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‘cast’ swaying as the people would if they were on the train.
“Does this mean that the film is not true to the spirit of the train? Absolutely not. For people who have seen it ever since it embod- ies the spirit of those mail trains. The art is to make it true.”
In other words, it means taking on trust the intentions and skills of the filmmaker. Paul Greengrass, the writer-director of Bloody Sunday, has been this way before having made The Murder of Stephen Lawrence for TV. On Bloody Sunday the stakes were raised further by the deep seated
sense of injustice felt by the fami- lies of those who were killed. Greengrass had a unique resource to call upon, an unfold- ing historical record in the form of the ongoing Saville Inquiry into the shootings.
“They interviewed thousands of people, every single soldier, and it’s all there,” he explains, “so it was really just a question of sitting and reading it and making some pretty simple judgements. And having made those judgements they are sub- jected to intense scrutiny by a company like Granada which
has such a strong tradition in this field, with things like World In Action.”
With a so-called auteur film- maker like Nick Broomfield, who is so involved both before and behind the camera that he has become almost a brand in his own right, this kind of editorialising is a given, and audiences should have some idea of what they are going to get when they pay to see one of his films.
The diffident English filmmaker whose most recent films include Biggie & Tupac, Fetishes and Kurt & Courtney does not believe that the
audience should be spoon-fed sim- ple answers to complex questions. “There is no objective truth in
my documentaries,” he says, “it’s for the audience to draw their own conclusions. What I’m doing is making a diary of my experi- ences in that particular world. My responsibility is to try to do that as accurately as possible, which is quite a subjective way of doing it anyway.”
In the centuries to come the Simon Schamas or David Starkeys of their time will not mind this approach. A historian should, after all, be able to pick his way
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