Kevin Brownlow

It was 1953, and I was still at school. I'd borrowed a silent French film from the library for my 9.5mm projector. It was by Jean Epstein, and it was awful. So I rang the library and asked if they had anything else. They said they had 'Napoleon Bonaparte and the French Revolution.'

I decided to restore 'Napoleon' after a widescreen festival at the Odeon Leicester Square in 1968. It was run by Richard Arnell and George Dunning, who animated and directed 'Yellow Submarine,' and they'd got their hands on the last scene, the triptychs. They just showed that part, without music and with the projectors misaligned.

Every night, half an hour before curtain up, the bells of St. Malachy's, the Actors' Chapel on New York's 49th Street, peal the tune of 'There's No Business Like Show Business.' If you walk the streets of the theatre district before a show and see the vast, enthusiastic lines it sounds like a calling: there is certainly no place like Broadway.

When I - when I was going to school, I knew how to read, write, add and subtract and I - I basically said, 'What else do I need? I'm never going to be able to go to college. I'm not going to be able to afford to go to college. I'm not going to be able to get a scholarship.'