Jules Greenway www.gtc.org.uk www.gtc.org.uk Jules Greenway

Jules at the GTC Awards 2012 with wife Cindy and son Dan

Swinging the Mole crane on Christmas Top Tracking the Heron with Ron Green on camera of the Pops 1965, with The Kinks. Ron Green is Location drama was fun - seen here, a complicated and The Tremeloes performing on the front with Keith Salmon on Camera 2 set-up for Growing Rich, which entailed circling on the Heron around a two-hander several times in each direction

training (the official training at Jules: Yes, the great thing was that on a Money Programme with a trainee that today.” It was brilliant really, you Wood Norton came six months later the crews had so many people. There director. I had a repo that had to got to drive all these fantastic cranes by which time, of course, you knew was a senior cameraman, three other happen during a VT insert but she got and things. everything and gave all the lecturers a cameramen, numbered two to four, herself in a muddle with where each hard time). and two dolly operators known as camera was and cued me to move. Paul: Do you think people miss out by Your first task on the crew was to trackers. Then there were a couple of I didn’t, because I could see what not tracking those dollies, the Heron, learn to ‘eight’ a cable, which doesn’t dog’s bodies at the bottom (like me), would happen, but when screamed and so on? sound very much, but it was quite a who would do general duties – cable- at thought ‘Oh well’ and dutifully skill to acquire, especially with the bashing, assisting or whatever. trundled across shot behind the Jules: I think so, because it was a presenter! In those days we couldn’t very good discipline. Even though you speak directly to the gallery. During weren’t doing the camera or looking My first crew was that of the legendary rehearsals if you needed to converse through the viewfinder (although you with the director you gesticulated to usually had a monitor so you could Jim Atkinson, father of the idea of using a pedestal the nearest boom op and he would see the shot), the discipline you learnt to execute camera moves on drama, as opposed to position the mic near your face. was positioning the camera in exactly just being a means of moving to a new position the right place in order to achieve a Paul: Can you remember the first particular shot. And, of course, the programme you worked on? cameraman might have, depending big, thick, heavy camera cables in There were 20 crews and each on the size of the programme, reams Jules Greenway those days. We also learnt how crew specialised in a particular area, Jules: I can’t actually remember but I of shot cards. So, your job was to put to attach a thinner cable, like a like drama or light entertainment. think it was one of the current affairs him in exactly the right place. You had video cable, by wrapping it round In a normal week you would do one shows. I know it was in1963. And to come up with your own system of in alternate directions so it can be of the crew’s speciality programmes my very first job, apart from all the marks on the floor so that you knew removed easily – I’m always amazed – either a big drama or episode of cable-bashing and so on, was tracking where to put the dolly. There was also when new recruits have not seen this a series, or similar production for a motorised Vinten with the senior a bit of intuition involved because, simple technique! So, you literally light entertainment – and then for cameraman on the front. This was a if the actors didn’t hit their marks joined the crew as a general dog’s the other couple of days, you would very steep learning curve, because it precisely but you were on the ball, you A job well done body, called ‘Crew Relief’. do what we called the ‘run of the was literally my first week. He pointed could alter the position of the dolly My first crew was that of the mill’ stuff: current affairs, children’s at it and said “Right, you’re driving so that the cameraman was in the legendary Jim Atkinson, father of programmes, and so on. The recipient of this year’s top GTC Award, the Television Cameraman’s Award (TCA) is a very popular and well-known cameraman, the idea of using a pedestal to execute With the crew being so big, the camera moves on drama, as opposed senior cameraman could crew from Jules Greenway. His long career spanned nearly five decades and took Jules through the cycle from BBC to ITV to feelance. Along the to just being a means of moving to a the bottom on these programmes. way he witnessed multiple changes of technology and work practices, while amassing a credit list of iconic TV programmes featuring new position. Working with Jim, you So you would get to do a camera on a roll call of major stars. Shortly after Jules had visited Birmingham to pick up his GTC Award, he sat down with friend and fellow were his personal cable-basher, tea shows like Jackanory or Tonight, while GTC member, Paul Baldwin, for a chat during which Paul drew out of him many recollections of a life well spent in TV. boy and - believe it or not - cigarette the senior guys would do the assisting hider. He smoked in the studio (strictly and tracking etc. It was a brilliant against BBC fire regulations) and way of learning. Playschool was Paul: So, Jules, where do we start? I went down for that fantastic the exit and the other the cupboard. visited every BBC building in London had a cunning way of holding the lit particularly good – the