Noreen Ackland (Best)

Forename/s: 
Noreen
Family name: 
Ackland (Best)
Work area/craft/role: 
Industry: 
Interview Number: 
327
Interview Date(s): 
16 Jun 1994
Interviewer/s: 
Production Media: 
Duration (mins): 
90
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The copyright of this recording is vested in the BECTU to history project. Noreen  Ackland Feature Film Editor wife of Dick Best an editor on file number 8. Interviewer. Alan Lawson recorded on the 16th of June 1994. Side 1 well Noreen  first when and where were you born. I was born in Braidwood in Oakley green near Winchester Oh yeah in nineteen of the ninth 1921 and a schooling. First of all I was christened by the vicar of Bray now quite funny. I mean it was vicar of Bray in the corner and that is down there. Schooling. I went to school at that time. We moved to Hampstead. I went to school there and the kindergartens I had to take me away because I was crying so much. I wanted to go home and then we moved to Wealdstone Harrwow. And I went to school there in Grant Road to the council school and then I passed the exam to go to the county school which opened what about thirty thirty three nineteen thirty two or thirty three thirty three. What was coed. Was it yes. There was one of the few around. Yeah. And then I had a very bad bout of pneumonia so I didn't go on to as my my dad hoped I would go into university. Pass the exams because it happened just when I was sixteen. So I never missed what. What was it called in matric matric matric. Yeah. And that I know was off for a year but I left school when I was 18. And the doctor said work locally. Don't travel. I wanted to be a model. Of course everybody the same . So I went to Kodak. Oh yes it is film. Yes. Yes. Which is why when I was called  up in 1942 and they interviewed me after I'd done my training they sent me to Wembley. Now before we go to that. What. What did you do at Kodak. Oh it's just in the office office. Aha. What is a clerk. Yes yes. I think it was um. Oh I can't remember. It was something to do with orders and keeping the stocks. Yes. Was it thirtyfive
 Don't you know or was it still. No it was paper paper. Mm mm. I must ask you because the next thing is. Is there any family connection with film business Don then. No relax Rodney was no relation. No. Not that I know of. And Joss Ackland no relation although you know there is a book out there about the claims. Yes. And anybody with it. We're all related except obviously ones with K.. Know the black sheep of the family. So that's just the acronym with the singer. Yeah. No I don't see if I see anybody. Then you got called up. Yes I got called up in 1942. May forty two and I was sent to Droitwich here for my training and then I was sent into the pay Corps because I was good at figures yes. Well first of all they want to make a gun site but I want to be posted as close to home as possible and so they sent me to Sidcup where I was I just couldn't take their food in the way of living is it's ridiculous when you think of it. So finally after a lot of examination they sent me they transferred me to Wembley because it was the nearest Army post to my home where the ideas were so I could be billeted at home and just do the odd night in the barracks. Which turned out to be the case. Yes. What did you do when you got to there. Yes. I was put into the account. And Thorold Dickenson yes you interviewed me Anthony Davis there as his secretary and he said I didn't think could be good material in the cutting rooms and I thought well it sounds like a factory job but I don't care. Erm I hadn't a clue and I hadn't seen many films because we we did we had just started to go to film. Yes. My friends and I at the outbreak of war. So I was going in the in the Blitz. And it was always sort of golden  wonderful in war and I really hadn't a clue what I was getting into. So they put me down into the cutting room and nobody would work with Reggie Mills who was an officer there and. An editor. So of course I was put with Reggie and he trained me. Why wouldn't people work with Reggie because he was sir. He was real domineering and demanding and um well I would say snobby at that stage was. Oh definitely. All right. It's about how you know and I was bit meek and mild. So I got on quite well and did what he wanted which was defined as little to to frame trim things. Who else was in the cutting room there in your room. Oh yes there's was Don Johnson. Yes. Uh Johnny Terrace Johnny Ferris. Yeah. Uh Brett Porter. Yes. Jeff Foote Jimmy Corbett and there's Ray Pett wasn't he. It was there but he wasn't in the cutting room as he was directing. He used to come down because that was his. Yeah. Here's his line. I see the same as Thorold. Yes. Yes. Same as Peter used to know. Yeah. Was always in and out telling stories and holding forth in the theater because that much he might. Peter must have made life wonderful. It was absolute heaven to me. As soon as I started there I was at home. You know as soon as I went down into the cutting room and it was oh it was a bolt from the blue. I just loved going into work which I have always done. So I was extremely happy and I stayed with Reggie all the time. I mean I know I can remember other people who were directing. Yes for Freddy when it was there wasn't he. Freddy directed for a time. Freddy Young. Yeah. Training for what he was doing. He was doing training cars. I'm not sure I can also out wasn't it. Yes yes yes. Barnard Castle yes. I'm not sure if he was directing I thought he was cameraman. I think he was directing actually. It was him. Yeah. Freddy Francis was there. Yes. Yes. Um Frank Ellis. Freddy. Oh Frank. Oh the people who had the him waste waste film. Not Norman. No. FRANK Oh no. One of the brothers one of his uncle committed suicide. Bill. They had a place at Elstree. It'll come to me. Yes. Who else was there. Ernie Stuart. Yes. And he's doing it. He was in the Navy they were attached to us David Harcourt Tony Englander. Tell me tubby here is up here. But he was turned he wasn't me. No no no. Wasn't. No no no. It's tough A.A.. England. Wasn't it Anthony. I don't know. We always called him Tubby. Yeah. Because he wasn't happy with his military mostace. Yeah. No it really got out. Ronnie Kinnock Ronnie Kinnock doing it. But um also tILLY of course Tilly Day she was your sergeant major and she. She was all right she was a sergeant major. Yeah. But I mean she was she didn't act no one. Nobody did. No no no no. And your Angela Martelli too. Yes yes of course. Yeah. MARGARET Rawlings. She came. I think she learned her she liked her job for how long she had been in the business before I had to. I don't know. I didn't Jill Rawlings. Yes she was. Well it was in a very happy unit but you know I did. Did you work on. Oh. Next of kin at all. No. No Sorrows. So yeah. I just missed the new lot because that just finished yet. Carol was there for about what. Couple of weeks. Yes. In and out of the country. But it was complete. Yeah. And then he went and redade it as The Way Ahead. Yes. Yes. In the studio. Yes. Anyway then when were you demobbed. Forty forty six. I did four years forty two to forty six. And the what happened I went um Reggie of course I was demobbed before that it was invalided it out because he had nervous complaint and he went on to A Matter of Life and Death. Oh yes yes. And there again he was having trouble with assistance for a or five I think he came to me and he said when are you getting demobbed. What's the date. Because I was in the laboratory when he was demobbed. They sent it to the labs. We didn't have Denham. Oh I see. We had a couple of things just negative cutting. Yeah I see. I've never done anything like that thing that no. Never hand to make of it. Well that was I wasn't frightened but I knew I had to be terribly careful. Gloves like that. Oh yes yes. But you know in the end those was whizzing through the machines like the others. Yes. Nice to see you. But the very first job I had when I got there wasn't they had Freddy Francis had been to France with Frank Ellis and they had been