Clapperboard was a movie programme that went out… it became a bit of a moveable feast, but it started at about 4:30 in the afternoon. And it was nominally a children’s programme, although, as you know, Granada took the cinema seriously, and so did we. And I remember doing an hour’s interview with Anthony Quinn, which was horribly sort of children’s stuff, and Jacques Tati, and people like this, wonderful people. And so it got moved about a hell of a lot, but the most satisfying thing about it was it had a large audience for its slot, and a lot of them were adults. And I’ve been told by three or four people who eventually became good film directors, that that kind of was the spark that… we were interested in not so much about being smart arse about reviewing films, which anybody can do to be honest with you – oh, and Billy Wilder, I met. Anyway, go on… but how the things were done, and I very often found that talking to the people behind the scenes was more rewarding than talking to the actors, because actors are always nice to you for the time you’re with them. But designers and plasterers and chippies and directors… it was hugely enjoyable for me because I’ve always loved cinema, and still do.