opening shot You had such a long and interesting interview, in the boardroom with four I discovered later, chatting to and were then treated to a series ciggy inside his cardigan pocket if involved tracking in and pulling focus career. How did it all begin? people and me timidly sitting on a colleagues, that several of us had tried of lectures, the most memorable of he saw a fire officer approaching. If on the clock, then tilting down/pulling chair opposite. It was funny really to go through the broom cupboard. which was ‘What would happen in the the cardigan had been removed for focus again to see what was on the Jules: Well, I replied to an ad in the because I was one of those – you have We always joked that it was one of event of Nuclear War?’, delivered by a comfort he would slip the cigarette roundabout. Or, if you were on Camera Radio Times, which was amazing probably come across others – who, the reasons they chose us! very upright military gent who issued to you and you then had to stroll 3, you had to zoom through the round, really. I wouldn’t be here today had having got through this frightening dire warnings about the aftermath of nonchalantly into the scene dock with square or arched windows! my father not seen the ad, as I hadn’t board with the four people, then Paul: And what was your first job? such an event and the need to shelter it hidden from view! Most of the current affairs spotted it. He said, “Look at this, why attempted to leave via the broom from ‘the foul insidious dust’! programmes were live, which was don’t you try for it?” and I decided to cupboard! There were two doors in the Jules: We started with a week’s Then you went straight to Television Paul: The crew system was a great discipline for learning your craft. Jules collects this year’s TCA from GTC President Dick Hibberd. Jules is the give it a go. corner, one on each wall - one was induction course, during which we Centre (TVC) and joined a crew for wonderful way to learn though. I remember I was once on Camera 3 fourth member of the legendary Crew 7 to receive the Guild’s top award

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a year in Tech Ops (for sound and it hurt! The result was the stopping tend only to remember the highlights. the regular uses was on Playschool. cameras). ITV relied on the BBC to do didn’t happen and we crashed into the It would be great to be able to look It meant you could zoom through the all the training for it. That changed wall. There was a tinkling sound from back at every single week and see all appropriate window, square, round later on, and the good ITV companies inside the camera, and the cameraman those things you actually worked on. or arch. The zoom lenses came in developed their own training schemes, looked round and said, “I think the I know one or two colleagues who gradually at first but then they became although they took far fewer people tube is broken”. Everything stopped have done that, and it is very nice the norm with the advent of colour on, maybe one or two at a time. and the engineers came whistling out when they look at it and say, “Did you (and not everybody may not know the from their little cupboard. Actually it know you worked with me on such a reason behind this). On turret cameras, Paul: So can you recall any was amazing because there were no programme, on such a week?” the focus worked by moving the tube ‘cringe-worthy’ moments that you recriminations, the BBC was very good backwards and forwards towards the

© BBC PHOTO LIBRARY are prepared to reveal? like that. Paul: You’ve seen a lot of changes in back of the block behind the lens, and the equipment – you started off with you couldn’t do this with three- or Jules: One springs to mind! It was Paul: What would be your favourite turret lenses obviously. four-tube colour cameras. So zooms in the early days as a tracker down dolly that we don’t use as much now? came in and became the norm pretty at the BBC’s TV Theatre. The line-up Jules: Yes, it was interesting when I much over night. involved a Mole crane that went up The Mole crane definitely. The first joined. The BBC was gradually Z Cars in the studio, 1963: James Ellis as PC Lynch and Colin Welland as Jules: Graham, in Z-Victor 2 which is in front of moving back projection and down the aisle in the middle Mole was in regular use. You usually updating its studios, even though TVC Paul: Why did you decide to leave the and then there was another crane had one on any big show, whether was only a few years old in 1963. I BBC and go to Anglia? – a motorised Vinten – which ran it was a drama or something else. think they had four or five different parallel to the stage. This went in Occasionally, much bigger cranes came makes of camera, including one studio Jules: The main reason for the move Z Cars was brilliant because it was all roughly to the middle and then out in, particular when TC1 got up and down at Lime Grove that still had the was a personal one. It was 1968 and done live, with film inserts... it was a great again until its back was against the running. It was such a big studio, they wall. I was tracking on this particular could use really big film cranes – the discipline for the actors and everybody on it show - I can’t remember what it Chapman Hercules and the Titan – was, I’ve probably wiped it from my which were fantastic things to work If a zoom lens was needed on a particular memory – with a very nice number on. This usually