you hear an electrician or somebody say, i don t understand it. there s no script, but they know the lines. they never dry up, they never forget their lines. and of course, unlike an ordinary film, particularly films where they don t really rehearse properly, most of the time s taken up with people not being able to remember what to say and stuff, or looking for the character, which obviously in the case of my stuff, we ve long since established who and how the character is. your next big influence is not so much a moment, as a whole era. you want to talk about the 60s. you arrived in london from salford in 1960 at the start of that decade. what are your key cultural memories of that moment when you arrived? well, first of all, talking about movies, for all the movies i saw between 1943, when i was born, and 1960, none of them wasn t in english. they were all hollywood or british movies, with the exception of le ballon rouge, that famous french short, which i was bored
talking about movies, for all the movies i saw between 1943, when i was born, and 1960, none of them wasn t in english. they were all hollywood or british movies, with the exception of le ballon rouge, that famous french short, which i was bored to tears by then and i m bored to tears by now. they showed it in school, for some reason. so i m in london and i vejust arrived and somebody says, there s a sort of arts festival going on in st pancras and there s a film showing. shall we go? i said, yeah, let s go. this is literally in the first week or so. and there was this film in swedish about a knight playing chess. of course, i discovered bergman and i then discovered the french nouvelle vague that was going on, a bout de souffle, breathless, was playing. i discovered the russian
movies, with the exception of le ballon rouge, that famous french short, which i was bored to tears by then and i m bored to tears by now. they showed it in school, for some reason. so i m in london and i vejust arrived and somebody says, there s a sort of arts festival going on in st pancras and there s a film showing. shall we go? i said, yeah, let s go. this is literally in the first week or so. and there was this film in swedish about a knight playing chess. of course, i discovered bergman and i then discovered the french nouvelle vague that was going on, a bout de souffle, breathless, was playing. i discovered the russian cinema, i discovered satyajit ray, the bengali film maker, i discovered rossellini and bicycle thieves and japanese cinema, ozu, kurosawa. i mean, itjust was a massive revelation. the whole world, really, isn t it?
they never dry up, they never forget their lines. and of course, unlike an ordinary film, particularly films where they don t really rehearse properly, most of the time s taken up with people not being able to remember what to say and stuff, or looking for the character, which obviously in the case of my stuff, we ve long since established who and how the character is. your next big influence is not so much a moment, as a whole era. you want to talk about the 60s. you arrived in london from salford in 1960 at the start of that decade. what are your key cultural memories of that moment when you arrived? well, first of all, talking about movies, all the movies i saw between 1943, when i was born, and 1960, none of them wasn t in english. they were all hollywood or british movies, with the exception of le ballon rouge, that famous french short, which i was bored to tears by then and i m bored to tears by now. they showed it in school, for some reason. so i m in london and i vejust
between 1943, when i was born, and 1960, none of them wasn t in english. they were all hollywood or british movies, with the exception of le ballon rouge, that famous french short, which i was bored to tears by then and i m bored to tears by now. somebody they showed it in school, for some reason. so i m in london and i ve just arrived and somebody says, there s a sort of arts festival going on in st pancras and there s a film showing. shall we go? i said, yeah, let s go. this is literally in the first week or so. and there was this film in swedish about a knight playing chess. of course, i discovered bergman and i then discovered the french nouvelle vague that was going on, a bout de souffle, breathless, was playing. i discovered the russian cinema, i discovered satyajit ray,