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2008 |
Photo by Christophe Dupin [2006] |
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WALTER LASSALLY |
Born: 18 December 1926, Berlin, Germany.
Education: University [evening classes science; unfinished].
Career: 'My father was an engineer and a maker of industrial and training films. My parents and I went to England as refugees in June 1939. In the official jargon of the time I was a 'displaced person' - a DP. We settled in Richmond-upon-Thames, Surrey. I had watched my father at work, and was occasionally allowed to 'help' by turning the handle on his animation bench. By age 15, I knew exactly what I wanted to do with my life - I wanted to be a cameraman, shooting feature films. Immediately upon leaving school, I mounted a concerted campaign to get into the industry. In 1944 and 1945 I wrote to all the film studios to try and get in as a clapper boy. I did not succeed right away. I took a job at a stills studio, where I often had the loan of a Leica still camera and as much film as I wanted, as well as the chance to process and print my shots. My first jobs in filmmaking were on 16mm documentaries and medical films, where the small crews meant that I helped in every aspect, which was valuable experience. I worked on films like 'A Demonstration of Lifeboat Launching by the 6 x 4 Scammel Tractor' and 'Prefabricated House Components'. In 1946, I got the coveted job of clapper boy at Riverside Studios through the intervention of my father. My first job as clapper boy was on a film called 'Dancing with Crime', with Richard Attenborough in his first starring part. Eventually Riverside went out of business. Around this time I also worked at a 16mm film library. […] I had met Derek York in various film societies that I had joined. We planned to make a short 16mm film about squatters in London, which was a topic in the news. We called it 'Smith, Our Friend'. During the making of that film, I noticed that the primitive lighting dictated by the very cramped conditions helped to give the scenes more realism. That was an important discovery for me. 'Smith, Our Friend' was well received at the annual screening of the Federation of Film Societies, and that led to another film, 'Saturday Night'. During 1949 and 1950 we worked on that film. Audiences never saw 'Saturday Night', but the making of it had a more important result - it got me my first job as a lighting cameraman. A producer [Leon Clore of Basic Films] who had seen some of the rushes gave me a chance to shoot a government trailer, what we now call a public service commercial.' [From interview with David Heuring on the ASC website, October 2007.]
Formed the prod companies The Film Designers [with Derek York] and Screencraft Productions [also with York in 1948].
Ph commercials dir by Val Guest [for Buitoni], a.o. Made 'video essays' for the British Film Institute's DVD-releases of 'A Taste of Honey' [2002] and 'The Loneliness of the Long Distance Runner' [2003]. During the latter part of his career, he [co-]photographed some doc's on Hi-8: 'North Sea Follies' & 'Box Boat to Brazil'.
Was a member [now honorary member] of the BSC.
Was head of the cam dept of the National Film and Television School [1988-92].
Wrote his memoirs, 'Itinerant Cameraman', in 1987.
Appeared in the doc's 'How the Myth Was Made - A Study of Robert Flaherty's Man of Aran' [1978, George C. Stoney & James B. Brown] & 'The Wandering Company' [1984, Humphrey Dixon; ph: Jamie Cabot].
Awards: 'Oscar' AA [1964; b&w] for 'Zorba the Greek'; BAFTA Film Award nom [1984] for 'Heat and Dust'; BSC Award nom [1984] for 'The Bostonians'; Marburger Kamerapreis [2005]; ASC International Achievement Award [2008].
Walter Lassally: My career followed a most unconventional course. Most of my early feature work was abroad, outside the conventional framework, and often working with very small crews. Almost from the start, feature and documentary work were mixed. I valued the cross-fertilization of ideas and techniques that this provides. My own philosophy tended to keep me outside the mainstream of British/American feature production, a course that I have regretted occasionally but fleetingly. On balance, the creative opportunities seem to me to have always been greater on the fringes. [From interview with David Heuring on the ASC website.]
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'Zorba the Greek': '[Walter] Lassally screened two sequences taking place on board ship: the ship's main lounge area and a deck exterior. He explained how they managed a pretty convincing storm simulation: "The interior was entirely shot with a hand-held Arriflex with all the apparent motion of the ship done by me waving the camera about in a special manner which I developed. The movement of a ship in a storm is really quite complex - it consists of a number of shocks and shudders combined with tilts and sudden movements in one direction and a slow recovery in the opposite direction, so I developed a special technique for filming those scenes. The only proviso was it was necessary to choose between hand-held and sync sound - you couldn't have both, because then there were no hand-held sync sound cameras.
