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There were usually 3 cameras - 2 in the 'studio' and one somewhere in the zoo. Retrieved 13 June

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NB - I have where possible given the dimensions of the studios. This can be a bit of a minefield. The BBC's studios, Fountain, Teddington, Riverside and even Pinewood TV have always had their plans drawn in metric but for some reason The London Studios (LWT) .
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See later on this page. Their main studio in that building was sq ft - more than twice the size of this one. In Thames took over Television House and they converted the foyer into another studio which became 'Studio 4'.

Since Thames was based at Teddington which had three studios, this made perfect sense. The daily local news programme Today , presented by Eamonn Andrews, came from here and behind him commuters could be seen walking along the pavement and occasionally peering through the windows in the background of the shots.

One of the reasons Rediffusion lost the franchise in was that they had neglected local news. The new franchisee, Thames, therefore thought it very important that their local news service was literally as highly visible as possible - hence the window looking into the studio. The man in the street's view of the Today programme being broadcast. As soon as Thames took over the building they started to look for something more suitable and in they moved to Euston Road.

More on this later. A-R's main production centre back in was to be at Wembley Studios - taking over a film studio site then owned by 20th Century Fox and quickly converting the old stages into four TV studios. The early film years It cost 10 million pounds to construct and opened in No less than 26 million people visited it between and The famous twin-towered stadium dates back to this period. Just pause for a moment to consider these figures. They are quite extraordinary! They intended to develop the 'Palace of Engineering' from the Wembley Exhibition and use it as a base for creating an American style film studio complex.

Sadly, their finance fell through but the site was taken over by a distributor who named it Wembley National Studios. An ambitious title as there was only one small stage on the site at that time. Unluckily, this was destroyed by fire in The 'studios' now occupied a much smaller part of the exhibition site than the intended 35 acres - and some years later BBC OBs would have their base here using some of the old exhibition buildings on the opposite side of the road from the film studios.

Following the fire a much larger stage of around 8, sq ft was built by I W Schlesinger who formed a new company - British Talking Pictures. This company merged with Associated Sound Film Industries - a supposedly wealthy enterprise with great plans for making movies.

They were of course hampered by only having one stage but this was said to have the advantage of possessing the most modern grid with an 'overhead gantry wiring system' - whatever that was. Sadly, the ambitious plans for making dozens of films did not materialise and Wembley was soon leasing out its facilities to independent producers making 'quota quickies.

Fox Films from the US also needed to make cheap films in this country to fill its quota so in it formed Fox-British Pictures and took out a lease on the studios - later buying them in It is likely that further expansion happened at this time and a second stage was built. In a new films act was passed by Parliament and the Fox board in America objected to some of its proposals. They decided to reduce their commitment to film making in the UK and closed Wembley - although oddly they did retain ownership of the studios.

Also, rather surprisingly they decided to lease space at Lime Grove studios to make some films rather than use their own at Wembley. During the war the studios were brought back into commission and used by the Army Kinema Corporation and the RAF to make training films. Unfortunately, stage 2 was destroyed by fire in but it too was subsequently rebuilt.

Following the war some film-making continued by independent film makers. In Wembley was said to have two stages with a total floor area of 12, sq ft. The arrival of television In A-R bought the site and impressively took only nine months to add the control rooms and other necessary facilities to enable the stages to be used for television.

Stage 1 had control room suites built across the middle to form two new studios - 1 and 2 either side. They were ready for use on August 29th, just three weeks before transmissions began.

The addition of control galleries therefore reduced the size of the old stages - the largest, studio 1, being 80 x 54 ft wall to wall. Studio 2 was 80 x 40 ft, studio 3 about 42 x 20 ft and studio 4 was 75 x 42 ft. There is a publicity leaflet published by Rediffusion in that states that the grid height in studios 1 and 2 was 16 feet and an extraordinarily low 11 feet in studio 4.

This is hard to believe, frankly. However, in when the studios had become film stages again another document has the grids at 30 feet and 20 feet respectively, which is much more likely. The old film stage 2 became studios 3 and 4, which were open by the end of Studio 3 was very small and only in use for a short time.

However, Les Roworth tells me that it had the honour of producing the first show from Wembley. It was a children's programme called Small Time and was transmitted at 12 o'clock noon on 23rd September The studio also produced another show, Mail Call at The first transmission was not exactly problem-free as although the pictures looked fine in the studio they were 'ringing' horribly on transmission.

