Jean Barbe

Jean Barbe

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Jean Barbe
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I first made the acquaintance of Ann Blyth on the film set of the filming of  Mildred Pierce, (1945). Warner Bros had borrowed Ann for this film.  It was Anton Grot’s that called Ann over and introduce me. It was later that year filming Danger Signal , (1945). But burring filming, Ann Blyth suffered a broken back whiles sledding, this all happed while she was on a briefly vacationing in Snow Valley 14 miles from Lake Arrowhead.

I first made the acquaintance of Ann Blyth on the film set of Mildred Pierce, Warner Bros had borrowed Ann for this film. It was Anton Grot’s that called Ann over and introduces me to her.

I grew up in Los Angeles. When I graduated from high school, Like most youngsters, he had a favourite playground: it happened to be the old Warner Bros. Studio on Sunset Boulevard where my uncial worked   as a production manager, I working as a darkroom accent on Sunset Boulevard for, Consolidated Film Industries in Hollywood, where I worked for four years.

I grew up in Los Angeles. When I graduated from high school, Like most youngsters, he had a favourite playground: it happened to be the old Warner Bros. Studio on Sunset Boulevard where my uncial worked as a production manager, I working as a darkroom accent on Sunset Boulevard for, Consolidated Film Industries in Hollywood, where I worked for four years.

After graduating as an electrical engineer from California Institute of Technology (class of '48) I was hired by Byron Haskin, ASC, and head of the Warner Bros. Special Effects Department on Stage 5 in Burbank. Since this was the largest such department in the movie business, I was able to work with some of the top cinematographers in the effects field, such as ASC fellows Edwin DuPar, Hans Koenekamp and Warren Lynch.

After graduating as an electrical engineer from California Institute of Technology (class of '48) I was hired by Byron Haskin, ASC, and head of the Warner Bros. Special Effects Department on Stage 5 in Burbank. Since this was the largest such department in the movie business, I was able to work with some of the top cinematographers in the effects field, such as ASC fellows Edwin DuPar, Hans Koenekamp and Warren Lynch.