channels at the time. this was before channel 4 was invented. and so, 16 million people tuned in to bbc one and watched abigail s party and in many ways, the rest is history. well, what do we want to listen to then, beverly? demis roussos. well, if everybody else wants to listen to demis roussos, we ll put him on. tone, do you like demis roussos? i yeah, he s all right. he s fantastic, isn t he? sue? i don t know him, i m afraid. oh, you ll like him. he s lovely. sue, he s really great. - would you like to hear him? yes. yeah? laurence, angela likes - demis roussos, tony likes demis roussos, i like . demis roussos and sue would like to hear demis roussos. l so, please, do you think- we could have demis roussos on? yes. thank you. at the time, i was. i d moved to the suburbs, with my ex. my now ex wife, alison
later on in the 60s, with the work that he and tony garnett, who i used to work with in television, bbc. their great revolution was to say, well, let s not. bbc drama is studio bound, let s get out there in the street with the guys that shoot documentaries and make, you know. make it real, in that sort of spontaneous and alive way. but just thinking about some of your films and the way that you have explored social issues, whether that s unemployment in meantime, or back street abortion in vera drake, or class and race in secrets and lies, do you regard yourself as a political film maker? yes, i do. i mean, i think that my films, with the arguable exception of peterloo, which is obviously about the peterloo massacre and is, without any question, a simple statement about
absolutely. and what were these directors doing that was so different, do you think? it s the possibilities. the thing about influence and the thing about being stimulated by what other artists do it s as much about making you think about the possibilities of what you might do. but with the french new wave in particular, was it also about the visual style? do you think that had a direct influence on your later work? well, i mean, the great move forward was shooting in the streets, was shooting in real places. now, of course, i unlike for example my compatriot ken loach who was a great pioneer, who, again, was a great inspiration to me a little bit later on in the 60s, with the work that he and tony garnett, who i used to work with in television, bbc. their great revolution was to say, well, let s not.
demis roussos. well, if everybody else wants to listen to demis roussos, we ll put him on. tone, do you like demis roussos? yeah, he s all right. he s fantastic, isn t he? sue? i don t know him, i m afraid. 0h, you ll like him. he s lovely. sue, he s really great. would you like to hear him? yes. yeah? laurence, angela likes - demis roussos, tony likes demis roussos, i like demis roussos and sue would like to hear demis roussos. so, please, do you think- we could have demis roussos on? yes. thank you. at the time, i was. i d moved to the suburbs, with my now ex wife, alison steadman, who of course was in it. we were living that.bohemian but nevertheless suburban
by what other artists do it s as much about making you think about the possibilities of what you might do. but with the french new wave in particular, was it also about the visual style? do you think that had a direct influence on your later work? well, i mean, the great move forward was shooting in the streets, was shooting in real places. now, of course, i unlike for example my compatriot ken loach who was a great pioneer, who, again, was a great inspiration to me a little bit later on in the 60s, with the work that he and tony garnett, who i used to work with in television, bbc. their great revolution was to say, well, let s not. bbc drama is studio bound, let s get out there in the street with the guys that shoot documentaries and make, you know. make it real, in that sort of spontaneous and alive way. but just thinking about some of your films and the way that