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An interview with Graham Fowler
For some, film-making is in the blood, a discipline as natural as breathing and a world that is as comfort- able as home. This seems especially true for Graham Fowler, whose own rise through the ranks of the business came about after his father George - whose own career encompassed every job from writer to production manager and producer - got him his first job in the post room at Shepperton.
That was in the mid 60s and in the 35 years since, Fowler Junior has worked his way up in a variety of posi- tions on a huge range of projects, the latest being as Director of Photography on the low budget fea- ture South West Nine.
“I grew up in the business really,” he nods, “I didn’t do so well at school, and when my father asked me what career I wanted I said I had no idea, so that’s when he got me the job at Shepperton. After that I became a run- ner on films like Casino Royale and Modesty Blaise. In my lunch hour I was washing cars for people like Tony Curtis, and I thought it was all great fun.
“Then I actually got onto a picture as a third assistant director. Dad said what I should do is learn clapper load- ing, because he felt that was some- thing I’d be more suited to, but I was having such a good time as third assis- tant that I took no notice of his advice. In time I became a second assistant and that’s actually stood me in good stead, having production experience like that. I can actually relate to the production problems that arise.”
By 1967 Fowler was working regu- larly as second assistant director on TV series such as Man In A Suitcase and The Champions, big colourful pro- ductions that ensured a year long con- tract and were in many cases shot on 35mm. Not that this, by his own admission, would have meant a great deal to Fowler back then.
“I actually didn’t take much notice of the camera, it didn’t grab me at all. I was having fun doing what I did, and had no other ambitions particularly. When I was 21 I actually worked as
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