"The second sequence is an exterior on the deck. For that part of the shooting the sea was actually quite rough but because it's a sync sound sequence, the camera had to be blimped, it had to be tied down. Now if the camera moves with the ship, it's only by reference to the horizon that you can tell that anything unusual is going on and that makes it much less effective visually - it doesn't show the motion of the ship as effectively as the previous sequence."
To demonstrate lighting a location interior, Lassally used as an example, a room representing Alan Bates' modest lodgings: "You can fairly easily simulate the effect of a sunlit room by the use of spotlights, but it's much more difficult to simulate the effect of just daylight coming in through the windows and you also have a problem if you use the windows to light through. My solution was daylight filtered appropriately through ND filters on the window. It's always a question of balancing the exterior and interior and maintaining the detail on the curtain, to make sure it doesn't become a brilliant white triangle.
"For the lighting inside, we had a kind of primitive grid system fixed to the ceiling, which fortunately was quite high. So the room's lit with a mixture of 2Ks and 1Ks hanging from the beams, taking care that you don't get any strong shadows anywhere because in a situation where you've got daylight coming through the window but not sunlight, a very strong shadow would look unnatural."
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Lassally then screened what he called the most difficult scene he's ever had to photograph, where Alan Bates visits the widow [Irene Papas]: "It was very difficult because it starts with an oil lamp on in the room and in the first third of the scene she blows that out; there is no moonlight so one is left with a situation where you have to have non-source lighting, so once the lamp is extinguished you can't really say where the light is coming from and the second difficulty [in color it wouldn't be so difficult] is that in b&w there is a certain minimum contrast that has to be maintained otherwise the scene goes muddy or flat and looks very unattractive. So I had to work very hard to maintain that minimum contrast which in this case is all in the upper range of the tonal scale." [see photos above]
Lassally agreed that the lighting equipment he used would today be regarded as fairly primitive: "The biggest light in use on 'Zorba the Greek' would have been a 5K of which we would have had no more than three. On this scene we would have had two of three 2Ks, half a dozen pups, 1Ks, which in those days tended to be either 500W or 750W and some very small inky-dinks which are still in use today - they're 200-250W. Those would be augmented with some floodlights which I developed specially for the daylight interiors, just a very primitive tin can with 4 or 5 mushroom floods in it diffused with some spun over it and that light I would have used on any of the daylight interiors because that would throw a much more indistinct shadow than that from a 2K or a baby. I tend to favor lighting interiors from entirely within the room and only very rarely use lights through the windows."
Lassally is particularly proud of his pioneering use [first on 'A Taste of Honey'] of three different film stocks which are intercut un-noticeably throughout the film: "'Zorba the Greek' was shot on [Ilford] Pan F, FP3 and HP3, and 'A Taste of Honey' was shot on FP3, HP3 and HPS [which no longer exists]. Of course I was advised not to do that - it wouldn't work. So when you cut from interior to exterior you're cutting from one film stock to another which at the time was considered a very dangerous thing to do, they thought it would become very obvious on the cut but of course it isn't.
"The great advantage in 'Zorba the Greek' in shooting all the exteriors on Pan F was that you get a wonderful tonal range and a particularly good range of tones in the highlights and that stands you in good stead when you're dealing with extreme whites and extreme blacks in the same frame." [From article by Lindsay Amos in 'Cinema Papers', Australia, 1997.]
