson  22:42  
And I knew him in 1928. nobody's really ever raised him at all.

Gerry Anstiss  22:52  
I don't I perhaps he wasn't. Because he wasn't forthcoming enough. You know, he didn't. He perhaps didn't have the presence of some of the others laws.

Alan Lawson  23:03  
Identity who ever worked with Harry Kratz, but he didn't have the footwork

Gerry Anstiss  23:09  
probably couldn't come by. That's probably very true. But it was a very quiet man. Very, very pleasant. And as I say, the last time I saw Stephen it was it was after he came back from zoo.

Alan Lawson  23:25  
Now, next thing I want to talk about actually is when you when you started doing full focus did you use tables tall tables? Yes.

Gerry Anstiss  23:40  
What do you mean focus tables? No, no, no, no, in those days you didn't know if you had the Jackson rose. Yeah, you know, you could double check yourself with 124 wooden two thirds back. You know, that was that was what used to work.

Alan Lawson  23:55  
Again, depending on that budget during the PSD

Gerry Anstiss  23:57  
phase, but those tables didn't really come into effect until the cadi calculator. You could look them up in In fact, I still got an old Jackson rose. Where you can look at that depth of focus was almost the people used to shoot he used to put the put the focus where the money was you know, they use the shoe almost wide open, you know? Especially we check out from people like that. And only Brahma did a lot of pictures early on in fact, he told me what the studio lunch was and be a pie that's when they used the old debris cameras they used the photographs where the film was coming into and after lunch he was always all the stock more open. You know, it's

Alan Lawson  24:52  
coming to actually to the next thing I wanted to talk about was operating. When you first off right he can't remember you

Gerry Anstiss  24:59  
Using bands we scifinder bands again. But I did operate on new rules and

Alan Lawson  25:09  
but but there's again still side find stuff on

Gerry Anstiss  25:13  
the other side.

Alan Lawson  25:15  
And that judging the parallax as you get closer in India or

Gerry Anstiss  25:18  
sometimes you know even in the picture. It's out there not in the viewfinder, there's quite a

fellow told me that was Bob Thompson. Oh really because I was Bob's assistant for some time as well. And Bob used to make me set the Finder for him. And that's how I learned parallel. They used to explain it to me. Especially if you're on a split Yes. And the fighter was pulled out and he was out of the picture out of the frame. I don't think there's many operators who could do that these days.

Alan Lawson  25:53  
Because you've got the net you've no longer got signed up, or did you? Did you ever work with a superpower?

Gerry Anstiss  26:00  
superpower debris? Yeah, yes. And that was at Rock studios. So the film thriller film. Yeah. In fact, the only cameras that we used on on the stages were debris.

Alan Lawson  26:11  
I know. I think it was Lionel Baynes. Once he got his head underneath the black belt, he remained there virtually until

Gerry Anstiss  26:19  
lunchtime. Yeah. And so he goes, he's I became accustomed to it. Yeah. Well, I didn't usually use metres even in those days. It's all done by contrast on the film. Yeah.

Alan Lawson  26:30  
Yeah. So yes. But did. But do you think about the difference between operating and pull focus, which is the you think is perhaps the most difficult? Well,

Gerry Anstiss  26:47  
it's two different jobs, very, two different jobs. One is technical. But the other one is, where you're the eyes of the director of restaurant. And that's what that's why I stay them operate all my life. It's something I've always loved here.

Alan Lawson  27:04  
on that. What what, you know, what, as you say, as the eyes of the director, in your experience, did you have any directors who were difficult about this at all?

Gerry Anstiss  27:19  
Difficult with regards to what setups and yes, they want to?

Alan Lawson  27:24  
I mean, I'm thinking of Stanley Kubrick.

Gerry Anstiss  27:28  
I never did work with people like that, thank God.

Alan Lawson  27:33  
People like that too. Rather insistent? Well, I was there setting

Gerry Anstiss  27:38  
Joe loafie I was under I was under a year's personal contract, which are the two films where the mom was kalila. And the other one was romantic English. And he's quite pedantic about what he wants really what he wants, because he used to be renowned for eating operators before breakfast. But I had a great relationship with Witcher, which is important, and he could be tough. Could be very tough. But he knew what he wanted. And once you could interpret what he was after, there was no more problems.

Alan Lawson  28:18  
You hear me? And I know you went with the bolting? Yes. What right, wasn't it? I was both

Gerry Anstiss  28:25  
Roy and john. Yes.

Alan Lawson  28:26  
Yeah. How did you get on with them?

Gerry Anstiss  28:28  
Well, I was they gave me my first job as an operator. In fact, I was told I was called into the office one day and Roy said to me, you're operating on the next picture. And you're going to get 65 pounds a week. There was no negotiation it was as what you're gonna do, and that's what you're gonna get. Because although I was with him for about 16 years, I never actually signed a contract. It became a joke. Because I just wouldn't sign a contract there was you know, when it was charter films, yes. When they had their own production company, but British lion Yes, them Yes. But I stayed. I stayed at Shepherd him 16 years. You never moved over to

Unknown Speaker  29:15  
Bakersfield?

