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Kes is really about the colossal wastages of kids, whose lives and abilities are written off before they're even in their teens. We chose to make it … - Ken Loach
" "Kes is really about the colossal wastages of kids, whose lives and abilities are written off before they're even in their teens. We chose to make it in Barnsley, we chose a Secondary modern school on a new estate that's becoming shabby. But it could have been one of hundreds of schools or estates. We didn't happen to unearth one child star, there were several kids in that one school who could have done the main part, [Billy Casper].
English
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About Ken Loach
Kenneth Charles Loach (born 17 June 1936) is a British film director and screenwriter. His films, which commentators consider socially aware and to display socialist ideals, are themed around issues such as poverty (Poor Cow, 1967), homelessness (Cathy Come Home, 1966), and labour rights (Riff-Raff, 1991, and The Navigators, 2001). Loach's film Kes (1969) was voted the seventh greatest British film of the 20th century in a poll by the British Film Institute. Two of his films, The Wind That Shakes the Barley (2006) and I, Daniel Blake (2016), received the Palme d'Or at the Cannes Film Festival, making him one of only nine filmmakers to win the award twice. Loach also holds the record for most films in the main competition at Cannes, with fifteen films.
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Kenneth Charles Loach
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Kenneth Loach
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Additional quotes by Ken Loach
[On where he fits on the left] I would have thought if you want to align yourself to any left current, the one to follow would be the one that fought Stalinism at the outset, and that was the left opposition and [Leon] Trotsky. So I think that socialist current is the one I care to be identified with.
[On politics in the 1960s] There was a feeling that there was a great possibility of political change. Obviously, no one knew in what form it would come, but there was a sense that the working class was getting politically conscious, particularly those involved in occupations and industrial disputes.
The quality of political discussion was higher. People understood die analysis even if they disagreed with it.
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Perdition was stopped because it criticised Zionist leaders in Budapest for co-operating with the Nazis in sending half a million Jews to the camps. Today, we are wary of criticising Israel, because of our feelings of horror and guilt at the atrocities committed against the Jews. If the Hungarian incident is examined, that inhibition may be lessened.
With a few honourable exceptions, the establishment liberals, who rightly support Salman Rushdie, ignored the political censorship on their own doorstep. Ken Loach. London
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