a story lives forever
Sign in
Form submission failed!

Stay signed in

Recover your password?
Form submission failed!

Web of Stories Ltd would like to keep you informed about our products and services.

Please tick here if you would like us to keep you informed about our products and services.

I have read and accepted the Terms & Conditions.

Please note: Your email and any private information provided at registration will not be passed on to other individuals or organisations without your specific approval.

Video URL

You must be registered to use this feature. Sign in or register.


Agaguk: Lighting inside the real igloo


The appeal of Agaguk
Billy Williams Film-maker
Comments (0) Please sign in or register to add comments

The other thing that attracted me to the film, apart from the fact I like the story of telling this, you know, historical... you know, the... the corruption of the... of the Inuit by the white man, was that it was a chance to do a film that was almost black and white, because nearly everything was in the snow, apart from the interiors and the trading post, everything was against white and the Inuit clothing was kind of... they were furs, so everything was like browny-sepia, so it was almost a black and white movie; and that attracted me because I'd always wanted to do another black and white film but after my first feature I was never able to persuade the producers to... to shoot in black and white again. I love black and white, it's so dramatic; I think some subjects work better in black and white.

Billy Williams, London-born cinematographer Billy Williams gained his first two Oscar nominations for the acclaimed “Women in Love” and “On Golden Pond”. His third nomination, which was successful, was for the epic “Gandhi”. He was President of the British Society of Cinematographers, and was awarded the Camera Image Festival’s Lifetime Achievement Award in 2000.

Listeners: Neil Binney

Neil Binney began working as a 'clapper boy' in 1946 on spin-off films from steam radio such as "Dick Barton". Between 1948-1950 he served as a Royal Air Force photographer. From 1950 he was a Technicolor assistant technician working on films such as John Ford's "Mogambo" (photographed by Freddie Young), Hitchcock's "The Man Who Knew Too Much" (Bob Burke), and Visconti's "Senso" (G.R. Aldo/B. Cracker). As a camera assistant he worked on "Mind Benders", "Billy Liar" and "This Sporting Life". Niel Binney became a camera operator in 1963 and worked with, among others, Jack Cardiff, Fred Tammes and Billy Williams. He was elected associate member of the British Society of Cinematographers in 1981 and his most recent credits include "A Fish Called Wanda" and "Fierce Creatures".

Duration: 57 seconds

Date story recorded: September 2003

Date story went live: 24 January 2008