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Summer 2000 - The Association of Motion Picture Sound

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THE PINEWOOD STORY<br />

<strong>The</strong> Autltorised History <strong>of</strong> <strong>The</strong> World's Most<br />

Famous Film Studicr<br />

by Gareth Owen with Brian<br />

Burford; published Reynolds &<br />

Hearn<br />

This is the authorised<br />

history <strong>of</strong> Pinewood, based<br />

on the archive material held<br />

by its owners, and the<br />

memories <strong>of</strong> the legendary<br />

stars and technicians whose<br />

work has contributed to the<br />

studio's global reputation. Author Gareth Owen<br />

takes the reader inside Pinewood with over 200<br />

stunning illustrations that show the growth <strong>of</strong> the<br />

studio. <strong>The</strong> Pinewood Story <strong>of</strong>fers an intriguing<br />

behind-the-scenes glimpse <strong>of</strong> some <strong>of</strong> the best<br />

known films and television programmes ever<br />

Tade. <strong>The</strong> story is brought fully up-to-date with a<br />

;oncluding chapter by Michael Grade.which<br />

looks at Pinewood's exciting future under its new<br />

owners.This book is the culmination <strong>of</strong> over three<br />

years research, which has included unprecedented<br />

access to the archives at Pinewood and numerous<br />

interviews with many <strong>of</strong> the studios's luminaries.<br />

AMPS members can obtain copies forf 19.OO<br />

post free direct from Gareth Owen, Pinewood<br />

Studios, Iver Heath, Bucks SLO ONH<br />

THtr NATIONAL SOUND<br />

ARCHIVE.<br />

Based in the new British Library building at St<br />

Pancras, <strong>The</strong> National <strong>Sound</strong> Archive (NSA) is<br />

one <strong>of</strong> the largest in the world.<br />

Plavbark, their newsletter-brochure, is in a<br />

-folde-d,{5format<br />

which opens out into a well-<br />

,llustrated A4format. It is published three times a<br />

year, with information on the NSA's current and<br />

future activities; also included are short articles <strong>of</strong><br />

interest about the collections housed at St<br />

Pancras.<br />

<strong>The</strong> NSA also organises lecture programmes<br />

and, from time to time, exhibitions <strong>of</strong> artifacts<br />

from the collections which cover all types <strong>of</strong><br />

music, the spoken word, oral history interviews<br />

and industrial and wild-life sounds.<br />

Pla,back is published free <strong>of</strong> charge, so if you<br />

are interested give them your postal details and<br />

they will send it to you. For further information<br />

contact:<br />

<strong>The</strong> British Library National <strong>Sound</strong> Archive<br />

96 Euston Road, London NWI 2DB.<br />

Telephone: 020 7412 7440' Fax: 020 7412 7441,<br />

E-mail: nsa@bl.uk<br />

Why not take a look at their web-site:<br />

www.bl. uk/coll ecti ons/sound-archi ve.<br />

MISSION IMPOSSIBLE 2<br />

Having to be in London during the week <strong>of</strong> 26 July, I<br />

took advantage <strong>of</strong> taking in the AMPS film show at<br />

Pinewood's <strong>The</strong>atre 7. Mission Impossible 2 is not<br />

exactly my type <strong>of</strong> movie; those such asEmmn,<br />

Elizubeth and Sense And Sensibitity are more to my<br />

taste.<br />

<strong>The</strong> ridiculous car chase near the start <strong>of</strong> the story<br />

almost had me walking out, however I stuck it out and<br />

was glad <strong>of</strong> it when the story reached Sydney,<br />

Australia. Good use was made <strong>of</strong> the city and its<br />

environs, this kept me sitting in my seat wondering<br />

which location I would recognise next; what a welcome<br />

change from New York and Los Angeles.<br />

I'm not sure whether I kept up with the plot. Car<br />

stunts, motorbike duels and other special-effects<br />

sequences went on too long, so that when the story<br />

resumed after each such episode I had to work out all<br />

over again who was who and what they hoped to<br />

achieve. <strong>The</strong> cliff-hanglng sequences (superb scenery)<br />

and the ridiculous gun battle in the chemical factory<br />

were beyond belief, but then it's only a movie.<br />

<strong>The</strong>re were several pleasant changes from the usual<br />

present-day American movies: the lack <strong>of</strong> foul language<br />

and pr<strong>of</strong>anities (though the female lead threw in a few<br />

'bloodies' at the beginning, presumably to please<br />

Australian audiences) - no nudity, and sexual<br />

intercourse hinted at but not shown - and the dialogue<br />

was mostly understandable.<br />

I was worried about the damage done to, and the<br />

writing-<strong>of</strong>f <strong>of</strong>, prestigious executive cars. I hope that<br />

when complete digitisation comes I'll be able to see an<br />

end title telling me 'No motor vehicles were actually<br />

damaged in this production.'<br />

A11 in all,I'd rather see a British 'Bond' movie.<br />

13<br />

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drama - d425.OO;3sdin Fanamfu bosn (5ft to 13ft)<br />

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Call Malcolm Davies - Tel: 01457 876163<br />

STOP PRESS<br />

Further sad news -<br />

KEN CAMERON OBE, Hon AMPS, died<br />

peacefully in his sleep on August 18th. A tribute<br />

will be published in the Autumn Newsletter.

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