A hurried investigation discovered that the output cable to studio 4 was connected to the cable from studio 3. Fortunately, the second programme in the day looked fine. In A-R were feeling the pinch financially - like all the new ITV companies - and they closed studio 3.

The space was later turned into a telerecording area. This picture is thought to show the opening announcement at the start of transmission of the first Friday of A-R broadcasting on September 23rd The announcer is Shirley Butler and the poor woman is having to appear calm and collected in front of a studio full of suits.

A-R were aware that none of the studios at Wembley was particularly big. To enable really large-scale shows to be made, the board decided in to begin the planning of a huge studio on the site, alongside the existing stages.

This studio was to be capable of being divided in two using soundproof doors - enabling maximum use of the studio between the major productions. The foundation stone was laid on May 7th and studio 5 opened in June - by coincidence the same month the first studio at BBC TV Centre opened.

Little did they know how often the name on the side of the building was going to change over the years. Studio 5 was very busy in its latter years up to making programmes like The X-Factor and Britain's Got Talent when it was known as Fountain Studios. It was unique, consisting of two medium-sized studios each with a separate control gallery suite. The huge double thickness soundproof doors dividing it could be raised in 30 minutes. A rate of one foot per minute.

Apparently the only motors that could be found that were powerful enough to lift the doors were some made for rotating the gun turrets on warships. I have climbed the ladders to visit the winch room at the top of the building myself and very impressive it was too - the huge doors being suspended on steel ropes wound round winches that have a SWL of 25 tons.

Apparently the winch gear had to be checked at least once a year but studio manager Tony Edwards had it checked every six months. I asked him if he worried each time he pressed the button to raise or lower the doors whether it would work or not. The answer came as no surprise. TC1 opened 4 years later and was 'only' 10, sq ft. In case you were wondering, the only comparable fully equipped TV studios in the UK are HQ1 at MediaCity Salford which is about 12, sq ft and studio 5 at Maidstone which is 11, sq ft.

Stages 1 and 2 at Elstree Studios where Strictly Come Dancing is made do not have a TV lighting grid or flat TV floor but they do share a control room suite and each is 15, sq ft. LH2 - the huge rehearsal space that effectively took over from Fountain in - has a working area of 14, sq ft. Each controlled the lights in one half of the huge studio.

When the studios were operating independently the sliding door was closed. Wembley studio 5 was originally equipped with 8 EMI Image Orthicon cameras 4 per half studio and there were motorised lighting hoists with a total of lighting circuits. Production, lighting and sound control rooms were and are at first floor level, with vision control ie camera racking , apparatus rooms and make-up etc on the ground floor. Note that vision and lighting control were originally in separate rooms - as in the ATV studios at Elstree.

This was a union requirement - engineers and electricians were not allowed to sit side by side. I kid you not. The lighting director must have done a lot of running up and down the stairs. Today most of the ground floor rooms along the corridor have become star dressing rooms and the apparatus room and vision control are on the first floor. The brand new studio 5. As will be recounted later on this web page , all that remained in the latter years of the old Wembley studios was this large double studio.

Fortunately, all the essential areas such as dressing rooms, production offices and production galleries were not lost to redevelopment and were still there - as was the restaurant which produced some of the best food of any studio in London. To the rear of the studio was some covered scenery storage and a small car park. The galleries were well-designed and could either be operated separately, or each gallery could control both studios when the giant doors were raised.

In this plan you can see how studio 5 - at an angle to the rest of the studios and marked '5' - dominated the site. Each half of the studio was significantly larger than any of the other studios. On this plan '3', just below studio 4, is indicated as being a telerecording area. It was for a short time studio 3.

Ian Dow recalls that following seeing a show in studio 5, audience members could look into the studios through observation windows in the long corridor that ran the length of the site. The area on the lower left marked '19' was the OB garage. Three scanners were based here. Other large areas 9, 10, 11, 12, 16 were used for scenery assembly and storage. The triangular area top left of studio 5 became the covered scenery store and a small car park occupied the space of the buildings along the top of the site.

All the other buildings were sadly lost to redevelopment as a small retail park. A drive-in McDonalds now occupies part of the original site of studio 1. A Google Earth view of Fountain Studios in Yes, I have been writing this website since then! It is interesting comparing it with the plan above. Studio 5 is clear to see - as is the canteen block at centre bottom. The blue-green roof that cuts into the canteen was a lighting equipment storage area in the Fountain years.

