{"id":6704,"date":"2017-05-04T16:02:20","date_gmt":"2017-05-04T16:02:20","guid":{"rendered":"http:\/\/tech-ops.co.uk\/next\/?page_id=6704"},"modified":"2017-05-04T16:02:20","modified_gmt":"2017-05-04T16:02:20","slug":"gallery-directors","status":"publish","type":"page","link":"http:\/\/tech-ops.co.uk\/next\/gallery-directors\/","title":{"rendered":"Gallery Directors"},"content":{"rendered":"

Pat Heigham<\/strong><\/h3>\n

I should like to start a list of gallery directors, whom we knew, and (sometimes) loved!, for further comment and reminiscences: <\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Gerry Blake<\/td>\n\nI did several drama series on Grams with him. He loved me farting about with sound Fx on rehearsal, but it had to be 100% right on the night!  
\nPat Heigham<\/b><\/font><\/p>\n

I worked with Gerry on \u201cCurtain of Fear\u201d \u2013 very enjoyable.
\nAlec Bray<\/b><\/font><\/p>\n

See also http:\/\/tech-ops.co.uk\/next\/the-art-of-direction\/<\/a>\n<\/td>\n<\/tr>\n

Michael Mills<\/td>\n\nA martinet. I once ballsed up a grams cue, and he stormed  into the sound gallery and tore me off a strip – that’s the ‘wishing the floor would open’ moment.
\nPat Heigham<\/b><\/font>\n<\/td>\n<\/tr>\n
Duncan Wood<\/td>\n\nMany Steptoes on Grams, he was a lovely director.
\nPat Heigham<\/b><\/font>\n<\/td>\n<\/tr>\n
George Inns<\/td>\n\nFrom the \u201cB & W Minstrels\u201d and the \u201cCountry and Western Show\u201d. Lovely, kindly man.
\nPat Heigham<\/b><\/font>\n<\/td>\n<\/tr>\n
Peter Whitmore<\/td>\n\nI think had been an FM? Took over \u201cCrackerjack\u201d.
\nPat Heigham<\/b><\/font>\n<\/td>\n<\/tr>\n
Margaret Dale<\/td>\nTrained as ballet dancer and produced several progs  about or involving ballet – lovely to work with and editing the music was most enjoyable.
\nPat Heigham<\/b><\/font><\/td>\n<\/tr>\n
Ned Sherrin<\/td>\n\nOf TW3 fame, and a super show called \u201cTake A Sapphire\u201d the story of the Braganza royal family of Portugal fleeing to Brazil – it was a musical, and I have audio tapes of the songs.  Sadly no video exists.
\nPat Heigham<\/b><\/font>\n<\/td>\n<\/tr>\n
Gerry Mill<\/td>\n\nI believe served his time as FM and directed some \u201cDr.Who\u201ds . Did he defect to Yorkshire?
\nPat Heigham<\/b><\/font><\/p>\n

Gerry Mill ended up Producing and Directing \u201cHeartbeat\u201d for about 15 years.  
\nDavid Brunt<\/b><\/font><\/p>\n<\/td>\n<\/tr>\n

Naomi Capon<\/td>\n\nI did grams on several plays. I was interviewed on camera for a DVD extras for a BFI release of \u201cOut of the Unknown\u201d. Asked what my memories of her were, I could not mention that she had such a boring little voice on talkback, that we used to tune her out, then when she said something that involved us – we missed it!
\nPat Heigham<\/b><\/font>\n<\/td>\n<\/tr>\n
Alan Cooke<\/td>\n\nI  worked on Grams for him on \u201cDeath of a Salesman\u201d starring Rod Steiger. Alan was a bit baffled by sound, but supremely grateful for whatever we could produce for him.
\nPat Heigham<\/b><\/font>\n<\/td>\n<\/tr>\n
Brian Cowgill<\/td>\n\nI didn’t know his nickname ‘Ginge’ until I had left! I do remember his rants in LG ‘G’ if ITV got to air a result before the BBC!
\nPat Heigham<\/b><\/font>\n<\/td>\n<\/tr>\n
Robin Nash<\/td>\n\nThe most interesting thing about "Dixon of Dock Green" being a light Entertainment production was that the directors were Light Entertainment directors.  I well remember Robin Nash directing Dixon episodes – must have been in 1963 (TCs 3 or 4) (and since I also worked on "Marriage Lines" I must have encountered him there as well – R1).. <\/p>\n