Gerry Anstiss  29:18  
No, no, no, no. The only time I ever wanted to back into it was when I was with Pinewood when we did the human jungle series. Paul Thompson was the operator and was anything you did a lot of. No, Beckinsale, but it was a nice video. Actually, in those days, it was almost motor country as

Alan Lawson  29:46  
well. rather like Sound City was at one time.

Gerry Anstiss  29:50  
Yes, probably. Yes. Yeah. Yeah. Yeah, it was it was a friend. It was a studio that everybody liked going up. I think because he got turned six and eight. buy extra for the for the travel from time. It was a nice day.

Alan Lawson  30:11  
Did you did you ever work at dinner

Gerry Anstiss  30:13  
at all? No, no, I did that I was on leave once. And I went down to denim and I got myself. I was I was on 14 days out of the army and I managed to get six days work on onblur when Hornblower was being made there, but I would say the only time I ever went into denim to do anything on the big old ship. strange enough, Harry Watson was the

Unknown Speaker  30:44  
cameraman. Oh, really? Yes.

Gerry Anstiss  30:46  
He was a cameraman on that unit.

Alan Lawson  30:49  
Because I knew Harry before the war, and I knew and during the war, when he was in the RFM

Gerry Anstiss  30:55  
always lovely stories he used to tell me about that. Very modern thing. Nice. I remember that. He was a sergeant was a Friday.

And he's operator was guild failure was a flight attendant. And how he used to go work at dead on stage with his slippers on in the Guild, Haley used to put him on a charge for work being improperly dressed, and he was a cameraman.

Alan Lawson  31:30  
All the directors you've worked with, which is the one that you've been impressed with?

Gerry Anstiss  31:36  
Well, I think I was very impressed with Roy Roy bolting because whenever you went on the floor with Roy, he knew the film backwards. He knew exactly what he wanted. He was a good artists director. And I think both of them was slightly before that time he because the films they used to make very good films. And but I swear that, you know, sometimes when the going got tough, I think they actually changed clothes in the middle of the day. Big because, you know, you'd be absolutely wiped out. And it's either john taken over from royal or roid taken out because you couldn't tell them apart. You know, their voices are the same and everything you've got in latter years. But in those years, you couldn't. Yeah,

Alan Lawson  32:23  
I mean, there was there were no technicians, directors. There were artists directors. Schlesinger. Yes, yes. When you read. Yes.

Gerry Anstiss  32:34  
Did you never work with Gary?

Alan Lawson  32:36  
You work with john Slater? Yeah,

Gerry Anstiss  32:38  
I did Yanks with john. Yes. And I think he's he's a great artist, right? Yes. Very, very, very good. Let

Alan Lawson  32:45  
you get on with it. He's not a technical. No, no, no,

Gerry Anstiss  32:48  
technically, if he if he's not sure of anything, he calls in his editor. You know. I mean, I

Alan Lawson  32:56  
mean, there's quite a few directors that I've worked with who, whose whole attitude was that you're a technician and as your own business.

Gerry Anstiss  33:05  
No, I didn't find that not. I found it once. Actually, I found it once. Module I don't think it's I think it's possibly because, you know, we really didn't get on. Yeah, there's this where I say you take it out of the take it out of the recording. But I always had difficulty with Roy wallpaper. I found him an unsympathetic man. Although, you know, he was quite a big direct.

Alan Lawson  33:40  
I wasn't meaning it quite in that way. It was the the, I mean, rather like kalorien was, his attitude was, you know, the camera man. I want to get on with my artists, please, you know, get on with yours.

Gerry Anstiss  33:54  
Not not in a derogatory way. Roy used to do that. Really? Roy used to say how are you know, how do you get to be Harry and Harry was about 2500 give me a call when you needed it. And when he used to come on the floor room demanded complete silence when you've had your time. Now it's my time with the artists. If you've got anything to do after I realised and then Okay, go ahead and do it afterwards. But whilst I'm realising the artists, absolute silence and that's my time. Which I think is fair enough. Oh, yes, you know, because there's not every camera man that can make a good picture. He's got a lousy picture and most brilliant photography. It doesn't make still doesn't make it a good fit.

Alan Lawson  34:46  
Now, you've seen enormous changes in the equipment and stuff. You started What on earth

Gerry Anstiss  34:55  
are those? We have started on debris and debris. Yeah, they've lived To Fenton's

the old age was religions and every hour that one that was the way the Murray chat. Yes. When the militia

Alan Lawson  35:09  
didn't do the work on the venton before?

Gerry Anstiss  35:11  
Oh, yes, yes. Yes. It's an age where you know in that so called blimp Yes. those layers with about six inches backlash the focus, you know because it's all Bowden cable Yes, yes.

Yes I worked on worked on the bncs and yours. And then of course on the technical, technical the cameras olearia flexes.

