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As an actor in the 1980’s Glyn Baker was a member of the Olivier Company at the NT for 3 years, also appearing in films that included the Wild Geese, The Living Daylights as 002, and Star Wars Return of The Jedi.
Breaking from acting he established the renown Cobden Club venue in Notting Hill, then branched out to focus on restaurant and venue design. Film and theatre writing is now the mainstay of his career.
Glyn and brother Martin were present on the Zulu set in Kwa-Zulu Natal in 1963. .
A veteran of the British Film Industry, Joseph cut his teeth working at the Hollywood Studios mainly on the distribution side. Companies included Paramount, Fox, Warners and United Artists. He gained experience in sales, marketing and promotion. This was followed working for two mini majors Hemdale and ITC where he gained experience in production and acquisition.
He started Blue Dolphin in 1980 and from the beginning was releasing titles from Studios such as Paramount, Columbia and Warners. These included Demi Moore in The Butcher’s Wife, Brad Pitt in Cool World, Jack Nicholson in The Two Jakes, in addition to Blue Dolphin’s own acquisitions which included Peter Jackson’s first feature Bad Taste, Koyaanisqatsi, Edgar Wright’s Fistful of Fingers, Mark Romanek’s first feature Static and many other independent features, music films and documentaries.
As producer, his first feature was the Liverpool set Blonde Fist. He was invited to be a director of an EIS company, UKFTVplc. In this capacity he was an Executive Producer on the Oscar winning film Tsotsi. He has also produced a 26 part one hour action adventure series Dark Knight, with Channel 5 (UK) and TVNZ (New Zealand).
Recently he has produced a feature documentary on Patrick Mcgoohan and the ground breaking show The Prisoner. And a $15million stop motion animation comedy/horror Chuck Steel Night of the Trampires which opened nationwide on 29th.October 2021.
Joseph has a good background in releasing Documentaries, which have included many music docs with Bob Dylan, Neil Young, The Cure, Woodstock directors and many others. Recent releases have been Rahm, and Hero, inspired by the extraordinary life and times of Ulrich Cross. This is a drama doc that is enjoying a very successful theatrical release.
For several weeks in 1963, a unique community was created at the foot of the Drakensberg Mountains. It was a thousands-strong community of actors, film crew and extras. What made it unique was that, at the height of apartheid, it was a community of both black and white, where everyone was respected and everyone treated one another as equals. There was no fuss about race, no discrimination, no bigotry. It was simply a community of people working together to recreate a part of history that held tremendous meaning for all of them.
“Zulu” has become an icon in cinematographic history. It is through this film that the Zulu warrior became an archetype of fearlessness. The thousands of Zulus who were employed to play the part of the regiments were not just extras. They were re-enacting the deeds and glories of their own grandfathers. For the Zulu Nation, the memories evoked by this film are recent in our national consciousness, even 136 years later. They are part of the cultural narrative we grew up with and part of what shaped us as a nation.
I commend Mr Henry Coleman for wanting to tell this side of the making of “Zulu”, from the perspective of the Zulu extras. It will add to the rich treasury of cinematographic history, but no doubt also to the world’s understanding of one the greatest African nations. I look forward to seeing the ‘lost footage’ and I wish him
every success with this project.