on a dental man who had had their fingers shot away and so they were photographing filming that which wasn't very pleasant and they don't came back and hadn't any key numbers on it. So I had to frame that that the next leg of that which wasn't a pleasant very first job. Freddy talked about that job. Did he. Did he. Oh that's interesting. We did it anyway say you then moved to Pinewood then. Did you. No no no. Denham. I came out of the AKS. One day on the Friday and I was working on the Monday. You know down the other end of the day. Yes. Or actually in the studio. What were they what were you going to be paid then with that then you paid them. Can you. I think it was it was either eight or nine pounds a week which was enormous to me. I had to be in the army. Yeah I think it was eight pounds a week. Yes yes. What kind of what kind of hours were you working on day. Well it's supposed to be eight thirty two. Six. Yeah. And I suppose if I got away at 7:00 it was early for me because sometimes they had the rushes at night. Yes said all I saw was you here anyway. Yeah. Yes I was. I actually joined the union in 43 (ACT) because they came to me. I was at AKS and see if you would work in this film business after the war. Again I don't get it. Do you remember who recruited you. Was it too late. No I didn't think it was. No I don't think it was Tilly. I think it was any other man. Oh John. Did they come out for. Did he have anything to do. Well although he wasn't in the business before. No no no must have been. Let's bring somebody from the sound department I think because John Cox was there. It might have been John. Yes John. It might have been because he was quite active. I know. Let's see it. Yes yes. Anyway so you working on over at Denham on a Matter of Life and Death. Yes they were. I think we'd finished just finished shooting and then the synching. I think they just completed their shooting so I carried on that until the end. And what happened at the end. What happened at the end. We were we went to them. We continue to them with Mickey Michael Powell and. Emeric Pressburger. So this is the. I see this this a start. This is your start. I'm longer with me here. I'll Pressburger. Yes. Did you have much to do with them at first when you were. Oh I did with Mickey because he used to come into the cutting room and sit and talk. And being the only thing the assistant Reggie had chosen. Yes. He always took me in the theater to take notes. Yes. You know I suppose he trained me and he'd got used to me. Yes. And I'd got used to him and so immediately I was part of the same access to center. Really. Yeah. When I look back on it. Yes. Talk about and talk about your first impression of Mickey Powell. Oh here you. He's scared the lights out of me . Well because he got these piercing eyes and he was sitting that very first day came in. The bins were full of trims and this was probably my first day. I'm sure it was my first day upset Lieutenant. And of course Reggie had said time make the please try and get some of this film away. And I I didn't find anything. And Mickey came bouncing in and was introduced. Welcome aboard. You know this sort of attitude. And he sat on the edge of the bench well Reggie was working. He was always doing some altering something as I remember and talking to Mickey and the whole time he said hey these piercing blue eyes looking at me. So I was a bit frightened and intimidated immediately beginning. No no I mean he's yes and Pressburger. When did you first come across Pressburger . You know I can't remember my first meeting with Emmerich. I think he. I mean it. Mickey very seldom went in the theater without Emerich. He certainly wouldn't run the whole film without without him. So it would have been at an early show but I can't remember and it wouldn't and it would have been in the theater because Emmerich hardly ever came into the cutting room. What was your impression of this first impression. Well I just. I thought it just quiet and shy person. Yes sure I had a bit clipped that made language difficulty is one thing I must ask you. Did they ever bin you when it are you kidding. Are you okay. I think they liked to do it because I got the loudest scream. Did that get. Of me. I didn't do it today. I don't know. I think they had out assault as sexual harassment. I couldn't think of it. I mean itwas all horseplay. You good. And I didn't. I mean I'd get nearly paralytic if I was in a skirt. I hated it then. I mean I wouldn't I wouldn't think I'd get angry and spiteful. We ought to say what binning was. Oh that's true. You have these round. Well then is any shape bin really round because they used to. Because they could do it. I was terribly thin. Felt you could just put me up and put me in. So you were there with your head out legs after the game. And there was one day they did it when Mickey and Reggie had been to lunch together and they came back and I was in the middle of the corridor part in this bin because they came up the stairs and all the boys disappeared and left me and Reggie came along said What are you doing in there get out at once. And I couldn't move. I mean all Mickey  was take a look. No. I mean he found it quite funny because it was impossible to get out. Well yes. Yes. Let me turn you over for the day no anyway. Best to lose it was I mean it was all fun. There was another time. Oh Jack Slade was at Wembley too and then he and John shared it and said as they were real devils and they came it they were going to lunch and they came past my cutting and it was a hot day and I got the door open. And I was on the phone to Dick. this luchtime at Elstree. And they came in they said they're talking to us and talking to Dick right. And they put a bin  cover over my head. I was on this high stool the show so kicking away and that's what we did. And then they started to pull my skirt up because they knew that I would get it cut to my knees and lean forward to stop them. And of course I lost my balance. And there was this metal in this tombstone and it was a very sharp corner right right into my leg. The next day. Because every time I moved it it bled right on the same. I run away and one of them crept back in. And untied it because they could see what had happened and I think all those those kind of things are finished now it's very very down to business. I'm sure I did. Yes but the funs gone. No yeah. I mean it didn't mean a thing. No no. He didn't take any of it seriously. Anyway then after that they actually our first one. What next. What you go into after that Black Narcissus now where you want where you permanent on permanent staff. No. No. As each film. So in other words. Yes. How did you receive pictures. Yes. Yeah. And then you've got to ring a new engagement for that film. Yes I see. Yes. And I was still my. I think I was still engaged as a second assistant. Second. I didn't get up to first until Red Shoes and that I was still acting as your first because I went in the theater and took all the notes I looked after Reggie  and put all his trims  away I supervised the um the rushes. What was the first assistant. I think it was Seymour Logie on one of them pretty unreasonable when it was. That's why he didn't he any stayed for the one film because you know he wasn't allowed to do very much. I expect I'm not sure if he he must've done some post synch or some  and prepared it and the music measurement. But. Well it was unfair. Yes. So is it in the next film I said to Reggie. He never mentioned it. The next one of course was Red Shoes. And I said if I'm doing the work of the first assistant I think I should be paid for first assistant. So do you think once was some kind of an anti. Feminine bias. I never felt you didn't know. I didn't know. Just wondering. But I think that some. Um. Some girls you know they were working that didn't expect to do the heavy work as well as I see you know they were still dainty ladies and it was dirty job. Yes. Yes. No I know. I never felt any enmity. I must say that once or twice um I heard. Of a director who wouldn't have a woman in the cutting