Sue Robinson, Jane Mclean
Roger Sutton, Vision Mixer
Peter Knowles, Sound Supervisor
Photos from Sue Robinson, no reproduction without permission.
These photos are of Gallery C, probably from a ‘Good Morning with Anne and Nick’ show.
The first photo is of multi-camera director, Sue Robinson, and live PA, Jane Mclean.
The second photo is of vision mixer, Roger Sutton.
The third is of sound supervisor, Peter Knowles.
Photos by Paul Scholes, no reproduction without permission.
2″ Quad machines were substantial enough to be sat on!
This is Sue Robinson sat on the Quad, with Mike Bloore to the right, and Nigel Evans foreground. The photo dates from 1980 or ’81, when Sue was working in the Planning Department.
The lower photo is of Trudy Stanton.
Photo from Derek Price, no reproduction without permission.
Nigel Evans, Ian Dewar and myself (Derek Price) on the way to Houston, Texas in July 81 in a DC10, to meet Vic Damone, the American singer and entertainer, and bring him back for ‘Pebble Mill At One’.
Derek Price
Jane Mclean adds that John Smith and/or Jim Dumighan may also have been involved in the trip.
Colin Fearnley 1986
Photo by Paul Scholes, no reproduction without permission.
Colin Fearnley worked at Pebble Mill in VT.
There is a story about why he has an axe in the head! Colin had been working on a youth programme with Janet Street Porter, circa 1986. Apparently it was a very quick turnaround, and a review of the programme said that it looked as if it had been edited by a mad axeman. This spawned a whole host of axe jokes! Colin was probably VT play in man. [See comment below from Colin Fearnley correcting this detail!]
Thanks to Tim Savage for remembering the story of the axes.
The following comments were left on the Pebble Mill Facebook Group:
Paul Colbert: ‘Could have been Reportage or Rough Guides, both of which I worked on as series Director in Manchester with most of the production team commuting on trains and planes to Manchester. Editor J S Porter, with Rachael Purnell and Sharon Ali. Tough times for the production team, even harder than working with Roger Castles on The Clothes Show! London Luvvies!’
Jane Mclean: ‘Was it Behind the Beat? God I HATED working on that programme.’
Dawn Trotman: ‘Behind the Beat. I remember editing that. Crazy hours and Janet Street Porter constantly screaming down the phone. I think we edited it in mechanical workshop? Lovely directors though but stressed.’
Jane Mclean: ‘The stuff of nightmares Dawn – every single aspect – and I mean every! JSP never once came to Brum (thank god) and in the end I refused to answer the phone!’
Dawn Trotman: ‘It was actually a creative time. I worked with some very adventurous directors who did try to re invent the wheel and suceed. Tough going but good times. Not that JSP was of any value but she did surround herself with the best in the business no fool in that respect just very shouty!’
Ian Collins: ‘The Mad Axman nickname was actually given to Jim Hiscox who was the editor working on “Behind The Beat”. I think Colin was the assistant and the axe was added well after the picture was taken.’
Dawn Trotman: ‘I beg to differ Ian. The Mad axeman was originally given to John Bland for a film he cut in about 1983 or 4 . It was set in a military defence barracks very strange ! Can’t remember the name, I think the producer was a Gareth ? And John ended up with a review which said cut by the mad axeman on acid ! We keep the cutting in his room at the end of the film corridor. But I didnt remember Jim being on Behind the Beat I remember Colin working on it . He used to tut over our inserts.’
Ian Collins: ‘Dare I suggest that there were two mad axe men :-)’
Paul Colbert: ‘Surely John Birt was the Mad Axe Man?’
