A Quote by David Olusoga

It was through watching documentaries on the BBC in the late 1980s that I first became interested in art and history. — © David Olusoga
It was through watching documentaries on the BBC in the late 1980s that I first became interested in art and history.
I became a Conservative in the late 1980s because I could see that the Conservative party had transformed Britain's economy and our standing in the world compared to Labour in the 1980s.
My first job was at the BBC but was really dull. I was working in the BBC's reference department, where I did a lot of filing. I had always been interested in films and theatre, so I thought that getting a job at the BBC would be a good idea, but the job was really mundane.
There's no other way to learn about it, except through documentaries. I encourage documentarians to continue telling stories about World War II. I think documentaries are the greatest way to educate an entire generation that doesn't often look back to learn anything about the history that provided a safe haven for so many of us today. Documentaries are the first line of education, and the second line of education is dramatization, such as The Pacific.
I've always wanted to make Australian art interesting. To get a different audience watching art documentaries would be great.
I started work on my first French history book in 1969; on 'Socialism in Provence' in 1974; and on the essays in Marxism and the French Left in 1978. Conversely, my first non-academic publication, a review in the 'TLS', did not come until the late 1980s, and it was not until 1993 that I published my first piece in the 'New York Review.'
I think I was interested in history without knowing it and that became very clear when I arrived in France. Everything that I was really interested in was there, but I knew nothing, no education, no art education, no education beyond high school. It was extremely overwhelming and it still is.
At a young age, I became interested in space and science after watching the U.S. land on the moon for the first time.
I've always done live art history lectures and small documentaries in the past in Australia, on Australian art and art galleries, so I've already done a lot of that.
Jonathan Meese is not interested in the history of reality. Everything radical and precisely graphic is sustainable. Human ideologies like religions and politics are based on the past and therefore irrelevant to art. Art always transforms radicalism of the past into the future. Art is always the total time machine. Jonathan Meese is interested in the history of the future. Art is never nostalgic.
A publisher friend of mine suggested that I write a book about my grandfather, who had just died. I had nothing else to fill my empty days with, so I started work on this book. While researching it - watching lots of movies, talking to moviemakers - I became interested in movies and started making documentaries.
What I found interesting about Slava Fetisov was that he went through three different generations of Soviet hockey. In the late 70's, he experienced the Miracle on Ice, and then in the 80's became with his teammates the Russian Five, the most dominant team in the history of hockey, and then helped bring down the hockey system when the Soviet Union collapsed and became one of the first players to play in the NHL, and then ultimately came back to Russia.
Growing up in the '70s and '80s when my dad had an art gallery, one of the things that frustrated me was the world seemed so tiny, and to appreciate contemporary art, you needed a history of art, a formal education. I was more interested in the people, and that's why I went into the movie business in the first place.
Although drag has a long cultural history in America, it remained largely underground till the late 1980s.
I first became interested in women and religion when I was one of the few women doing graduate work in Religious Studies at Yale University in the late 1960's.
First I think I was interested in the stories, and later on, I became more interested in the language itself, so the stories became almost secondary, but it was kind of a background music for my life.
Marty Baron, 'The Post's executive editor, stopped me in the elevator lobby late one debate night and suggested we look into the Trump Foundation specifically. I also became interested in researching Trump's broader history of charity.
This site uses cookies to ensure you get the best experience. More info...
Got it!