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and so, i think there's a way in which one's making those kinds of films. but i think there's also the space for other types of work, which are sort of, in a way, films which are sort of... ..i would say, have a longevity to them in terms of the intervention they want to make as artworks, as well. so, you mentioned that film, young soul rebels, in 1991, and the fact you won an award at the cannes international film festival for that. and your long life partner, the british curator mark nash, described it as... "an exciting cultural moment. there was a sense that a lot of things could open up in the film world, but they did not," he said. why do you think that is? because your profile is not as high as some people might expect it to be in the uk, where, you know, you were born and bred. well, i mean, ithink it's a really interesting question, because, of course... i mean, my work has been shown all over the world. i've taught all over the world. but, also, i think there's a way in which in britain,