behp0212-ronald-spencer-summary
NB There are no indications where each tape starts or ends.
Born 1924, Billericay, Essex. Went from Rustington prep school to public school in Sussex. Commissioned into the Army straight from school (Royal Fusiliers, later Durham Light Infantry). A devoted film-goer at that time, and memorised the dialogue. Parents happy for him to follow his elder brother (Norman) into the film industry. Worked at Gainsborough Studios for a month on ‘Leave in advance of Python’ (army code. A scheme whereby leave and repatriation dates were determined by your ‘Python’ number) as a draughtsman for David Rawnsley (Art Director) and with Peter Proud [BEHP Interview No 27] on The Rake’s Progress. Worked as a clapper-boy, focus-puller, runner. Early in career worked on Independent-Frame process films at Pinewood; current films were Warning to Wantons; Stop Press Girl; Flood Tide; Poet’s Pub. Earned about £2 10/- [£2.50] a week, the ‘going rate’. Started on 6, then 5 ½, then 5-day weeks and much earlier in the day than the 8 to 8.30am start for shooting. Became Assistant Director then moved on to First Assistant with Jack Clayton, David Lean, Edward Dmytryk, Raoul Walsh, Carol Reed. Moved forward into Second Unit work on The Admirable Crichton (in Bermuda for 14 weeks at £25 a week) and with Harold Boxall at British Lion.
Parallel to this [he] started to write screen plays and additional dialogue.
Ronnie considers major differences between present and earlier filming lie (obviously) in improved equipment, but feels the old techniques and disciplines, though cumbersome produced swifter results and kept to budget/schedule better. As Assistant Director he used to try to persuade everyone to stage and watch a rehearsal, to anticipate action and doubts – as ‘model’ directors recommend.
He worked at most studios at some time: Riverside, Denham, Pinewood and Shepperton in the main – under contract to British Lion and sometimes at Elstree (sections of film and recording). Comments that Shepperton, in the 1950s was producing more American films than Hollywood. (e.g. Carl Foreman with The Guns of Navarone and The Victor).
Ronnie started a lot of work for The Childrens Film Foundation – some seven or eight feature films. He has written a couple and directed and produced films for the Foundation too. Also worked on many documentaries and commercials at Lion Pacesetter - Shepperton, set up by John and Roy Boulting and Sidney Gilliat – helping at that time to bring work into the studios. Made several films recently for The Royal Household – for archives and some for public consumption: also videos for Prince Charles after his arm injury. Many films earlier, overseas: Uganda, Tunisia, Russia, Lebanon: a recently a seven-day trip around the world with a video team for an international bank commercial.
Comments on early equipment and 3-strip Technicolor cameras, Blimps etc also frame pictures/projection tunnels.
Had no ‘in-house’ training – learned ‘on the job’, no evening classes.
Remembers Mutzi Green, lighting cameraman, with affection, and David Lean with admiration. Edward Dmytryk probably the director who made the strongest impression and Raoul Walsh as the best acting Director.
R thinks that in spite of technological advances, stories are not noticeably better – still the main factor for success.
He’s been a ‘spear-carrier’ for the ACT/ACTT throughout the years, but has never doubted its validity and usefulness. Doesn’t remember who recruited him – and has not recruited others himself.
Can’t name a film which gave him most satisfaction and if starting again would just like to gain more all-round experience in more departments.
Now runs/is Pacesetter Films with Adele, his wife. [Interview No 211].
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