Nadia Haggar – Omnibus: Eye of the Storm: Profile of Ridley Scott (1993)

BBC1 on 13th October 1992


Documentary profile of film director Ridley Scott. The programme traces Scott’s career from West Hartlepool Art School to the Royal College of Art to the BBC, where he worked as a designer and later director on programmes such as SOFTLY SOFTLY and ADAM ADAMANT LIVES! (extract shown). He then moved into advertising, his most celebrated work being the Hovis advertisements – works of his shown include films for Bird’s Eye Fish Fingers “Stowaway” (1969), Hovis “Bike Ride” and Apple Computers “1984” (1983). His brother Tony Scott also talks about his work in commercials, and how he took over the direction of the Hovis adverts when Ridley moved into features. After such work and the BFI-produced BOY AND BICYCLE (1965) made with his brother Tony (extracts shown), he then moved into feature film direction: extracts shown from THE DUELLISTS (1977), ALIEN (1979), BLADE RUNNER (1982), SOMEONE TO WATCH OVER ME (1987), BLACK RAIN (1989), THELMA & LOUISE (1991) and his most recent film, shown in production, 1492: CONQUEST OF PARADISE (1992). Ridley Scott’s direction of the film LEGEND (1985) is not considered in the programme. Various interviewees comment on his working methods, his flashes of temper, and his mastery of screen visuals. The contributors to the programme include Susan Sarandon, Sigourney Weaver, Michael Douglas, David Puttnam, Gerard Depardieu, Iain Smith, Stephen Crowther (a teacher from West Hartlepool Art School), Tony Scott, ad executive Barry Day, Keith Carradine, sons Jake and Luke Scott, H.R. Giger, Mimi Rogers, Andy Garcia, Callie Khouri, Geena Davis and BBC set designer Jeffrey Kirkland. Continue reading Nadia Haggar – Omnibus: Eye of the Storm: Profile of Ridley Scott (1993)

Martin Scorsese – No Direction Home: Bob Dylan (2005)


Portrait of an artist as a young man. Roughly chronological, using archival footage intercut with recent interviews, a story takes shape of Bob Dylan’s (b. 1941) coming of age from 1961 to 1966 as a singer, songwriter, performer, and star. He takes from others: singing styles, chord changes, and rare records. He keeps moving: on stage, around New York City and on tour, from Suze Rotolo to Joan Baez and on, from songs of topical witness to songs of raucous independence, from folk to rock. He drops the past. He refuses, usually with humor and charm, to be simplified, classified, categorized, or finalized: always becoming, we see a shapeshifter on a journey with no direction home. Continue reading Martin Scorsese – No Direction Home: Bob Dylan (2005)

Maureen Blackwood & Isaac Julien – The Passion of Remembrance (1986)


The first film by Sankofa Film and Video, THE PASSION OF REMEMBRANCE has gained classic status as a representation of the totality and diversity of Black experience. Within a dramatic framework the film gives a mosaic impression of the different dimensions of Black experience lived and imagined by a generation of filmmakers in the UK. As beautiful as it is eloquent, THE PASSION OF REMEMBRANCE is critical viewing for those interested in race, gender, history and cinema studies.

“Really radical filmmaking…the filmmakers intend to raise the intelligence and consciousness of their audience.” Armond White – Film Comment Continue reading Maureen Blackwood & Isaac Julien – The Passion of Remembrance (1986)

John Grierson – Drifters (1929)


The story of the North Sea herring fisheries, filmed at Lerwick, in the Shetlands, Lowestoft and Yarmouth and in the North Sea.

— Henry K Miller, From Battleship Potemkin to Drifters, BFI booklet wrote:

The London Film Society’s screening of Sergei Eisenstein’s Battleship Potemkin (1925) and John Grierson’s Drifters (1929) on Sunday 10 November 1929, at the Tivoli cinema in the Strand, is the most celebrated double-bill in British film history. Potemkin, making its British debut more than three years after it shook the film world, had a formidable reputation to live up to. Drifters, on the other hand, was the first film of a director whose only prior filmmaking experience was the preparation of the American release print of Potemkin. Continue reading John Grierson – Drifters (1929)

Anthony Asquith & A.V. Bramble – Shooting Stars (1927)


Before the constipated bloat and stagger of his 40s and 50s theatrical adaptations, Anthony Asquith was a lively and original maker of silent films. A Cottage on Dartmoor is already celebrated as a rare example of expressionist gloom and experimentation taking root in British soil. Underground has just been restored by the BFI, and it is to be hoped that this dazzling work will be next. Continue reading Anthony Asquith & A.V. Bramble – Shooting Stars (1927)

Michael Dibb – The Country and the City: A Film With Raymond Williams [+ Extras] (1979)

An extremely dense translation to film of Raymond Williams’ 1973 book of the same title which traces images of ‘nature’ and ‘town’ through 200 years of English literature. The connections Williams establishes as he traces the history of Tatton Park near Manchester – ‘an almost perfect example of how the English country house has influenced if not dominated our images of the country’ – are often startling and the film’s style continually illuminates the overall argument. All of the details taken from writers, painters, landscape artists and from 19th and 20th history of major urban centres are placed within a framework of class-based economic history – ‘the country and the city are parts of an interacting system dominated by a single class’- and the result is a unique TV essay. Michael Dibb, the director, has worked well with Williams to ensure that every image, every snatch of sound-track plays its part in the structure.
Time Out Continue reading Michael Dibb – The Country and the City: A Film With Raymond Williams [+ Extras] (1979)

Arthur Pita & The Royal Opera House – Kafka: The Metamorphosis (2013)



Gregor Samsa, a travelling salesman, awakes one morning to find that he has been turned into a monstrous insect. His mother, father and younger sister respond to his transformation in very different ways.


Arthur Pita’s adaptation of Franz Kafka’s 1915 novella had its premiere at the Royal Opera House’s Linbury Studio Theatre in 2011. The role of Gregor Samsa was created for Royal Ballet Principal Edward Watson, and draws on his extraordinary technical abilities. The unusual and absurd story is conveyed through startling choreography – an intelligent presentation of the pressures and yearnings of the young Kafka.
Continue reading Arthur Pita & The Royal Opera House – Kafka: The Metamorphosis (2013)