room and in this industry. Mm hmm. I heard this about several years. Mm hmm. And you know I could understand it. Actually I'm afraid I'm very anti feminist. Oh yes. Meaning. Yes I'm I'm. Yes I'm with you there but I mean I think it. I don't see why you should object to a female. Oh no neither do I. I mean let them prove them reasonable it's reasonable attitude. Yeah I think that's fair. I do too. I think they should be allowed to prove themselves or disprove it. That's right. Yeah. Yeah. Funds. Yes. Yeah. So anyway so Red Shoes you you were you were the first. Yes that's right yeah. And then eventually I became a called assembly cutter in it. I was getting when I became assembly cutter I got fifteen pounds a week but I think on Red Shoes it was about twelve. Well yes I mean all the rates were gradually. Oh yeah. Yes. Yeah. What about hours on Red Shoes. Well Reggie always came in late and worked late. Oh one of those. Yeah. You didn't work that night you can only work till seven or eight maybe. But I mean it's really in the evening time off and you end yeah. And I was expected to stay come what may. Yeah. Yes. Did you get paid overtime. No. Yes we did. I think we did. Because we've put in the time sheet  aha. And say. . Yes. Yeah. Yeah. Well it Reggie was expensive. I wasn't in another way. You saved them. Yeah. I mean on Tales of Hoffman for instance he saved them a hell of a lot by not. Wanting a soundtrack shot on the floor. I'll tell you about that later on. Yeah. Can you remember how long Red Shoes was in the cutting room No I can't. I would say nine months really. I know it was a long time. Well it's a long time waiting for the special effects shots. Yes. And the paintings. Yes. Yes. It was a lovely film actually. Is it was really fun. I love it. Oh that's a very funny story. I've always been. I mean I'm not an adoring fan but I've always been a great fan of.Anton Walbrook. Oh yes. Yes. And now I'm Black Narcissus when Reggie Mickey was talking about the next film. And this is the thing about Mickey you always included you. And as I was in the cutting room with Reggie putting trims away or looking at stuff for him I was always included. And he said I've got Anton Walbrook to play the Iago character. And I said oh no he's my pinup to come the Red Shoes.  Mickey phoned up and I went out the phone and he said Noreen book a theatre for Anton Walbrook to see his test and come down and collect him from this desk. So I did this and I collected him and brought put him back. And I wouldn't. I went in the theater with him and I wouldn't put the glasses on. You hated it. This at the end of the. Test Walbrook said to me tell me my dear old do you think I look better. And I said I said the age I wanted him to know because at about 35 you see oh my god that is too young. And if we came out as it is you better take me back I'm lost. So it was taking him back down the corridor and to this day and we met Mickey and he said Mickey what do you think this young lady thinks and look about 35. If we have to do something and Mickey said oh don't take any notice of her. She's your biggest fan. She loves you. That's the age she won't accept that. But do you know in the rushes Anton Walbrook came and sat next to me every time and asked me what I thought. He never sat with Reggie. He never sat with Mickey he always came and sat next to it's quite embarrassing. Nice and easy. You know he announces that the two pages have been killed by dogs again even though it's my dog who were the only ones in the theater with it. It was very very funny. Then from Red Shoes to um well Mickey was at Worton Hall shooting Small Back Room. And he had engaged another editor on that because we were still finishing the Red Shoes. But this editor who was a I mean he came as if he and Ed came to work in Hollywood and cutting films sir he may well have done but he was suffering from shell shock. We used to take lots of tombs? home in his pockets and things like that. And even then he'd disappear a museum or something. Anyway it wasn't satisfactory and it makes you want to get it to finish it finished you know take it. So as soon as we had finished Red Shoes we went to Wharton Hall and took over so small that room and so and from there we continued with making Mickey at Shepperton. What what what year are we now. We're Small Back Room. I think it's about 40 small but in 48.  And then after small backroom elusive Pimpernel. Yes. Yes. Gone to Earth and back and then back on elusive Pimpernel. Again with Reggie. Yes. Yes. But at Shepparton at Shepparton. But once they were on their way shooting Gone to Earth they went to Shropshire so the rushes would come back no distinctly nothing sent them send them up there and Reggie was away on holiday and then he went up there and joined them. Did you have a cutting room up. No no no. He just went out I think you see as I say yes. Anyway it used to take about six weeks holiday Reggie. And whilst they were away shooting um Carol Reed came into the cutting room because he would doing The Third Man. And he said I've just been speaking your Noreen aren'y you I remember you. And he said oh and I've just been speaking to Mickey. He says bring your noteboook amd come in the theatre with me the Rushes as long as you look after them you can come and work with me. So I said is everything done today. I said yes. Well being in it and coming to, the theatre with me . So I went in and we ran one reel and I hadn't seen any of it. I hadn't been peeping or anything. I didn't know much about it. And he said. whenn so and so  her walks here cut and speak this line cut and it absolutely gave me all the directions everything to do. So that was my first cutting here. Was that one. What the Third Man. Oh really. Yes really. So you were you were in fact the cutter on that. No I wasn't the cutter. Ozzie Oswald cut. Was the editor I did and they had a lot of assistants Peter Tate and I was on it and he was cutting everybody seemed to be cutting on that because they were time to make for the Cannes Film Festival. It was. It appeared I mean it was absolute chaos. It appeared that everybody was cutting and nobody was filimng trims because everywhere. It was chaos. So anyway I worked on them and made those cuts and you're quite happy. And then he gave me the chase in the sewer to to work on and I worked with him on that and the night of this big fire you know they had a big fire. Yes. Well the night of that fire. I had make that real and the following reel in my room and I had taken them off the synchroniser and put them in the cabinet and locked locked the door because he told me to keep it carefully away from. All the others because it would ruin it. Mess it up all of them all trying to get at it. He was in a state Carol was. And so I put this all in the cabinet and locked the door. And of course I had this terrible fire and so many about seven reels went up in smoke which which wasn't fun. I mean you could they had dupes and they were able to match the picture but the sound negative had been cut which made it very difficult. So from then on my assistant and I that to organize all the rushes that came in synching them and trying to work out I was Mickey's stuff and Carol's stuff. Yes. Yes oh yes. I never worked so hard work day and night and the whole of the next day I went home at nine o'clock. Did it work. Did you get paid extra for working on Carol's or. She was it an arrangement between them. Yeah. Yeah. You know Carol's was a very old mate of mine. Man I loved. Oh yes he likes. To talk about him. Well I mean he was really quite a gentle soul and he um he didn't inspire me whilst I was working on that as much as Mickey did but that was probably because of the state that they were in it. I think it's an entirely different kind of personality. Oh yes. Carole is rather airy fairy. Yes he was. That's true. Mickey wasn't. Definitely not. Definitely not. But Mickey did make you make you use your mind. Yes. Yeah. Whereas Carol was using his own mind really all the time was full of uncertainties wasn't he. Yes I'm sure. And