A Quote by Nick Love
I understand working-class culture, tribalism and the ethos of violence, so I make films about these things.
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I must remind you that starving a child is violence. Suppressing a culture is violence. Neglecting school children is violence. Punishing a mother and her family is violence. Discrimination against a working man is violence. Ghetto housing is violence. Ignoring medical need is violence. Contempt for poverty is violence.
I make films about working class people.
The really successful work in England tends to be working-class writers telling working-class stories. The film industry has been slow to wake up to that, for a variety of reasons. It still shocks me how few films are written or made in England about working-class life, given that those are the people who go to movies.
In England we only make films about the working class or the aristocracy.
It is only the working class at the head of the masses, it is only the working class headed by its real Marxist-Leninist party, it is only the working class through armed revolution, through violence, that can and must bury the traitorous revisionists.
There is quite a lot of mutual misunderstanding between the upper middle class and the working class. Reviewing what's been said about the white working class and the Democrats, I realized that there's even a lot of disagreement about who the working class IS.
I make films about working class people. All my films have always been about that. For example, the brothel is a workplace. It's aberrant, but a workplace nonetheless. I was more interested as opposed to glamorizing and saying, oh, this is a great erotic place, it's a place of business. The commodity is sex.
When I talk about 'working class,' I don't talk about 'white working class,'. I talk about 'working class,' and a third of working class people are people of color. If you are black, white, brown, gay, straight, you want a good job. There is no more unifying theme than that.
It was important to focus on working-class women because we so rarely focus, particularly in period films, on the working people. The suffragettes brought together women of all classes, which was one of the striking things about the movement.
I don't like to play the macho card, but I grew up in a working-class family and a working-class culture.
I challenge the idea that films about rich people are escapism and films about working class people are dour and sad. I find the opposite's the case.
It's strange the way people hear and see things. Like going to films - ?violent films. To me, seeing violence in a film makes me hate the violence. But there's beauty in violence if it's put over the right way.
Actually, I can't stand watching violent scenes in films; I avoid watching horror films. I don't tend to watch action films mainly because I find them boring, but I watch the films of David Cronenberg and Martin Scorsese, usually in a state close to having a heart attack. I'm a complete coward. I make violent films as a result of my sensitivity to violence - in other words, my fear of violence.
I am extremely conscious of my tribalism. And when you talk about tribalism, you talk about living in a black and white world. I mean, Native American tribalism sovereignty, even the political fight for sovereignty and cultural sovereignty is a very us versus them. And I think a lot of people in this country, especially European Americans and those descended from Europeans don't see themselves as tribal.
I don't think films about working class people are sad at all; I think they're funny and lively and invigorating and warm and generous and full of good things.
I have never intended in any of my films to sell violence or to glorify it. Even in the most intense action sequences in my films, there is a message about how evil violence is.
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