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  1. #81
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    Part Eight:












  2. #82
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    Part Nine:



  3. #83
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    Part Ten:

    Pictured: Staff Lighting Technician, Johnny Swan





    In conclusion, from the editor of "Daily Cinema":



  4. #84
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    PINEWOOD REPORTING......I'd forgotten I had these, another memento of working at Pinewood during its golden years. These were circulated among the employees, news of activities going on at the studio during the late '60's and early '70's:


  5. #85
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    One of the first productions that utilized the new L and M stages, around August, 1969, was "Tam-Lin". After my debut as a trainee boom assistant on "Up She Goes" (aka "From A Bird's Eye View") on J and K stages, I was assigned to work on this production with the sound crew which consisted of Bill Daniels, production mixer, and Gus Lloyd, boom operator. The production had just returned from its Scottish location. "(The Ballad of)Tam-Lin"(also known as "Games and Toys" and, later, as "Devil's Widow") was actor Roddy McDowall's debut as a director. He had a talented cast and crew to back him up. Among them was lighting cameraman Billy Williams, fresh from Ken Russell's "Women in Love" and his camera operator was the late David Harcourt.
    Being reasonably fresh in the business it was quite an experience working amongst such famous people as Ava Gardner and Ian McShane but it was surprising how easy it was getting used to it, particularly as everyone was so nice.

    I recall on occasions I was standing in the wrong place at the wrong time. I was gathering up cables and Roddy asked me to leave the stage as he wanted a private rehearsal with his actors. On another occasion, without realizing it I was standing in Ian McShane's eyeline and he called over to me to move.

    I was warned by the sound crew, for whatever reason, not to stare or speak to Ava. I had no contact with her until the morning after the end-of-production party. During the party somebody mixed some whiskey in my champagne and I became violently sick. The morning after I found myself talking with Ava, on her last day, and I told her what happened and she warned me of the perils of mixing drinks. She came across as a very sweet easy-going person and I regret that I had not spoken to her when I had the opportunity earlier.
    We were filming in the gardens on another occasion and Ian was relaxing surrounded by several cables I was gathering. He had with him a posh audio cassette player which was playing the Beatles' latest release, 'Abbey Road'. Ian sternly warned me to be careful not to damage his player with the cables I was gathering. The cables were thick and heavy which ran from the sound mixer to the Panavision camera. Regardless of this he was very pleasant to work with.

    On several occasions I had to operate a microphone on the end of a pole. When the boom operator is operating a Fisher boom sometimes he cannot reach an actors' dialog if they are situated far apart from one another, so it is necessary to have a second microphone situated out of camera range to pick up the actor's lines. Normally I would either be 'tracking' the boom which was on wheels, moving it to previously assigned positions, being careful not to collide with the camera dolly, or holding the camera cables as it tracked from one position to another to avoid getting them trapped underneath its wheels.

    After we had vacated L and M, I think "The Persuaders" moved in for the duration of its shooting schedule.

    Unfortunately "Tam Lin" did not see a proper release for several years as the releasing company, Commonwealth United, ran into financial difficulties.

    A few years after the film's completion Roddy McDowall returned to Pinewood to oversee a re-cut of the film. A scene that was affected was an exterior scene, in Scotland, between Ian and Stephanie Beacham. The scene was re-cut and reduced to a series of overlapping freeze frames. I personally thought this spoiled, what was otherwise a beautifully photographed and atmospheric scene.

    The film eventually got a release and as far as I know was not particularly successful and Roddy did not direct again.

    I returned to L and M stages in 1976 to work on series two of "Space 1999" in the capacity of second assistant editor.

  6. #86
    Senior Member Country: Lithuania Cooper S's Avatar
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    Thanks for those memories Stephen - a really interesting post. But can you add some more memories of your time on Space:1999 ? For example, can you recall any of the staff you worked with and were you aware of any of the problems the show faced in trying to please contradictory demands from the American arm of ITC ?

  7. #87
    Senior Member Country: England harryfielder's Avatar
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    "Space: 1999" (7 episodes ) 1.The AB Chrysalis (19 November 1976) - Medic (uncredited)
    2.Catacombs of the Moon (26 November 1976) - Security Guard (uncredited)
    3.The Beta Cloud (17 December 1976) - Gerry
    4.The Lambda Factor (24 December 1976) - Command Center Technician (uncredited)
    5.The Seance Spectre (18 August 1977) - Security Guard (uncredited)
    6.The Immunity Syndrome (8 September 1977) - Survey Team Member (uncredited)
    7.The Dorcons (5 November 1977) - Medic
    http://www.harryfielder.co.uk

  8. #88
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    Quote Originally Posted by Cooper S View Post
    Thanks for those memories Stephen - a really interesting post. But can you add some more memories of your time on Space:1999 ? For example, can you recall any of the staff you worked with and were you aware of any of the problems the show faced in trying to please contradictory demands from the American arm of ITC ?
    Not an easy question to answer, Cooper S, but I will try to come up with some memories of working with the Anderson company.

  9. #89
    Senior Member Country: Lithuania Cooper S's Avatar
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    Thanks Stephen, will look forward to hearing more - just a shame it wasn't the first season you worked on though !

