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Silent pictures show us how we lived and what our attitudes were. And as an art form, they can be wonderfully entertaining and often inspirational.
To me, film is a religion. I don't expect to get paid to make it, but I do expect total dedication.
'Napoleon' is pure cinema, and cinema was designed for sharing.
Some directors were brilliant in the silent era but never felt at home in sound. It's like a sculptor being forced to take up painting.
Friends told me not to bother with the silents - they're jerky, poorly photographed and ludicrously badly acted. But I was immediately struck by... →
I realised that you could easily turn any room into a cinema with a projector, so I went on and on at my parents for one. They eventually got me a... →
My first restoration was on 'Napoleon,' trying to put the French version in with the English version, and it was most unsatisfactory.
Somebody said that part of my reaction to British cinema is actually, paradoxically, a patriotic one. I'm so disappointed that we're not... →
I decided to restore 'Napoleon' after a widescreen festival at the Odeon Leicester Square in 1968. It was run by Richard Arnell and George... →
I was sent to boarding school - a grim place. The only good thing the headmaster did for us was every Sunday evening in the winter he would show us... →
It was 1953, and I was still at school. I'd borrowed a silent French film from the library for my 9.5mm projector. It was by Jean Epstein, and it... →
The reason I put so much energy into it at the beginning was that while there were plenty of people looking after the talkies, almost nobody was... →
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