Hume was camera operator on all of the first four, then graduated to director of photography on Carry On Regardless (1961) and another 15 of the 30 films, including the final one, Carry On Columbus (1992).
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Then, in 1958, came the call from the producer-director team of Peter Rogers and Gerald Thomas to shoot Carry On Sergeant, the first of the long-running comedy series featuring stars such as Kenneth Williams, Hattie Jacques, Charles Hawtrey and, from Carry On Constable (1960, the fourth in the series), Sid James. He was soon much in demand in his new role, working on several films a year, including the black comedy The Green Man (1956), starring Alastair Sim and George Cole. It was another seven years before he became a fully fledged camera operator, on the comedy Our Girl Friday (1953), starring Joan Collins as a woman stuck on a Pacific island with three love-hungry men. On his return to Denham Studios two years later, Hume continued as a focus puller but had his first opportunity as a camera operator with the second unit working on Lean's Great Expectations (1946), notable for its stark, atmospheric, black-and-white photography. His career was briefly interrupted when, in 1944, he was called up and joined the Fleet Air Arm, working as a photographer. In this capacity, he also worked on Lean's definitive version of Oliver Twist (1948). Within a year, Hume had been promoted to focus puller on The Yellow Canary (1943), featuring Anna Neagle as a British wartime spy. His next film was In Which We Serve (1942), directed by David Lean and its screenwriter, Noël Coward, who also played the ship's captain in the patriotic tale of a British Second World War destroyer and its crew. Because there were several other people at the studios called George, he became known by his middle name, Alan. When Hume heard of a vacancy for a clapper loader there, he left Olympic and found himself working on the wartime picture The First of the Few (1942), the story of the real-life Spitfire designer RJ Mitchell, directed by and starring Leslie Howard. The teenager then moved to Olympic Film Laboratories, in Acton, often picking up the daily "rushes" of film footage from Denham Studios. His father worked on track maintenance for London Underground and found him a job in its stores on leaving school. George Alan Hume was born in Putney, south London, in 1924. Not only did he do that, but he knocked my scooter down as well, making a few dents in that, too." While driving one of the cabs, Charlie Hawtrey banged into my car in the car park and made a dent. It was difficult lining the shot up and getting the actors to look as if they were driving the taxi. "When they were travelling along, I was often hanging outside the cab with the camera or fixing cameras on the front bonnet or inside looking forward. "There were a lot of close-ups in taxi cabs," recalled Hume. Carry On Cabby (1963) presented particular challenges. He took that role on many of the Carry On productions, whose low budgets and tight schedules – in contrast to the resources he enjoyed with the 007 pictures – taught him to work quickly. This signalled a change of gear for Hume, although he had already been earning his living as a director of photography – establishing the look of films and lighting them appropriately – for almost 20 years. It was an example of the dedication that this veteran of more than 100 feature films gave to his job, and it led to his becoming the fully fledged director of photography on the Bond pictures For Your Eyes Only (1981), Octopussy (1983) and A View to a Kill (1985). Being a one-take sequence, there were three cameras shooting the action, one of them with Hume in a helicopter. When it finally did, they sprang into action, capturing the spectacular sight of 007's stunt double, Rick Sylvester, skiing over the edge and, finally, opening his Union Jack parachute. As the second-unit director of photography on the James Bond film The Spy Who Loved Me (1977), he had to capture the breathtaking, pre-title, ski-jump sequence.įor three weeks, Hume and the crew lived in tents on this freezing, far-flung peninsula while they waited for the cloud to lift. In 1976, Alan Hume was standing on a snow-covered, 3,000ft-high rock on Baffin Island, north of Canada.