FILMS |
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194? |
Watch the Birdie [Derek York & Walter Lassally] 16mm/b&w; short/2m |
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1946 |
Smith, Our Friend [Derek York & Walter Lassally] 16mm/b&w; short/15m; + co-prod |
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1948 |
Saturday Night [Derek York] short; filmed 1948-1952; unfinished |
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1950 |
Don't Smoke in Bed [prod: Leon Clore] b&w; public information film/?m |
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1950 |
Every Five Minutes [Max Anderson] 16mm/b&w; comm doc/10m |
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1951 |
From Plan Into Action [Donald Alexander] b&w; comm doc/?m; cph: ? |
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1951 |
Forward a Century [J.B. Napier-Bell] b&w; doc/29m; South Bank ph; ph: Larry Pizer & Victor Procter |
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1951 |
Festival, 1951 [Derek York] b&w; doc/15m; cph: Gerry Turpin |
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1951 |
At Whose Door? [J.B. Napier-Bell or Max Anderson] ? |
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1951 |
Sunday by the Sea [Anthony Simmons] b&w; doc/14m |
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1952 |
Three Installations [Lindsay Anderson] b&w; comm doc/23m; addph: John Jones |
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1952 |
Power Signal Lineman [Max Anderson] 16mm/b&w; doc/16m; prod British Transport Films |
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1952 |
High Speed [various] b&w; doc/30m; cph: ? |
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1952 |
We Who Are Young [Andrew Taylor (= Anthony Simmons)] 16mm/b&w-c; comm doc/32m; as John Walters; for British Youth Peace Committee |
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1952 |
The Pleasure Garden [James Broughton] 16mm/b&w; short/38m |
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1952 |
Wakefield Express [Lindsay Anderson] 16mm/b&w; 'Free Cinema'-doc/33m |
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1953 |
Bow Bells [Anthony Simmons] b&w; doc/14m |
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1953 |
One Great Vision [Andrew Taylor (= Anthony Simmons)] 16mm/b&w; comm doc/50m; as John Walters; filmed in Romania; for British Youth Peace Committee |
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1953 |
Thursday's Children [Guy Brenton & Lindsay Anderson] b&w; doc/20m |
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1953 |
The Passing Stranger [John Arnold] b&w; 67m |
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1954 |
Another Sky [Gavin Lambert] b&w |
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1954 |
Friend of the Family [Margaret Thomson] 16mm/b&w; comm doc/17m; for National Society for the Prevention of Cruelty to Children (NSPCC) |
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1954 |
Green and Pleasant Land [Lindsay Anderson] 16mm/b&w; comm doc/4m; for NSPCC |
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1954 |
Henry [Lindsay Anderson] 16mm/b&w; comm doc/4m; for NSPCC |
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1954 |
The Children Upstairs [Lindsay Anderson] 16mm/b&w; comm doc/5m; for NSPCC |
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1954 |
A Hundred Thousand Children [Lindsay Anderson] 16mm/b&w; comm doc/3m; for NSPCC |
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1954 |
Foot and Mouth [Lindsay Anderson] b&w; comm doc/20m; for Ministry of Agriculture |
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1954 |
Simon [Peter Zadek] b&w; short/18m |
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1954 |
Momma Don't Allow/Jazz [Karel Reisz & Tony Richardson] 16mm/b&w; 'Free Cinema'-doc/22m |
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1955 |
Continuous Observation [Margaret Thomson] 16mm/b&w; comm doc/25m; for Ministry of Health |
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1955 |
The Gentle Corsican [Anthony Simmons] c; travelogue/25m |
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1955 |
Why Bri? [Sam Napier-Bell] c; comm doc/?m; cph: Larry Pizer |
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1955 |
Together/The Glass Marble [Lorenza Mazzetti & Denis Horne] 16mm/b&w; 'Free Cinema'-doc/52m; co-addph (1955); ph: Hamid Hadari (summer 1954) |
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1955 |
The Brighton Story [Pamela Wilcox Bower] c; doc/24m |
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1955 |
Το κορίτσι με τα μαύρα/To kopitsi me ta maypa/A Girl in Black [Michael Cacoyannis] b&w |
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1956 |
Time Without Pity [Joseph Losey] scheduled as doph, but star Ann Todd didn't want to entrust herself to a young and untried doph; ph by Freddie Francis |
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1956 |
Every Day Except Christmas [Lindsay Anderson] b&w; 'Free Cinema'-doc/47m; ep #1 of Ford of Britain series 'Look at Britain' |
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1956 |
