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This programme examines the roles of producer Gerard Glaister, story editor John Brason, scriptwriter Willis Hall and technical adviser Group-Captain Bill Randle. As counterpoint to the
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This programme examines the roles of producer Gerard Glaister, story editor John Brason, scriptwriter Willis Hall and technical adviser Group-Captain Bill Randle. As counterpoint to the story of the making of Secret Army Bill Randle and other RAF escapers relate their own vivid adventures in occupied Europe.
Enter leading actors Bernard Hepton, Jan Francis, and director Ken Ives... followed by a boy - 10-year-old child actor Max Harris. Major Donald Darling remembers the heroes - the 'helpers' who sheltered, passed on and often died for the RAF escapers.
Enter leading actors Bernard Hepton, Jan Francis, and director Ken Ives... followed by a boy - 10-year-old child actor Max Harris. Major Donald Darling remembers the heroes - the 'helpers' who sheltered, passed on and often died for the RAF escapers.
Director Ken Ives and cameraman Godfrey Johnson on location in Belgium. Meanwhile on the other side of the Channel, Austin Ruddy is at work designing a Brussels rooftop for a sequence to
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Director Ken Ives and cameraman Godfrey Johnson on location in Belgium. Meanwhile on the other side of the Channel, Austin Ruddy is at work designing a Brussels rooftop for a sequence to be filmed at Ealing by another of Secret Army's directors, Paul Annett.
Ken Ives cuts film with film editor Sheila Tomlinson. Austin Ruddy selects props for the studio. Costume designer Andrew Mackenzie fits out Valentine Dyall in the style of a 1940s Belgian doctor.
Ken Ives cuts film with film editor Sheila Tomlinson. Austin Ruddy selects props for the studio. Costume designer Andrew Mackenzie fits out Valentine Dyall in the style of a 1940s Belgian doctor.
We follow a scene through outside rehearsal to the studio recording. We see sets erected and lighting rigged. Alan Home lighting manager, explains some of his sophisticated equipment.
We follow a scene through outside rehearsal to the studio recording. We see sets erected and lighting rigged. Alan Home lighting manager, explains some of his sophisticated equipment.
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