took more people; you show, the director had to specifically ask for right relationship to the subject even started to move too soon, giving the two cameraman called Brendon Carr would have two people to swing them though the dolly was slightly off its impression that the car was moving. on the front. We had a very fast repo, because the arm was so big. And later it... we young chaps had to go and fetch it mark. It was quite a skill to do that Spotting this, Frank brilliantly started having been in the forward position, there was the Nike, which took over from stores (and woe betide you if you didn’t and a very good way of learning about to do a ‘cod’ walk to try and get to get out of the way of Camera One’s from the Mole as a slightly bigger, ‘Skateboard Cam’ used to track down the centre of a boardroom table with being in the right place to achieve a round the problem. I’m not sure how shot from the Mole. For those who more streamlined version of the Mole. have the right paperwork!) Jules perched on top certain shot. convincing it was but at least he tried! don’t know the Vinten motorised dolly, It could do more and had a bigger Those sorts of memories stick out. minicam 07711 903990 Paul: Tell us about the iconic oldest cameras, the CPS Emitrons. my wife Cindy and I wanted to settle dangreenwayltd. hothead programmes you worked on: Z Cars, Paul: Do you think TV has lost some of It was funny when you went down down and buy a house. This was pretty specialist 020 8560 0856 the early Doctor Who’s and so on. its magic by not having so much live there because everything was round well impossible for us in London at content nowadays? the other way. The focus and pan bars that time so we decided to move. It Jules: I never did a camera on Doctor were swapped over, so you had to was a bit of a wrench to leave the Dan Greenway Who, but I was sometimes in the Jules: I think so, because it was such a work the other way round. Centre because there was so much would like to congratulate his father, studio assisting and cable-bashing. It good discipline. Although, even when A couple of the studios had Pye going on there but we decided to started in 1963 with William Hartnell recording came in, the good directors Mark 6s, which had a motorised lens move anyway and I got the job at Jules Greenway as the first doctor. My crew didn’t would still try to do shows as if they turret. Us new boys thought this was Anglia, which was brilliant. actually do that programme but you were live, only stopping if something brilliant because it seemed very new One big difference was that, would be sent round to work with went really wrong. Of course, a lot and modern. You just pushed the working at TV Centre, you didn’t get a other crews and fill in for people who of programmes still are done live, switch and round went the turret. Of look in at any outside broadcasts but were on leave and so on. particularly sports events and big course, the old hands poo-pooed this going to Anglia, you got a very nice Z Cars was brilliant because it was national events, those sorts of things. and said you couldn’t do a lens change mix of studio programmes and outside all done live, with film inserts. So as quickly as you could manually. broadcasts. This was a whole new again, it was a great discipline for the Paul: You later moved to ITV. What With colleague and best mate Paul “Biffo” Baldwin and the stars of The Chief, Actually, they were right, because they thing to learn about, going out and actors and everybody on it. Because would you say was the big difference Tim Piggot-Smith and Anne Archer could do lightning fast lens changes rigging on location and doing sports of that, you would occasionally get between the BBC and ITV, bearing in with the old turret! events, which I had never done before. hiccups and I remember one classic mind that, at the time, these were the it had a very funny brake arrangement, range of height and so on. Those Part of noting down your shots was I went to a football match for the first one. As you probably know, it was only two major TV organisations in which was split in two bars. These cranes were great fun to work on. not just the obvious thing of what time in my life, and loads of other done in sets and everybody moved this country? worked in conjunction with each size it was – a two-shot, close-up or things. Of course, Anglia also had a big around from set to set during the film other but there was one for your right Paul: I’m sure. Is there anything you whatever – you also had to note which name for drama, so there was lots of inserts. On this particular episode, Jules: A big difference was the BBC foot and one for your left; you could would do differently, if you could go way to turn the handle to achieve the work on drama as well. it all got out of sync, or the film training set-up. One of the reasons stand on either, whichever took your back in time? next shot. That in itself was quite a on winning this year's broke or something, and there was the Beeb took on so many people fancy. Anyway, we did this fast repo, discipline. Paul: Any particular ones? this classic shot of everyone moving was that ITV had started up and it which meant pulling the lever flat out Jules: That’s a difficult one. Not as Zoom lenses were only just coming Television from one set to the next, with Frank was encouraging people to go there backwards and then standing on the regards the actual working, I don’t in, so if a