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British cinema renaissance running hard for Mrs. Thatcher’s new Jerusalem—absolute beginners all. I: The Rough Cut All through Christmas, spent in this old farmhouse high on a windy hill in Tuscany, I have told myself I must begin recording the labyrinthine saga of the Caravaggio film - 1.30 and the family has left for a hunters' lunch with the contadini, who have been chasing wild boar all morning through the maize fields ... II: Painting It Out Great-Uncle Tommy, who worked with my grandfather in India, had a secretaryWhen she later became a film star she never failed to invite him to her premieres, until one day he unwittingly mentioned their shared past. Life was to change for ever after my return from America in the autumn of 1964. October I had discovered my first gay pub - the William IV in Hampstead; shortly after, the La Douce in Poland Street and the Gigolo in the King's Road. These were two of a handful of gay bars which were the only haven in a city of eight

IV: The Most Beautiful Room in London In August 1969 I moved into the first of a series of warehouses on the river front. Upper Ground was at the end of Blackfriars Bridge. It was a large, airy L-shapedAfter seven years in cramped Georgian terrace houses and basements the The 'home movie' nights of my childhood were the most exciting. Grandma Mimosa cutting up the Sunday chicken in 1929 seemed no less than a miracle - in Grandfather's home movies with their title cards: 'BACK TO SCHOOL, YOU CAN IMAGINE HOW THEY FELT', ... I met James Whaley, who was to become the producer of Sebastiane, at a SundayHe asked me what I did. Well I'm going to make one, he said, what ideas do you have? VII: Chelsea on Ice Spring-Summer 1977: The Super 8 film I was planning with Jordan took off like a roller coaster after the success of Sebastiane at the Gate. The John Dee script was pirated and used as a framing device; Jung's Seven Sermons to the Dead, and the

Angelic Conversations of the good doctor Dee were scrambled with SNIFFin Glue At the end of July 1978, I went to Taormina in Sicily to help with the ItalianThe trip proved as disastrous as I had expected. was shown on the last night of the festival at 2.30 a.m.; I left an hour into the film, leaving an audience of nine in the cinema, of whom at least four were asleep. IX: The Oblivion Digits After The Tempest it seemed a matter of months before a new project would beBut I miscalculated the resistance to anything that does not reflect theThe budgeting of my films was virtually non-existent — no chance of anyone making much more than a simple wage; I have a very low opinion of art and an even lower opinion of what is accepted as art, put high on a pedestal, high as it is possible to make it without rendering it totallyIncarcerated in bunkers, sold, bartered, and reproduced so that even the most potent images are nullified, 'art' is eulogized into something other.