More than half a century has passed, but I remember him as a very affable and very reasonably accommodating director, and who certainly had a great deal of enthusiasm for directing "Dixon".   As I recall, he (often?) came down to the studio floor, and I can see him now, rushing past me with a smile on his face.  I can’t remember any scenes or shouting or bad language or anything like that with Robin during my (short) time with the BBC. <\/p>\n

It was interesting to see in Obits and Wikipedia how Robin Nash had progressed.  
\nAlec Bray<\/b><\/font>\n<\/td>\n<\/tr>\n

Yvonne Littlewood<\/td>\n\nI remember her for a band show showcasing band leaders from both sides of the Atlantic.   The orchestra was set out in a triangular formation in plan, main scenery being two large arch segments not quite meeting above conductor. There was little else in terms of scenery \u2013 just a light blue cyc.  There was a Heron one side of the orchestra (IIRC left hand side), Mole (or another Heron) on the other. .
\nAlec Bray<\/b><\/font><\/p>\n

\u201cBest of Both Worlds\u201d.  There is nothing on IMDB \u2013 and just a title on BFI.  More information comes from BBC Genome: \u201cLeading conductors from Britain and America present the music they compose and arrange\u201d. I worked on most of the BoBW and I can assure you that it was not a simple mic rig! The crew usually did \u201cGrandstand\u201d on the Saturday before the BoBW on Sunday. During the afternoon lull we used to nip up to TC, get the gear out of stores and start organising the rig. The Henry Mancini show orchestra used three bass flutes(!) and we ended up with 25 powered mics. This was long before phantom power so each mic needed a power box and access to mains. The slung C12 needed an extra box to alter the polar diagram. In TC1, where most of the shows were done, there were only two multi-mic mic points, eight mics each, so there were lots of cables extended from all round the walls! I still have some 1\/4 inch recordings of some items, and although in mono, they are still great.  
\nDave Mundy<\/b><\/font><\/p>\n

I worked on \u201cBest of Both Worlds\u201d with Yvonne Littlewood when I was on crew 11.   I remember testing the Chapman Hercules crane beforehand but can’t remember if it was used on the actual shows.  I remember swinging the arm with Chris Eames and trying to do a high speed crane up with John Lintern on the front!  It took some stopping – I nearly got crushed underneath the bucket!  The crane was driven by an amazing character called Alan Blowey – he kept on reminiscing about having just worked on Lawrence of Arabia!
\nDerek Martin<\/b><\/font><\/p>\n

One of the Chapman driver’s claims to fame, apart from Lawrence of Arabia, was that he was done for speeding, with the crane, on the North Circular! It was  a bit slower in TC1 on electric power!
\nDave Mundy<\/b><\/font><\/p>\n

I remember a big orchestral show in TC1, which started off with something like 2 Moles, 2 Herons, a motorised Vinten  and a ped, and ended up as 1 Mole, a Heron and 4 peds.  There may have been a creeper involved, too, but the original set-up was simply unworkable, and I was only cable bashing at the time.
\nAlasdair Lawrance<\/b><\/font><\/p>\n

see also<\/em> Tech Ops – Best of Both Worlds 1964<\/a><\/p>\n<\/td>\n<\/tr>\n

Brian Large<\/td>\n\nBrian did things loads of classical music programmes like the Andre Previn concerts with either Ron Isted or Rhoda ? vision mixing.
\nGraeme Wall<\/b><\/font>\n<\/td>\n<\/tr>\n
David Rose<\/td>\n\nProducer\/Head of Regional Drama David Rose has passed away at the age of 92 (January 2017).  
\nDavid Brunt<\/b><\/font><\/p>\n