we had the Zither Man there. Yes. Anton Charisse and he was playing practically all through the night in the theatre strumming away. You know you could hear this down the corridor. And Carol was never certain about certain things you know that he'd go round asking everybody do you think that that shot will hold you know at the end where she walks right up the path. Yeah. past Joseph Cotton do you think that will How did the night of the premiere. He was in absolute state of nerves and I mean he made sure at least I do admire him. Anyways he made sure that that we got an invitation to the premiere. Thank you. My assistant and he introduced me to his wife and to Elizabeth Allen afterwards at the back of the theatre. And he said this is the girl who saved the two reels in the sewer because she locked them up. I think if he'd only got a low load of men in the cutting rooms and they will. David. David Eadie was one of them. I don't know. Don't you. Well he had. He was some Edith's son innocent man. Yes. They deliver. Yes that's right. And he had asked Carol if David Eadie could cut something in David. And he let David cut something and David went and threw all the trims away so it couldn't be altered. It did he took them out onto the dump to be burned. That sort of. That was the sort of thing that was going on. Anarchy. I'm trying to think who else was in the cutting rooms on that. I think they weren't all men except for Frankie and I and I cannot remember Frankie's surname But she was nice. Good assistant and her father was the head of one of the department at Shepperton anyway neither here nor there because she left the business. Yeah. Now. Now we go on to gun to us I think went back on to who. Well we finished Gone to Earth and they came back and then we went back onto Elusive Pimpernel shooting a few extra things and that worked out. Oh yes. Which we reshot or shot the extra scenes at British National. What else. Oh yes. Yes I did Korda take that for a time. Tell me I'm going to go down now. I don't know that. Anyway that's what we did and we're posting there. Meantime I  had a really good row with Mickey . Over there. Yeah. In the posting theater with all them all thePimpernell mob I was no better than that. Oh right right by the round. What was that about. I can't do that. I know it was demanding absolutely the earth and he couldn't get it. I couldn't give it and I slammed out of the theater can't remember what it was. I cannot remember what it was about but he didn't hold it against me. No. Well that's fine. Yeah. Yeah I guess it went on. And then after that we did Tales of Hoffman. Yes. Talk about that because that's an important film. Yes it is and that was one of the. It was a really exciting film to be on. And we did do the whole score first of all with Beecham. We did beach and first of all he played it. It did a score. Yeah. Just playing the piano and singing the parts himself. Yes. So we knew what it was all about. That was a lovely track. Then we then we did the whole. You know we recorded the whole thing the whole score here. We were shooting. We shot it in the silent stage. What do you have to play to playback  song onstage. It had been moved from Wharton Hall to Shepperton. Yes. We shot it to playback but we didn't record any sound. So you had you know you had to lip sync. Yes. Yes. We had a. Musician there called Fred Lewis who would give us the bars. Well I think singing started and the dialogue of the better and we would just sync for rushes we would see the master master showman and then the rest would be run silent songs. Why didn't you. And why didn't they shoot. I went on track with clappers to save money. I see I don't know how much they saved me mainly to save money. And of course Reggie said that he didn't need. To us to get it for the numbering in everything. Because you also had to go. After rushes you had to more try to find the spot for the close ups and number it so made it a little bit easier for him to cut. Yes. Number two the master track you had your own numbering machine then did you. No no no. There was no nothing. Well you number the master track. Yes. And then you would find the point where it synchs to you. I see. Lip Sync. Yes yes. And mark up and then have it have the picture numbered. I see. You know there is a numbering boy there. Think it could have been John Glenn. You know John Glenn. No I don't know what you mean. Numbering I. Really. Yes. And he I know he was there on a Third Man so I'm sure that he was still numbering. Yes it's going to stop you there. END END END

SPEAKER: M1
Noreen Ackland side two. You were talking about numbering on Tales of Hoffman. Yes track. Yeah. How did I make that clear. Yes that's good. Carry on. Carry on about. Tell it Hoffman in terms of Hoffman.
SPEAKER: F14
Um well it was quite a mixture of artists you know the singers. Yes. And the um actors and the dancers. And it was it was really very interesting. Well it was an exciting production that with Robby Bobby Helpman and Robert Brown as well. The singer. Yes. Because Bobby was always following him around you know. Yes. He was doing well Robert Rounsville  was always exercising his voice.
SPEAKER: M1
And they would run around the studio and Bobby Helpman would run off to coffee.
SPEAKER: F8
What else have I got to say about that. That went on for a long time because there again there were lots of tricks trick shots you know damn special effects and paintings. And we had this fuss with Korda at the end we're at work. Why was that.
SPEAKER: M13
I didn't think he I think it was a little too arty for him. The whole film. And he didn't think it would make money.
SPEAKER: F17
Really.
SPEAKER: F14
And there was a the epilogue at the end. I did tell this on television the epilogue at the end with Pamela Brown who plays part of the Luse had been painted in gold the whole of her body was painted in gold which you know can't stay on the skin too long. No no no. And she was speaking first time she actually spoke and she spoke her lines instead of singing them to Hoffman. And I was I not ever with you or something. It was it was beautifully spoken. It was very very moving and Korda wanted it cut dropped it didn't mean anything in this and it was not present this time. I mean he could placate people and it could certainly could. Could with Korda so he wasn't there. There was any Mickey Korda and myself even Reggie wasn't there one four six Piccadilly and Korda said it's got to go. It's got to cut they had this big argument is it in its final it's got to be cut.
SPEAKER: F8
I don't want it in and of course Mickey said he was that he had no taste. It was very rude to him and that's when Korda said you've gone too far. I shall make sure that you never make another film in this country. And of course he didn't for a long time. I say Yeah well they really were going at it hammer and tongs and I need a house. I didn't know whether to leave the room or not.
SPEAKER: M2
What was Emerich's reaction when he heard about that.
SPEAKER: F8
I don't know because I wasn't present. I think Mickey told him you know quiet on the phone or something.
SPEAKER: M1
Yes. Was it cut in the end. Oh yes really. Oh yes. Yeah. Wish I'd kept it. Yes because he was Korda'sas money. Yes. Got it. Mm hmm. So. So that was that. Mickey lost. Lost a lost work. Well he did really. I mean he didn't I didn't think he worked again. What was next when we did for him. What did you do after that after that. Tales of Hoffman you must be resting in between pictures.
SPEAKER: F23
Well I did rest a bit.
SPEAKER: F7
I filled in um I was helping out on dubbing Yeah and different films and I went to some I went with Charles Hassid?Oh I think yes on Black Orchid which was made at Walton on Thames.
SPEAKER: F23
Yes I read it. Well before that I went with Reggies to Elstree  Where's Charlie. Oh yes. That was fifty one stroke two.
SPEAKER: F8
So yes that was John Ray Bolger. Yes. You know the erm the musical of Charlie's Aunt and David Butler directed at me which you said you also then went up to Walton and then I went to Walton.
