a gathering of people at the site where soleimani was assassinated a year ago it s been described as some sort of commemoration want to stand that there was a poetry reading and possibly a statue that is being unveiled but it s safe to say that certainly in the days building up to today things have been increasingly tense india s drug regulator has recommended the country s 1st 1000 vaccine for approval it hopes to give the green light for a rollout of the oxford astra zeneca vaccine with a population of more than 1000000000 the indian rollout represents a huge logistical challenge has under schapelle. gearing up for the world s largest immunization campaign these health care workers are taking part in a nationwide drill to test the delivery of vaccines 300000000 indians are due to receive injections in the 1st half of this year right here. we re not worried to get rid of this pandemic we have to get injected i ve been working in public health for the past year and i want an
around the world who might have been shocked to hear what happened in the past will be double shocked. there was probably in the present. is it, is it not so much a lack of her so much about film funders, thinking they want their return or investment or a lack of comprehension of your work? well, i don t think it s a lack of comprehension of the work. actually, what it to, to some considerable extent is, is that as you may know, i don t work conventionally. i don t to present a script because there isn t one. and i don t say what the film is going to be about because we embark on a journey on maturity of making the film to discover what the film is. and with the exception of my 3 historical topsy turvy, mr. turner and peter lew where i was able to say it s about this, but that s all i did is simply make that one line state. all of my films have been made on the basis of backers saying, well, we don t know what it s about, what we trust you and go off and make a thrill. what i
but that s all i did is simply make that one line state. all of my films have been made on the basis of backers saying, well, we don t know what it s about, what we trust you and go off and make a thrill. what i do with my, all my collaborators, both sides of the camera, is to do what painters and novelists and poets, and sculptors and musicians do, which is to create work and allow it to emerge from the investigation. that is the execution of the work. and so it s not so much to answer your question. it s not so much like compression about what my films are, because whatever else they are, they re not is a terrific or obscure. it s more that people are cautious about putting money into things to the don t know what they re going to get and also not having some control over it, not interfering with it. not to him having their fingers all over it. either big live now that the most successful netflix film of all time or series of all time is centered on the issue of capitalism
may be missing out for playfulness. what do you think? well, i think it does, but it also is absolutely true that a lot of my films and characters are working class, but they re not all. i mean, i think for me it s all about humanity. and in fact, you ll find people of all shapes and sizes including a middle class, lower middle class and indeed upper middle class people. and even the occasional pushback and my move is because i not really only concerned in a narrow way to tell stories about so called working class. i want to explore those issues of classa. chiefly, actually, in a moment, i don t know whether you ve seen squid game really popular on netflix, the director, one gong york saying he should have negotiated a royalty deal with netflix rather than a deal which doesn t have royalties given they made 3 goods of a 1000000000. i think people around the world knowing the amount of awards you of one for your work, little and your actors going to be shocked that you ever ha
the world who might have been shocked to hear what happened in the past will be double shocked. there was probably in the present. is it, is it not so much a lack of her so much about film funders, thinking they want their return or investment or a lack of comprehension of your work? well, i don t think it s a lack of comprehension of the work. actually, what it took to some considerable extent is, is that as you may know, i don t work conventionally. i don t to present a script because there isn t one. and i don t say what the film is going to be about because we embark on a journey on maturity of making the film to discover what the film is. and with the exception of my 3 historical topsy turvy, mr. turner and peter lou, where i was able to say it s about this, but that s all i did is simply make that one line state. and all of my films have been made on the basis of backers saying, well, we don t know what it s about, what we trust you and go off and make a thrill. what i