That’s such sad news for so many of us he mentored. \u201cZ-Cars\u201d will always be his stand-out claim to fame: Elwyn Jones, John Hopkins and David Rose were the triumvirate who masterminded the concept and the series right from the start in 1962 and through to \u201cSoftly Softly\u201d. It was a privilege to have been on the camera crew with David in the gallery, right from episode 1 until beyond no. 100, the last live episode he directed, which was something of his nemesis for all the wrong reasons.
\nA lovely, lovely man. 
\nHugh Sheppard<\/b><\/font><\/p>\n

David Rose was an undisputed master of that most difficult  of all television  crafts – live drama! \u201cZ Cars\u201d was a perfect example of this genre, conceived at a time when the TV Centre was  newly open, and crackling with creative energy. The live transmission was the climax of six weeks of planning and rehearsal, and was perhaps closer to live theatre with respect to its performance from the artist’s point of view. Alan Stratford Johns (Barlow) was an enthusiast for live TX and was influential in maintaining this format when the trend was towards VT. I still recall with admiration his grasp of the technicalities of the studio floor, whereby he would delay a line of dialogue until a camera had completed a move and the red light was on, without in any way compromising his performance!
\n Live drama required teamwork of a high order, and in those days the adrenalin flowed throughout the TX for cast and crew alike, which some would argue added to the crispness of the performance. David had to co-ordinate and orchestrate all this, which he did with great skill and confidence – how the memory lingers on!  
\nGordon Blockley<\/b><\/font><\/p>\n<\/td>\n<\/tr>\n

Rodney Bennett<\/td>\n\n
He did three \u201cDoctor Who\u201ds, plus \u201cThe Darling Buds of May\u201d on ITV. His BBC credits included the BBC Shakespeare Hamlet (with Derek  Jacobi) plus \u201cThe Lost Boys\u201d with Ian Holm, \u201cSense and Sensibility\u201d, \u201cThe House of Elliot\u201d, \u201dZ Cars\u201d, \u201cNorth and South\u201d, \u201cMadame Bovary\u201d and lots more.  
\nToby Hadoke<\/b><\/font><\/div>\n<\/td>\n<\/tr>\n<\/table>\n

<\/p>\n

 <\/h1>\n

\"ianfootersmall\"<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Pat Heigham I should like to start a list of gallery directors, whom we knew, and (sometimes) loved!, for further comment and reminiscences: Gerry Blake I did several drama series on Grams with him. He loved me farting about with … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","advgb_blocks_editor_width":"","advgb_blocks_columns_visual_guide":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"ngg_post_thumbnail":0,"footnotes":""},"categories":[],"tags":[],"class_list":["post-6704","page","type-page","status-publish","hentry"],"coauthors":[],"author_meta":{"author_link":"http:\/\/tech-ops.co.uk\/next\/author\/alec\/","display_name":"Alec Bray"},"relative_dates":{"created":"Posted 9 years ago","modified":"Updated 9 years ago"},"absolute_dates":{"created":"Posted on May 4, 2017","modified":"Updated on May 4, 2017"},"absolute_dates_time":{"created":"Posted on May 4, 2017 4:02 pm","modified":"Updated on May 4, 2017 4:02 pm"},"featured_img_caption":"","featured_img":false,"series_order":"","_links":{"self":[{"href":"http:\/\/tech-ops.co.uk\/next\/wp-json\/wp\/v2\/pages\/6704","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/tech-ops.co.uk\/next\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/tech-ops.co.uk\/next\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/tech-ops.co.uk\/next\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"http:\/\/tech-ops.co.uk\/next\/wp-json\/wp\/v2\/comments?post=6704"}],"version-history":[{"count":3,"href":"http:\/\/tech-ops.co.uk\/next\/wp-json\/wp\/v2\/pages\/6704\/revisions"}],"predecessor-version":[{"id":6707,"href":"http:\/\/tech-ops.co.uk\/next\/wp-json\/wp\/v2\/pages\/6704\/revisions\/6707"}],"wp:attachment":[{"href":"http:\/\/tech-ops.co.uk\/next\/wp-json\/wp\/v2\/media?parent=6704"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/tech-ops.co.uk\/next\/wp-json\/wp\/v2\/categories?post=6704"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/tech-ops.co.uk\/next\/wp-json\/wp\/v2\/tags?post=6704"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}