SPEAKER: M20
The only person we've only person we've really recorded his work to work to Walton was Peter Proud.
SPEAKER: M2
Oh yes. Yeah. And Michael Relph. I don't think anybody else would you record you to talk about Walton. They may have done but I'd forgotten what Walton on Thames. Yes.
SPEAKER: F17
What was the studios like to work in.
SPEAKER: M5
Oh wait a minute we shot live we shot this at Riverside and we dubbed it then Don Chappie and we dubbed it it we went down to the to dub it I'd say it was. Yeah I see so. So you cut it Riverside and presumably and can I think about this.
SPEAKER: M18
Yes. Yes I've got a feeling I've got the wrong thing. I think this was Black Orchid was at Riverside. Yes it was 1952 the year the Wealdstone train crash
SPEAKER: F17
Can you remember.
SPEAKER: M18
Well I think that's what it was and it was Jack Slade cutting and I worked with him on that and I think obviously we would have dubbed it there. Yeah. And the one I went to Walton on Thames with Charles on the Charles ? was some us off the Gutters of Gold.
SPEAKER: M19
That is a gold yeah which is about a girl who comes to London and is is caught up in prostitution Gutters of Gold. That's right.
SPEAKER: F8
Oh it was it was a nice little studio the dubbing this girl's got no doubt with nothing there but the dubbing was good everything was.
SPEAKER: M18
It was very happy little studio that I can't tell you much more than that.
SPEAKER: F17
Mm hmm.
SPEAKER: M18
And then and then I did a lot of dubbing things like Desparate Moment and tell us on the dubbing side of that what you became a dubbing editor. No I was dubbing assistant malta Story, You know what Sailors Are in Romeo and Juliet. And this was mainly with Wyn Rider. Oh yes oh yes yes there are. Yes. Right.
SPEAKER: M1
And Purple Plain that was another one I didn't sound. Did you enjoy doing that. No. No I hated it and hated dubbing.
SPEAKER: M5
Yes it is. It's not so very difficult. Yes it is.
SPEAKER: M13
You do you never feel so much a part of the unit as if you're making the film. Oh so you laid loads and loads of useless track tracks. Absolutely. So is that why you're doing it you feel you're wasting your time anyway. Don't you think I've got to do it in case they ask right. Because you don't have time when it comes to dubbing to go away and think about it again.
SPEAKER: M5
Did you say good. Magnetic hadn't come yet had it. I can't remember the year that that came.
SPEAKER: M2
Do you know that that night here. Might. Have. Some around about.
SPEAKER: F7
A summer round about 56 I was in I think yeah. Yeah. Yes. Do you turn out that way. Oh no I went with them. Jean Barker. Oh yes. Yes. On the Subway in the Sky. Yes. Too Young to Love that mountain.
SPEAKER: M5
What about working with women. Well it worked well with Jean. Yes. Yeah. She knew. Yeah. Yeah.
SPEAKER: F2
She was a very you know she. Some women you know would be difficult. Difficult. Yes. And very stupid. Not Superior Court. I can't think of domineering domineering Very much so I know it all cut you down to size all the time but Jean was a lovely person. And night. I enjoyed enjoyed my time with her. And there again I had to work very long hours. Yes very long.
SPEAKER: M2
Where was that.
SPEAKER: M3
Where it was Studio reworking that was Shepperton and then the next one was the British national capital there. Where were you living at this time.
SPEAKER: F3
I was living at Wealdstone and the journey was horrific. I mean if you worked after ten o'clock you had a car. Yes. To take you home.
SPEAKER: M4
But how did you get there. How do you. Got in. IWealdstone to Shepperton. But yes it was terrible journey I used to catch the bus to Harrow on the Hill station and the train through to Uxbridge and. Run nlike mad to Vine Street where the train would take you to.
SPEAKER: F3
West Drayton and then you'd catch a train through to to Staines and a bus from Staines to Shepperton. How long did that take two hours.
SPEAKER: M5
Oh it was a terrible starting at what time in the morning at eight thirty.
SPEAKER: F2
Well eight thirty. I mean most stop most mornings I didn't get it until 9:00 but even then but yeah. And then I always thought well I'll make up for it the other end. So when I put in for him overtime I'd take off the time. I had. You know had been late. I didn't diddle him God but it was it was a hell of a journey.
SPEAKER: M2
And then when you were working at British National. How did you get on that one. Well that wasn't quite so difficult.
SPEAKER: M6
No that wasn't so difficult. You go into No. I'd catch the bus to Edgware. The best for me to Wealdstone or more. No. That was good. That was all right. Bad.
SPEAKER: F2
Yeah. And then eventually of course and sometimes I'd get a lift to Shepperton sometimes when he. When he was working there I'd get it if with Sid Sturgis Oh you're the brother of yes right.
SPEAKER: F4
Yeah yeah yeah yeah. Is he still alive.
SPEAKER: M8
Hanging on. Yes. Oh yeah. I think he's I think he's got Parkinson's I'm not sure. Oh I think so. I think. Anyway.
SPEAKER: M9
Can I tell you a lot of things that Jean Barker is very nice and a lovely person to work with a Muriel Box of course she was directing.
SPEAKER: F5
Yeah she directed somebody in this guy ish and Too young to Know. That's what they did straight with her but I'm not sure. Oh Love is my Shame. Yeah.
SPEAKER: M2
Well what about Muriel. You working with Muriel Box fine.
SPEAKER: M4
Yeah yeah. She was very sympathetic. Amazing person. Amazing. She really was. Yes. Have you interviewed her. We did indeed.
SPEAKER: M8
Not long before she died. I said come on I went Oh dear. Have you read her book now. Oh.
SPEAKER: M7
Yes. She really was an amazing person.
SPEAKER: F7
Now I'm on the go. What next. Well Oh Rosalinda cropped up in 1955.
SPEAKER: F2
Yes that was making a weird cause. Making look in him. We did was that made Elstree a ABPC and them. They recorded all the track over in Vienna. I think in the opera house. I'm not sure. Anyway they recorded it out there. And you know. That was about 2 0 I and is that. Yes. Yes. That's right. Yes. And it was brought up to date. Modern Vienna. Yes. With all the Russians and the Americans and the British. And that was Ludmilla Tcherina. Yes. Anton Walbrook.
SPEAKER: M11
Much older. Still flattered to be admired and. Michael Redgrave and Anthony Quinn.( Possibly Quayle BEHP Ed) Yeah he was lovely. Yes. Who was the who was the editor. Reggie. Oh no.
SPEAKER: F2
Oh yes. Yes. And that was followed by a Battle of the River Plate. Which is again Reggie. Yes. And you and me. Yes. Yes. And that was an ? Dale And John Brabourne. Yes. They cut my cutting room a lot. My cutting room was next to Reggie's then. By that time. Yes. And he had them. They'd got another chap in there but he didn't.
