Sheila Collins Page 1 This recording was transcribed by funds from the AHRC-funded ‘History of Women in British Film and Television project, 1933-1989’, led by Dr Melanie Bell (Principal Investigator, University of Leeds) and Dr Vicky Ball (Co-Investigator, De Montfort University). (2015). COPYRIGHT: No use may be made of any interview material without the permission of the BECTU History Project (http://www.historyproject.org.uk/). Copyright of interview material is vested in the BECTU History Project (formerly the ACTT History Project) and the right to publish some excerpts may not be allowed. CITATION: Women’s Work in British Film and Television, Sheila Collins, http://bufvc.ac.uk/bectu/oral- histories/bectu-oh [date accessed] By accessing this transcript, I confirm that I am a student or staff member at a UK Higher Education Institution or member of the BUFVC and agree that this material will be used solely for educational, research, scholarly and non-commercial purposes only. 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BECTU History Project Interview No: Interviewee: Sheila Collins Interviewer: Roy Fowler Duration: 1:33:25 & 0:28:25 RF: The following recording is copyright by the ACTT history project. It’s made on the twentieth of October 1987 in the executive committee room at 111 Wardour Street. Side One, Sheila Collins interviewed by Roy Fowler. Sheila, first of all, tell me when and where were you born? SC: I was born in Croydon in March 1929. Sheila Collins Page 2 Alright, and did you go to school there? Well, being brought up during the war I had the usual chequered scholastic career due to bombs, I think I went to about eight schools, and ended up at Brighton High School. Right. These were straightforward schools, not specialised in any way? No. Well, you know, it started off with kindergarten and it went to the first secondary school, I was there three weeks and came the Blitz. I then was at a council school for one term because it was the only place I could get into and there I was pushed to a tech, grammar school. Well, you know, it’s the usual, wherever you could get a place. As a sideline, I’ve seen one of the most recent films was Hope and Glory, John Boorman’s film about the Blitz and the war – did that ring any bells for you? Certainly, because after all it was set basically really in Carshalton which was not very far away from where I lived, and while I was a couple of years older than he was at the time, I certainly remember a lot of the little incidents like picking up the bits of shrapnel. You didn’t know John at that time? No, no. Well, he’d have been too young for me. Oh indeed. Two years younger. Ah, yes, yes. Okay, back to what happened, so developing from your school years, what… Well, in about 1945, ’46 I was at the Brighton and Hove High School and I loved the theatre, I think this was a family interest, always a great interest in the Collins family, and I used to spend all my spare pocket money going down and queuing up for the pit or the gods at the Theatre Royal, seeing all the pre-London shows. And I had intended trying to Sheila Collins Page 3 go on to university, but it was very difficult at that time because you’d got all the people leaving the forces, but still, I was having a go. But our headmistress had a very enlightened, well, it was only just beginning to be practical, of getting people down to talk for careers - matron of a nursing hospital and so forth - and then one day who came down but Michael Balcon and Cavalcanti, so after they’d talked to us I thought well of course, that’s it. It’s got all the interest in the theatre which I love, but which I knew there’s no way of making a living in, well not really, you know, it’s so small. So I chucked the university course, the high school’s course, and went and took a shorthand typing course, because I thought well, from what it sounds, if I learn that I can start in, at least be earning and then find out what I want to do once I’m inside it. And that was really how it started. But presumably, the prevailing thinking for a girl in those days it had to be secretarial to break into… Because I didn’t know, still wouldn’t have known enough about it to know if I wanted to go into any specialised section like editing or anything like that, it just seemed the practical way, if I had that at least I could be sure of earning enough to live on. Do you remember anything that Michael Balcon or Calvalcanti said to the girls, the way they presented the film industry? Not really, it’s such a long time ago. I think obviously Michael Balcon talked about the opportunities, the types of jobs. I think they obviously spoke about it overall. Cavalcanti probably spoke more about the artistic side, but I really can’t remember in detail. But they obviously impressed you. Yes. Okay. Was there any showbiz connection in your family at all? Yes. My aunt was in musical comedy really it was, I suppose. She used to play leading lady in number one tour, about I suppose, oh, latest would have been the twenties. And my grandparents, the whole family were very interested in amateur theatricals. In fact I Sheila Collins Page 4 believe, I seem to remember sometime in the past seeing an old newspaper which Grandma Collins, who was a formidable little five foot lady, always dressed in severe black with the high boned collars, and they laid on the opening show for the Kilburn Empire, which was such-and-such a poem recited by Mr So-and-So Collins, and this song sung by someone else, and all the local talent, really. It was just a general interest. A vanished world. A vanished world. Did they tell you much as a girl? Oh yes. I think my father, though I gather he was terrible, but even he had been interested, done a bit of amateur dramatics in his youth. Also a great interest in poetry and that sort of thing. So with your secretarial qualifications, then what, how did you set about finding a job? Well, one always tries to find out who knows someone who knows someone, and it was just a local, father of one of my friends happened to know Leslie Parkin, who at that time was with PFF, one of the joint managing directors, and arranged for me to go and see him. PFF? Production Facilities Films, which was the holding company for the Rank Organisation. I mean all the artists weren’t under contract to the Rank Organisation, they were under contract to PFF, all the letters of engagement were PFF. It was the working company, in other words. Yes, I see. Okay. So I went to see him and he knew there was a vacancy in the Star Artists’ Department, as it was called, for a junior shorthand typist, so that’s how I started at £3.15 a week. Sheila Collins Page 5 Where were they based? South Street. David Henley was the head of the department and I worked with Olive Dodds and Ronnie Waters. Did you live close by or did you have to… No, I used to travel up from Hove. And what would be the cost of travelling in those days? I think it was a pound a week. Really? So that was about a third almost of your income. Yes. That was the rail fare, but the bus fares weren’t much. Father of course bought my first season ticket but I paid him back by the end of the quarter. You did, right, okay. Can you remember what South Street - was very nice – I suppose we ought to identify South Street. This was the headquarters mansion of… Of the Rank Organisation, in Mayfair and on the first floor one had Mr Rank’s office, John Davis and the boardroom and that sort of thing. I think, I can’t remember whether we were on the second or the third floor. What year was this? This was 1947. Right, okay. Was it a comfortable place in which to work for the staff? Oh yes.