The Cine Technician (1953-1956)

August, 1953 THE CINE-TECHNICIAN 97 Cine Profile by 'Recorder' TERESA BOLLAND A.C.T.'s Shop Steward at PINEWOOD TERESA BOLLAND likes organising things— that's why for the eight years that she's been in the industry she's mainly been a Production Secretary. Leaving the BBC in 1945, where she had been Secretary to the Feature and Drama Department and, later, Producer of Saturday World Parade, she joined Marcel Hellman as Production Secretary on Wanted for Murder. Secretary to Pat Wallace for two years in the Story Department of PFF Ltd., Teresa Bolland returned to the Production Office for Night Beat, the location of Anna Karenina, then The Fallen Idol, Cure for Love and a number of other pictures. For a short while she was personal secretary to Gene Markey on Wonder Kid, and had been offered the job of Continuity many times; but Teresa does not care to be tied to the set all the time. AN A.C.T. VIEW-Continued schedule of rates realistic as well as for negotiating increases to the technicians who have been primarily responsible for maintaining the high standard of British production. As the Annual Report of the National Film Finance Corporation points out, those employed in the film industry have made a considerable contribution towards making production profitable, a breakdown in production costs indicating an ecenomy of 17 per cent in production unit salaries. On the other hand, income was increased, thanks to the British Film Production Fund which returns to British production approximately £3,000,000 a year. Increases to A.C.T. members in feature film production are, therefore, on more counts than one, very much overdue. F.A.A. Dispute The recent dispute of the Film Artistes' Association showed very welcome co-operation between the six unions in the film industry. Indeed, it is the first time during the history of British film production that the six unions have actively co-operated together in support of one of their number engaged in an industrial dispute. It is true, they could hardly have failed to do otherwise in view of the provocative action of the employers in instituting a " black list " of individuals to be barred from their studios and in the Rank organisation issuing lockout notices to the bulk of the members of N.A.T.K.E., E.T.U. and A.C.T. employed at Pinewood Studios. Although the trade union co-operation was encouraged by the employers, we feel that the issues were so clear it would have happened in any case. The success of the F.A.A. is one on which all the trade unions can congratulate themselves. Incidentally, critics of the Joint Industrial Council will not have overlooked the point that despite the Council only representing three of the six unions in the industry, it was this body which was largely instrumental in resolving the dispute. We hope that now, as complete trade union co-operation has been tried and found successful, it will be continued in the future. " I like being individual," she says, " and you can be more so in the Production Office. The Unit wants, say, a 1945 Spitfire, and you've got to find it." The tracking down of some demands is often a tremendous challenge — " almost like C.I.D. work." She instances No Resting Place, made entirely on location in Ireland for Colin Lesslie, as one of the films she most enjoyed working on — everything had to be improvised on the spot under the able guidance of Production Manager Bill Kirby, and there was no chi-chi about the picture. "If it was raining we had to find a way of turning — and Suschitzky did a wonderful job as lighting cameraman." This same love of overcoming obstacles also helps Teresa in being A.C.T. Shop Steward at Pinewood, Secretary of the Feature Branch (which she took over when May Dennington had to resign for health reasons two years ago) and Chairman of the Continuity, Assistant Continuity and Production Secretary Section — as well as running a home for her husband, Sound Engineer Norman Bolland, whom she met at Shepperton. Although the Pinewood Joint Works Committee had to make a new rule about their language when Teresa first represented A.C.T. on it in 1952, she's not the only woman on the Pinewood A.C.T. Committee : Committee Secretary is Patricia Bydawell, and the Publicity Department's Steward is Edna Kanter. Teresa believes that women have a tremendous advantage in discussions with the management. " Foul language is cut out, and immediately negotiations become far easier." She's a great believer in getting round the table and discussing problems, as she considers the days when militancy paid off in the Studios are gone. ("It may be different in the Labs," she adds). A.C.T.'s main problems at Pinewod arise on settling location conditions and the thorny question of the commencement of a night call. Such matters as Canteen complaints, that concern all the Unions, are usually channelled through to Councillor Harry Short, Chairman of the Works Committee. As regards problems of the Continuity, Assistant Continuity and Production Secretary Section, Teresa says that although A.C.T. had got equal pay for all grades in all agreements, the pay of Continuity girls should be higher — the work is just as responsible as a 1st Assistant's, and pay should be on a level with his; a Production Secretary's wages are not bad, except when you consider she works alongside the Production Manager, and often has to deputise for him. Production Secretary is a job on its own, and should be taken out of the Supplementary Grades of the Studio Agreement. Cheap labour in these responsible jobs never pays a Producer. Her alert mind — and positive delight in overcoming problems — have insulated her against the cares that often turn women of authority in modern society into bossy, unfeminine types; since this year's A.G.M. she has added her natural charm to the elected General Council and Executive, as well as bringing a detailed knowledge of the intricacies of Studio production.