Shooting 007: And Other Celluloid Adventures (49 page)

23 I am being introduced by director Bill Faure (pointing at me) to the Zulu king, Goodwill Zwelithini kaBhekuzulu, the eighth monarch of the Zulus. I was told to bow low.

24 Leon Lissek coming off worse this time around. Next to him is Bruce Redman, the Australian assistant director.

25 On location in Portugal. Me, Chunky Huse (grip), Deborah Moore (Roger’s daughter), Frank Elliott (focus puller) and John Maskall (camera operator) … all in love with Debs!

26
Christopher Columbus: The Discovery
(1992). On location in the US Virgin Islands, director John Glen looks as if he’s thinking of taking up piracy.

27 Lining up on an Arri III while filming
Aces: Iron Eagle
III
in Arizona (1992). My expression seems to reflect my own feelings about this particular film, with John Glen’s sunglasses and military cap probably disguising a similar look on his face.

28 With Miki Thomas on yet another trip to Egypt, this time on
The Awakening
(1980). Filming included the customary tourist locations in Cairo, on the Nile and at Luxor. Another thing that never changed were the number of flies!

29 On location in an amphitheatre in Cornwall while filming
On the Third Day
(1983). Mike Frift is now my camera operator, with Frank Elliott standing above me. Jack Coggins (the gaffer, with cigarette in mouth) keeps a wary eye on me as I play with my brand new light meter. The film was written, produced and directed by Stanley O’Toole, who also gave me a screen credit of associate producer on the film, even though I still don’t know exactly what it meant.

30 Filming in the allegedly more controlled conditions of the big tank at the Mediterranean Film Studios on Malta. The actual boat floated on metal drums but was a full-size replica of the one used in the Virgin Islands. Here you can clearly see the artificial horizon between the tank and the sea, but once the water is stirred up the join becomes almost invisible.

31 Working on
The Saint
in 1966. This was my first television series as camera operator after Mike Reed gave me my break. It was also my first experience working with Roger Moore, who also directed this episode.

32 Thank you, Richard, but you should be on your knees, you fool. Who do you think you are – the director? (
The Prince and the Pauper
.)

COPYRIGHT

All images contained within are author’s collection unless otherwise stated.

Cover illustrations. Top:
An on-screen fight with Sir Roger Moore (© 1979 Danjaq, LLC and United Artists Corporation. All rights reserved);
bottom:
Alec Mills filming
Moonraker
(author’s collection).

First published in 2014

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