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Lots of film clips, a commentary by me, a boldly international range of films, and many by the great women directors.
It isn't really a history film at all. It's more a portrait of childhood as seen through the movies. The movie clips are like the palette of colours we use to paint the picture.
I had to find a point of view, a frame to contain what could have been an unwieldy subject. Then I remembered a 12 minute shot I'd done of my niece and nephew, Laura and Ben Moreton, playing in my flat.
As I filmed, I noticed that they went from shy to grumpy to performative to destructive, all in a short time. I recognised such fleeting moods in my own life and in the Kurdish kids I'd filmed in Iraq.
The 12 minute shot could, I realised, be my frame. My camera stayed wide during it, I didn't move it or give Laura and Ben any instructions whatsoever.
When Laura is shy, I do a mini-tour of shyness in kids in film. When Ben is destructive, I do a tour of destructiveness in kids in cinema.
The order in which my niece and nephew showed their emotions is the order in which we see them in the film. I know people will ask me who this film is for.
My answer is that it is for anyone of about ten or over who likes films. I hope that they, young and old, will recognise themselves or kids they know in it.
In the film I say that in little things faces, a field, a rock pool, a 12 minute shot of kids we can see a lot. I hope that in this little film, we can see a lot about childhood and about the movies.
He started making films in his late teens and after graduating High School he went on to educate himself away from TV screens and Hi8 Cameras.
He began at The New York Film Academy producing and directing short films and working as a technical advisor.
Those educational years resulted in a number of projects which recently or not so recently have been recognised internationally. Further he was selected to the talent pool Trailblazer in by the Edinburgh Int.
Film Festival recognising new emerging talent and won the Channel 4, 4Talent award for Best Directing in In Timo started working with Mark Cousins and has been editing his films ever since.
Sometime in early , I bumped into Mark Cousins on the street in Edinburgh, and asked what he was up to. He said that he and Tilda Swinton had dreamed up a new idea for a film festival that summer, which involved pulling the Screen Machine, a ton mobile cinema, by hand across the Scottish Highlands, showing great movies in small villages along the way.
They called this wild idea The Pilgrimage. Mark had consulted the British Tug-of-War Association about how many people it would take to pull a truck of that size, and showed me some figures scribbled on the back of an envelope.
Mark was a maths whizz long before he was a world-renowned cinephile, but he was a bit troubled about his calculations. I guess we won't find out until we actually try.
It might be a disaster. I decided then and there that my family — myself, wife Mary Bell and our two sons, then 8 and 12, both film mad — had to become Pilgrims.
Mark may have been uncertain about whether he and Tilda could pull off this lunatic scheme, but I had no doubt whatsoever that it would be an once-in-a-lifetime experience for anyone who took the plunge and trusted in their vision.
And so it proved. We met amazing people who came from all over the world. We watched great films. We swam in lochs. We got eaten by midges.
About 50 people pulled the Screen Machine with ease though not me, because I had a bad back. So when I was standing in the Bridge of Allan Co-op last autumn, and Mark called to ask, rather diffidently "I'm sure yous are too busy," he said , if Mary and I would like to produce "A Story of Children and Film," it took me about a second to say yes.
For all his modesty, Mark has a clarity of conviction which makes remarkable things happen, and which delivers enormous rewards for anyone who tags along for the ride.
I've learnt not to hesitate if he asks me to do anything. So being giving the chance to help him make his next film was an extraordinary gift.
There are some horses or is it a dog, or a cat? I've been in love with films since I was a child when I used to go to my local cinema every Saturday from about the age of 8 or 9 to what was then called a "Cine-Disco" child of the 70's!
The local "Cine-Disco" involved about an hour of music where us kids were allowed up on the main stage to dance about to the music, chat with our mates, eat lots of sweets and learn what it was all about to speak to girls!
Then once the hour of music was over we all returned to the cinema seats and were treated to some cartoons, an old black and white mystery serial that would run on each week and then a main feature.
The main feature would invariably be anything that was out at the time like "Star Wars" or "Superman" but more often than not, it would be something by the Children's Film Foundation.
As I got older and into my teens, I was given my first video recorder an old Betamax and I would record virtually any film that was broadcast on TV.
This enabled me to watch the likes of films by Hawks, Hitchcock, Lang, Ford and discover foreign cinema at quite an early age.
I was hooked and wanted to learn more, so started reading many books on film too. Outside of my day job, my work in film has begin to develop over the past 10 years or so, to a point now where I am keen for this to be my main vocation.
I have my own archive of films and documentaries on cinema as well as having access to many private film collections around the world and some film archives too.
I help many film writers, critics, directors and film lecturers by tracking down titles they are looking for, for research and study purposes.
I've known Mark about two years, at first just via email and then our paths crossed in August at Los Angeles airport in the departures lounge.