Unknown Speaker  35:41  
Yes. Which is

Gerry Anstiss  35:43  
evolution Let's be able to since you know, we're the first ones we use really combat cameras with a private gate. Yes, it did. revolutionise Yes. I mean, some of the cameras are brilliant. Some of the arrows pan of vision. I descend my scope as well,

Alan Lawson  36:02  
while they're in a way, they don't need kind of a well defined mission that

Gerry Anstiss  36:06  
really was a measure with about one lens on the spread on the front. But we used to I suppose we use about the first ones that came across, he would work more in production. They used to make CinemaScope figures.

Alan Lawson  36:25  
Have you used that Claire's at all I knew the Claire's

Gerry Anstiss  36:28  
I've only I've only ever played with an Eclair on a couple of occasions. I don't know I never thought of an Eclair as a as a production camera.

Unknown Speaker  36:41  
It's rather funny thing is he was always scratched.

Gerry Anstiss  36:47  
Forever scrapped, modular got rid of that in the end. The French people loved it. The French Cameroon.

Alan Lawson  36:57  
Same as they love the debri.

Gerry Anstiss  36:58  
Yeah, yeah. No, the the vistavision incident. I did the first first few vistavision pictures or wherever is your apartment. You're met by moonlight and the hell drivers that were shown versus me.

Alan Lawson  37:17  
But again, that was basically a match, wasn't it?

Gerry Anstiss  37:20  
No, it was it was a it was a mix mix of because it was it was like a frame that you shot. Yeah. Yeah. So the film went through, went through the camera sideways. Yeah. It was a special built camera. Although the movement was basically the same adelphia usually 2000 feet in 10 minutes, not 1000 feet. And you loaded it like the old debriefs? Yeah, you know, you had a hanging magazine on one side, and he looked at and passed it through the camera that way and looped it and put it into the tapes.

Unknown Speaker  37:54  
We will move first.

Gerry Anstiss  37:55  
No, no, no, no, no. No, I never thought no. I didn't do that. That was an outfit that was really based in Spain wasn't Bronson? That was a that was an empire for two years wasn't? No, I never I never got tied up with with any other Spanish Spanish outfits. A lot of people did. Yeah.

Alan Lawson  38:17  
Did you work with David lean at all? No.

Gerry Anstiss  38:21  
No, it was one of my one of my I would love to work with emotion. Because he is what he was one of the best ones.

Without doubt most of the old Cypher camera even if you worked on the Daydream, David he would do for an Oscar. That's what they used to say. You know, let's

Alan Lawson  38:45  
get demand redundancy pay at the end. Yes. Yes. Yeah.

Gerry Anstiss  38:51  
I would like to have I would like to work with work for him. I think I think he made some lovely pictures. beautiful pictures. I mean, go back to his early early

sound barrier and all that. Yes. Although he was what co director yes with, I mean, he was with no cow when he was the technical director.

Alan Lawson  39:19  
And from the point of view of putting the thing together

Gerry Anstiss  39:22  
can bridge over the choir Lawrence? Ron's daughter and you know, they would lovely pictures. So show me Can't be made now.

Alan Lawson  39:33  
Yes, yes.

Gerry Anstiss  39:36  
You know, trivago and yes, yes. All that. I mean, they were brilliant pictures.

Alan Lawson  39:47  
Of all the directors you've worked with. As you said, Roy, was your your favourite? Did you have any ones do you have mentioned one name but do you ever ever, ever have any others that you'd rather Never ever worked with at all and never would want to work with again.

Gerry Anstiss  40:07  
I won't work with Michael winner because I did his first three films The other day.

He always nine times out of 10 he finds me out and says Tom Waite one time we work together again Jerry. I keep saying I haven't got the time you know, I'm busy or I'm just off on holiday or gotta go and do the shopping or something. But

Unknown Speaker  40:32  
you're gonna book books.

Gerry Anstiss  40:34  
No, no, no, I was I was on classical Western 11 Bella makhado and over the years I do these identities second unit on wicked lady. JACK Cardiff. Let me do a second unit for and I did something on this last picture he did actually out but only for a couple of days. That was dirty weekend. But I only did a couple of days. Just to stir him up a bit. It's not that I dislike it. I think I think he's hilarious. You know, as long as you don't really get on top of you. I think he's really hilarious.

Unknown Speaker  41:24  
But does he know he is sorry? Does he know he is?

Gerry Anstiss  41:28  
I never sure. I'm never actually sure. I don't know whether he it's a big eight. It's a it is a big act. You know?

Was it What was his lovely story about what was it? Yes a film is made with team effort.

That that was that was his one of his interviews he does yes is my routine method. I said over what is team effort. These are what a lot of people doing exactly what I told them. You know, you got to have a biggie for that go to the image. I can stop you there.

