I had to be sure that iris might camera
was steady that everything was I was
responsible for shooting any shot so
we're going to have paintings put in
them as well otherwise they would tickle
the you'd have movement with between
painting and the original and that gave
the whole game away of the part moved
when you photograph the first section
and you photograph the second section
had to be joined exactly if they weren't
and they would move and cause what we
called jiggle that would give the game
away immediately
now would you leave that part of the
film on unexposed uh-huh had a black
mouse put up in front in those days now
where did you how did you know where to
put that mask
well you look through the camera you've
lowered down until you get so the
people's heads are being cut off and
wherever you needed you put the black
mask and quite close to the camera with
a soft edge if you wanted it further
back so because their heads would be
very close to the mat and to have to be
further away and that would be a big
piece of painting and you'd have to mask
the whole thing in there was very
complex when you when you were shooting
original negative that's very dangerous
too because if you do if you ruin that
you wouldn't have anything else to go on
how was the scene location chosen since
you had you had to know that you could
well we'd be sent on location
what would call me in and say we're
going to shoot down and so and so I'd
like you to go down and look and choose
some spots he had to create that I say
it but he had great faith in what I
could do and he gave me things exciting
things to do most people don't don't
work outside your you see I was working
outside what was considered my job in
England or anywhere else I would be told
that though that's not your job your job
is this specific job whereas what didn't
mind go from one job one part of the
business so you could be moved straight
through you weren't held back when I
come by a restrictions now when you were
on location and you were trying to find
a place to shoot how would you know what
needed to be matted in did you do some
under sketches if I find something that
what normally happens is that you have a
sketch artist like Don dagradi it was
fabulous at that he would have these
boards with all these sketches showing
how they whole film was going to be shot
and then from those sketches I would be
able to see we'd need certain things
that I would blow up make bigger and get
involved with those particular ones and
I was very happy to be working with such
great manners as Don dagradi who knew
the business back and forth in work for
walked with many years and I shared his
office for a while before I moved off
into my own office and it was a great
moment of my life to meet with a great
man like this so unassuming so quiet
he never believed that he was so full of
very clever ideas one of line ears