SPEAKER: F9
Didn't like him. I think by that time he was acknowledging you know that he he was a queer.
SPEAKER: F5
Yes he is. He was coming out as they say now. Yes yes. The bones. Soon after that. Whilst I was on that I had a long illness I had gastroenteritis and then I was taken sick at Christmas and then I was away for a long time. It developed into other things and I was in hospital a long time.
SPEAKER: F10
So I had I was on six weeks half days and six weeks whole pay a six week half pay.
SPEAKER: F2
Yes I had all of that really. So they went they treated you well. Oh yes yes they did. And I came back right at the end as they were dubbing. Yes. And that was the year we got married to me. Yes after that. And you must have moved. Yes. I moved to Aston Park villsge in then shepherd Shepherd's Bush in Stamford Brook. Yes yes yes. So that and we had a car. Yes yes yes.
SPEAKER: F9
Well I had a car at it towards the end you know towards the end of obviously. Yes. Getting bit of money and could afford to get on with the debt help if you like.
SPEAKER: M12
After that what happened.
SPEAKER: F11
Um oh I know.
SPEAKER: F5
Fifty five fifty so probably fifty six. Reggie was  cut. Spanish Gardener I was his assistant on that that is in 55 Passionate Summer didn't really use  that that was Rudolph Cartier. These were. Oh yes yes.
SPEAKER: M5
And it took me about I mean nI knew Rudi quite well  well on television. Yeah.
SPEAKER: F11
What was your impression really.
SPEAKER: F2
Not really. Very haughty. Very important and yes very demanding very demanding. Oh it says here you were. It wasn't very inspiring.
SPEAKER: M8
No would never take no for an answer.
SPEAKER: F5
Oh I do now on that Reggie had a heart attack and I had to finish it. But the producer I think I think really rude if Rudolph Cartier had to go back to BBC and the god the producer was a Norwegian.
SPEAKER: M8
Oh the film was again Passionate Summer professional.
SPEAKER: F13
Now I can't help thinking about it last night because he was regarded in Norway as a quisling.
SPEAKER: M14
Anyway he he and I finished it between us here. He came into the with him. And he didn't come into the cutting room but he came into the set. Yes. He gave me notes and we finished off between us.
SPEAKER: F5
So that was Passionate Summer. And then there was Windom's Way. Which was Ronnie Neame. Oh yes. That was the only as well. Pinewood run it.
SPEAKER: M5
It was cutting. Reggie He came back. Come back. Yes come back. I got over it. Then after. Working with Ronnie. Yes that was that was okay. Reggie got on well with him. I mean really that he is a technicians. Yes.
SPEAKER: F5
Oh yes yes yes yes yes. And that was Peter Finch. And Mary Ure  after that.
SPEAKER: F6
Let me see the dates we went to.
SPEAKER: F5
I must have done some more dubbing in between because the next thing I've got down here is Blind Date. Jo Losey directing yet at Beaconsfield. Yes. And Reggie was cutting that of course.
SPEAKER: F9
Now you have talked about working with Losey when he was not.
SPEAKER: M5
No I didn't like him. He's not the easiest of people to get.
SPEAKER: M7
I didn't like him at all. He wasn't he wasn't easy.
SPEAKER: F15
No he was very you know if you were an assistant you were an assistant to you really. Oh yes. You didn't You didn't you took no truck.
SPEAKER: M12
No. No. Very much. I mean you felt you had to call him Mr Losey. No not that I did do that without you. No I didn't like working with him. Didn't I get that ready never. Well I didn't go with I wasn't with Reggie anymore after that because I had the phone call from Mickey to do Peeping Tom.
SPEAKER: F2
Oh that's so defied it. Yes.
SPEAKER: M11
That's that's that's that's sure that's it. Fifty nine fifty nine. LESTER Yes because it wasn't a surprise.
SPEAKER: F2
Oh yes. Right out of the blue. I didn't even know that he was thinking about a film.
SPEAKER: M12
Did your feet touch the ground. Well I was in bed so no they didn't.
SPEAKER: M7
Know we were in bed it was about half past eleven we'd gone to bed. I think I'd gone to sleep. My phone rang. Fortunately it was beside the be on my side of course because Dick wouldn'y have it his side. It was Mickey. This high pitched voice HELLO DARLING.
SPEAKER: F4
Right.
SPEAKER: M7
How would you like to cut my next film. Oh good God. Are you making. What is it. Tell me a little bit about it. Well if you're willing to try so am I..
SPEAKER: M8
Where was that made.
SPEAKER: F13
That was made at Pinewood and I mean even in there the phone he he said How much do you want. How much will you would be asking this.
SPEAKER: F8
I said I'd never cut a film before.
SPEAKER: M7
I think I'd better take the minimum amount and I can prove it. Minimum then was about twenty eight pounds fifty twenty eight pounds ten. So he said Oh I think we'll get bit more than that sir. So make it two forty five he said. So I said no. Split the difference. We make it thirty five until I know that I can do it. So that's what I cut. Peeping Tom for forty five. Then talk about it. Talk about it. Oh I love it. I mean it was obvious it everybody says it was 16 and it was nasty films shouldn't be made. Nobody said that. But I didn't I didn't think on those lines. No I suppose because it was it was a film to cut.
SPEAKER: M11
Yes yes. Did you learn from it.
SPEAKER: F13
Oh yes yes. I learnt that I could cut and that I had got a good sense of timing. Yes. I didn't know that very much about construction. I don't know very much yet what he's done that inherent. Yes I think it is.
SPEAKER: M5
I mean no you can do it or you can't do it. I mean if you like you can refine it. Yes but that's about it.
SPEAKER: M15
No. Yeah. Well when I say construction I mean. Switching sequences of that and all that. Yes yes I did find that I could cut a film and give it rhythm and satisfy the director.
SPEAKER: M8
Yes. Was Mickey encouraging all the time. Yeah.
SPEAKER: F15
Oh yes yes it was. And. The first sequence I showed him he was very pleased with it. He said Oh I like that cut. Oh it works very well.
SPEAKER: M15
You know as you just kind of came up here saying something whether it was to give me confidence and I did it. Yes. And then finally we ran the whole film at the end of shooting and we got to about the fourth reel.
SPEAKER: F15
And he didn't come and sit with me. He sat the other side and I sat on this side. This is in the big theatre. And that's real for he came across the gangway and kissed me on the cheek.STOP WORRYING darling you're all right. You know what you're doing.
SPEAKER: M15
Which was a it was a lovely thing to do wasn't it. You know it does give you confidence. Who did you have for an assistant. I had Alma Godfrey who had not been a first assistant before but she was very good and. You know really great support and that to me. Yes. Really. Yeah. You're a rather nice. Yes. Lovely. And we had the chap who eventually went with the Reggie John.