zoom lens was needed on Jules: In the early days there were a Cameraman's Windsor in shot standing behind the with better pay and so on. The BBC brake to stop. I stood on the brake think. I have pretty much enjoyed a particular show, the director had to lot of studio dramas – big productions Award set waiting to come on. On another hierarchy was always at pains to with my right foot but unfortunately everything I’ve done, which is good to specifically ask for it. We young chaps with some huge names like Sir John (TiCA) occasion, Frank was standing and point out how much they had spent my left foot was stuck underneath the be able to say. had to go and fetch it from stores Gielgud, David Niven, Sir John Mills, talking through the passenger window on training you; obviously they didn’t other bar, so as I pressed the brake One small thing I would definitely (and woe betide you if you didn’t have Alan Bates, Joan Collins... wonderful to some characters seated in one of want you to leave. They used to take down all it did was hurt my left foot... do is keep a diary – a record of the right paperwork!), then rig it on people like that. Those were mainly the cars, when the back projection people on in batches of 40 or 50 and the harder I pressed the more everything I worked on, because you the camera ready for the shot. One of in the studio, but then Anglia saw www.dangreenwayltd.co.uk

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sort of area. So, it was lots of football, coverage of the 1998 . very long time and I’ve completely laughing along with everybody else. and cricket, that sort of I also remember a lucky day when restored it. Plus we’ve just acquired a They were such good people, as My all time favourite memories are of thing. We even did basketball. Plus, things worked out for me. I often did 1931 Buick – a huge old Al Capone- soon as the programme finished you’d there were the big national events – the Super Slo camera or the close-up style thing, which is great fun. go straight up to the club for drinks. working with Peter Cook and Dudley royal weddings, funerals, the Queen finish which was sometimes called I remember getting in the lift one Moore... they were such good fun Mum’s 80th birthday – that was a upon to concentrate on a particular Paul: So, we can safely say you are time and Dud was in there. I can’t particularly nice one, great fun to do. horse throughout the race on ISO. It enjoying retirement? remember how we got on to it, but As is often the way with those events, was usually chosen by the pundits or he did this funny thing, which he it was covered by both ITV and BBC, director, but if they hadn’t chosen one Jules: Absolutely, it is wonderful. could do blowing his cheek and going the sense in branching out and doing on, “I saw one done once using a so you got to meet up with loads of you just had to pick a horse yourself. “Pwwww”. I was able to say, “That is some dramas on location, which was skateboard.” So we literally went old colleagues. One day at Sandown on a 5-furlong Paul: That’s great. So, just to finish off, amazing, you are the first person I absolutely brilliant because you went out with about £20, bought two Latterly, I was asked to organise the sprint, I spotted a horse called Airwave after a lifetime in television, are there have met who can do that, because to loads of different places. It was skateboards and then got the props camera crews for Racing, playing up at the start and having any particular characters that you like I can do that as well!” and went, always good fun setting up in all sorts guys to make a little tracking dolly up which I was very happy to do, and I to be persuaded into the stalls. “This to remember, whether they be stars or “Pwwww”. He said “Oh, that is brilliant of different locations, out in the open from the two skateboards with the did that for the last 18 years or so. It could be interesting,” I thought, ”I’ll crew members? Jules” ... and off we went to the club or in a country mansion or something camera fitted in the middle, as low was a great pleasure to work on – a go with her.” When the stalls opened for a drink. Fond memories. like that. We did lots of Tales Of The as it could go to the table. Because really, really nice team of people from she came out dead last and I resigned Jules: My all time favourite work Unexpected and the P.D. James crime things like remote controls were in the presenters right through the myself to the fact that my shot would memories are Peter Cook and Dudley Paul: Excellent. Anyway, very many Last day of work: at Glorious Goodwood drama serials with Roy Marsden as their very early days, we decided whole production team. never see the light of day. However, Moore. They were such good fun. I was congratulations on your recent award. Commander Dalgliesh. He was a the only way to make sure the shot People who haven’t worked on once committed you stick with it. To lucky enough to work on a production There was something very significant wonderful chap to work with. Then was what we wanted, was for me horse racing often say “Isn’t it boring, everyone’s amazement she caught up of Beyond The Fringe, which we did about that award wasn’t there? Fact File there was The Chief with Tim Pigott- to crouch on top of this thing and same old horses running past?” Well, and went on to win and, needless to out of the TV Theatre. It wasn’t shown Smith and later Martin Shaw. be tracked down the middle of