So I do tend to do documentaries where I can move in and out of them.
I've never much been interested in doing films that no one gets to see.
Anyway, that was the germ of the idea and of course... you know this was early days of sociology and whatever, especially on television.
It was one of those great miracles of history that they managed to smuggle an Enigma machines out to Britain just before they were invaded by the Nazis.
For behaviorist films, that's been much more useful - the change of technology - but for my kind of films, doing them on film is much better, because it's more beautiful.
Now that I can edit the whole thing on AVID and edit the whole thing on tape, maybe I will do the next digitally, because maybe the quality will become less obvious between tape and film.
One of the reasons to do documentaries is that. There's more sense of creating something, more sense of my own soul in the documentaries than in movies, because I don't write the movies I do.
Music video directors, who conceive, write and direct these works, enjoy no creative rights, receive no ongoing financial benefit from the sale of our work, and many times are not even credited.
It's still the same job, the same anxieties, but it did feel a lot different, that kind of budget, that schedule, and frankly, the slowness of it all, and also having a lot of other units working.
When I joined Granada - which, you don't want to start crying about these things, but Granada was a very, very hot place to be, it was my good fortune to be there at that time - the BBC was firmly asleep.