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Liverpool Confidential exclusively interviews Cannes hero Terence Davies during the making of his film Of Time And The City. <br>Words: Angie Sammons. Pix: Stephanie De Leng</b></p><p>

Written by . Published on May 27th 2008.


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“PEOPLE with no sense of humour have done a huge amount of damage in the world. Can you imagine Stalin telling you a joke?”

Terence Davies, maker of some of the most anguished films ever to have seen the dark of day, is pondering this over breakfast eggs - “sunny side up” - in Room restaurant in Castle Street.

There were
times when I
did feel terribly
bitter. And that's
no good. You
just get eroded

Stalin might have had his lighter moments, I venture.

“Yes,” he bats right back, “did you hear the one about the Englishman, the Irishman and the Ukrainian?”

Not for the first time, the master of tragedy is displaying his mastery of the witty riposte, and he has had plenty to smile about of late.

Davies has been in town for the last nine months, and latterly in Cannes where his shoestring documentary, Of Time And The City, one of three cinematic commissions for Liverpool 2008, has been going down a storm.

With its archive, monochrome footage (“we've seen every bit of film ever made about Liverpool,” says producer Roy Boulter) juxtaposed with fresh shots of the modern city, a wildly varying soundtrack and Davies' own Noel Coward-esque narration, Of Time And The City is poised to turn the Kensington-born director into the comeback kid after years in the cinematic wilderness.

It has received rave critiques on the Riviera, with Time Out (to pluck just one from the posy of plaudits) declaring it “some kind of masterpiece” and the team behind it are still having difficulty taking it all in.

But Davies, maker of the autobiographical Distant Voices, Still Lives and the lesser known Trilogy, also about his Liverpool upbringing, reveals that as far as his birthplace goes, this "eulogy" is positively his final act.

"It is a farewell,” says the one-time bookkeeper (he left to find films and fortune in 1973). “A lot of my family are dying. The ties are becoming looser and looser.”

He describes new Liverpool as an alien landscape, stays with his sister in Whiston, and yet “I always think of home as 18 Kensington Street, no matter where I am. From the ages of seven to 11 I was ecstatically happy there. For those four years, I was literally sick with happiness.

“Then it went,” he adds flatly. “And I've never been happy since.”

Davies is full of these stark and frank assertions. His traumatised childhood is well documented. One of nine children, his brutal father (played by Pete Postlethwaite in Distant Voices), a rag man, subjected his family to regular beatings. He died when the young Terence was starting to think he could cope with no more, and all the lights instantly went on in his world.

“At seven, my father died and we began to live,” he says simply. “My mother began to get her hair done. She looked so beautiful when she did that.”

Around then, Davies also ventured into the portals of the local picture house for the very first time: The film? Singing In The Rain). “It was a huge revelation,” he recalls. “I remember absolutely being bowled over and I couldn't stop crying.

“And my sister said, 'what are you crying for?' And I said, 'Because he (Gene Kelly) seems so happy.' And for the first time I thought you could be happy. When my father was alive it was utter misery because he was psychotic. You were terrified all the time.”

Then just as abruptly, when Davies was 11, the lights went off again.

Davies recalls: “That summer between finishing primary school and starting secondary school was very hot and there was a big garage at the back of the street where I lived, called Smettles. And there were some men working in there making a wall, and they just had jeans on. No shirts.

He pauses. “I didn't know what it was called, but it ruined my life. Just like that. He clicks his fingers.

Almost as afterthought, he adds: “Then when I went to secondary school (Sacred Heart) I was beaten up every day for four years, which just destroys you.”

Davies' new found homosexuality did not rest easily alongside his Catholic upbringing. He is celibate and calls his sexuality a curse.

“I'm not religious. I don't do sex. I don't do rock and roll and I don't do drugs. So what's left? Typhoo?” he laughs.

“I'm an absolute atheist, but I can't give up what was instilled in me as a child. It was the Jesuits who said give me the child and I'll show you the man, which is really sinister. You can't get away from it. I examine my motives all the time. You get fed up with it, this conscience constantly saying, 'have you done the right thing? No you have not done the right thing.'

“But the penny didn't drop about God until I was 22, for God's sake. With everyone else it was 13. And, at 22, I thought 'Oh, it's a lie. Thank goodness!'"

I'm not religious.
I don't do sex.
I don't do rock
and roll and I
don't do drugs.
So what's left? Typhoo?

Davies doesn't subscribe to the view that what doesn't kill you makes you stronger: “That was said by Nietzsche and he suffered from syphilis, so I'll take it with a pinch of salt,” he says with another camp guffaw.

“I think it does something far worse: it fosters bitterness and there were times when I did feel terribly bitter. And that's no good. You just get eroded.

“One day, about five or six years ago, I thought: I don't love my father, because I never could, but I don't hate him any more. It was extraordinary, I can tell you.”

As much as he despised his father, Davies adored his mother, and it was a chance photo-shoot of her, not long before she died, that was to ultimately lead to Of Time And The City being made.

Photographer-turned-film maker Sol Papadopoulos, who runs the Hope Street-based Hurricane Films with Roy Boulter (drummer in The Farm and a successful TV writer), called Davies up last year and asked him if he wanted to enter North West Vision's Digital Departures competition.

“He said: 'Do you remember me?' and I said: 'Of course, you took some very beautiful pictures of my mother, which I still have. Although she was ill, I still think they are beautiful.'”