the no, it isn’t. Yes, the racecourses are say, the shot was replayed over and in the UK as it was done specifically Jules: Yes, it was absolutely fantastic. Below is a selection of just some of the many programmes Jules worked boardroom table, with the props guys visited on a regular basis, and yes, over again from start to finish! for the American networks for when Obviously it came as a complete on during his long and fulfilling career: Paul: Oh yes, The Chief – we actually whipping out ashtrays and flowers etc the races all have their specified they took the show over to America. surprise. I’m very honoured to be in worked on Series Two of that together. from the table as we went along. It distances and so on, but every day Paul: And then you finally decided I think it was in 1964. Then, after such company and the really amazing BBC 1963–1968 was really quite amusing! has a different story to tell, not least you were going to retire. Quite a lot of that, there was Not Only... But Also. thing was the realisation that I am the Playschool Jules: Yes, with that wonderful because of the varying weather cameramen say they are going to pack Crew 7 did the first two series of that fourth person from Ron Green’s crew, Tomorrow’s World director Desmond Davis, who was Paul: And what have you been doing conditions, and you can always rely on up, maybe when they leave a company, and they were just hysterically funny Crew 7, to receive the TCA (the other Blue Peter an absolute hoot to work with. Very in more recent years? horses to do something unpredictable but then we see them around on the to work on; we were just laughing all three being Ron, John Henshall and Top of the Pops demanding, but very good. He knew to keep the cameramen on their toes! circuit for years to come. But you said, day. Sadly, only a few episodes survive. Keith Salmon) which is extraordinary Tonight what he wanted and had clever Jules: Well, I was made redundant “I am going to retire”... and you have. I always say when you see them – and also deeply pleasurable. I think Dixon of Dock Green ways of achieving it. One amusing from Anglia, along with half a dozen Paul: Do you have any particular high For the last year we haven’t seen you particularly the scenes with Dud and Ron would be very chuffed! Dr Who thing I remember: He came to us or so others, in 1996. I went out into points from that part of your career? working at all. How did you reach the Pete, like the one in the art gallery, Kipling and said, “Tomorrow I want to do a the big wide freelance world. Most of decision that you were going to hang where Peter Cook is deliberately Paul: Yes, a lovely man and I think he Sherlock Holmes shot tracking down the middle of a the work available was on sport OBs, Jules: Probably the biggest highlight the cans up, and that would be that? trying to make Dud corpse – you can would be very proud. Thank you for The Likely Lads boardroom table. Can you do that?” and fortunately there was plenty of of that era was when the Channel hear Ron Green and me on the Heron talking to me for Zerb, Jules. The Money Programme And we thought “Oh, no”. He went work around, as there still is in that 4 team picked up a BAFTA for our Jules: It was a family decision really. The Beat Room We just thought the time felt right. BBC-3 (an early BBC2 series with Ned Sherrin that few people remember!) We felt we had enough going on and, Not Only... But Also fortunately, enough of a pension, It was a great pleasure to work on the which is the main thing when you take Anglia TV 1968–1994 this decision. As you know, I finished Channel 4 racing – a really, really nice Tales of the Unexpected, on a real high, at Goodwood in July team of people from the presenters right PD James Inspector Dalgleish Crime Series 2011. It was a really, really good week The Chief with parties and all the rest of it. through the whole production team Fay Weldon’s Growing Rich, And no, I haven’t done anything Local content programmes – About Anglia, Farming Diary, Bygones since. The phone hasn’t rung, and I OBs of all sorts don’t want it to. We’ve been incredibly Football (Anglia pioneered Match of the Week (done on three cameras!) busy with lots to do at home. One which preceded Match of the Day by some time! of my hobbies, which I haven’t State occasions, including royal weddings, the Queen Mother’s 80th mentioned, is tinkering about with old birthday, Pope’s visit cars, so I have more time to do that. Also, our son Dan, also a cameraman, Freelance 1994–2011 has moved up from London to live Mainly sport OBs - football, basketball, motor racing including F1 near us, which is wonderful. So we Funerals of the Queen Mother and the Princess of Wales help him out with his old house and Supervisor Channel 4 Racing, involving an OB from a different racecourse his garden. And best of all we have a every Saturday of the year with an hour-long live preview show at 08.00, new grandchild, our first one! plus all the bigger meetings – Cheltenham Gold Cup, Glorious Goodwood, Chester, York, Newmarket, The Derby, Dubai World Cup, Arc de Triomphe, Paul: Fantastic, and what cars do you etc. have? Contact Jules on: [email protected] Jules: We have a 1950 XK120 Jaguar, The Channel 4 Racing team celebrating their BAFTA for coverage of the Enjoying retirement: Al Capone-style Jules with his 1931 Buick Epsom Derby, 1998 which is beautiful. We’ve had that a

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