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What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution. I was in Italy, but completely in love with the nouvelle vague movement, and directors like Godard, Truffaut, Demy. 'The Dreamers' was a total homage to cinema and that love for it.

I think when I was a kid, and I was in England and it was all about The Stones, The Who, The Kinks and The Beatles and that's what my dad was into.

England in the '60s and the '70s was everything that history has said; it was phenomenally exciting, musically.

The '60s were a time of great change in American music.

When I came to New York in 1949, there was already an entire fresh avant-garde film movement blooming in New York and California. It was a very, very exciting period!

Experimental film by the '70s had become much more mainstream after 'Bonnie and Clyde' and stuff in the late '60s, when you were seeing bigger movies where people were exploring the medium a lot more.

I come from a time when pop music was the coin of the cultural realm and in a certain way was the only coin of the realm; movies didn't matter as much, and not TV - it was all about pop music. In the era when I started - which was the early '60s - it was all about singles leading to albums.

People talk about the '60s, but they were merely a mass production of what the '50s had begun.

A lot of new genres were being born at the time I started going out to clubs in South London, and I was part of an exciting movement that has now blown up around the world.

I thought the '60s was the most exciting time and the most vital music, and we were really together as one mind then. Then afterwards, the songs and the bad drugs, that took its toll.