a story lives forever
Register
Sign in
Form submission failed!

Stay signed in

Recover your password?
Register
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.

NEXT STORY

Something for Everyone: a less than perfect technical solution

RELATED STORIES

Something for Everyone: first film on the continent
Walter Lassally Film-maker
Comments (0) Please sign in or register to add comments
The first film I made on the Continent was in the 70s. In fact, it was just before, it was in 1969. I made a very interesting film in Bavaria called "Something for Everyone". Well it had two titles, "Something for Everyone" it was called in Britain, and in Germany and elsewhere it was called "Black Flowers for the Bride". And it's the, it's the- in fact, it's the film which features on the cover of my book, with me and Angela Lansbury. That was a very interesting shoot. The director was Hal Prince, the famous theatre impresario. And he hadn't made a film before, so by this time, some 20-odd years after "Another Sky", I was able to help him much better than I was able to help Gavin Lambert on "Another Sky". I'd learnt enough about decoupage and other things that were strictly the director's business, so I was able to help him a lot. And we got on extremely well. And- It was made in the period when all the- the three major American television channels, CBS, ABC, and NBC, each had a fairly major movie subsidiaries, and that period was quite brief. But during that period I made several films under that kind of umbrella. And- the budgets were usually quite satisfactory. They weren't huge budgets, but they were totally satisfactory. And that film is unique, in my particular history, because I had four weeks of preparation, and that's absolutely unheard of. Usually I was lucky to get one week, and not always very satisfactory. You don't always see all the locations and there are hiccups. But in that case I had four weeks of preparation, which was like paradise. So we stayed, initially, in Munich and then we moved on to a location in Hohenschwangau, which is where mad King Ludwig had his fairy tale castle, that you often see in movies. And we used that castle. We shot on the top floor, which was quite a problem because it's on a mountain anyway and then you have to go- lead the cables up to the top of the castle. The co-owner of Arriflex, Mr. Arnold, was very impressed with that. He said, that man is an artist, he said when he saw the result of that.

Born in Germany, cinematographer Walter Lassally (1926-2017) was best known for his Oscar-winning work on 'Zorba the Greek'. He was greatly respected in the film industry for his ability to take the best of his work in one area and apply it to another, from mainstream to international art films to documentary. He was associated with the Free Cinema movement in the 1950s, and the British New Wave in the early 1960s. In 1987 he published his autobiography called 'Itinerant Cameraman'.

Listeners: Peter Bowen

Peter Bowen is a Canadian who came to Europe to study and never got round to heading back home. He did his undergraduate work at Carleton University (in Biology) in Ottawa, and then did graduate work at the University of Western Ontario (in Zoology). After completing his doctorate at Oxford (in the Department of Zoology), followed with a year of postdoc at the University of London, he moved to the University's newly-established Audio-Visual Centre (under the direction of Michael Clarke) where he spent four years in production (of primarily science programs) and began to teach film. In 1974 Bowden became Director of the new Audio-Visual Centre at the University of Warwick, which was then in the process of introducing film studies into the curriculum and where his interest in the academic study of film was promoted and encouraged by scholars such as Victor Perkins, Robin Wood, and Richard Dyer. In 1983, his partner and he moved to Greece, and the following year he began to teach for the University of Maryland (European Division), for which he has taught (and continues to teach) biology and film courses in Crete, Bosnia, and the Middle East.

Duration: 2 minutes, 27 seconds

Date story recorded: June 2004

Date story went live: 24 January 2008