Unknown Speaker  0:12  
You were saying that you

Alan Lawson  0:15  
Jerry ANSYS side two us saying that you did have quite a bit of fun with it

Gerry Anstiss  0:20  
with with Michael. Yes, we did. Yeah. Because of the story about Andre on West 11. We're doing one take and Michael said to Jerry, who was operating is that how was that for you during these? Oh, it was all right up. So the number and things like, well, I must admit, I enjoyed the book better. But when we were doing my 11, we on the back of the camera car, we have a big Blackboard. And we had the whole camera crews names written on the blackboard. And we were using the old fearless dollies with the with the metal rails. And in those days, marketing is to come in with a different Savile Row suit on everyday and he's Gucci shoes. And he's big cigar and his directors find hanging around his neck. And he used to put his foot when he was talking to us he used to put his foot on the rail. We had a lovely grip called Ted Lockhart. And every time he saw he put his foot on the rail ran the dolly over his foot. And if you've got tears in his eyes, he went out to the camera car and put three stripes and if he made him if he made him shout you've got five marks on the back on this Blackboard and things things like like taking all the batteries out of his loud Halo and seeing him sandpit and black in the end of it so that when he got black marks, perhaps his mouth was on one particular occasion we were working in a in a cafe, a restaurant, a restaurant cafe, boutique II place in Knightsbridge and the tea tea trap was outside the chuck waggon was outside and we used to get him his tea with the camera crews tea. And this particular day in the camp they put about eight teaspoons of sugar in this in this gap and he got a lovely blue Savile Row suit on and silk dye and we were chatting to him and backing him up against the door. The entrance into this cafe. And the idea was at the clapper boy as soon as he saw a shape in the glass doorway, came hurtling through the door with ease and he put the coffee hold down her front of all this sticky messy coffee. And we were brushing it inside. Oh Christ Michael has ruined your sofa with putting it into his coat. We had to leave the set because we couldn't stop laughing. Get outside. Five marks up on the blackboard. used to have some marvellous was another occasion we're on location down at Gatwick Airport. And the scene was people arriving coming back from the continent. And it was like it was on Play call. And Alan Shapiro and she was the daughter of Dennis that lovely actor slightly queer.

Unknown Speaker  3:46  
Yes.

Gerry Anstiss  3:50  
Anyway, what happened was we done about four dates and when they came through the doors, all the press photographers had to take the flash pictures and we hadn't got the shot. We're still waiting for the weather and the props of Rancho flashbulbs. So without enough for one more take and we're always standing around chatting around the cameras I mean the capital boy rushed out and went 327 times six bang and they all flash to

Unknown Speaker  4:19  
come up was

Unknown Speaker  4:22  
there was another bout in the place.

Gerry Anstiss  4:26  
He said some other stuff. I did the oh man I enjoyed that. Donna McDonald was was a good director. He went on to greater and better names, you know with lethal weapon, all those kinds of things. But in those days, I got along very well. He was good. He was good to work with.

Alan Lawson  4:53  
Did you ever think of having a good lighting?

Gerry Anstiss  4:57  
I do a bit of it. He said I do. Radio might operate. But in the days when we were doing film after film I just loved operating will always offer pictures. In fact, I was going to do the last bolting picture before, before the disaster happened at a shepherd. And they said to me that, you know, they gave me my breaks all the way through and they were gonna give me a break on the on the, this was about 73 that I think you're a bit remote as a cameraman. When you're working on a film, I, although you set the tone when you set the quality of the film and the style. You don't get as much fun. I don't think there's operating as an operator, you're more into the film, you know, you I think you're more into the early part of it really part of the team here. And this is why, as I said earlier on, you have the eyes of the director in the years of the cameraman. You know, that's that's basically I mean, operating. Only 5% of the job is turning handled.

Alan Lawson  6:11  
Yes, yes. Yes. interpretation.

Gerry Anstiss  6:13  
It's, it's, it's it's transposing what the director says into the picture. And you're listening out for any problems that could be likely to happen for the camera man. Although the camera man of course, this is your as your governor. I've had a wonderful life in the film business 4050 years

Unknown Speaker  6:41  
when you set them in the oven?

Gerry Anstiss  6:44  
Yeah, many many many times here because I knew I knew Andy first as a production manager before he became studio manager. And in fact, old Andy was still used to prop up the bar at Chevron up until the time just before he died.

Alan Lawson  7:05  
What have you used a lot of zooms at all

Gerry Anstiss  7:08  
on productions zooms Yeah, yeah. I still prefer attractors. But I mean they can get you out of out of a lot of problems sometimes. I don't mind I don't like zoom you straighten that out for me is amateur real. But I quite like using zoom to change your focal length on a lateral track or something like that. Where you don't see this but if you actually see it as a mark that I prefer a capitalism You know, it seems lazy working around it

Alan Lawson  7:41  
it is a lazy lazy tool

Gerry Anstiss  7:43  
and what you're what you're doing really is you're not approaching you're just bringing bring it bringing the picture sharper to you. You're not you're not actually doing any movement on the camera. Because I suppose you could make a patient with a static camera we just assume I suppose. zoom in zoom out. Now the zoom basically I suppose was made for television was that yes, yes. I mean, that was that was why was zoom was invented.