  10. #90
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    After the completion of "Tam-Lin", in October, 1969, I was moved into Theatre 5, Pinewood's dialog and sound effects/footsteps recording facility. I stayed there for four years. I could have stayed longer but I was getting restless. I was in a rut and felt my career was at a standstill. I had an ambition to move over into the cutting rooms. I knew a lot of picture and sound editors. Despite being in the same union, ACTT, I hit an obstacle. Most of the editors had their own assistants and it was next to impossible to get a job. Regardless, I did get one opportunity but I did not feel comfortable with the editor concerned and what was required to get the job!

    An editor suggested I should try getting into a small post production company, in London, where there were plentiful, and try to get a trainee position. Soon afterwards I struck lucky and was offered a position at De Lane Lea in Wardour Street, working for Roy Taylor, who was Peter Taylor's brother (editor of "Bridge on the River Kwai"). This was in early 1974. I handed in my notice and said farewell to Pinewood.

    About just over a year later in late 1975 I finally got a break as a second assistant editor on a feature film. The film was "Trial by Combat" (aka "Choice of Weapons") directed by ex-editor Kevin Connor. We, the editing crew were based in a house not far from Samuelson's Film Services in Cricklewood Broadway for the duration of the shoot. The editor was Willy Kemplen, son of famous editor Ralph. Willy was an assistant, with Ray Lovejoy ("2001") on "Lawrence of Arabia".
    Willy was a motorcycle enthusiast and I had to hitch a ride with him and the dailies, for several days, to the castle location (I've forgotten where it was).

    At the end of the shoot Willy left the production and Kevin Connor along with Barry Peters completed the film in some offices in Dean Street, London.

    It was not long after I had finished on this film that I got a call from first assistant Roy Helmrich. He asked me if I was interested in working on a tv series at Pinewood, called "Space 1999". ITC decided to go ahead with a series two starting in January, 1976. Series one had just completed at Pinewood, in 1975.

    I started on Monday, January 19th.



    The film library building, situated at the rear of the studio close to L and M stages, had apparently been vacated and the two floors were turned into cutting rooms. I had a tiny room on the second floor at the far end closest to L and M, my door opened out onto an iron staircase. All the visitors to the upstairs floor cutting rooms had to pass through my room to access the corridor to the second floor.

    My main job was to synchronize the dailies, which was the main unit which always had sound. There was also a special effects crew, headed by Brian Johnson and Nick Allder, working out of Bray Studios. After the 'dailies' or 'rushes' had been screened and been given the okay, they had to 'rubber numbered'. This is a method in which identifying numbers (usually slate, take and footage) are printed on the edge of the film, at one foot intervals, starting at the clapper start mark, in black ink, also on the corresponding magnetic soundtrack. Once the editor receives the material the head slate is removed and the remaining material is edited into the reels. The picture and sound pieces can be matched up more or less instantly by matching the 'rubber' or 'moy' numbers.

    Once I had finished numbering I would break the film into individual takes. (In the UK film industry the film unit start from slate '1'. In the US they use the scene number from day one).I would also have to keep a log book with a record of all the slates plus a personal note book. (see example below)



    To be continued.....

  11. #91
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    The series had two main editors, Mike Campbell and Alan Killick.

    When I first started I knew very little about the series, I had hardly watched any episodes from the first year. I recall what I was told is that Barry Morse would not be in the cast and there would be a new producer, an American, Fred Frieberger.(For some reason Sylvia Anderson was not involved and never recall seeing her). The impression I got was that Frieberger was present to bolster the image of the series for American audiences. The paperback novel by Tim Heald, "The Making of Space 1999" includes a brutally frank letter to Gerry Anderson (page #97), and told him what he thought of the series so far and what he hoped to plan for series two. I recommend anybody interested enough, to obtain this paperback as I have seen it available on e-bay.



    The cutting room staff would rarely go to the set, but we frequently got visitors from the set all who would pass through my room. I recall I got to know Charles Crichton very well. A really nice gentleman who would always remember my name when saying hello.

    David Lane, whose name I was familiar with from the puppet series, was I person I was looking forward to meeting and I got to know him very well as he was heavily involved, a liaison, between the shooting units and the cutting rooms.

    Other people I got to know quite well were Reg Hill, production executive, Frank Sherwin Green, associate producer, who officially hired and fired me!

    On one occasion when I caught the Jack Crump coach to Uxbridge, I found myself in the company of one of the attractive cast members Zienia Merton, who played Sandra Benes, and remained in her company on the tube train journey through to my destination at Rayner's Lane.

    Throughout the duration of the series I don't recall meeting Gerry Anderson, although I have his signature at the front of the paperback, but I don't know if its genuine or that it is in every copy!
    I had one brief conversation with Martin Landau when he was on his way to rushes and he was very pleasant.
    As time went on we added more cutting room staff. We had a music editor Alan Willis, who had been on the first series. I told Alan that I regret that composer Barry Gray was not hired for the second series (up to then Gray had composed the music for all of Gerry Anderson's TV series and feature films). Alan gave me Barry Gray's address in Guernsey, and was surprised to receive a wonderful letter in return.