Originally the space was occupied by the end of studio 1. The white building to the lower centre-left is MacDonald's. The tiny car park at the top occupied the space of the original carpenter's shop, assembly bay and paint shop. The large white roof on the left of the picture is part of the retail park and contains shops.

It is where studios 3 and 4 and an assembly bay and loading dock once stood. The programme was the first to ban miming in pop acts and made a star of teenage presenter Cathy McGowan.

This show was made in studio 1 having transferred here from studio 9 in Television House. Presented by Michael Miles, this was one of A-R's most successful light entertainment shows. Contestants had to guess what was in the box and might or might not win huge amounts of money.

Maurice Dale was in the audience on November 1st, Thanks to him for keeping the ticket stub! Tuesday Rendezvous in studio 4 on August 20th, The studio had this show, which went out live, at one end and Holiday Music , which was recorded at the other end.

Actually, not remarkable at all since he was voiced and operated by the same man - Ivan Owen. The human presenter is Howard Williams whom I confess I have completely forgotten - but Muriel Young also presented the show and I certainly remember her. Sadly, since all these shows were live there is probably no record of them except in the memories of my generation.

Françoise Hardy appearing on Ready Steady Go in studio 1, probably in This was one of the first shows when it became fashionable for the cameras to be seen in shot, so the Marconi Mk IV seen here has 'RSG' stuck on the side. This was apparently born out of necessity.

She decided to go with it and call it a gimmick! This still is courtesy of Lester Cowling who was in the audience that day. She's probably standing right where the Big Macs are stacked today. Perhaps the most surprising thing about the days of Rediffusion is that it is hard to discover many productions that really took advantage of the size of studio 5. The opening night, however, was certainly an exception. The studio opened three weeks before Television Centre on June 9th, with a spectacular play involving music and dance entitled An Arabian Night.

This certainly made full use of the space. It had a cast of together with 10 horses, 8 camels, 6 donkeys, 4 goats, 2 mules, 2 snakes, 1 performing bear and possibly an elephant. Imagine the mess in the car park.

According to one source, as well as the obvious technical requirements one of the specs for the studio floor was that it should be able to withstand the weight of an elephant. This proved to be useful on at least one further occasion. Planning for the programme had begun six months before. The director Mark Lawton's brief was 'to produce a show of bigger dimensions than anything ever televised in this country.

The show was designed by John Clements and was lit by David Motture. In one corner of the studio was built a raised area for an orchestra - the space beneath being used for quick-change dressing rooms. Bob Hart was an extra working on the show. He was training as a vet at the time but found himself looking after the liberty horses on this unique programme. He has sent me his recollections The only warning we were given was to watch out for cameras because they would not stop.

Every second Arab was an asst. The liberty horses were unshod but the studio insisted they be shod with rubber shoes to prevent damage to the floor. This was done by the Royal Vet College farrier. Quite an experience since they had never been shod before. They were housed for the week of rehearsals in a marquee in the open space behind the entry doors behind the market set. The horses were all Arab stallions.

I spent a couple of nights in there with them. Add to the production schedule the logistics of caring for that many animals! There were also at least three stunt horses, two were to be jumped over a market stall, a 19 sec sequence which was unfortunately lost, or at least not broadcast, due to a timing glitch.

Martin Benson rode another. The sets were so realistic that we sunbathed on the dock set between rehearsals. Makeup calls were at 7am I think. Took hours to get people made up. The animals got bored being walked around outside. Camels are awful on a set, or anywhere. Pull them forward and they stretch out their necks. Push them back, and they fold them. Thank goodness none of this was evident in the production. At one time we got so bored we decided to take the animals on set and stage another caravan.

The director was delighted and wanted the sequence kept. A few minutes later it was rescinded - timing would be thrown out! We were told the production would be live, although the final dress had been recorded, and it was our belief that it would be running simultaneously in case of disasters.

I think that show generated more ulcers than any previous production. Today no sane director would attempt a 3 hour live show of that magnitude involving so many unpredictable animals. It was a wild experience. The set plan for An Arabian Night. Click on the image to see a larger version. A Midsummer Night's Dream was another of the major productions made in studio 5. The set consisted mostly of multiple layers of hanging gauze. A Midsummer Night's Dream in studio 5. This complex lighting rig, designed by Bill Lee, was necessary to bring out the textures and depth in the layers of heavily-coated gauze in the set.