Alan Lawson  8:17  
Well, they're accurate. I mean, it was around before television i mean but what what a box of tricks that was that was the barrier down if you're

Gerry Anstiss  8:27  
not the ones that we used to use with will speak who will cook the big heavy cooks when we first asked me a box Yeah. But now some of those when the five to ones are quite nice you know there's I don't like the idea of zooming from a 25 to a 250 just because there's there are a lot of people do too. We got a zoom, let's use it

Alan Lawson  9:00  
all the pics you have operated on which is what is your particular favourite?

Gerry Anstiss  9:05  
I've got to actually I think Yanks one of the jokes with john says enjoy think that

Alan Lawson  9:15  
camera man on the

Gerry Anstiss  9:17  
dig bush there were 1000 1390 setups and the camera was on the move the whole time you don't see a camera move on the screen. That to me was you know that was the one I'm most proud of. Because there are some some lovely setups and as you say, john being what john is he actually get on with it and he accepts you know you can offer suggestions for him and if it works for him it works. Have you

Alan Lawson  9:52  
found directors sometimes resentful of the auto suggestion?

Gerry Anstiss  9:58  
Yes, on To call it a word yes on some occasions. But I find that the inexperienced when I have a feeling that sometimes I think you're usurping their authority, when in actual fact you're not, because what you're trying to do is to offer them you know, so some of your experience, I mean, you can't go into a supermarket and buy experience. And you can't come out of film school with a certificate that says, I am a director after three years courses, and never been on the floor before. And if you've got somebody with us than 30 years old, and he offered a suggestion to you is only offering it for your benefit. He's not offering it for anything else.

I do find some resentful. And if that happens, then I can't slide away. I'm either out shopping or doing other things. I never actually say no, I don't want to work.

I make make excuses. Because nothing is worse than me. unhappy. Nothing is worse than the old attention and the backbiting and the what they call politics local politics. I'm a camera operator is is an essential part of filmmaking. I think it is a it's a good training ground to become a director of photography, because you work with so many people that something must rub off on you.

Alan Lawson  11:37  
Yes, and you're always you're always looking at that little picture. Yes.

Gerry Anstiss  11:40  
All the time. All the time. Yeah. And you sometimes say something that the camera man isn't that Harry taught me how to light. I know how to light. I don't extend there. I must admit. I can't stand that kind of floodlighting. I don't like that at all. You know, I like I like to mould Things

Unknown Speaker  12:04  
to Do you ever work with Gil Taylor?

Gerry Anstiss  12:06  
Yes, I did for about five years.

Alan Lawson  12:08  
And it was it was it was he still he was bouncing light off white sheets then was he know

Gerry Anstiss  12:13  
when he's kind of gone? He gone back? I mean, I think bouncing off sheets as far as his girl was concerned was expediency when he was doing the television series?

Alan Lawson  12:23  
with working with Polanski?

Gerry Anstiss  12:25  
Yes, yes. I know that he used to do it then. But But mainly It started when he was on when he was working on the television series a BBC because it's so much easier, isn't it? slamming a line up against a couple of eight before polystyrene sheets. And you get shadow less light. And then the exposure of 35 and you walk away from it. I know I like moulding on I like also how they used to say seen him coming outside of the frame. Doesn't matter if you don't see him again. But same guy. That's that was his idea of and once he green was another one because he used to do a lot of bolting pitches as well. And Max was a lighter. He was Kris Kringle, oh, Max, a great, great guy to work with. But over over the years, over the years, I think, unfortunately, yes. The industry today is losing it. The standards are going down.

Unknown Speaker  13:41  
It's lost its way. The

Gerry Anstiss  13:43  
standards are definitely dropping. Yes. Yeah. And you can see actually you can see it on the on the films. A lot of people I suppose say the old time way of working is a bit past it. But I don't think so. I think you've got to, you've got to learn. You've got to gain experience. Please pop promo directors and lighting cameraman. I don't rate them highly at all. I'm not old fashioned, but I just don't like what they do.

Unknown Speaker  14:20  
Yes, true. So you're down also as documentary?

Gerry Anstiss  14:26  
Yes, I do documentaries. Yeah. Documentaries over the years. I was I did a stint of about nine months, I suppose. With Mountain Park with the cadenza while working way, way, way, way back. But we used to do documentaries. Yeah. We're every other week we're going to ever fail to the steelwork wisdom, which still there, who know. Not Not that I know, because he was head of the camera department.

Alan Lawson  14:57  
Kind of up to enjoy During the war,

Gerry Anstiss  15:00  
now this is after

Unknown Speaker  15:04  
Terry.

Unknown Speaker  15:06  
Terry

Alan Lawson  15:10  
mean director

Gerry Anstiss  15:11  
no in charge of the cameras. I can't think of his unless he was in charge of the camera department in those days, but, I mean, he was a knowledgeable cameraman. Oh, yes. Yes. very knowledgeable.

Alan Lawson  15:30  
Because Harry max really started there. You know?

Unknown Speaker  15:33  
Did he really?

Gerry Anstiss  15:35  
That was just before the wars was quite a bit before. Yeah. I'd love that one area. I thought he was great. He was couldn't suffer fools gladly. But he was great. He always had a running battle with the with the producers always. I think that was eat meat.

