"The last one I think might be the most unusual one and this is footage shot by Zora Neale Hurston, who we know as a writer, a novelist, the author of Their Eyes were Watching God (the basis for the eponymous film), which is her best-known work. [She] was also a playwright, short story writer, and screenwriter for a while in her career. Really a Renaissance woman. When she was a student, she was studying anthropology with France Boulez at Columbia, and she was doing her fieldwork as an anthropologist on the kinds of communities that she grew up in, in Florida. In the late 1920s, she had a car and a 16-millimeter camera and she drove down to Alabama and Florida and she shot footage, ethnographic footage, as a part of her research. We featured some of this material on the Pioneers of African-American Cinema box set that I co-curated that was released by Kino. The footage is not narrative and it’s not exactly documentary either, in the sense that she never put together a work that then she was sharing with other people — it was for her research purposes. But she shows men who are logging, for example. My favorite passage of the footage was when she shows children playing games. The can game, and games when they’re in a circle or square and trading off movement and those kinds of things. We can see she’s capturing information that she’s going to use to talk about these cultural practices in her academic writing. It’s also really clear in the attention she pays the children and the attention that she pays to the movements of women, the way that she captures, even in the silent films, the rhythm and the musicality of church service. We can see visually the style that she’s developing that then she folds into her writing practice. We can say, because we know about this work that Zora Neale Hurston seems to be one of the first African-American women filmmakers, and so it gives us a deeper sense of her creative practice and her intellectual practice as well."

"""And then you get into the contentious fifth film, and I’ve jotted down a bunch of things I thought, well Ran is a possibility. I love Akira Kurosawa‘s take on King Lear, I love what he did to it. I love the movement, the battles. You know, there’s nothing about that film I do not enjoy. Laurel and Hardy’s Way Out West, because I thought that would be a wonderful choice, and it does have, to my mind, the finest dance in the whole of film. But, I thought about A Matter of Life and Death, which was a film that was enormously inspirational when making Good Omens. I felt like that was of the same DNA as the thing that we were doing … Also Bedazzled, the original Peter Cook and Dudley Moore Bedazzled, which again has a lot of the DNA of Good Omens in it. But eventually I came down on Belle et la bête, [Jean] Cocteau’s Beauty and the Beast. I remember watching it and feeling transported. For me, it’s like dreaming. It does the same that Bride of Frankenstein does, where I can never quite remember the plot when it’s over, I’m just aware that it’s finished now and this wonderful place that I went has gone away. My children do not like black-and-white films, and once, for Father’s Day, my daughters asked what I wanted for Father’s Day, and I asked, “Will you watch this film with me? It’s a foreign language film, so you won’t like it, and it’s black and white, so you won’t like it, but will you watch it with me?” They said, “Well yeah, for Father’s Day we will.” And what I loved was that after 10 minutes, they had forgotten that it was a foreign language film, and they had forgotten that it was a black-and-white film, and they were entranced by this retelling of Beauty and the Beast, made by Cocteau not even on a shoestring; he’s in post-war France, immediately post war, and they had no money for anything. Everything is being improvised. Everything is being created on the fly, and yet what they come up with is something that is so much cooler than any infinite amount of CGI."""

"If I were to have one at the moment, I think Chris [Cummings, AKA Marker Stalling] is my favourite composer. There's a lot of depth; there are a lot of nooks and crannies and obscure pockets to dive into, not at first listen but with each repeat. The album reveals its beauty after many listens, and each time you listen more it's like, ah yes! It's another one of those records that you can listen to forever, whatever mood you're in. I remember last year I took a long road trip to France and I was meeting friends, so each time I would play it, and in whatever circumstances, the music would fit. In happy circumstances it was great, but on another occasion I remember a friend had lost their dad, and it was very soothing and healing. It's another album that holds a lot of magic and is forever comforting. If it's hot it freshens you up, if it's cold it warms you up! It's great. He wrote a song for my last album as well. I'm a big fan. And live it's extraordinary. His backing band is Batch: we just did a residency together, they're amazing. I was watching their video last night actually, a little live thing from a festival, and those guys are brilliant. I can't believe how great they are, in terms of being really good musicians with great songs and also the heart, how they play. They are very implied in what they play. A lot of musicians I've seen in the past are just going through the moves, there's no energetic involvement or heart in their playing. Technically it's probably quite good, but to me it's very boring. But with these guys, I remember seeing them and I thought they were so good, but part of me wanted to make fun of them, but I couldn't because there was so much heart in their playing that I could only love them. So when Chris comes to the UK or tours Europe usually Batch are his backing band, and it's brilliant. But there are usually only ten or twenty people watching them. Maybe now it's a little bit more, but it's like, come on people, this is really amazing! He's an amazing performer who's full of surprises. He's very warm and super funny and excellent: I can't recommend him enough."