The latest batch of History Project interviews uploaded to our website this month include:
Interview number 532 Peter Graham Scott Peter was an film producer, film director and screenwriter. One of the producers and directors who shaped British television drama in its formative years, He was a key figure in television drama in the seventies and eighties and was responsible for top rating series including The Avengers, Mogul, The Troubleshooters, and, most successfully, The Onedin Line, which ran for 9 years. He was much admired by fellow directors as well as actors and was renowned for his film editing skills, which he had honed in the forties while working for J Arthur Rank on films such as Brighton Rock.
In April and May 2017 the National Film Theatre is running a season of films under the heading'Girls Like Us: British Women and WWII Cinema'. There are some real treasures here. Some of the April titles – Went the Day Well?, Millions Like Us, In Which We Serve – are relatively well-known. But – to my enduring shame, I’m sure - I have never seen Demi-Paradise, or The Gentle Sex, or Unpublished Story. I can’t wait.
The British Entertainment History Project celebrated the 30th Anniversary of the recording its first interview with DoP Eric Cross on March 6th 1987. Guest of honour was Roy Fowler who founded the ACCT History Project all those years ago. Roy celebrates his 90th birthday today - the 10th March 2017.
This month – March 2017 – the National Film Theatre is showcasing Ken Russell’s 1971 production of The Boy Friend, focusing in particular on the production design and costume design that gave it its particular 1920s/1960s crossover look.
The Boy Friend sits right in the middle of Russell’s purple patch, stretching from the mid-60s to the mid-70s, when he produced much of his most enduring work. In the early 1960s he was in television, producing idiosyncratic documentaries, including several on composers – Bartok, Debussy, Prokoviev - for the BBC ‘Monitor’ series. From 1967 he moved into film with Billion Dollar Brain, followed in 1969 by Women In Love which won him an Oscar nomination, and Glenda Jackson an Oscar.
In February 2017 the National Film Theatre (NFT) has been screening Robert Hamer’s 1947 classic It Always Rains On Sunday – a dark and complex domestic thriller from Ealing Studios, from a time before it became overwhelmingly associated with ‘Ealing Comedies’. (The first ‘Ealing Comedy’, Hue and Cry, was in fact produced in the same year).
It Always Rains On Sunday stars Googie Withers in perhaps her finest role. In a bleak portrayal of post-war East End working class life, she plays Rose, a woman with a past, forced to choose between a decent but unexciting husband and family, and a glamorous but dangerous old flame who turns up out of the blue, on the run from the law. I won’t say more: if you haven’t seen it, you’re in for a morally-compromised treat.
On 14 December 2016 the History Project screened our documentary, Women in West London Film Laboratories. The documentary is of particular interest to members because it draws upon interviews from the History Project collection, as well as archival footage and interviews we conducted. For those who weren't at the meeting here is a link. Do let us have your comments.
WOMEN IN WEST LONDON FILM LABORATORIES, 1960-2000 (ANDREW DAWSON AND SEAN P. HOLMES, 2016) 39 minutes
Women in West London Film Laboratories documents the bittersweet experience of women in West London film laboratories. It is the first and might be the last attempt to visually record the lives of lab women.
Bill Aitken from BBC Radio Oxford has produced a documentary about one of our interviewees, BBC producer, Bernie Andrews, who broadcast every major UK rock band before they were famous. The documentary makes extensive use of our HP interviews, as much of the programme is built around our two interviews with Bernie Andrews, conducted by Mike Dick.
Some tasters from BBC Radio Oxford’s forthcoming documentary about Bernie Andrews, one of the most influential radio producers of the 20th Century:
FROM START TO FINISH - FROM A TECHNICAL POINT OF VIEW
Thanks to Ian Noah, Alison and others, there is quite a comprehensive guide to the Workflow needed when undertaking an interview for the History Project. I thought it would be good to set out below my experience of filming interviews for the History Project, through editing to archiving and uploading to the web. The process probably throws up more questions than answers but I thought it would be a good exercise and a starting point for other people to contribute their knowledge . I don’t pretend to know all the technical language. Some of the procedures I have undertaken a certain way I have done because I have been advised it is the best way..