Sarah Ferguson presents Australia's premier daily current affairs program, delivering agenda-setting public affairs journalism and interviews that hold the powerful to account. Plus political analysis from Laura Tingle.
SARAH FERGUSON: Why did you choose to tell a story about the Blitz and why through the gaze of a child?
The thing about children and wanting to sort of focusing on children and how they view things is they're not tainted. They haven't got to a point where we adults are compromising or refraining to look at something or pretending not to hear. STEVE MCQUEEN: I wasn't initially interested in black stories, as you say. I was interested in the environment, again through the research, and through looking and working with the Imperial War Museum, working with a guy called Josh Lavine, who is my historian on this film. We found out that London at that time, particularly Central London, as Joshua would say was quite cosmopolitan and within that there was a very large Chinese community, there was a black community.
This is research and putting it on the screen to tell a sort of true picture, to tell a story that is in depth and a sense of urgency because, of course, what's happening in the world today. Yeah, it feels, I guess it answers some useful right now and again, jumping on to what you said about the traditional ways of telling a story, I mean for example women were the physical and emotional sort of strength in UK at that time during the Blitz because most of the men were at war, and to basically present them in that way because in movies it never happens.
STEVE MCQUEEN: Yes, Coral, my choreographer, I mean, yeah, within that sort of range there is obviously has got to be a sense of spontaneity but it like even the dialect or even how you move your body, this is how people would move at some point, but then there is a little sense of freedom because that's what would happen often in those environments, but, of course, there were two different clubs.
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