However - the series that seems to really have made the best use of the size of the studio was Hippodrome. This was made in and proved to be surprisingly popular. It was an unlikely combination of circus acts and popular showbiz entertainers. A show might therefore amongst others include Dusty Springfield, The Everly Brothers, a high wire act and some performing bears.

During the ten weeks of shooting, the car park was typically occupied with trailers, caravans and cages housing - you guessed it - 12 elephants, 12 lions, 6 tigers, 2 pumas, 5 leopards, several dogs and all the various performing acts of acrobats, clowns, jugglers etc. And all while the World Cup was being played in the stadium next door. Each show was introduced by a big American star. Bizarrely, on one show it was Woody Allen.

Not the kind of entertainment with which one usually associates him. The series made full use of the space and height of the studio and was a genuine spectacular of its day. Amazingly, they somehow made each show simultaneously with two directors and two completely separate camera crews. This extraordinary sledgehammer of light was constructed for Hippodrome.

The Marconi colour cameras were very insensitive and required huge levels of illumination to get decent pictures out of them - around 4, lux as opposed to the lux typically used at that time. As well as lighting towers such as these, arc lamps were rigged in the grid which remained there for the duration of the series, whilst other shows came and went using the normal studio lights.

Despite the challenge of simply illuminating the studio to that extraordinary level, expert lighting director Bill Lee also managed to create some subtlety too - as is seen here. This is a Amp arc through a cut-out. Despite the success in its day of this series, A-R seem to have used the studio mostly for far more modest productions. At Elstree, ATV were making big variety spectaculars in their somewhat smaller main studio but Rediffusion seemed to be happy making dramas, quiz shows and sitcoms.

Arguably, the studio would not really come into its own until forty years or more later with shows like The X-Factor and Britain's Got Talent. The three images below were kindly sent to me by Christopher Matheson. They are stills from a film called Interlude starring John Cleese amongst others.

It was filmed in and one scene where Cleese and Barbara Ferris visit a TV studio was shot in studio 5. The first image shows the production gallery with its very large window, viewed from across the studio. The second shows the monitor bank and the third has the vision mixer nicely featured. The TV director is Humphrey Burton, who was of course just that in those days before he became a presenter of arts programmes. As you will discover if you read more on this site, around the end of the '60s several studios in London were carrying out experiments in shooting programmes on colour film but using traditional television camera techniques.

It seems that A-R were no exception They used the remote facilities of Intertel and followed the Hippodrome production with a series of plays for the American producer David Suskin that involved American actors and rehearsed in America, although with a British director and an A-R crew. A-R were also very involved in experiments of using Arriflex cameras running with film and modified to offer a television picture simply for production staff to use for viewing.

The idea was to produce good quality colour productions, shot television style on film and by television crews. Along with other crew members I lit a trial half hour play in Munich, which was quite successful.

Interesting I think to speculate what the outcome might have been had they not lost their contract. In fact, David Petrie has contacted me. He has a magazine article of the period describing this system which was called 'Molec Mobile 35'.

It did indeed combine an Arri 35mm film camera with a Plumbicon tubed TV camera, enabling multicamera TV techniques to be used to produce a programme on 35mm colour film. A few years ago the restaurant was enlarged by creating a glazed extension about 10 feet deep along the wall facing the road. At one end a corner was formed and the original engraved stone marking the laying of the foundations of the new studio found itself indoors rather than outdoors.

This stone is the only physical record of the old Rediffusion days. For a while it was hidden behind a chocolate bar vending machine but I am glad to say that when I looked in May the machine had been moved and the stone is there for all to see. Oddly, the contestants of the X-Factor didn't seem that interested. Click here to jump forward to the next section on Wembley. The next successful company to win a franchise was ABC Television , which was to broadcast in the Midlands and the North at weekends.

They were initially reluctant to become part of the new independent television as they saw it as a competitor to their film business. Nevertheless, they were persuaded by the ITA to get involved when another company's bid fell through. They had a large film studio in Borehamwood Elstree but decided to keep this new TV subsidiary completely separate.

It is said that the unions did not want television programmes to be made in their film studios but the management too were probably happier keeping them separate, with their very different conditions of service, hours and rates of pay. This was a large cinema with a big stage that could be used for live shows when required so was ideal.

