Documentary News Letter (1947-1949)

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24 DOCUMENTARY FILM NEWS CORRESPONDENCE (contd.) The Nadir Films Controversy Two more letters: from Hector Bathos dear sir: As Mr Phillip Mackie, in his article 'Production History of a CO! Film', mentions me perhaps you will permit me to make purely personal comments — much as I normally deplore unilateral action of any kind. Mr Mackie is not quite correct in saying I was 'free to direct the film'. At that time Pipette Suction had reached a crucial stage (the start of the third year of writing), and I did not then know that Blancho Application Technique, which had only been recorded unsuccessfully with four different commentators, would be accepted as spoken by Graham Suave. Therefore, though not physically busy, I had a full and worried mind, and as a result never achieved a firm grasp of Exteriosis — did not even catch it. Mr Mackie suppresses the fact that the briefing was attended by only nine people, of whom a mere six were subject experts. My heart sank, that afternoon, because I realized that really protracted disagreements, such as we were enjoying with Pipette Suction, would not be possible among so few consultants. I should not have nearly enough time to ponder deeply. Though it may be tactless to refer again to Pipette Suction, which war not a COI film, I do think that the procedure adopted during its production (though far short of ideal) should be set against that of Exteriosis. We had a committee of sixty, from which we formed five sub-committees, each often members; one sub-committee for research, one to supervise the writing, one to supervise the shooting, one to view the rushes and one to superintend the editing. (As our cutting room is small, the latter sub-committee had to be sub-divided, working alternate shifts; but all members always debated every cut, mix and choice of shot.) I shall never forget my elation when the eighth re-take of shot ninety-two was chosen and I was able to appreciate that, just as no single word of the script had been written by myself, so had no single shot in the film been directed or edited as (unaided) I should have done it. This was not the case with Exteriosis: there was too much of 'me' in it (about three per cent alas). But the fault arose out of the decision (which I opposed) to hurtle from investigation to show copy in two years, and the paucity of advisors of all kinds. Let us sit together around tables larger and ever larger, in rooms bigger and ever bigger, talking more and ever more until our fine ideal is at last achieved: until the writing of a film becomes a lifework. Then cameras, lights, studios — even film stock itself — will be no longer necessary, and the heavy expenses which shortsighted production managers would have us merely reduce, will become totally unnecessary. Yours faithfully, HECTOR BATHOS Nadir Films and from Phillip Mackie sir : f was glad to see Nero Nonflam's letter about the Nadir film, A Stitch In Time. Nero is an old friend of mine — many a time, in the bar at the French Club, we have wagged our heads over Aims and Achievements — and he will not mind a couple of footnotes from me. Nero is distressed by the absence of any reference to the producer. Of course, the producer was around the place most of the time, except for a Festival here and a lightning trip there. But 1 tried to keep my history as simple as possible, and if I'd brought in the producer I should have had to explain that complicated and tedious business about how Hector didn't get on with Teddy, and Clarence couldn't work with Pauline. Nero wouldn't have liked me to rake all that over again. Nero has been misled by my words, 'Bathos and the PCO have a drink together'. 'A drink' is, of course, a collective term: a number of drinks. Hector and I paid alternately, and for my part I only wish I had an expense account. 1 don't want to go over the budget business again ; it's already cost me a week of my life and a packet of aspirins. May I just say that we asked for a simple straightforward £4,000 job, and it was really a little naughty of Nadir to write in that crowd scene at Runnymede that bumped up the final cost to £6,340. It was a good scene, though, and I for one was sorry that Hector took it out at rough-cut stage. As for the factory shows, I do wish Nero had been able to go to one or two with me. It was really most encouraging to hear the expressions of surprise and delight at seeing an amusing documentary film. Finally, may I wish the producer the best of luck in the feature world? There, I am sure, he will never have a project canned, a script revised or a budget cut ; and his creative abilities will find the complete freedom that they deserve. Yours, etc., PHILIP MACKIE, Films Division Hans Andersen sir: In these latter days the fragments of the distorting mirror broken by the demon in the imagination of Hans Andersen have obviously become widely dispersed among film makers. In consequence the public are daily tormented with cleverness, cynicism, bitterness and distortion, while it longs for beauty, truth, humour and tolerance. There has been a noticeable defection of little Kays from their little Gerdas in the film world. Would it were possible for some publicspirited individual to form a "league of Little Gerdas". Alternatively, could not the managers of cinemas arrange for us to put our feet up? Yours sincerely, PATRICK BLACK String of Beads sir: Your Reviewing Panel state, in their notice of this Company's String of Beads in your January issue, that no theatrical distribution could be obtained. I am glad to say that this situation has altered and that the film will now be distributed in this country by Metro-GoldwynMayer. Yours faithfully, PAUL FLETCHER CLASSIFIED ADS We are now in a position to accept classified advertisements. Charges for insertion: one guinea for the first three lines, 5 a line above three. TRANSCONTINENTAL SHOTS LTD CAN SUPPLY DAY & NIGHT : Cameramen and Camera Truck Sound and Lighting Trucks Editor with Editing Facilities UNLIMITED LIBRARY, SOUND AND VISUAL SHOTS ALWAYS AVAILABLE Phone : G£R 1470 84 WARU0UR STREET. LONDON. W.I A COMPLETE LABORATORY SERVICE PRECISION FILM PROCESSING ■ TITLES ■ INSERTS • ANIMATED DIAGRAMS OPTICALS • SPECIAL EFFECTS • NEGATIVE CUTTING ■ EDITING STUDIO FILM LABORATORIES ltd 80-82 W ARDOUR STREET & 71 DEAN STREET W. 1 TELEPHONE G E R : 13 6 5-6 REVIEW' YOUR FILMS AT OUR R. C. A. PREVIEW THEATRE