Alan Lawson  15:59  
On last night. I mean, they were the they were the exception. Towards the latter end of his life, he did tremendous non WooCommerce wisdom.

Gerry Anstiss  16:09  
Yes, that's right. Yeah. Come to us and stupid. Yeah, that's right. Yeah. But I think the last picture I did with Harry was I felt married to them. He was biggest dog in the world. We did that. But Harry used to find me at two o'clock in the morning after, you know, he's been thinking about what we did with this stupid bloody directory, etc, etc. why we did this? I do not know. So he's a writes in as he put his phone down, I'll be awake for the rest of night wondering what the hell he was talking about?

Alan Lawson  16:53  
Looking back over it? Or if you could, you know, start again? Which would you change at all?

Gerry Anstiss  17:02  
I wouldn't try to get rid of the grammar. I think I think I would have accepted my chances. Rather than stone operator. Yeah, I think I would have become a director of photography. When I had the chance. I think that was a mistake.

Alan Lawson  17:23  
Because at the moment, it must be very difficult to do to do step out from being an operator to being a lighting

Gerry Anstiss  17:31  
cameraman. Well, you I can do? I can. But these days, these days, I want the whiskers. I would rather as I say with the buildings in 72. If I would have taken it, then, you know, I would have been a director for over the last 20 years. Yeah. That is now I'm an old time operator on over 65. And, quite honestly, they don't, I don't want to be they don't want people like us around. And I find it with most of the operators actually. When you talk to them, the old town operators said No, we've I've had enough of this and they've retired people like check waters and Dave Hawk or I think it is, I think, I think you have to respect the person to to really

give your all. But if you don't respect them, it's very difficult. Because I won't let my standards and sometimes it leads to real altercations. You know, I hate people turn around to me like what I did a an NBC movie of the week last year.

And the line producer. We had it with we had a five five, which over five and a half weeks. module, we were working 16 hour day. And using the new American thing, which is a nine day week, you work nine days before you get a day off, and then you work another nine days you get another day off. So a nine day week and a 16 hour day. And if you if we boil that down, you're really on a 12 week schedule. Yes. And this line producer kept saying, you know, when we were waiting for our for Christ's sake is only for television. Now, this for a man who is making a picture,

Alan Lawson  19:32  
but he has attitude,

Gerry Anstiss  19:33  
the attitude is wrong, and you don't respect him for it. And why should you let your standards drop? You know, just because this man is down in there saying well, it's only for television. I don't care if it's only for television or whatever it is I still try and give the best of my ability. You know that's that's my approach to it.

Alan Lawson  19:50  
But one last thing I want to ask you and I when I was not an operator, every operator his own little gadget bucks what's in yours?

Gerry Anstiss  20:03  
I haven't got a gadget.

Unknown Speaker  20:05  
Really?

Unknown Speaker  20:06  
No

Gerry Anstiss  20:07  
I was an operator I used to have a gadget box I used to have a gadget boxes of whose focus but I still got it upstairs in the loft and that's what the filters and filled a crisis as well I've got boxes of them upstairs. Yes, yes. Yeah, I've got those upstairs in the loft which is in a steel case which I used to take on location. If anybody wanted anything I was sure I had it. But as an operator you you know, you don't unless you take a couple of metres of namsa

Alan Lawson  20:40  
perhaps it was as opposed it may have been

Gerry Anstiss  20:43  
used earlier. My problem with French flags and goals is as you say unfiltered filter holders tape measures yes everything yeah, yeah that's the that's the story my loft I'd hate to think was in a couple of family levels

Unknown Speaker  21:00  
worth a fortune

Gerry Anstiss  21:03  
now I used to have one

Alan Lawson  21:04  
did you use the buffet the gate by the way?

Gerry Anstiss  21:08  
I used to not whether show me leather

Alan Lawson  21:11  
have I had to Judas realistic.

Gerry Anstiss  21:12  
Now I used to do with the grease.

Alan Lawson  21:17  
We use the bathroom with with Shammi leather with jewellers road

Gerry Anstiss  21:21  
now and you notice whenever we used to, used to take the snow like the the natural grease off your face

Alan Lawson  21:33  
leaves the path to take out the front plate. And if you just take out the gain from Robert

Gerry Anstiss  21:44  
we used to have we when we were working on Chevron and when I was you know for all those years I was there we had a camera of our own that was only yours. And mine was called the crown jewels. Nobody ever touch that. That was my fiancee 235. I mean, that was my one

Unknown Speaker  22:06  
that came from meaning. I don't know what

Gerry Anstiss  22:09  
235

Alan Lawson  22:11  
Well, it came from AARP.

Gerry Anstiss  22:14  
I had good I had two high speed Mitchell's really were Peter Brock. So it would only let me use he would let anybody else because I used to get you get a terrible jam on those if you're not careful. If you're going to use our speaker Jerry goes with that. Because when we did HMS defiant and we were on a raft, sunken raft about a mile off Phil Ohio, so in the Mediterranean as an OG about four months, sea water and I used to take those materials apart and clean them practically every night. literally take the movement and bring them all out in Vaseline and back up again. Because you know what? sea water

Unknown Speaker  23:01  
and simplify things. Yeah.

