YouSaid · the spoken record

Michael Deeley

lines on the record: 54
first: 2008-12-14
most recent: 2008-12-14
sittings or episodes: 1
sources: podcast

Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

“actually requires a bit of bad luck on somebody else's part. It would need to have storm, rough sea. and at one of these dangerous moments when a container slips off a boat. and when it floats ashore and it comes up on sand and I manage to get it open. two things one that is packed entirely with vintage French wine. and two that is obviously potential hut for me to live in.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“I am curious enough that I would like to have a decently translated copy of the Quran. Two reasons one serious and one silly. The serious reason is that I would really like to take the time for head all that time to see really where the stories diverge and where the problems arise in the conflicts between the two texts and therefore perhaps the conflicts between the people or is it just their ministers who have created the conflicts? It's one thing. The other thing is that if I were by any chance rescued by Barbary Paris I would have this document to her and say hey I'm a good guy.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Exactly. Yes, or a shrub for peeping over. What's that? Anyway, I was given £10,000 to make it and told I could have £1,000 and anything I saved. So it became family efforts.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Exactly what they were, and they were sort of girls who were naked from the waist up, bobbing up and down, playing volleyball or ping pong or something with a steam story leading them together. And they've played in rather seedy theatres in Soho mostly.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“She did on one film she was continuity girl in the film I made when I was hired to make a film many, many years ago which was a nudist film and my mother was the continued girl on it.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Quite sure she was pleased because you knew the territory. In fact, I know she was pleased, but we didn't discuss it a great deal. We didn't have chats about films.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“It's from a movie. It's used with semen death in Venice. I love the movie. I love the atmosphere of it. It's a Dagieto from Mila's symphony”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“talk of them having the fair, but it doesn't mean so they did at all any more than there's any truth in the idea that Donald Southern and Julie Christopher actually having sex. They were not. They were acting. In any event, that rumour had any believability would mean that here two of his girlfriends or former girlfriends having been looked after rather cozily by Don Souther Canadian actor.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“With John Southern, yes. Beautiful visually and beautiful emotion because in fact it's about a couple, married couple who have gone through a terrible tragedy trying to get themselves back together. It's a very strong, important part of the picture. But Warren was there to save Catalon's picture. There was absolutely no way I could. When you say it was”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“His girl friend, I think she still was at that time's girlfriend, was Julie Christie. In a picture, the picture was called Don't Look Now. My company made it. And in it there was the most beautiful scene, love making scene”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Has she traveled with you then when you've from time to time? She was in the business in a way herself and is fairly sort of aware of what it comprises, certainly is by now.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, I do. I mean, I used to live all over the place. One lives in Holland and one lives in Italy. One of them is whatever it is, architectural guide in Pompeii, which is not really the movie, but it's just show business. It's not the movie business.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Lawyers and a doctor in one occasion I should be fighting to have the children or not, given my circumstances. And they all said, No, no, you should leave them with their mother. And I thought, okay. That's well done.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“That is true. I mean, it also came to one of those situations where the children with the father or the mother, and when I saw rather Dishonestly asked for advice from people I would ask for advice from.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“His three children, my then wife went to live in Netty. So after that I had freelanced to do everything I wanted to do and everything I did do.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“I haven't but I know some people do. I was not particularly senior in the film business when I had children, and later when they all went to live in Italy.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“that part of Aaron Clipman's El Salon, Mexico. I like the Mexican feeling about it. I now live in a town which is fifty percent Mexican.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“And then we blast out the music end of picture. But the next picture, I'll tell you exactly what the solution was. Good. They hear this roaring machine noise, and suddenly they... That was hanging over the bus starts to lift up and you cut outside and you see that two helicopters have slipped a cable underneath the lifting it up. And everybody tumbles out, the gold falls out onto the ground, and that's perfectly okay. And there are all the mafias standing around. The next movie is about getting the mafia to give up the gold or getting the gold back.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Morbid interest I have to say I sleek and see both of them, yes. I mean, I have a hatred for remix. The only time I ever wanted to do a sequel was on the Italian job, which is why I wrote that ending, which was the cliffhanger ending of the bus on the teaser on the brink, because I had a solution. You remember what was happening? This kosher's literally teetering one way.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“That was most puzzling because the picture wasn't like our Italian job because our Tanian job is a non-killing picture. This would start off Donald Sutton being machine gunned and had rather different story and all of that. And I don't know why they used the title because this picture never done any business in America anyway”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Discourse totally hit because that is merely against saying I'm not going to make an original movie, I'm going to make a mishmash of two hits. Indeed. It never is that. I mean Spartacus never does meet.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Think about the movie, and I don't often think about the movie. I don't really pay much attention to my old movies, but I do in this case.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“This is actually the theme music from the deer hunter. I think it's called Cavatina, and it's John Williams playing John Williams the guitarist.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Obviously, pretty good because it could have gone anywhere. I also thought with great pleasure that it cost me five hundred dollars, because I had made a deal with David Putney who had a picture up against us that if one of us won, then the other one will be given five hundred dollars to go out and have a drink.