A Quote by Nigel Cole
In England we only make films about the working class or the aristocracy.
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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.
I make films about working class people.
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.
I understand working-class culture, tribalism and the ethos of violence, so I make films about these things.
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.
The American cinema in general always made stories about working-class people; the British rarely did. Any person with my working-class background would be a villain or a comic cipher, usually badly played, and with a rotten accent. There weren't a lot of guys in England for me to look up to.
In order to arouse sympathy, the aristocracy was obliged to lose sight, apparently, of its own interests, and to formulate its indictment against the bourgeoisie in the interest of the exploited working class alone. Thus, the aristocracy took their revenge by singing lampoons on their new masters and whispering in his ears sinister prophesies of coming catastrophe.
One thing I love about America is that I'm not boxed in by my upbringing here. England is still so class-based that there are certain roles that I just won't go for. I'm a middle-class boy and I won't go for the scruffy working-class role, which is frustrating, and here I can play anything.
The working class of England today have no vision of society beyond the acquisitive - no version of themselves or their habits as anything other than transitional, on their way up or on their way out. The working class, at best, is a waiting room for people who aim to become middle class if possible.
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.
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.
Then years back, when I moved to California, I happened to see a book about fashions of 19th-century Victorian England, only four pages of which was devoted to the dress of the working class.
There is a huge antipathy in England between the north and the south, the working class and the owning class.
The People's democratic dictatorship needs the leadership of the working class. For it is only the working class that is most far-sighted, most selfless and most thoroughly revolutionary. The entire history of revolution proves that without the leadership of the working class revolution fails and that with the leadership of the working class revolution triumphs.
Shall we have recourse to the art of printing? But this has not destroyed property or aristocracy or corporations or paper wealth in England or America, or diminished the influence of either; on the contrary, it has multiplied aristocracy and diminished democracy.
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