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Releasing tensions on set
Billy Williams
Film-maker
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Views | Duration | |
|---|---|---|---|
| 61. I should have been thankful for Technicolor dye transfer process | 102 | 03:29 | |
| 62. Maintaining the look of a film after shooting | 52 | 03:57 | |
| 63. Lighting Ava Gardner on Tam Lin | 1 | 282 | 06:30 |
| 64. Joking with Elizabeth Taylor on the set of Zee and Co. | 137 | 04:13 | |
| 65. Elizabeth Taylor: The perfect professional | 108 | 04:18 | |
| 66. Agreeing to work with John Schlesinger on Sunday, Bloody... | 83 | 02:11 | |
| 67. Toning down the effects when shooting Sunday, Bloody... | 77 | 03:19 | |
| 68. My youthful mistakes with lighting | 113 | 00:54 | |
| 69. Working with John Schlesinger | 81 | 02:23 | |
| 70. Releasing tensions on set | 90 | 01:22 |
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I had my crew, a crew that had been with me... mainly with me since Women in Love that was David Harcourt operating, Ted Deeson focus and Danny Shelmadine loading — second assistant. Well Danny has a marvellous sense of humour and he knows when... just the right moment to... when to crack a joke, and John, in... in his way too had this marvellous sense of fun, and I remember one take we did and it was a take with Peter Finch, the Jewish doctor, and Danny put the board in and it said, 100... slate 120 take nine. Danny put the... the board in and he read out: ’Slate 109 take... to you, eight and a half’. And everybody fell about, everybody fell about. It... it was moments like that that kind of released the tension. You get a lot of tension on the set, as you know, especially when you've got a difficult scene to play, everybody gets very concerned and... and there are moments like that... if you know how far you can go, that kind of eases it.
Billy Williams, London-born cinematographer Billy Williams gained his first two Oscar nominations for the acclaimed “Women in Love” and “On Golden Pond”. His third nomination, which was successful, was for the epic “Gandhi”. He was President of the British Society of Cinematographers, and was awarded the Camera Image Festival’s Lifetime Achievement Award in 2000.
Title: Releasing tensions on set
Listeners: Neil Binney
Neil Binney began working as a 'clapper boy' in 1946 on spin-off films from steam radio such as "Dick Barton". Between 1948-1950 he served as a Royal Air Force photographer. From 1950 he was a Technicolor assistant technician working on films such as John Ford's "Mogambo" (photographed by Freddie Young), Hitchcock's "The Man Who Knew Too Much" (Bob Burke), and Visconti's "Senso" (G.R. Aldo/B. Cracker). As a camera assistant he worked on "Mind Benders", "Billy Liar" and "This Sporting Life". Niel Binney became a camera operator in 1963 and worked with, among others, Jack Cardiff, Fred Tammes and Billy Williams. He was elected associate member of the British Society of Cinematographers in 1981 and his most recent credits include "A Fish Called Wanda" and "Fierce Creatures".
Duration: 1 minute, 23 seconds
Date story recorded: September 2003
Date story went live: 24 January 2008