    His replacement Derek Wadsworth did a splendid job with the theme and I got to know him very well, he had a room on the ground floor below me. A lot of the cutting room staff that were hired I had previously met when I worked in Theatre Five.
    I did get to go on the sound stage often to watch shooting. On many days my daily duties were over quite early and I found myself with quite a bit of free time to wander around the studio, although I would report back frequently in case I was needed.

    Other productions going on at the time were "Spy Who Loved Me", "New Avengers" and Disney's "Candleshoe". I was fortunate one day to run into Jodie Foster. She had been to Pinewood the previous year on "Bugsy Malone". I had a fall in Uxbridge and scraped my hands and had them covered in bandages. One morning I was walking between the stages to work and all of a sudden a voice from behind asked me what I'd done with my hands. I turned around and it was Jodie. I got to know her fairly well during her stay and even had lunch with her in the executive restaurant! She was a wonderful, sweet person and she would sign anything I gave to her without complaint. I was also fortunate to have a picture taken with her.



    My last day on "Space 1999" was on Friday, 17th December 1976.



    Not long after the start of 1977 I got a call from assistant editor Rita Burgess to join her on a project "People that Time Forgot" which would be directed by Kevin Connor and once again I would return to Pinewood Studios.



    In the next few days I will try to identify as many people as I can in the two crew pictures above.

  12. #92
    Senior Member Country: Lithuania Cooper S's Avatar
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    That's brilliant Stephen - what a great account of your work, and the photographs and supporting letters are an additional bonus (particularly the lovely one from Barry Gray). Would you mind if I were to link these posts to a couple of Gerry Anderson related forums ?

    I also have a copy of the excellent Tim Heald book - but mine is unsigned, so Gerry must have had his hands on your copy at some point.

    Will have another look through your posts later to see if I can think of any further questions about your work on the show.
    Last edited by Cooper S; 06-10-13 at 08:00 AM.

  13. #93
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    I was trying to find from my day-by-day records of UK film releases during the 1960s and 1970s the ultimate public presentations of Tam Lin but owing to its multi-name transformations a bit difficult to track for the time being. I'm really trying to find an ad with even just one theatre name on it.

    In the meantime, here's a photo of the team of Tam Lin in Central London. No photos of anything at Pinewood just yet, but on the same site Ava Gardner is featured 'backstage' at Pinewood while making 'Pandora'.

    http://www.mirrorpix.com/webgate/pre...IMGID=00158440

    Incidentally, Barry Gray does have a popular culture fame which extended beyond TVCentury21. Mr. Gray was the composer for the Century21 series Joe 90 which as a dedicated Wigan Casino goer I remember became one of the bedrock tunes for the club which opened its doors exactly 40 years ago this month.

  14. #94
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    Quote Originally Posted by Cooper S View Post
    Would you mind if I were to link these posts to a couple of Gerry Anderson related forums ?
    Thanks for asking Cooper S, that's fine with me. Glad you enjoyed what I wrote.

  15. #95
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    Quote Originally Posted by Rick C View Post
    I was trying to find from my day-by-day records of UK film releases during the 1960s and 1970s the ultimate public presentations of Tam Lin but owing to its multi-name transformations a bit difficult to track for the time being. I'm really trying to find an ad with even just one theatre name on it.
    Hi Rick C, I've just been doing some searching trying to find a UK release date. 'Films and Filming' July, 1977 page 37 did a review under the title "Devil's Widow". F.Maurice Speed's Film Review for 1977/78 contains an article on unreleased films and "Tam-Lin" gets a mention. My 'What's On's only go up to '76. Do you have that issue of 'Films and Filming' Rick? It might provide a clue to if and when it was released in the UK.

    I've managed to unearth a few stills in my collection, here are a few examples:

    The first is Ava at the house on the Scottish location, signed to 'Paddy' (?):



    Roddy in a cheerful mood:



    Ava and Roddy sharing a private joke:



    Ian McShane and Cyril Cusack (I don't recall them sharing a scene in the film):



    Sinead Cusack, daughter of Cyril:



    Jenny Hanley, daughter of Jimmy:


  16. #96
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    Thanks for all that information Stephen. Unfortunately with the monthly publications a film can get pulled or re-named just after its printing leaving a month or more even for the public to realise its non-appearance or camouflage under under a different title.

    Unless of course the public reads the weeklies or daily newspapers as well as. However my "What's On's" are even less recent than your editions. Gives a closer area to look at, however.

    Excellent photos too, thankyou.

  17. #97
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  18. #98
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  19. #99
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    I must say how interesting all these posts are. I know very little about the film industry and always amazed at the number of skills and crafts involved. UK studios must be very important to the UK economy as well as Television programme productions that are sold world wide.
    When I was 13 an Art teacher at school brought in an 8mm cine camera and a small group of us made a couple of short "Films". We started with a story board and worked out camera angles etc. The filming was all on location ie in the ample school grounds .We had an "Editing Suite" and I got to do the camera work.( my first and last film)
    Always like reading articles about studios and techniques and very importanty the people involved

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