I worked on 'Blue Peter' and 'Tonight' and lots of TV plays, filmed people like Rudolf Nureyev and Ted Heath, and ended up a senior cameraman with my own crew. I'd had my first short story published in 1947, and when my writing really started to take off I decided to go freelance, and eventually left the BBC in 1965.
Yes, if I had it my way I would do all the shots myself - I used to do that when I was just a cameraman, an operator - but there's no way; you can't do that anymore.
Often I pretended to a cameraman to know less than I did. That way I got more cooperation.
Anyone with a smart phone is a potential eyewitness cameraman capturing and transmitting stories at speeds that turn Reuter photos and traditional reporting into, well... yesterday's news.
I believe that the best cameraman is one who recognizes the source, the story, as the basis of his work.
The cameraman isn't thinking about whether you're good that day. He's too busy worrying about what he has to do.
People always seem to assume that we have a full, back-up support team - make-up, costume and a driver - but usually, in a war zone, there's only me and the cameraman.
I couldn't be a cameraman or a designer or an actor - I have to be a director because I learned how to do that from my dad.
My dad was an actor and a writer; my mum was a drama teacher. My grandma was an actress. My aunt is an actress. My granddad was a cameraman. They would've been surprised if I wanted to be a dentist or something like that.
For us as writers, it's really important to have songs we believe in - even before sometimes we shoot a scene. If we have a song that's so perfectly designed for a scene on 'Rescue Me,' we'll play it on loud speakers during the shooting. It helps the cameraman and it helps the director, and it helps the actors know what the feel is.