The stage was extended right out into the stalls area to create one large studio - where many episodes of Armchair Theatre were made, amongst other dramas and light entertainment shows. The studio was also the home of two of the earliest pop shows on British TV - Wham! The Beatles are said to have played on TV here for the first time. There were also two small studios. One was in the former restaurant on the first floor and apparently used for local news and small productions like panel shows - the other for continuity.

ABC kept this site on until they lost the franchise and became part of Thames. Yorkshire TV briefly took over the building, then it was sold to Manchester Polytechnic Julie Walters was one of many students educated here. It was demolished in There are a couple of really interesting clips on the Pathé News website of the opening night that show how impressive this studio was.

The rear of the building - looking a bit more like a TV studio than a cinema. Plan of the Didsbury studio for a typical drama. Click on it to see in greater resolution.

You can see that the stage was quite large and the auditorium was also part of the studio floor area. The working area was about ft x 50ft so a very useful size indeed - in fact, slightly larger than ATV's Wood Green Empire and Hackney Empire studios.

The building contained one studio at first of around 2, sq ft - facilities were provided by an OB scanner. In the building was extended and another studio of 1, sq ft was added. Neither company saw Birmingham as being particularly central to their operation and each concentrated their main network productions in their other studios.

The studios closed in Teddington Studios from the river. The photo was taken in January when the hospitality boat, restaurant block and production block were still part of the studios' facilities. ABC TV did not have a London franchise but realising that most acting and showbiz talent was based in London they decided that they needed to have a London-based production centre with large studios to make their network shows.

They converted some old film studios located in Teddington , on the western edge of London. These popular studios later became part of the Pinewood Studios Group and the home of many well-known sitcoms and other big entertainment shows. The site contained two production studios which were used to make many programmes for the main network channels: There were also six small studios around the site - most were closed by the summer of Studio 3 2, sq ft had a long history of classic children's programmes including Magpie and Rainbow and was used in the s by a couple of shopping channels and as the base for a roulette-based gambling channel.

In its final years it was fitted with a hard infinity cyclorama which could be painted white, green or blue. Studio 4 1, sq ft was originally built as a music studio and since conversion to a TV studio in had been booked by various digital channels.

From early in to September it was the home of CBeebies continuity. Studio 5 operated as a continuity studio used by the Chinese Channel - closing in Studio 6 was converted in from the old viewing theatre in the Admin Block and for a while was the home of the Jewellery Channel; 7 was built in the old prop store area near studio 2 in the summer of for the Quiz Call channel the channel closed in but Quiz Call as a programme continued to air for a while on Channel 5.

Meanwhile studio 8 used to be edit 1 and became a continuity studio for Turf TV. From the autumn of to summer Teddington also housed the linking hub for the video feeds sent from race courses to the UK's betting shops.

As well as providing facilities for many independent production companies and even occasionally BBC Comedy department, Teddington was for a while the playout centre for several digital channels.

However, its origins were far removed from all this The studio site before all this film and television nonsense began. Those familiar with the studios will I am sure get their bearings from The Anglers.

Below is Weir Cottage at the gate of the studios in We might be able to get a sense of what Weir House itself could have looked like by its unusual architectural style. This cottage is all that will remain when the redevelopment of the site is carried out. Richard Halladey - ace editor who has worked on every episode of Not Going Out almost the last programme to be made here - tells me that the cottage was used by Thames for training their staff. Ah, training - yes, I remember that.

Shame none of the big TV companies does that any more. I wonder what will happen when all of us oldies eventually retire. The studios' history goes back to the end of the 19th century and the early days of filmmaking. Originally an impressive mansion called Weir House stood on the site and its owner, wealthy stockbroker Henry Chinnery, took a keen interest in the early experiments in cinema.

One version of the story goes that whilst walking in Teddington he took pity on a local film crew struggling in the rain and invited them to use his greenhouse. Another version has him allowing them to use his garden for filming as he was already fascinated by the new medium - and then they used the greenhouse when it rained.

Either way, there was rain involved and they all ended up in the greenhouse. The site soon became a permanent base for film making. In , a company called Ec-Ko Films used the grounds of the house to make a series of low budget comedy and cowboy films. The banks of the Thames in south west London not the obvious place to simulate the Arizona desert but there you go.

At least being silent they didn't have to worry about the accents. The chap who led Ec-Ko apparently also ran a troupe of circus acrobats. Ec-Ko stayed for three years before moving on to another studio in Kew. A new company - Master Films - took over in They built a 'dark' i. This was probably where studio 2 later stood. Master made many films but apparently they weren't up to much - I gather they suffered from several small fires due to using the new-fangled carbon arcs in the stage.

