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Last summer convinced us that telling the story chronologically wasn’t the Worked to our advantage watching London - the Modern Babylon
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While we were unnerved by the news that Julien Temple was planning a similarįilm commissioned by the BBC, also using BFI archive footage. With a complete, and quite beautiful, 70-minute soundtrack.
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My Saint Etienne partner, Pete Wiggs, came up Most of which - such as the vicious St Pancras rent strike of 1960 - never
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Researcher and adviser, bringing in folders full of astonishing stories, Writer Travis Elborough was brought in as a How We Used To Live wouldn’t be a personal film, like Of TimeĪnd the City - it couldn’t be as we were too young to remember most of In the Eighties money no longerĬhinked like small change in your pocket - it crackled like a forest fire. Squashed to be replaced with shades of grey. The hopes of the New Elizabethans,Īnd the bright primary colours of the Festival of Britain, were finally Our film, How We Used To Live, ends with the dawn of the Thatcher era,Ī different time in which the Square Mile - almost always at odds with theĪctual inhabitants of London - began to assert its strength, starting with Rough Trade shop, there had been a sense of optimism. The city may have smelt of damp wool andĬoal dust in winter, but from teenagers finding a sense of self in FiftiesĬoffee bars through to the late Seventies when punks congregated outside the London’s fortunes since the 1951 Festival of Britain had ebbed and flowedīut spirits were largely buoyant.
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Thanks to recession, cack-handed redevelopment and an uncaring government. Liverpool in its brief postwar pomp, with celebrities visiting Birkenheadįor film premieres, before its steady slide into poverty and unemployment The film - the optimism of the “New Elizabethan era”. London Line exemplified an atmosphere that we wanted to get across in Green sludge that was set to wipe out world hunger by 2000. Rothamsted agricultural research centre where he tried “leaf protein”, a He visited Carnaby Street, the new towns ringing London and the The presenter, Michael Smee, was engaging and likeable, somewhereīetween Thunderbirds’ Jeff Tracy and Nationwide’s Bob
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Not remember it is because the series was distributed primarily to theĬommonwealth by the Central Office of Information, and was never screened Which ran from the mid-Sixties until the early Eighties - the reason you may One of our most exciting finds was a magazine series called London Line , Marie Lloyd first, we might just find enough material to make our own film. If we weren’t to be blown up by flammable footage of Three months going through hours of BFI archive footage of London, 95 perĬent of which involved Piccadilly Circus, the Royal Family or aerial shots That contained canisters of highly flammable old films. Roof of the BFI’s offices, right next to a storeroom covered in hazard signs We were watching boxes of old video tapes in a breezeblock cupboard on the Sixties I went back and talked to him about Paul’s idea.
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He had asked SaintĮtienne to record new music for a couple of Design Council films from the The Children’s Film Foundation than anyone I’ve met. Institute, a gentle soul who knows more about public information films and As luck would have it, I had been contacted by Tony Dykes of the British Film