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Orson Welles' make-up on Voyage of the Damned


Shooting The Devil's Advocate with Guy Green
Billy Williams Film-maker
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I did a... I did a second picture with Guy Green called The Devil's Advocate from a novel by Morris West, with John Mills in the lead. It was lovely, and we shot half in Bavaria Studios and half in Italy and again, it was a tax shelter situation; the finance was this tax relief business and... it was a good picture but never got any proper distribution, which was a great disappointment. It was lovely working with Guy again and I remember I was using diffused light, shining through frames and so on, and he said to me one day; he said: ‘I think...’ he said, ‘I think this... this system of yours, this new system...’ he said, ‘It...’ he said, ’It works... I think it works well for... for day interiors’, he said, ‘I don't think it's so good for night interiors’. You know... you know o Guy, very politely saying to me that he thought that the harder light was still better for night interiors. But he was such a nice man to work with. And so, sadly, that film didn't get a great showing and... partly due, I think, to the fact that Morris West had the... had final cut. Guy didn't know this at the time and I think the cutting was not to its best. When you have somebody who's not really a filmmaker with the final say, it's not very good news.

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: 1 minute, 39 seconds

Date story recorded: September 2003

Date story went live: 24 January 2008