for me, the concept wasn't a remake of this kurosawa film, it was this thing with bill in it. didn't feel daunted or oppressed by the original film or by the situation, ijust felt that i was very fortunate. you're watching bbc news. now it's time for witness history: lgbt special. hello. i'm ben boulos. thanks forjoining me at the queer british museum in london for this edition of witness history. i'll bring you important moments from the past as told by the people who were there. in this episode, we're focusing on lgbt history, stories about lesbian, gay and trans people from all over the world. coming up: we hear how lesbian activists broke through bbc security to stage a protest on live tv. plus, the fight for lgbt rights in uganda where being gay was punishable by death. how the balkans war inspired a groundbreaking film about trans sex workers. and the fight to use the word �*0lympics�* for the very first gay games. but first to san francisco, and the aids memorial that would make headlines all over the world. activist cleve jones was living there in the 19805 when a myst

for me, the concept was not a remake of this kurosawa film, it was this thing with bill in it.el like a british movie from the 1950s. that was the other interesting aspect. for you, bill, was that a dream come through, to have a part written for you, or is that a huge amount of pressure? it is more of the former and a little bit of the latter. i didn't feel, weirdly, because i'm quite good at manufacturing pressure, i didn't feel daunted or oppressed by the original film or by the situation. ijust felt that i was very fortunate. beyond lucky to be considered in those terms, not least by kazuo ishiguro. the result is a quintessentially british study in restraint from the written word to delivery. a sleekly sentimental drama unfolds as mr williams befriends a young employee whose effortless exuberance and spirals into leave something lasting and give life meaning in the face of death. it's led to first—time oscar nominations for both men, and careers that collectively spanned more than eight decades. you have been very well recognised in your work on we won the booker prize, the

the largest figure in iranian cinema for russia is comparable to, say, andrei tarkovsky there or kurosawatature. e-e studied at the university of tehran at the faculty of arts and, in general, positioned himself. e in his youth, as an artist and one might even say, as a poet and writer more than e a cinematographer, but he was a director of, uh, long-form films for a very long time. he himself was born in the fortieth year, he began his graphic activity with some kind even under the shah, and one must understand that here, on the threshold forty years he had to change his. well, let's say that the aesthetic system after the revolution of the seventy-eighth year, and iran severed its automatic relations with the united states after the hostage-taking and fell under sanctions, respectively, many cultural figures were forced to either leave the country or go into opposition, but abbas continued to grow. e, using his great authority to work at home. this did not affect him as an artist, these mm restrictions, but nonetheless. he became more of an observer, stopped, uh, doing relevant so-calle

for me, the concept wasn't a remake of this kurosawa film, it was this thing with bill in it.felt that i was very fortunate. you're watching bbc news. now it's time for witness history: lgbt special.

for me, the concept was not a remake of the kurosawa film, it was this thing with bill in it.er and a little bit of the latter. i didn't feel, weirdly, because _ latter. i didn't feel, weirdly, because i'm quite good at manufacturing pressure, i didn't feel daunted or oppressed by the original— feel daunted or oppressed by the original film or by the situation. i 'ust original film or by the situation. i just felt— original film or by the situation. i just felt that i was very fortunate. beyond _ just felt that i was very fortunate. beyond lucky to be considered in those _ beyond lucky to be considered in those terms, not least by kazuo ishiauro. , , ., ishiguro. the result is a quintessentially - ishiguro. the result is a quintessentially british | ishiguro. the result is a - quintessentially british study in restraint from the written word to delivery. a sleekly sentimental drama unfolds as mr williams befriends a young employee whose effortless exuberance and spirals into leave something lasting and give life meaning in the face of death. it's led to first—time oscar nomina