The Simpson & Godlee Story [Hans Casparius] ? |
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1956 |
A River Speaks [Hans Casparius] ?; doc/?m |
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1956 |
Return from the Sun [Hans Casparius] c; travelogue/19m |
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1956 |
Ten Bridges [Michael Luke] b&w; doc/14m |
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1956 |
Children's Corner/Day Nursing [Walter Lassally & Leo Nadelmann] ?; doc/18m; + ed |
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1956 |
George Bernard Shaw/Bernard Shaw [Robert Hamer] b&w; doc/18m; cph: Robert Paynter |
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1957 |
A.B.C./Aruba, Bonaire, Curaçao [John Fernhout] c; comm doc/18m |
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1957 |
Blue Peter [John Fernhout] c; comm doc/15m |
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1957 |
Alone with the Monsters [Nazli Nour] 16mm/b&w; short/20m |
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1957 |
Το τελευταίο ψέμα/To teleftaio psemma/A Matter of Dignity/The Final Lie [Michael Cacoyannis] b&w |
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1957 |
Beside the Seaside [Pamela Bower] b&w; ?/?m |
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1958 |
Jago hua savera/The Day Shall Dawn [A.J. 'Aaejay' Kardar] b&w; cph: Sadhan Roy |
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1958 |
We Are the Lambeth Boys [Karel Reisz] b&w; 'Free Cinema'-doc/52m; ep #2 of Ford of Britain series 'Look at Britain-2' |
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1958 |
Refuge England [Robert Vas] 16mm/b&w; 'Free Cinema'-doc/27m; cph: Louis Wolfers |
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1958 |
A Song for Prince Charlie [Hans M. Nieter] c; comm doc/19m; cph: Adrian Jeakins; for Drambuie Liquor Company |
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1959 |
An Enquiry Into General Practice [Paul Dickson] 16mm/b&w; comm doc/30m |
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1959 |
Midsummer Music [Hazel Swift] c; doc/18m; cph: David Mason |
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1959 |
Britain's Wealth from Coal [J.B. Napier-Bell] 16mm/b&w; comm doc/22m; cph: Larry Pizer & John Fletcher |
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1959 |
'Beat' Girl/Wild for Kicks [Edmond T. Gréville] b&w |
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1959 |
Eroica/Our Last Spring [Michael Cacoyannis] b&w |
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1960 |
Μανταλένα/Maddalena/Madalena [Dinos Dimopoulos] b&w |
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1960 |
I Aliki sto naftiko/Alice in the Navy/Alice My Love [Alekos Sakellarios] c; cph: Nikos Dimopoulos |
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1961 |
Kleine Begebenheit [Leo Nadelmann] ?; doc/12m |
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1961 |
Let My People Go! [John Krish] 16mm/b&w; comm doc/23m; for Anti-Apartheid Committee |
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1961 |
A Taste of Honey [Tony Richardson] b&w; 'For 'A Taste of Honey', Tony wanted an all-location film. So many films are made on location today that it is hard to remember that this idea was very difficult to sell to the financiers in those days. They were afraid that a lack of sunlight would delay the shooting interminably. It was impossible to convince them that for greater realism, it was actually desirable to shoot exteriors without sun on films like 'A Taste of Honey'. It was the first British feature made for a major distributor to be shot entirely on location, and among the first films to use three different types of film stocks, including one previously considered to be suitable only for newsreel and documentaries. It was also the first film to 'key' the use of these different film stocks to different locations, so that the 'look' they created became part of the setting. There was considerable opposition from the laboratory to my approach, but it proved entirely successful. I used the same idea on 'Zorba the Greek'.' [From interview with David Heuring on the ASC website.] |
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1961 |
University of London [Sam Napier-Bell] c; comm doc/21m; cph: Larry Pizer |
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1961 |
I Liza kai i alli/Liza and Her Double [Dinos Dimopoulos] b&w |
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1961 |
Ηλέκτρα/Elektra/Electra [Michael Cacoyannis] b&w |
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1962 |
The Loneliness of the Long Distance Runner/Rebel with a Cause [Tony Richardson] b&w |
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1962 |
Tom Jones [Tony Richardson] c; 2uc: Manny Wynn; replaced scheduled doph Oswald Morris |
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1963 |
The Peaches [Michael Gill] b&w; short/15m |
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1963 |
Pleasure Garden [Joan Littlewood] unfinished |
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1963 |