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, he's had an awfully good career, but he was dying. But we just bit the bullet on that because it was important to her to Merrill, and we shoot his scenes pretty consecutively, so we didn't have to take too much time. And we did actually rather coldly, perhaps, do a couple of backup scenes which we wrote to stand by in case he did die suddenly, so that we could sort of talk our way out of it.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, you did, he did. The more serious issue was about her lover at the time who was dying of cancer. She wanted him in the picture, and we want him in the picture, but we couldn't get insurance on him, so that was a tricky thing.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, absolutely he was the key to the movie. At that point he was just absolutely coming to the peak of his career, getting him as a triumph because A he's wonderful, but he behaves in a wonderful way. He contributed so much beyond even acting he worked with the other actors, he helped cast, he just had a perfect finger on the thing.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Something completely original which I knew had never been done, I presume had never been done, which was drama pivoting really on Russian roulette. That's a rarity and originality is one of the key things in my view for movies.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Royobsen's Blue Bayou it's a piece of music we used in a picture with David Bowie called The Man Who Fell to Earth and I actually would play an entire CD of Royalson if I were allowed to. This is just marvell”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“No, God, thank God, no. And if they'd seen the cameras on top of the roofs and things like that, might have been suspicious, but no.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“That was courtesy of Jania Nearly, who was the head of Fiat, and Fiat is the only employer really in Turin or the main employer in Turin. Right. And a friend of mine had put me in touch with him, and he had promised all sorts of help, and he just told the police to let us do what we wanted to do. And what we did was we drove our own trucks on five different spots and jammed the place. And that was it.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“No When the actual doors were blown off, that was not a laughing matter. Everyone ran for the cars and got the hell out of there quickly, because the people were coming and they weren't going to be tall pleased.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Still is indeed. Yeah. We knew it was pretty nice. It was about us kicking the Italians' bottoms. It was the first Eurosceptic picture, if you like.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Oh, that was why we had him because it wasn't an obvious fit. It was very good to have a counterbalance to Michael, who was a big star but an alpha star. So we needed some other even discordant note if necessary. He hadn't worked for a while and he wasn't particularly keen to work, I don't think. him up and offered him twenty five thousand pounds for two weeks work and he said yes”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“I think that The very serious nature of people's attitude toward working, and the absolute commitment that people in film business do have, obviously the pleasure of the stuff that one's working on. I mean, work on a film with Jacquet is pretty nice.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Getting paid I'd probably been in it for two months and I decided that was what I was going to be doing because I was working with people who were very good. The first picture I did was Le Vaconse Monsieur Illo, which was a wonderful picture to start on.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, it was different from that I was actually staying in my mother's house, and she was off in Switzerland working on a picture, and I'd been a couple of days back, and a friend who I don't since childhood called up to talk to her and asked me what I was doing, and I said nothing I felt I'd better get a job for the next few months. He said, Well, that's okay, I'll give you a job. He'll be an assistant film editor, and you start on Monday, and there you are.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Superi, it's the Andrew Weberschin, sung by Jacqueline Baron, and it's so moving and has a real sort of spiritual impact.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Oh, yes, he was literally that. And we got into a sort of situation and suddenly there's a bit of firing came up. And he was staying right by my shoulder. And he was shot right through the head. And he dropped dead. Suddenly I felt this very secret but enormous exhilaration. It was probably the most exhilarating meme of my life that it was him and not me.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, I can. It's a very odd thing. It's a young guy who'd just come from Cambridge where he'd had some deferred things to become a clergyman, and he came out and seconded to me as an experienced officer for training for three weeks, then he would have his own people and do his own thing.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“I mean, did it affect No, it didn't and also the whole for a junior officer the whole life was a sort of extension of public school.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, it was sort of halfway to growing up. It was potentially dangerous. One shot one or two people. One or two people were shot. It was quite hard work as well. You're in the jungle. You're maybe seven days march away from any camp or any human beings. It was quite a change.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“No, we didn't, either of us, I mean. I haven't very often had very secure employment, so particularly in the early days, and I'll get back on that.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, she was very serious about it. In fact, she did a rare thing. She gave me a choice of going to Stoneyhouse because I was a subnominal Catholic, or Stow, and went to look at both of them.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“This is a direct of the picture. He wouldn't use English sand. He had sand imported from Egypt because it was the right sort of sand. Now this was during the war. You have a shipload of sand being brought over somehow.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“and standing on the set and watching Vivian Lee and Claude Rain standing next to a Sphinx. One of the things I do remember being told at the time that Gabriel Pascal was so crazy he wouldn't use English sand.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Not really, no, and she was very good about him. She never told me at any stage what she really thought about him, which wasn't very much. I mean, she didn't like him very much.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“Not went out at school. We're very good friends, but she was busy and I was busy being school. I should add this estrangement probably made me a much worse father than I might have been. Because family life wasn't something I'd grown up in in a complete sense of the term.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“I had a good Yeah, I really did. I mean, once or twice things I didn't like, but essentially, I mean, I was institutionalized in that way until I left the army because I went from prep school to public school to army.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source
“She worked in Fomes all her life. She started off working for those ludicrous moguls that exist in those days like Gabriel Pascal and Filippo del Judice, another major producer.”
2008-12-14 · Desert Island Discs · Michael Deeley · IDENTIFIED FROM THE TRANSCRIPT · source