SPEAKER: M16
His father had some cutting rooms in Cherrill. No not Roger Cherrill. No he was an assistant. And then became an editor at Pinewood. JOHN.
SPEAKER: M15
FATHER had this block of cutting rooms in. Queen Anne's passage. Yes yes. Oh. Yes yes yes yes. I think we've done very well. So it was the second assistant.
SPEAKER: M8
And how long.
SPEAKER: F13
How long was the cutting period on that. It was about the same time as the shooting. What six weeks. Yes. No I think the shooting was a bit long. But eight eight weeks. So the cutting. Yes about the same. No it didn't take too long. Did you have a dubbing editor. Yes I had oh Malcolm Cook.
SPEAKER: M14
Because he had dubbed Blind Date. So I got him yet and then  and Jimmie Shields as Malcolm was too busy and he was tied up.
SPEAKER: M8
Now what is that what about Queen's Guard.
SPEAKER: F13
Oh that was a mess. Well I was there because they didn't they didn't have a script to start with. What he did was he went with this the guards on an exercise to the desert. Apparently. They were parachuting into a desert and he shot the whole of this exercise which came back to Pinewood and I looked after it and using that and using it was going to shoot the cover the whole of the trooping of the colour.
SPEAKER: M14
He engaged scriptwriter who had never written for a film before in fact. Well you might know him Roger Milner I know of him you know of him. Well I don't think he'd written very much as any I'm sure but he certainly didn't know much about films. He engaged him to write a script because he'd split with Emmerich which was a shame.
SPEAKER: F13
He should've got Emmerich in and he was literally writing the next day's shooting the night before and giggling about it. I mean it was just a great big joke to him. Back to the bad old days. Yes absolutely. And this was for Fox which was it a big budget. Well I couldn't tell about the budget but I would say that it was quite big because he had some good stars in. He and Raymond Massey and Dan Massey father and son.
SPEAKER: M14
Yeah yeah. And Robert Stevens. Mind you they were quite  they weren't big stars. Raymond Massey was an Evelyn Laye and her husband Frank.
SPEAKER: F11
No Jack no smoking son Jack Watson.
SPEAKER: F16
Yes.
SPEAKER: M15
No. Yes I know. You mean here. Yes yes. Tick tock tick tock tick. You know I mean I know you mean.
SPEAKER: F15
Yes they were big stars but you know it got good. Elizabeth Shepard anyway it was a mess and it finished up at two and a half three hours in length and scorers was I think caressing the hand he said except Mickey sent him off the picture when he first saw the cut. He sat down and said it's no good we can't make anything out of it. He said the whole of the cutting room only.
SPEAKER: F13
On top know what was on it didn't end up like not yet Simon Harcourt was representing Fox down the studio. So he sacked us give us fortnight notice at the end of the fortnight they rescinded the notice said they keep us on for another fortnight and we were I was making a few changes that Mickey had sent to me from the south of France. And he was phoning it saying any use any news is almost at a standstill and it was the time of Caesar and Cleopatra and Russ and Elizabeth Taylor was in hospital. So Russ Lloyd was also on the payroll. So I said Would you mind if he looked at it. If he could crush fresh ideas you know. Well he hadn't any ideas but he did come in and he did sort out the end the fight on the beat.
SPEAKER: F18
He took that over to do that and he did a good job on that score.
SPEAKER: M17
I said if you've got any suggestions to me and I said yes bring the director back he hasn't had a chance.
SPEAKER: F19
He's only seen it through the once at the end of the cutting. You had a chance to work on it as a as a film. So they sent for Mickey and he came back and they they rescinded our notice again and that's how we finished it. Oh it was a nightmare. And that's why I you know I hadn't really had enough experience.
SPEAKER: F18
I do realize that now to cope with a film that had been shot like that.
SPEAKER: F19
In that manner with hardly anything connecting each sequence and so many different different sequences you know to reconstruct the story.
SPEAKER: M8
In other words what were Fox satisfied in the end.
SPEAKER: M12
Not really. Well I don't know they put it out but I I did find very good notice in what's on what's on magazines.
SPEAKER: F19
But no I don't think so. But there again you see Mickey did himself an injustice. Yes.
SPEAKER: F18
By working in that moment and not getting it back I think.
SPEAKER: M4
Why did they split up. What was the reason.
SPEAKER: F18
No. I never knew. I never really knew it.
SPEAKER: F4
Oh they did another film  the film didn't they it. Ill met by Moonlight.
SPEAKER: F19
That's where they split up. Mickey directed it.Emerich produced it. Reggie didn't cut it. Reggie had split by that time. Arthur Steven do know Steven as he cut it. Yeah. And Mickey asked me if I would come in on the dubbing. Wouldn't mind what they did have a dubbing Ed wasn't the dubbing Ed again. I said. I said I wouldn't be the dubbing editor because I so hated it but I didn't mind going in and doing. Footsteps or something just so that he'd go to.
SPEAKER: M17
A friendly face in the cutting room and say that's what I did. And what I always remember that film because I was working Christmas Eve right up until six o'clock. Everybody else had gone home and Mickey came in the cutting room and said well you be ready for the Boxing Day and not the day after Boxing.
SPEAKER: M10
Well that was a bit thick on Christmas.
SPEAKER: M3
Yes. So that was that was that then after Queen's Guards. What did I say to him. Well I've got  Girl in the Boat on the boat. That's right Girl on the Boat that was with Norman Wisdom and John Bryan.
SPEAKER: F9
Oh yeah.
SPEAKER: F19
How Henry Kaplan and a Canadian  that went very well.
SPEAKER: M17
But there again you see it wasn't Norman Wisdom normal film. No it didn't it didn't. Didn't do that. That was made at Pinewood. No  that was made at Shepperton.
SPEAKER: M4
It's quite fun to be on. Yes John Bryan is a producer. Yes he was good. I knew him as an art director yet. But he did become a producer right. Yes.
SPEAKER: F2
With Ronnie Neame normally yes. And Kurt's cut a lot of his films. That's right. Yeah. But he was quite you know he was quite happy with what I did. Yes. And if he'd gone on to make another one immediately afterwards it probably would have gone on with him.
SPEAKER: M3
Have you got anything else. The Password is Courage. That's right. That was with some 62. That was Andrew and Virginia Stone.
SPEAKER: M17
Oh yes. Which was so interesting. Interesting because we didn't cut nearly all of it. I did a bit but I mean she's always done the cutting.
SPEAKER: F11
I see.
SPEAKER: F13
That was pitiful really I should've stayed with them.
SPEAKER: F10
I just I just loved working and I loved working on film.
SPEAKER: M3
Yes. So I didn't mind really what I did. Yes. Were you paid as an agent. Oh yes. Yes. Yes I suppose that's so. Well yes but then the next one I've got. Never put it in Writing.