Gerry Anstiss  23:06  
Yeah. Howard lydecker. out a brown is today he used to say, the brown box Brown. They worked every day without a hitch for four months. And 96 frames. Never once, not once they have a neutral one. But, you know, in my latter years now, I don't do very much these days because there is a much around to do. You live in hope. But I'm now chairman of the Guild of various camera technicians. And I'm vice chairman of this niggles of Great Britain. So I keep in touch, you know quite regularly with everything that's going on, but you must be looking shrinking number. I think operators are a dying race because I don't know data centre, my operating and camera man's operating I think these days with the playback, you know, with the video assist you got everybody that's looking at the playback and if the chippy doesn't like it what do you go again? You know, it's one of those terrible but I I'm not sure why they want to operate themselves. Because I find it difficult to to do the to to light and operate.

Alan Lawson  24:45  
Well, isn't it because they haven't got the competence. That's the answer and they can't make except

Gerry Anstiss  24:57  
but I don't know so in in, in in those You're all right. If you'd like to talk about time passed, at the end of a shot, the director would say, you know, Is that alright? To the operator? And the operator was a yes or no. If it was all right, yes, it's alright. If it's no, you explain why. And if it's not to his liking, then you go again. But today, that doesn't happen. are many using this assist? Yes, a lot of lot of people use the assist. And I don't think you can direct artists to if you're watching the television screen. And I think the artists objected to this disembodied voice around the back of the suit looking at the television, so well, we go again, because of you know.

Alan Lawson  25:45  
But again, it is it's, although they say it's the same medium, it

Gerry Anstiss  25:49  
isn't the same. It doesn't. It is not the same film business as it used to be. That's not the same business. Unfortunately, with the, you know, now that the studios are no longer existent. And you had studio training, because you belong to a studio and you got trained, and you learn to danger experience that that goes through these four walls, you're in and out, and nobody's got time to teach anybody anything. And that, again, is one of the reasons why the standard of you know, the guild is trying to set up some training schemes now. Because we don't want to lose the, the expertise of cinematography. And some of the the older type. Respected cameramen are giving lectures now. And operators are giving lectures, you know, new people out, you know, how it's done, how it's done, or how it should be done. Just point a camera, you know, you compose the picture is,

Alan Lawson  26:47  
it's like how often one has heard all you do, as you pointed out.

Gerry Anstiss  26:53  
But for me, it's turned off.

Unknown Speaker  26:56  
by him.

Alan Lawson  26:57  
He was saying just now that some people do appreciate the work you do?

Gerry Anstiss  27:04  
Well, I think it's because you're able to, you're able to cut corners on it, you can you can, you can get something done in half an hour. That will probably take an inexperienced person Yeah, a couple of hours to do. And I reckon you can if you're really on top of it, you can practically save a day a week, in some cases, because you know, from experience what you're up against. And some of them are very appreciative. Because you do get them. You do go do get them out of this undress young American writer I was working with on this NBC thing that I did last year. Mike sweitzer, he's never really done a full feature film, he comes from Hill Street Blues, and those kind of, you know, the, the slick American, and he's a very, very he's an imaginative man. And, of course, he's been used to the speed of, of the American television shows, you know, where you work 12 hours a lecture that's, you know, 12 hours shooting. And he used to say to me, I don't care what we do, as long as I've got 33 setups on the report sheet going back to America. I, after the first week, I said to him, Well, rather the 33 crappy setups. why don't why don't we do 25 good ones. And he went, Oh, yeah. And then you found that we could actually cover more time. Because instead of it being cut, cut, cut, cut, cut, cut cut, you were able to combine a couple of shots and make it a little bit longer and a bit more interesting. And in the end, at the end of the six weeks that we were working on on the film, he came he thanked me very, very much. He then said Jesus Christ, good, you know, throw a gun back. You're the first one I'm gonna call. So you do get appreciated. But it was his first film outside of America. And he was

very suspicious because he'd been used to the American system. Well, I don't think the American system is any better than ours.

Alan Lawson  29:22  
What equipment we're using on that

Gerry Anstiss  29:24  
we use the veal. Where's the bill? On tripod or? No, no. It was all proper, you know with dollies and hammerheads, and it was it was a professional, professional job. Frank, what was the camera? I don't know if you remember Frank. Frank was a cameraman. And nobody was going in the frame is very, very good. But we turn into a very good stuff and in fact they were very highly pleased with at the end of the of the end of the picture. But unfortunately the big problem was our as I told you earlier, we got a line produce our Jesus only for television. That's good enough for television. Okay, fine if you want more, if you don't want him in the picture that's fine with us. You know? Why isn't in the picture? We didn't know these marks? It's one of those.

Alan Lawson  30:21  
I see they're using a system. Yes.

