Born August 1922, his father came out of the RAF in 1928 and went to British Movietone News as a salesman. Jimmy went to Lenham Lodge School, which was opposite Arthur Kingston’s house and workshop. He left school at 15 and went to Regent Street Polytechnic but on the outbreak of war joined Lloyds Bank in Uxbridge; six months later George Gunn a near neighbour offered him a job at Technicolor where he worked in the camera department along with John Farlow, Bryn Jones, Ron Hill and Doug Hague. He gives more information on the works of the Dome Trainer which adds to the accumulating knowledge about this device. He worked in the animation department with Eric Gill making film used in the trainer for the Navy. (see Bernard Happe, Interview No 92, who gives more information). He also worked on some propaganda shorts being made for the British Council by the Film Producers Guild, some directed by Terry Bishop. He then worked on The Great Mr Handel and on the test for The Life and Death of Colonel Blimp.
In May 1942 accepted by the RAF after basic training [at Cardington], and the photographic course at Blackpool was posted to Pinewood, and after two months sent on the rear-gunners course [at Stormy Down]; after passing with distinction, he was offered a commission.
Returned to Pinewood to find the higher command of the unit rather displeased that he had come back as an officer. He was posted to [Methwold] East Anglia. He gives a lot of detail about filming from warplanes. After his squadron was very badly mauled, King George came up to review the squadron and, and he filmed the occasion on a Kodak Special in 16mm Kodachrome. Was posted overseas in 1943, he tells of meeting Ian Struthers (Paramount News) somewhere near Naples [Casale Airport, Brindisi]. In the meantime, his father was filming with the 5th Army.
He tells how he was travelling back to Naples on a liberty ship [and] was attacked by Junkers 88s [and got] hit but got off safely. After several postings he ended up in Tarranto, where he was involved with an air-crash that nearly cost him his life. Being in hospital [22nd British Army Hospital, Tarranto; 98th BAH at Bari; 71st BAH at Barzetta] for three months, Dicky Battle, the surgeon (plastic) managed to save his right hand, but was doubtful about being able to save his sight. Sent back to the UK, sent to East Grinstead under the care of Archie McIndoe and he gradually [was] nursed back to health, but [being] blinded, sent for training to St Dunstan’s, [Church Stretton] where he met other much worse than himself, from the Merchant Navy, Navy, Army, Air Force and [Air-raid] Wardens. Then finally, after seven years, released from the RAF (that is quite a story, for on his return to the UK, as soon as he was registered as not having sight he was demobilised – but his father fought, with the help of a friend in the House of Lords, and the rules were changed and no blinded or thoroughly disabled were demobilised until they had completely rehabilitated). In 1951 he joined a small company started by friends of his, Eric Cross, Skeets Kelly, Jim Davies, Dick Andrews, Charles Heath, called Anglo-Scottish. It was based at Shepperton, still called Sound City and owned by Norman Loudon.
He tells how very supportive the staff at Technicolor [were] during his rehabilitation period, how they sent him records. He then talks about the difficulties of cheap studio spaces in which to make commercials, and finally the company made a deal with British National. They then decided to build their own stage, ‘Halliford’ which was designed by Val Elsey. The cost was £30,000: this provided them with one stage, 60 x 60 and a smaller one (46 x 60); they also took over the Plaza Cinema, at Addlestone. He and Julian Caunter  left Anglo Scottish when they discovered that the rights they thought they had in the company were no longer existed. They had hoped to buy Goldhawk Studios which were going for £20,000 plus the debts. Wight Senior found them some space at 73 Newman Street where they built a sound stage. He talks about the Rank/Paramount deal which was supposed to keep Paramount News going but his father soon found himself out of work, so after a short spell of shopkeeping on Richmond Hill, he joined Jimmy as a ‘sleeping partner’[company member who takes no part in its operation]; they closed the studios in 1968 as there was more and more shooting in actual locations and studios were a burden.
He tells how he set up a new company with Jeff Axtel and Alan Hall using the title Bench at new premises in Oxford Street, with a three-year agreement which would allow Axtel and Hall to purchase the equipment at the end of the three-year period, which they did. In 1971 he found that he was no longer part of the company. In the meantime, he was also working with Mike Leeson-Smith (ex-BBC) planning to make feature documentaries for television. He tells about that venture [Cinexsa] which was a reasonable success until Leeson-Smith who had a three-year contract with SABC TV service, decided to stay in South Africa. He then talks about his venture into the sighted world, and made Sport for the Multi-Handicapped; he talks about his involvement with Prince Phillip, then the making of films for the Disabled in the City charity, then for St Dunstan’s. In 1981 he received his BFTA award and in the same work his OBE.
He talks about his partnership with Robert Davis, then his association with the Royal School for the Blind; his parascending efforts with Andy Cowling [Irvine Parachute Company] from 2,100 feet. He talks about various other films he has produced for the blind, and his work for local disablement groups.
He continues to talk about working with video, and how 1989 was a disater year for him with little or no work coming in.