SPEAKER: M6
That's right. That was Pat Boone. That was the Stones again.
SPEAKER: F8
And you're of the dangers to her don't put in writing. I did a little bit of cutting on that but not a lot.
SPEAKER: M17
Do you see don't you let me clutched it to her. I got on all right. Yes. But she would never let me. So that I could do anything very much except be a good assistant and then the followed that I mean something and forward the Secret of my Success. That was the next one. And again the Stones. Yes. Yes then. And then after that I've got Danny the Dragon. Yes. Oh that was lovely. I enjoyed that. Was that a children's film. Yes it is doing children's film foundation. And it was 10 episodes of Serial. Who directed that Pennington Richards. Oh yes. Yes. And Frank Godwin was the producer. And that was done in Hereford. Oh yeah. And Hereford Steve it was. ??? It was a cameraman. That's right. Yes yes yes. I enjoyed working with him.
SPEAKER: F10
He said he said to me you make a change from he'd always I believe.
SPEAKER: F2
Well it had don't lose weight. Yes. I didn't if it had him once or twice but that was his last.
SPEAKER: M17
Ed was building three and he said Well I'm working with you said you're always enthusiastic he said and you try anything for me which is no this isn't a co- operative. Yes.
SPEAKER: M11
And working on children's films did do music use it any different techniques at all. Was it.
SPEAKER: F2
Oh no. No. All the same. Yeah. And it was. I mean it was the minimum. Yes. Because it was you know they were it non-profit and almost non-profit. Yes. And I mean the Henry Geddes was very very pleased with it.
SPEAKER: M8
Yes I remember.
SPEAKER: M5
I knew I knew him in the RAF film unit. He was in the RAF film unit. Yes closely. I think he was RAF.
SPEAKER: F10
No that was that was a lot of fun that it was it a it was a happy unit I had Charlie I had a young man assistant who went to Canada somebody from time I cannot remember his surname how awful.
SPEAKER: M18
And then that was all done at Hereford then Some kind of Hero.
SPEAKER: F13
Oh gosh yes I'd forgotten about that. That was with Marvin Marvin Lichter who was a stills man. And. He'd made a lot of money with his stills. He was an American. And Malcolm Cook had cut had been the editor on it but he was left to go on to another film and asked me if I take it over which I did and you know there again got on well with Marvin but it never made very much. I don't even know if it came out in a cinema really and.
SPEAKER: M8
Then there seems to be a gap.
SPEAKER: F20
Yes I think so. I know. After that I went on to work a bit later on I went on to The Prisoner. Oh yes I think I did a few dubbing jobs that I didn't know the date so them I was I went on Nicholas and Alexandra again with them when Wyn Rider who was dubbing it and I went on this as a second dubbing editor.
SPEAKER: M19
Foosteps again yes.  
SPEAKER: M5
So then onto then onto television series The Prisoner Prisoner.
SPEAKER: F20
What hasn't that as editor as editor that cut to the cowboy one which was where would those work where were you MGMOh and Password is Courage was empty all Stone's films were. Yeah.
SPEAKER: F16
And this was MGM almost as it was closing at the very last episode of The Prisoner I did two at the end. And what else. I think after that I almost gave up I went to. This was partly because I'd go to my parents were getting old. Yeah. And my mother was and got Alzheimer's. So I was helping out there a lot and so I wasn't. I was.
SPEAKER: M9
No longer interested in getting work where I had to work on a day every day. I wanted somewhere where I could work four days a week and spend a day with them. And I was I was called over to. I got a call from Mary Kessel who was at Visnews asking if I would go there and help out on something which I did with Clinton to Jim Sibley was cutting the singer is there and they wanted another editor who is the man whom the name.
SPEAKER: F9
The man who designed an aeroplane.
SPEAKER: F12
Yes son was in it to begin with AK Oh he was there was what.
SPEAKER: F2
No no no. That's right. not Barnes Wallace. Not only Dick would walk in kiddo Kidwell anyway. Doesn't that have worked for him. And that was very successful. I was there for some time and they let me work just four days. I really think yes. And that's nice and handy was Acton. Yes it was good. And then I went back once or twice and other things. And finally I went back as an assistant. You know I really it was just a question of liking to handle film. Yes. Getting the smell. Yes that's right. Yes. I know wanting to I had to spend so much time at home.
SPEAKER: F9
Yes. Yes. So. Fizzled out. Yes. But it was great while it lasted I tell you. So that is the end.
SPEAKER: M19
No it isn't. No. No.
SPEAKER: M20
You want to talk a little bit about the specials. Mickey's making Mickey Powell specials. You did presumably you said you assembled now on screen participants. That was right. Oh yes Mickey. This is in 1992 presumably after Mickey tells. Yes.
SPEAKER: M7
Oh you mean when I was interviewed. That's right yeah. Oh yes. Yes you enjoy that. Yes I suppose I did really. Yes I did. That 40 minutes he went on amd on and on   he's there to show. Oh. I did enjoy it because it makes you remember things.
SPEAKER: F2
Oh yeah. Any regrets. I regret that I hadn't more confidence at the start. All the way through really. Although I think I could have been a little bit more pushy. For instance Mickey wanted me to go to Hollywood on the Queen's Guard to go out there with it.
SPEAKER: F16
If I had pushed I could have gone and I didn't because I because I'm I'm a real scaredy cat.
SPEAKER: M21
I was scared. Well that's out of date. Come with me. Yes. So yes.
SPEAKER: M5
I regret not looking back would you it was looking back would you is you started again would you want to change.
SPEAKER: M7
I didn't think so. No.
SPEAKER: F15
I've had a very happy time in the film business and I think I was extremely lucky. Didn't you hear that.
SPEAKER: M21
Yeah I mean it all came out of you by accident. Yes. And it was just because I was. In the right place at the right. Right. Yes I suppose so. Yes. And I thought with the right people. Yes. I used to get mad with Reggie sometimes. You know he never even gave me he gave me an hour off before my weding to go to rush up to London and get a hat. It really was a car going up to town and he kept that car waiting . END END END

Biographical

Left school at 18 went to work for Kodak in offices. Called up to Army 1942 into Paycorp.The transferred to Army Kinema Services as assistant under Sergeant Tilly Day working alongside A A Englander and Freddie Young. Demobbed in 1946 went to Denham Labs as a Negative Cutter. Had previously joined the Union ACT in 1943. Then long career working as asst to Reginald Milsl on the films of Powell & Pressburger. On the Red Shoes as Assembly Cutter where Anne V Coates was also asst.For the Third Man film she edited the sewer sequence and was credited under her married name Noreen Best married to Richard Best (#8). Dubbing asst on The Malta Story. Asked by Michael Powell to edit her first film Peeping Tom in 1959 at £35 per week. To Television as Editor on the series The Prisoner. Appeared and edited a special on Michael Powell in 1992.