The Cine Technician (1943 - 1945)

May— June, 1943 THE C INE TE C H NICI A N 57 tatorial and undemocratic way. As we know the Annual Meeting thought otherwise, and he felt honour bound to withdraw his nomination.) Some of us believe that if A.C.T. is to fulfil its role properly it is our business more and more to take a full share of responsibility in the direction and shaping of our industry, in the kind of films we make and the use to which they are put. In fact, the only real alternative to that is the dictatorship of some monopoly, Rank's or somebody else's. But Tony is a Liberal born and bred — his family have a great liberal tradition to uphold and he has always been a staunch supporter — so it is by no means easy for him to accept and adjust himself, with his liberal ideas, in a situation where the old values begin to mean less and less. We all know how hard and how loyally Tony has worked for A.C.T. as President all these years, and he must be the judge if he feels no longer in tune with that office. But one thing must be made quite clear; however the film industry is run, the one essential is that it should turn out good films, and for this it needs its workers to be not only political paragons but craftsmen. There are, I'm afraid, too many of our politically minded workers who haven't got sufficient respect for the medium in which they're working, who imagine that a correct line can take the place of creative sweat. But unless we get people in the industry who really care for what they're doing, who respect their medium enough to worry over it, and who have that little creative something — men whose life is bound up with films — then in ten years or less the industry will be dead. And that is why Asquith, who has spent 17 ungrateful years in the film business for no other reason than that he cares for it, will always be a valuable member of A.C.T., never mind whether as President or plain rank and filer, and, of course, his loyalty to the Association remains unshaken and unshakeable. THE CROWN THEATRE PROVIDES STUDIO PROJECTION SERVICE AT ANY TIME TO SUIT YOUR CONVENIENCE Two Double-Heads. Full Range Sound. Mixing Panels for Tracks. Seating for 100 Persons. 86 WARDOUR STREET, LONDON, W. 1 Telephone Gerrard 5223 ON NATIONAL SERVICE Eighteenth List ■Sr:.^'>o-a£*Bfea DOUGLAS BECK (British Acoustic)— H.M. Forces. L. J. BROADHOUSE (Draughtsman, G.B.) — B.A.F. M. P. BEOMHEAD (Production Manager, Mer ton Park)— H.M. Forces. MISS 1). BROWTON (Technicolor)— A.T.S. E. W. CANN (British Acoustic)— Boyal Navy. K. D. COOPER (Chemical Mixer, G.F.D. Labs) — H.M. Forces. F. H. COPE (British Acoustic) — Royal Navy. E. FAULKNER (Technicolor)— H.M. Forces. E. FULLILOVE (Assistant Cutter and Assistant Librarian, Crown Film Unit) — Army. J. E. GARDNER (Assistant Developer, Elstree Labs.) — Royal Navy. E. GOODMAN (Sound Recordist, Film Labs.)— Royal Artillery. G. GBADWELL (British Acoustic)— H.M. Forces. MICHAEL GREGSTEN (Cutting Assistant)— R.A.F. MICHAEL HICKEY (Projectionist, Paramount News) — H.M. Forces. CHRIS HOLDEN (Sound Loader)— Royal Navy. G. L. HUGHES (Foreman Developer, Brent Labs.) — Army. GEORGE KING (Printer, Kays Finsbury Park) — -Royal Navy. A. LA VIS (Sound Assistant, Pioneer Films) — R.A.F. , Southern Rhodesia. A. RIDOUT (Dubbing Editor, Warner Bros.)— Arm v. HERBERT SMITH (Chemical Mixer, Kay's Finsbury Park)— R.A.F. L. F. WATTS (Technicolor)— Fleet Air Arm. ALAN YATES (British Acoustic)— Royal Navy.