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My first restoration was on 'Napoleon,' trying to put the French version in with the English versio
My first restoration was on 'Napoleon,' trying to put the French version in with the English versio
My first restoration was on 'Napoleon,' trying to put the French version in with the English versio
My first restoration was on 'Napoleon,' trying to put the French version in with the English versio
My first restoration was on 'Napoleon,' trying to put the French version in with the English versio
My first restoration was on 'Napoleon,' trying to put the French version in with the English versio
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Kevin Brownlow:
To me, film is a religion. I don't expect to get paid to make it, but I do expect total dedication.Kevin Brownlow:
Somebody said that part of my reaction to British cinema is actually, paradoxically, a patriotic onKevin Brownlow:
Some directors were brilliant in the silent era but never felt at home in sound. It's like a sculptKevin Brownlow:
I decided to restore 'Napoleon' after a widescreen festival at the Odeon Leicester Square in 1968.Kevin Brownlow:
'Napoleon' is pure cinema, and cinema was designed for sharing.Kevin Brownlow:
It was 1953, and I was still at school. I'd borrowed a silent French film from the library for my 9Kevin Brownlow:
I was sent to boarding school - a grim place. The only good thing the headmaster did for us was eveKevin Brownlow:
I realised that you could easily turn any room into a cinema with a projector, so I went on and onKevin Brownlow:
Friends told me not to bother with the silents - they're jerky, poorly photographed and ludicrouslyKevin Brownlow:
The reason I put so much energy into it at the beginning was that while there were plenty of people