Psyche '59 [Alexander Singer] b&w |
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1964 |
Zorba the Greek/Alexis Zorbas [Michael Cacoyannis] b&w |
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1964 |
Kataskopoi sto Saroniko/O anthropos mas stin ellada/Assignment Skybolt/Operation Skybolt [Gregg Tallas (= Grigoris Thalassinos)] c |
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1964 |
Mao le veut [collective] ?; doc/?m |
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1964 |
Lila [Hugh Raggett] b&w; doc/?m; cph: David Watkin & Rose Parsons |
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1965 |
Labyrinth [Roman Kroitor, Colin Low & Hugh O'Connor] mixed-media/multi-screen project for EXPO '67, Montreal; cph: Michel Thomas-d'Hoste, Georges Dufaux, Gilles Gascon, a.o. |
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1965 |
Dan [Walter Lassally & Kate Campbell] 16mm/b&w; doc/?m |
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1966 |
David Jones [Walter Lassally & Kate Campbell] doc; prod abandoned |
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1966 |
The Day the Fish Came Out [Michael Cacoyannis] c |
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1967 |
Anoihti epistoli/Open Letter [Yiorgos Stamboulopoulos] b&w |
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1967 |
Oedipus the King [Philip Saville] c |
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1967 |
Joanna [Michael Sarne] cs/c; 2uc: David Muir |
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1968 |
Henry Moore at the Tate Gallery [David Sylvester & Walter Lassally] c; doc/14m |
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1968 |
The Adding Machine [Jerome Epstein] c |
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1968 |
Three Into Two Won't Go [Peter Hall] c |
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1968 |
About the White Bus [John Fletcher] 16mm/b&w-c; doc/60m; uncred cph (shot only a very small portion); ph: J. Fletcher & Eon Wood |
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1968 |
Olimpiada en México/The Olympics in Mexico [Alberto Isaac] ts/c; doc/116m; ph 'Gymnastics' seq; other ph: Tony Imi, Alex Sheridan, Bertrand van Munster, Brian Probyn, Arthur Wooster, Eric van Haren Noman, Alan Hewison, a.o. |
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1969 |
Twinky/Lola/London Affair [Richard Donner] c |
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1969 |
Something for Everyone/Black Flowers for the Bride/The Rook [Harold Prince] c |
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1970 |
Eagle in a Cage [Fielder Cook] c; ph add footage; ph: Frano Vodopivec |
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1970 |
Le Mans [Lee H. Katzin] p/c; WL was replaced after 6 weeks as 1st unit doph (for dir John Sturges, who left the prod at the same time); ph: Robert B. Hauser & René Guissart, Jr. |
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1970 |
Can Horses Sing? [Elizabeth Sussex] 16mm/c; doc/25m |
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1971 |
To Kill a Clown [George Bloomfield] c |
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1971 |
Savages [James Ivory] c |
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1972 |
Bilocation/Within Hail [Aurora Cornu] c |
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1972 |
Paris Restaurants [Steve Scher] unfinished |
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1972 |
Visions of Eight [seq 'The Highest' dir by Arthur Penn] c; doc/110m (Olympic Games, Munich); cph: Stewart Harris; other ph: Rune Ericson, Jörgen Persson, Alan Hume, Ernst Wild, Mike Davis, a.o.; chief ph cons: Michael Samuelson |
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1972 |
Happy Mother's Day, Love George/Run, Stranger, Run [Darren McGavin] c |
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1972 |
Girling WSP [John Armstrong] 16mm/b&w; comm doc/14m; cph: Adrian Jeakins |
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1973 |
Malachi's Cove/The Seaweed Children [Henry Herbert] c |
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1973 |
[Henry Cotton -] This Game of Golf [Michael Raeburn] 16mm/c; doc/55m |
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1973 |
Requiem for a Village [David Gladwell] 16mm/c; doc/68m; addph; ph: Bruce Parsons |
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1974 |
Carved in Ivory [Michael Gill] 16mm/c; doc/30m |
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1974 |
Vildanden/The Wild Duck [Tutte Lemkow] prod collapsed within days of the start date |
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1974 |
Autobiography of a Princess [James Ivory] 16mm/c; short/59m; 2uc: R.M. Rao |
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1974 |
Après le vent des sables/La trame/The Web [Claude Zaccai] c |
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1974 |
The Wild Party [James Ivory] b&w-c |
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1974 |
Rider [Andrew Sinclair] prod collapsed after 1 week 2u filming and on the eve of the start of main shooting |
