Is Orders (1933); Falling for You (1933) with Jack Hulbert; Jack Ahoy (1934) with Hulbert; Chu Chin Chow (1934); Bulldog Jack (1935) with Hulbert; My Heart is Calling (1935); and Strangers on Honeymoon (1936). He worked on a Will Hay film, Where There's a Will (1936), and a horror film The Man Who Changed His Mind (1936). Frank Launder Gilliat's first movie with Launder was Twelve Good Men (1936). They also collaborated on Seven Sinners (1936). Without Launder he did Take My Tip (1937) for Hulbert; A Yank at Oxford (1938) for MGM; Strange Boarders (1938); and The Gaunt Stranger (1938) with Sonnie Hale. Gilliat and Launder collaborated on The Lady Vanishes (1938). Gilliat wrote another for Hay, Ask a Policeman (1939), and was one of several writers on Hitchcock's Jamaica Inn (1939). With Launder he did Inspector Hornleigh on Holiday (1939) and Night Train to Munich (1940), the latter for Carol Reed. For Reed Gilliat wrote on his own a thriller Girl in the News (1940). Gilliat began writing war time shorts such as Mr. Proudfoot Shows a Light (1941). He and Launder worked on They Came by Night (1940), and Reed's The Young Mr. Pitt (1942). Alone, Gilliat adapted Kipps (1941) for Reed. Producers/directors Launder and Gilliat wanted to become producers and directors. Their first effort as co-directors was a short, Partners in Crime (1942). Then they made the feature Millions Like Us (1943) which was a success, launching them as producers and directors. According to an obituary of Gilliat: Gilliat and Launder made an unlikely pair, both physically and temperamentally Launder spare, dark and easily excited, Gilliat stockier and with the sort of down-to-earth, practical nature which provided a solid basis for their working partnership. Gilliat, in fact, always deprecated his own comic talents, claiming that it was Launder who wrote all the jokes, though this was a huge overstatement. But certainly they did their best work together. Their speciality was the thriller-comedy. As writers, their scripts were noted for clever plotting and shrewd observation of the foibles of the English character. As directors, Gilliat tended to favour quieter satire, where Launder excelled in broader farce. But it was difficult generally to know where the contribution of one ended and the other began, even though officially they liked to take it in turn to act on each film as scriptwriter and director. Gilliat helped write Two Thousand