Eventually it burnt down completely in She was an actress and very keen to be in the 'talkies' so persuaded her husband and his business partner to build her a studio. They did indeed construct an impressive a new sound stage on the site - this eventually became the later television studios 2 and 3.

The stage was T-shaped and capable of being divided into two A and B if required. When used as one stage it was ft long. This picture gives some idea of how the Teddington site looked in It has clearly been drawn by a very early marketing consultant and its scale is hopelessly inaccurate.

The stage seems to dominate the site, but since it is the same size as the later studios 2 and 3 this is hardly correct. Weir House can be seen almost as a tiny model behind it. The original viewing theatre as seen bottom left in the drawing above. ABC used this space for the first control rooms for studios 2 and 3 - in Teddington's final years it was studio 3's control room suite and a green room.

The window in the foreground can also be seen on the drawing - it looks as though there was originally a door behind that trellis. Above is the interior of the original stage at some time during the s. At the far end is the section with the lower roof that became studio 3. It is, incidentally, hard to see from this picture how the studio could be divided.

There does not appear to be any sign of a door or shutter. However, it is said that it could be split in two along the line of the bridge and steel columns. Possibly there was originally a door arrangement that was subsequently removed or maybe they just used black drapes. Another mystery - in the post fire photograph shown lower on this web page, there is a scene dock door positioned in the corner just behind where the man on the far right is standing. Oddly, that door is also shown on the drawing above.

However, there doesn't seem to be any sign of it in this picture. Note the lighting grid. What those hanging 'teeth' were and how they worked I have no idea.

Having said that - I have been contacted by someone who thinks they may be connected with a system for hanging drapes and backcloths. Studio 2 in , just before the studio was closed for good. Several similarities can be seen with the old photo above. The lighting bridge separating the two parts of the studio is obvious and the two steel pillars can be seen. The grid of course has telescopes here to support the lights. This studio was home to many popular series and its unique shape was actually quite useful, the 'small' end of the studio forming a natural position for audience seating when required.

Warner Bros were so impressed by the work that Edwards and Norman had done in fitting out the studios and associated facilities that in August of the same year they took out a lease on the studios - later buying them outright - using them mostly to make 'quota quickies.

I'm surprised there was enough room on the screen to fit all that in. Warners continued with the investment and between and they built another much larger stage on the site of the later TV studio 1 with associated dressing rooms, prop stores, offices etc as well as the Admin Block facing Broom Road and what later became known as the Production Block facing the river - this had a garage for location vehicles on the ground floor and offices above.

Max Miller made no less than 8 comedies here. The recently completed Admin Block seen from across Broom Road, some time in the s. Below is a staircase inside the building, photographed by me in , still showing the beautiful lines of the period architecture. The window is the distinctive square one in the centre of the building. The old Production Block at the back of the site in - used as offices here by Haymarket Publishing.

The three large doorways to the garage for location vehicles that occupied the ground floor in Warners' years are clear to see, with the concrete lintels still in the brickwork. The height and area of the internal space must have been quite impressive.

Thames added a mezzanine floor when they built new construction workshops between the Production Block and studio 1 and turned this whole building into offices. Scenery construction was carried out by Warner Bros in buildings along the side of the site where the South Block and multi-storey car park were later built.

These were faced with building fronts in various architectural and period styles so they could be used as backgrounds for filming.

A couple of curious gargoyles incongruously attached to the side of the car park is all that remained of these buildings in later years. Incidentally, Pinewood plan to do something very similar to this with the new stages they are building over the road from their existing studios. City building façades will be attached to the stages, enabling the roadway in front to be used as a cheap and convenient location. The new stage 2 was also given an imposing frontage, enabling it to be used as the entrance to a posh hotel, office block or similar with a little redressing of signage.

The original workshops with their 'old street' set façade. I assume this is during their demolition, judging by the age of the truck. When war broke out there was a brief pause but then Teddington became busy making films for Warners and other production companies. It was unusual in remaining open - most other film studios had been requisitioned by the government for storage.

The numbering of the stages on the site is somewhat confusing so I do hope you're keeping up. The first stage was subdivided into A and B. The later stage - TV studio 1 - was called Stage 2 at which point the original stage was called Stage 1.

In other words, the opposite of how we later referred to studios 1 and 2.

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