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1975 |
Ansichten eines Clowns/The Clown [Vojtech Jasný] c |
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1975 |
Fluchtversuch/Ivo/Attempted Flight [Vojtech Jasný] c |
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1976 |
[Rätsel der Sphinx -] Ernst Fuchs [Vojtech Jasný] c; doc/44m |
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1976 |
Shenanigans/The Great [Georgia] Bank Hoax [Joseph Jacoby] c |
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1976 |
The Blood of Hussain [Jamil Dehlavi] c; cph: Jamil Dehlavi |
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1977 |
Tausend Morgensterne tanzen um einen blassen Mond [Gernot Friedel] ? |
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1977 |
Die Frau gegenüber/The Woman Across the Way [Hans Noever] b&w |
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1978 |
Something Short of Paradise/Perfect Love [David Helpern Jr.] c; 2uc: Danny Quinn & Tom Houghton |
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1978 |
The Pilot/Danger in the Skies [Cliff Robertson (replaced Robert P. Davis)] p/c |
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1979 |
Der Preis fürs Überleben/The Price of Survival [Hans Noever] c; 2uc: Renato Fortunato (+ c.asst) & Kim Schäfermeyer |
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1980 |
Engel aus Eisen/The Iron Angel/Angels of Iron [Thomas Brasch] b&w |
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1980 |
Memoirs of a Survivor [David Gladwell] c; 2uc: Roger Deakins |
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1981 |
Der Zauberberg/The Magic Mountain [Hans W. Geissendörfer] c; replaced Robby Müller during the 1st month of shooting, but was replaced after several weeks by Michael Ballhaus (who is the credited doph); theatrical version/153m; 3-part tvm/312m |
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1981 |
Tuxedo Warrior [Andrew Sinclair] c; 2uc: Harmon Cusack |
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1981 |
The Case of Marcel Duchamp [David Rowan] 16mm/c; addph: D. Rowan & Peter Harvey |
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1982 |
Heat and Dust [James Ivory] c |
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1982 |
The Secret of Planet Earth [Andrew Sinclair] announced for October start; prod never started |
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1982 |
Private School [Noel Black] c |
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1983 |
The Bostonians [James Ivory] c |
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1984 |
? [Jonathan Power] ?; doc/?m; made in Africa |
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1984 |
The Bengal Lancers [Stephen Weeks] unfinished |
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1986 |
Indian Summer [Timothy Forder] c |
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1987 |
The Perfect Murder [Zafar Hai] c; 2uc: Rajesh Joshi |
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1987 |
The Deceivers [Nicholas Meyer] c; 2uc: Rajesh Joshi; optical ph: Alan Church |
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1988 |
Kamilla og tyven II/Kamilla's Friend [Grete Salomonson] c |
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1989 |
Fragments of Isabella [Ronan O'Leary] b&w-c |
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1990 |
Diary of a Madman [Ronan O'Leary] c |
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1990 |
The Ballad of the Sad Cafe [Simon Callow] c; 2uc: Briggs Palmer |
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1993 |
Ta delfinakia tou amvrakikou/The Little Dolphins [Dinos Dimopoulos] c |
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1996 |
Silent Film [Malcolm Venville] c; short/11m |
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2000 |
Aci gonul/Crescent Heart [Ersin Pertan] c; 2uc: Alekos Yiannaros |
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2010 |
Talking Hands [Walter Lassally] c; doc/10m |
TELEVISION |
|
1957 |
A Sculptor's Landscape [John Read] doc/b&w/27m27sec; ep BBC-tv series 'British Art and Artists' |
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1959 |
As Dark As the Night/The Night Apart [Terence Young] tvm; ph reshoots: Georges Périnal; ep #116 of 'Playhouse 90'-series |
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1963 |
Dublin Thru Different Eyes [Martin Carr] doc/58m/16mm |
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1967 |
Henry Moore - One Yorkshireman Looks at his world [John Read] doc/b&w/60m; ph 1957 scenes; cph: Alan Lawson (1950) & John Baker (1967); for BBC-tv |
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1968 |
?/Battleship Potemkin Survivor [Marco Montaldi] doc/?m/16mm for RAI-tv |
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1970 |
Adventures of a Brown Man in Search of Civilization [James Ivory] doc/54m/16mm |
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1972 |
Van der Valk und das Mädchen/Gun Before Butter [Peter Zadek] tvm |
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1973 |
The World of Stan Smith [Mai Zetterling] ? |
