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The George Lucas Stage, Elstree Studios. Photo: © Elstree Studios Ltd.

Bryan Forbes Interview:

By February 1969, EMI ruled the roost at Elstree, and a new managing director, Bryan Forbes CBE, who had been both an actor and a film-maker, was appointed. I interviewed Bryan about the ups and downs he experienced working at the studios in the autumn of 2007.

Paul: How did events lead you to become the managing director of Elstree Studios in 1969?

Bryan: I was dining with my wife Nanette (Newman) one night at the old White Elephant Restaurant, in Curzon Street, London, when Bernie Delfont came up to the table and told me his company, EMI, had bought Elstree.

He knew nothing about running a studio, and asked if I would do a paper for him, putting down what I thought should be done. I wrote 30 pages for him which I think startled him and he offererd me the job.

I did not accept straight away and took about two months to think about what I should do.

Paul: What was the sitaution when you first took up your post?

Bryan: I was alarmed at the state of the studios, which were run down, and morale among the staff was very low.

I calculated the studios needed £800,000 spent on it to bring it up to a decent standard, but I was only allowed to spend £80,000 which meant I could just about put a lick of paint on it and mend the broken studios.

Paul: When you started, what was EMI's view on film production?

Bryan: They were very anxious for me to announce a programme of films as soon as possible. Under my deal, I was given what was purported to be a "revolving" fund of £4 million. Eventually, I put together my first programme, and for my first £4 million I delivered 18 negatives. None of the films went over budget and in cases of The Go Between, which won the major prize at Cannes in 1970, and The Railway Children, both went swiftly into profit.

Paul: What happened when you asked the fund to "revolve" after they original money ran out?

Bryan: They refused. So I pointed out that without any money I could not continue to operate.

Rather than fire people, I put together a small budget and made The Raging Moon, directing it myself while still running the studio, while I wrote and directed for my managing director's salary and Nanette and Malcolm McDowell both worked for scale and deferments.

Paul: What happened after you completed the film?

The booker for EMI refused to give it a circuit release, even thought I had made it at the studio with studio labour, that EMI controlled the distribution and had all the old A.B.P.C. cinemas.

As a result, with no revolving fund and the humiliation of having one's own film refused a release I had no alternative but to tender my resignation.

Paul: On reflection, do you regret taking the managing director's post?

Bryan: Mo, but I deeply regret I wasn't given the werewithal and support to continue - we might have had a really viable British film industry instead of lumbering from one crisis to another.

I won some battles and lost others, but on the whole I feel I lifted Elstree Studios a notch and gave the staff a feeling of pride again.

It is worth noting all of the 18 films I made while there still return a regular and healthy profit.

My special thanks go to Bryan Forbes CBE for his time and for taking part in this interview.

Please not use any part of this interview without first contacting Paul Burton to request permission.