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Interviews
Richard Stanley, cameraman ‘…for me it was perfect and I said all I needed to say as a cameraman.’ I was the camera man on The Moon and the Sledgehammer, which was my 3rd project with Philip, and also many projects I’d actually done with Chris Morphet, my assistant cameraman and Paul Robinson, the sound man. My bond with Chris and with Paul especially was a single kind of philosophical unit in which we talked a lot about what we did, not at the time of shooting, but in between, evenings and so forth, so it was like a little group, from the technical side of the movie. Philip was our connection to the Pages because when we were filming, when we were actually shooting, we didn’t say very much, we hardly said anything in fact. I remembered speaking to Peter and Jim about engines, but we didn’t really socialize – Philip did that. We had technical problems in filming really good sounds. We didn’t use any lights at all throughout the movie. We were improvising crane shots with tractors and all sorts of things, so we had quite enough to think about without also interfacing with the family. For me the Moon and the Sledgehammer represented the highest level of documentary film making I’ve ever worked on and it was in some way the peak – the culmination of everything I’d been learning and working with intuitively, and in one sense, after The Moon and the Sledgehammer I never worked on another documentary like it. That was the end, because for me it was perfect and I said all I needed to say as a cameraman. > More interviews >> Barry Vince, Editor >> Robert Erskine, partner in Vaughan Films >> John Russell Taylor, Film Historian Press release | Gareth Evans' Introduction | Questions and Answers | London screening page |
