Alan Church (Behind The Scenes)

By: Anders Frejdh

Published:
2006-08-06

Optical camera operator in NSNA, A VIEW TO A KILL, THE LIVING DAYLIGHTS and LICENCE TO KILL

The first time I met the talented and likeable Alan Church was during the event, Bond Girls Are Forever, hosted by the Bondstars team at Pinewood Studios on July 2, 2006.

Alan told many things about his work on the production of his Bond films including collaborating with the great title designer Maurice Binder.

A selection of Alan's film credits:
1999: Deep Blue Sea (digital effects producer: Film Factory)
1997: Seven Years in Tibet (digital effects supervisor: Film Factory)
1995: GoldenEye (process photography)
1995: Hackers (optical cameraman)
1995: First Knight with Sean Connery (optical cameraman)
1993: Germinal (clapper loader / focus puller: Magic Camera Co)
1993: Son of the Pink Panther (optical cameraman)
1992: The Crying Game (optical camera)
1991: Cape Fear (focus puller: model unit)
1990: The Neverending Story II: The Next Chapter (optical cameraman: optical effects unit)
1989: Licence to kill (optical camera operator)
1989: Scandal with Britt Ekland and Jeroen Krabbé (optical effects)
1988: The Deceivers with Pierce Brosnan (optical camera operator)
1988: A Fish Called Wanda with John Cleese (optical camera)
1987: The Living Daylights (optical camera)
1986: Aliens (optical camera operator)
1985: Wild Geese II directed by Peter Hunt with Barbara Carrera (optical cameraman)
1985: A View to a Kill (optical camera)
1983: Never Say Never Again (optical camera)
1983: Educating Rita directed by Lewis Gilbert (optical camera)

Photo above:
Alan Church and Pauline Hume on stage at Pinewood's luxury Theatre 7 during the event.

Text written and published by Anders Frejdh in August 2006

Tags:

#behind_the_scenes

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Alan Church (Behind The Scenes)

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