But Davies said he wasn't interested in a proposed work of fiction. “I've done fiction,” he says. “I said what I would be interested in doing is a film about the Liverpool I knew, contrasting with Liverpool as it is now. And that's how it happened.”

Next stop for Of Time And The City is the Edinburgh Festival. Next stop for Davies, who admits his view of life is "intrinsically tragic", is a comedy. Finally. It's about a ménage a trois at a fashion magazine.

“I do love to make people laugh, and I do love to be made to laugh, because it's life affirming.”

Amy's Back to Black strains in the background, and Davies tells me his life has never been a success. “I knew in my heart that it would be a struggle. Even as a child I was aware that moments of absolute ecstasy were going, even as I was experiencing them.

"I need help," he says, "lots of help."

Then with a grin. “That's what my therapist says anyway.

“And even he hates my father now.”

Of Time And The City plays Liverpool in October and goes on general UK release in November.

www.oftimeandthecity.com

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17 comments so far, continue the conversation, write a comment.

tommosMay 27th 2008.

What the hell are u on about? Me mam was proud to be the house keeper for the parish priest. she worked from dawn to dusk for 33 years and served God and His priests faithfully right up to the day she died.Child molesters dont go to Heaven which is where every priest will go to.

Graham BandageMay 27th 2008.

What a decent chap. If he were French or Swedish he would be properly regarded as an auteur. Because we don't do gloomy in this country, he's unfairly neglected. Good interview.

Rusty SpikeMay 27th 2008.

Erm...why Anonymous? Clearly Mr Davies feels 'The Faith' and 'The Church" damaged him...that goes for a lot of folk who were metaphorically - and physically - bludgeoned by the canons of the Catechism and the foot soldiers of Christianity...oops, I smell burning.... Its interesting that atheists and non-believers - who aren't all immoral evil individuals - don't promise everlasting fire, punishment and damnation for those who might have other persuasions.....

Cannes DoMay 27th 2008.

A great piece of writing that captures Davies perfectly. So good, I read it twice

AnonymousMay 27th 2008.

he is a weak minded man and is very narrow minded

mattieMay 27th 2008.

Dont forget the Catholic priests responsible for sexual assaults upon little boys all over Liverpool. Mainly from Ireland, these repressed monsters were responsible for destroying the lives of a whole generation of school boys. Davies is right when he considers religion to be the product of sick and depraved perverts.

AnonymousMay 27th 2008.

say what u like about the priests. at least girls where safe around them.

Rusty SpikeMay 27th 2008.

Just got to this terrific, sympathetic and insightful piece about Terence Davies and must say it captures the man, his mood and his views perfectly. Catholicism sure has a lot to answer for....like all religions...and thank goodness for the likes of Mr Davies.

watching with interestMay 27th 2008.

that tom phallis is hilarious please give him his own review spot.

Dave WoodMay 27th 2008.

How I wish I could have met the man. A cracking interview Liverpool Confidential and thank you very much. Can't wait to see the movie. The movie trailer brought tears to my eyes. Like Davies, I've been away from Liverpool since 1978, but I've been up there almost every week due to my photography work (Liverpool Pictorial). I never meant to leave Liverpool, but I had to. The treatment me and our gang got from the Scouse hating Lancashire Constabulary Police was intolerable. Some of my mates were banged up in Risley Remand Centre because of getting fitted up by the bizzies, due to the sheer accumulation of offences they were arrested for. You can defend yourself if you were arrested for murder, but you can't if it's for Obstruction or Threatening Behaviour and that's what the Lancs bizzies took advantage of. Thank goodness the Liverpool Constabulary took over Canny Farm later on due to boundary changes!

AnonymousMay 27th 2008.

A wonderful sensive portrayal of a wonderful sensitive man. Can't wait to see the film either!

annonimousMay 27th 2008.

oooh tom tallis whats upset you then??/?! very vitriolic if i may say so!

London RoadMay 27th 2008.

I agree. Things happen to all of us and at the time, they are often crushing and who has not been left bitter? It is easy to allow such wounds to turn into open sores, pouring out nothing that is good for us. Far harder to find the strength to turn away. That is the only way emotional healing can begin and we can reach some inner peace, essential in a cruel and unpredictable world..

tom tallisMay 27th 2008.

Davies again exploits the bane of political correctness. his homosexual view of the world and biased, self serving opinions on the Holy Catholic Church are sickening. Without Holy Mother Church, this wastrel would never have received any education at all. The wonders and marvels of God and His Angels are the stuff that informed this failed writer Davies to make these miserable films.He is despicable and should never be given the oxygen of publicity that his filthy little films demand.Disgusting, perverted and as damned as damned can be.

youngerthantwiggyanywayMay 27th 2008.

I concur - the honesty and openness of Terence is truly touching and makes me want to share a typhoo with him. Well done Angie for this!

scousekrautMay 27th 2008.

A nice interview this. Davies makes an important point about being bitter about the past eroding you. I agree. It holds you back. It serves no purpose in holding grudges or being bitter or feeling sorry for yourself. The past is the past and cannot be changed.Many people allow it to burden them and they cannot forgive and forget. It is not easy to do but it is an essential step in moving on in life.

AnonymousMay 27th 2008.

i have dont hat him but i think that he could be a bit stronger in his faith, he annoyed me on his interview on the bbc two show culture show

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