Recherche dans la collection - Almond, Paul - Interview

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Almond, Paul - Interview

Numéro d'article (ISN) :

378430

Titre de la série :

Live to Air

Niveau hiérarchique :

Pièce (Niveau acquisition)

Date :

2002-06-10

Numéro d'article (ISN) :

378430

Genre de documents :

Images en mouvement

Trouvé dans :

Archives / Films, vidéos et enregistrements sonores

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Notice descriptive – Détails

Fonds/collection :

MCKENNA, Jim

No d'acquisition :

2006-0176

Support :

Vidéo

Partie :

1 of 1

Date de production :

2002-06-10

Compagnie de production :

Jim McKenna (Interviewer)

Générique (équipe de production) :

interviewer, Jim McKenna

Description :

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Unedited interview of television producer and filmmaker Paul Almond about his experiences working in live television at CBC. The interview is for a two-hour documentary entitled LIVE TO AIR, broadcast on CBC television on 16 September 2002. Among the subjects discussed are: how he started working in television; watching CBC television director David Greene at work; the excitement of producing live television; the innovative nature of Canadian television which had no tradition of theatre and film dramas; the tendency of other countries which had traditions of theatre and movie dramas to produce television drama which was a hybrid of film and theatre techniques; the use in Britain of film production techniques such as putting marks on the floor of the studio to show the actors where to stand; the difference between producers and directors; the role of Canadian television producers who really performed the function of directors; the creative freedom enjoyed by Canadian television directors; Sydney Newman; Bob Allan; working for NBC in New York; the busy work schedule; the role of script writers; changing scripts; the CBC’s willingness to present avant garde plays such as the work of Howard Pinter and how television audiences did not always like this; cramped conditions in the CBC studios; set design; set designer Rudi Dorn; the need for quick costume changes; mishaps with special effects such as dry ice; his interest in verse plays and adaptations of the works of William Shakespeare; the decision by CBC not to show four of his dramas because they were not considered acceptable by audiences; taping some of the live shows for later broadcast; kinescoping broadcasts for delayed broadcast to other time zones; criticism of some of the plays considered too daring by the newspapers, the CBC and Members of Parliament; how the controversies were worthwhile because they attracted attention to the dramas; the need to act fast to cover on-air mishaps during live broadcasts; the role of the floor manager in helping to catch glitches such as an actor forgetting his lines and cue the director so that the director to call for a different camera shot or cue a different actor; the need to make sure that the broadcast ended on time; the instantaneous reaction when a show was good; losing the sound during the broadcast of a Bernard Slade drama; comparing the logistics of various scene changes in a small studio to a jigsaw puzzle; a mishap in which Mary Savage, playing a corpse, sat bolt upright; camaraderie among the drama directors; efforts by the directors to help actors get jobs; the opportunity for the small pool of directors to learn how to work in genres that were outside their expertise and for actors to get different types of roles; the excitement of being pioneers in live television; his re-enacting the countdown and cues in a live show; comparisons between his experiences working in Quebec and the rest of Canada; the lack of a star system at the CBC; the CBC as a government bureaucracy; the drama THE BROKEN SKY; his work on a television adaptation of CRIME AND PUNISHMENT, called THE MURDERER, where he shot scenes outdoors for the first time; the use of filmed inserts in a live television drama; praise for the cameramen; wrap parties; and the effectiveness of the pedestal camera used by the CBC as opposed to more rigid film techniques used by the BBC. <1h 1mn 44s>

Langue :

English

Remarques :

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1. This is a Betacam SX dub of originals shot on Betacam SP tapes 18 and 19.~2. The Canadian Broadcast Museum holds the Betacam SP originals.~3. Production date of the Betacam originals (date interview conducted) is 2002-06-10.~4. Betacam SX tape dubbed at CBC on 2006-06-12.~5. Some replies are rephrased at the request of the interviewer in order to create complete replies since the interviewer’s questions are edited out for the documentary.~6. Videotape and transcript open for consultation on LAC premises.

Détails de l'inventaire :

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No. de voûte (ISN) :

434954

Support :

VIDEO

Détails de l'inventaire :

V1 2007-01-0018

Nombre de pièces :

1

Durée :

72:23

Statut :

REF

No. de voûte (ISN) :

435690

Support :

VIDEO

Détails de l'inventaire :

V7 2007-01-0029

Entrepôt :

GAT

Nombre de pièces :

1

Type de son :

SOF

Durée :

61:44

Tiré de :

DEPOSIT

Statut :

MASTER

No. de voûte (ISN) :

941082

Support :

VIDEO

Détails de l'inventaire :

378430.MXF

Nombre de pièces :

1

Tiré de :

V7 2007-01-0029

Statut :

MASTER

No. de voûte (ISN) :

941083

Support :

VIDEO

Détails de l'inventaire :

378430.MP4

Nombre de pièces :

1

Tiré de :

V7 2007-01-0029

Statut :

REF

No. de voûte (ISN) :

981172

Support :

VIDEO

Détails de l'inventaire :

V4 2007-01-0047

Nombre de pièces :

1

Type de son :

SOF

Tiré de :

V2 2001-03-0040
V7 2007-01-0029

Statut :

MASTER
Pour réserver ou commander des documents

Conditions d'accès :

Libre

No de consultation :

V1 2007-01-0018

Restrictions sur la consultation :

Open for consultation.

Reproduction :

With written permission of Copyright Owner / Avec la permission écrite du détenteur des droits d'auteur

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Date de modification :: 2024-07-24