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The Best Jeremy Isaacs Movies. Go to The Best Shows

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poster

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10

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A documentary in which Kenneth Griffith, actor and filmmaker, endeavors to find the truth behind the banning of two of his films, one on the life of Michael Collins and the other on Badon Powell. Featuring interviews with the legendary 60 Minutes journalist Morley Safer, actor Peter O'Toole, Jeremy Isaacs, Benny Green, and William Deedes.

poster

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6.9

/23/

In true Peter Richardson fashion, "30 Years Of Comic Strip" defies the conventional norms of a retrospective documentary. It brings together some of the most prominent figures in UK comedy, reflecting on the show's impact and influence on the British comedy scene over the past three decades. The documentary unveils previously unseen footage and reconnects with characters from iconic episodes. The cast and crew of The Comic Strip share anecdotes about the making of the show, recounting experiences marked by a playful disregard for health and safety.

poster

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10

/1/

A look at the career of Oscar-winning cameraman Chris Menges. Filmed on location of 'Comfort and Joy'. Chris Menges discusses his early career in television and film. Featuring interviews with Bill Forsyth, Bill Paterson, Ken Loach, Neil Jordan, and Jeremy Isaacs.

poster

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7.5

/40/

60

/3/

100

/1/

The making of 'The World At War'. Each film in the 26 episode series had to be an essay on an aspect of the war, because the length and separate aspects of the war was far too much to cover in detail. Jeremy Isaacs talks about the production process and the aims of the project. The intention of the crew that were involved with the various skills in making 'The World at War' had no desire to use film from British, German, French, Polish, Russian, Japanese, or the Americans because of their specific means of showing the winning side of a specific action. Rather, an effort was made to interview people who were not part of the establishment, but rather the common people or assistants and secretaries of historical persons. Film was researched for those films from cameras where there was no special subject, but those that would allow the viewer to make their own decisions about what they had just seen and heard.

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