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[Sydney] Newman and [James] MacTaggart saw no problem with running a new wave of Paddy Chayefskyan problem plays out of the electronic studio, but [T… - Ken Loach
" "[Sydney] Newman and [James] MacTaggart saw no problem with running a new wave of Paddy Chayefskyan problem plays out of the electronic studio, but [Tony] Garnett and Ken Loach were soon rejecting this whole classical notion of "the play"’. They had seen the future of television drama, and it was A bout de souffle mated with World in Action. While MacTaggart was away, they booked up as much off-base filming as they could for a television version of Nell Dunn's book, Up the Junction, a mouthy compendium of South London lower-class lore.
"At that time, you were allowed about four days filming |with cumbersome 35mm equipment] just to show a car pulling up or driving away," says Loach. "So we used those four days to whizz round and shoot half the script with a hand-held 16mm camera - about 35 to 40 minutes of screen time." The remaining studio scenes were dubbed from tape on to film so that the whole thing could be collaged together in the cutting room, with Loach deploying all manner of neo-Godardian time leaps and wild-track effects.
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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Birth Name:
Kenneth Charles Loach
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Kenneth Loach
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Additional quotes by Ken Loach
Inspired by the Italian neo-realists, who also used non-professionals, Loach says that his biggest influence is probably the sixties Czech cinema of Jiri Menzel, Milos Forman and Ivan Passer. "It just allowed something to unfold and had a quality of observation: the sense of tuning, unhurried rhythm, framing of the shots, and relaxed humour." He also sensed a democracy in the film-making.
"Maybe it was just because they were shot in eastern Europe in black and white, but you felt that the people were very proletarian. It was a bit like saying working-class people are worthy subjects of a film. There wasn't the sense that you needed vast production values, you didn't have to wind everything up with a lot of art direction or a lot of music; you just had to have confidence in the people front of the camera."
I don't think people exist outside of their social situation. You can't abstract people from their environment. It always baffles me when people ask why I don't direct a comedy or a thriller. I think they would be much more artificial fields in which to work. The great expanse of people is really rather interesting.
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