If you want to know what London looked like in 1947, with all the bomb-sites, 'Hue and Cry' will tell you. And when I shot 'The Lavender Hill Mob' four years later, it didn't look that different.
It's a weird feeling to have outlived virtually everyone you ever worked with.
The Eyemo was heavy and could be noisy. Once, I was in an auditorium filming a speech made by Goebbels when, suddenly, it decided to emit a huge snarling sound. Goebbels froze, and hundreds of uniformed Brownshirts turned and glared at me in anger. It was not a comfortable moment.
