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“... director liked to keep the camera moving without drawing attention to the fact. His exemplar was Max Ophüls, for things like the long tracking shot of James Mason and Barbara Bel Geddes in Caught, dancing in a crowded club, nudged close together and realising that they enjoy it. The credited cinematographer in The Killing, Lucien Ballard, had worked with ...”

“... I’m fairly good at working around my limitations. Like numerous five and six-year-olds – or Max Ernst and Hannah Höch, as we ‘creatives’ prefer to say – I do collage. Rubber stamps, along with scissors and glue and glossy pages ripped out from The World of Interiors, are an essential part of my praxis. (I have the art-world jargon down ...”