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1975 |
In the Beginning [Michael Gill] doc/55m |
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1975 |
Pleasantville [Kenneth Locker & Vicki Polon] tvm/16mm for PBS-tv |
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1977 |
Hullabaloo Over Georgie and Bonnie's Pictures [James Ivory] tvm/16mm; originally shown in 2-parts on LWT series 'The South Bank Show' |
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1977 |
Neil Diamond at Woburn Abbey [William Friedkin] c; mus doc/?m |
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1978 |
Too Far to Go [Fielder Cook] tvm; also released theatrically |
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1979 |
Gauguin the Savage [Fielder Cook] tvm; stand-by ph Hollywood: Robert Primes |
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1979 |
[Mark Twain Classics:] Life on the Mississippi [Peter H. Hunt] tvm/16mm |
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1980 |
[Mark Twain Classics:] The Private History of a Campaign that Failed [Peter H. Hunt] tvm/16mm |
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1980 |
The Commanding Sea [Michael Gill & Anthony Mayer] 6-part doc series/16mm (1981); cph: ? |
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1981 |
[Mark Twain Classics:] The Mysterious Stranger [Peter H. Hunt] tvm; ph USA: Tom Hoppe |
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1981 |
Mystery at Fire Island [Robert Fuest] tvm/60m; ep CBS-tv series 'Children's Mystery Theatre' |
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1983 |
[The Tragedy of] Pudd'nhead Wilson [Alan Bridges] tvm/16mm; ep PBS-tv series 'American Playhouse' |
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1984 |
Children in the Crossfire [George Schaefer] tvm; ph Ireland; ph USA: Edward R. Brown |
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1984 |
Adventures of Huckleberry Finn [Peter H. Hunt] 2-part tvm; 2uc: Tom Hoppe; also released theatrically (108m) |
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1985 |
Stone Pillow [George Schaefer] tvm |
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1985 |
Mrs. Delafield Wants to Marry [George Schaefer] tvm |
|
1985 |
Henry Moore [presenter: John Read; prod: Rosemary Bowen-Jones] doc/b&w-c/50m; co-archive ph; ph: Remi Adefarasin; ep BBC2-tv series 'Arena' (1986); see 1957 |
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1991 |
Die Erbschaft [Bertram von Boxberg] tvm |
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1992 |
The Man Upstairs [George Schaefer] tvm |
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1993 |
Ancient Spirits: China and Japan [Walter Lassally] ep #3 of 12-part Channel 4 doc series 'Nature Perfected [: The Story of the Garden]' |
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1995 |
Vermeer: Light, Love & Silence [Michael Gill] doc/60m; ep LWT series 'The South Bank Show' |
MISCELLANEOUS |
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1947 |
Dancing with Crime [John Paddy Carstairs] clapper boy; ph: Reginald H. Wyer |
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1947 |
They Made Me a Fugitive/I Became a Criminal [Cavalcanti] c.asst; ph: Otto Heller |
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1947 |
Things Happen at Night [Francis Searle] c.asst; ph: Leslie Rowson |
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1947 |
This Was a Woman [Tim Whelan] loader; ph: Günther Krampf |
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1948 |
What's In a Number [John Krish; comm short] c.asst; ph: ? |
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1948 |
What a Life [Michael Law; comm doc] c.asst; ph: Jo Jago & J.M. Burgoyne-Johnson |
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1949 |
Saints and Sinners [Leslie Arliss] 2u c.asst; ph: Osmond Borradaile |
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1949 |
The Last Days of Dolwyn/Woman of Dolwyn [Emlyn Williams] 2u c.asst; ph: Otto Heller |
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1949 |
Night and the City [Jules Dassin] 2u focus puller; 2uc: Jo Jago; ph: Max Greene; the whole 2u was fired during shooting |
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1953 |
Strange Stories [John Guillermin (seg 'The Strange Mr. Bartleby') & Don Chaffey (seg 'Strange Journey'); short] c.asst; ph: Arthur Grant & S.D. Onions |
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1953 |
Is Your Honeymoon Really Necessary? [Maurice Elvey] 2nd asst ed; ph: Phil Grindrod |
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1953 |
House of Blackmail [Maurice Elvey] asst ed; ph: Phil Grindrod |
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1956 |
Du und mancher Kamerad/You and Your Pal - The German Story [Andrew & Annelie Thorndike; doc] speaker English commentary; ph: Waldemar Ruge, a.o. |
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1966 |
The Greeks [dir; co-dir: Kate Campbell] 16mm/b&w; doc/36m; ph: George Antonakis |
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1969 |
Ned Kelly [Tony Richardson] ph screen tests; film was ph by Gerry Fisher |