Gerry Anstiss  30:26  
It's it says knowing is knowing what you can get away with and what you can't get away with. I mean, some things you obviously you can get away with. Because as I used to say operating is really is up to the operator if he wants to cut there he cuts Yes, within the atmosphere cut there. What else he doesn't make any difference as far as the operator. So you know, your piece itself as long as it's nicely composed in here. And it's a nicely operated? Yes.

Alan Lawson  30:54  
So the operating Yeah, yeah.

Gerry Anstiss  30:56  
I don't like jerky bands or I hate it. When I see on television. Sometimes these days somebody stands up and they go out a picture and then the camera catches them out.

Unknown Speaker  31:06  
banging their head.

Gerry Anstiss  31:09  
Excuse me, I'm gonna stand out. I like working with American stars. Well, over the years, I mean that they are professionals, and they really are professionals together.

Unknown Speaker  31:26  
Yeah, I love

Gerry Anstiss  31:35  
Let me say, I started off with I start off with pop Taylor. He was great. Well, that time here. And over the years I've worked with pack Gregory Peck on a picture of the Omen, it's the only time I've ever seen a unit by an artist. And then the picture person,

Alan Lawson  31:57  
really.

Gerry Anstiss  31:58  
And I made a collection around the unit. And they bought a Georgian cleric job from Harrods. And they had an engraving on put onto it to a gentle man.

And he was delighted. absolutely delighted. I've worked with this but Tyler, john Fontaine. But he tails. Victor mature? Quite a few of them. It's a revelation because they know exactly what you're doing on

Friday. Oh, yeah. And I started what Lindsay had gone on and you say, oh, I've got a 50 I might say, Oh, you cut in there and that the dads on the line? You know, they know exactly what you're up to. Yeah, it's

Unknown Speaker  33:02  
all in all, it's

Gerry Anstiss  33:02  
been a good life. It really has. you've travelled the world, you've been paid for games as a marvellous place. rgbs graptolites. It's to remember locations like Nigeria, or my God. Israel wasn't very good either. When we were there, India. If I think of the only place I haven't really been to South America.

But I've been all over the other places, most of the world over all the Continental countries, including Russia, Greece, Turkey. And I've done practically every country in Africa over the years. And there's been a bit of a change there. Because I met my wife, Kate. We met in South Africa, in Natal. And over the years, you know, I went back to places

they will change their names now most of them a year and Uganda and Ethiopia and Kenya and Tang and Nika and Malawi and Rhodesia, West Africa, Belgium, Congo. I've been all over those places. And in fact, came one day, a few couple years ago said me, I'd love to go back to Africa. So we took a month holiday and we went on a fortnight so far. And we also went down to Mombasa. She said, I don't like this anymore. She couldn't get used to change the change. But over the years, we've spent our time in Africa.

Well, I don't know if there's a free Much more I can tell you is that's great, except that I'm still going on if I can possibly carry on as long as my legs work and I can look through the camera, I'm alright. Thanks very much. You're very, very welcome. Yeah, I hope it's of use to you

Biographical

298    GERRY ANSTISS           Synopsis

Born 1928, Hampstead. 

Talented scholar – RAM. Holloway County High School. 1939, leader of junior symphony orchestra. 

Rock Studios – apprenticeship, 6 months each section.

Jimmy Wilson chief cameraman.

Called up November 1945, Royal West Kent Regiment. Demobbbed May 1948.

ABPC (Associated British Picture Corporation) Welwyn Garden City.

Clapper boy – Otto Heller. Cavalcanti.

ABPC to Elstree.

Dancing years – first foreign location. Stephen Day. Norman Warwick. Harry King – sound. Vic films – Joe Janni. Mario Martelli, assistant in Italy.

Interview with Freddie Young at MGM – Ivanhoe. The Hour Of  13.

Tommy Howard – worked in Special Effects department. Fed up. Offered job at Pinewood – split team camera. George Ashworth, Vic Margutti, Roy Field.

Back on floor as clapper, then focus puller, with Jack Atcheler. Met Harry Waxman, Geoff Unsworth, Chris Challis, John Alcott.

 

298    GERRY ANSTISS          Synopsis

Campbells’s Kingdon, Hell Drivers, A Tale Of Two Cities, North West Frontier. J Lee Thompson. Most encouragement from Harry Waxman. 

Roy and John Boulting – given first job as operator. Charter Films, British Lion, Elstree – 16 years. Worked on Hornblower at Denham – Harry Waxman camera.

Most impressed with Roy Boulting as director. John Schlesinger.

Cameras – Debrie, Vinten H and Everest. BMC – Newall. Technicolor – Arriflex. Panavision – Mitchell.

Michael Winner. Dick Donner – director.

Favourite pictures: Yanks – Dick Bush, Schlesinger. 

Worked with Gil Taylor for five years.  

Merton Park  - AT Dinsdale [??] early days after War.

Last picture with Harry W: [Digby] The Biggest Dog In The World.

Worked with: Robert Taylor, Gregory Peck, Elizabeth Taylor, Bette Davis, Victor Mature.