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with guns, and armor, you know, you think about this stuff, and you assume that it's happening but when you see it, it makes it real, sheriff. so, not only do you have the drugs coming across, the unvetted illegal immigrants coming across, but now you see, this and cbd obviously went and checked this area out but they didn't find anything. how common is it for them to see these types of situations at the border? >> well, unfortunately, it's getting worse and worse because you got to ask yourself who has more of an operational plan? who has the will and who is winning and that is your criminal cartels. as long as they continue to come across that border. unchecked like you are seeing with the weapons, and we're seeing huge increase of weapons. my 39 years with the smugglers that are coming here, the criminals all over the country coming here to get involved in international crime and smuggling vulnerable not just law enforcement but the public that endures it every day, too.

Border-sheriff-mark-daniels , Drugs , Immigrants , Armor , Guns , Stuff , It-real , Border , Area , Anything , Situations , Types

This Cultural Life

documentaries and make, you know... make it real, in that sort of spontaneous and alive way. but just thinking about some of your films and the way that you have explored social issues, whether that's unemployment in meantime, or back street abortion in vera drake, or class and race in secrets and lies, do you regard yourself as a political film—maker? yes, i do. i mean, i think that my films, with the arguable exception of peterloo, which is obviously about the peterloo massacre and is, without any question, a simple statement about democracy, i think my films must be understood to be implicitly political, rather than overtly political. you once said, i'm going to quote you here, "i know i return endlessly "to the same preoccupations, but i'm not always aware of it initially." what are those preoccupations, do you think? well, i mean, if you look at my films and plays,

Way , Films , Sort , Some , Make , Unemployment , It-real , Issues , Class , Film-maker , Vera-drake , Secrets-and-lies

This Cultural Life

later on in the �*60s, with the work that he and tony garnett, who i used to work with in television, bbc. their great revolution was to say, well, let's not... bbc drama is studio—bound, let's get out there in the street with the guys that shoot documentaries and make, you know... make it real, in that sort of spontaneous and alive way. but just thinking about some of your films and the way that you have explored social issues, whether that's unemployment in meantime, or back—street abortion in vera drake, or class and race in secrets and lies, do you regard yourself as a political film—maker? yes, i do. i mean, i think that my films, with the arguable exception of peterloo, which is obviously about the peterloo massacre and is, without any question, a simple statement about

Go-to-bbc , Television , Work , Revolution , Tony-garnett , 60 , Way , Films , Sort , Some , Guys , Drama

This Cultural Life

bbc drama is studio—bound, let's get out there in the street with the guys that shoot documentaries and make, you know... make it real, in that sort of spontaneous and alive way. but just thinking about some of your films and the way that you have explored social issues, whether that's unemployment in meantime, or back street abortion in vera drake, or class and race in secrets and lies, do you regard yourself as a political film—maker? yes, i do. i mean, i think that my films, with the arguable exception of peterloo, which is obviously about the peterloo massacre and is, without any question, a simple statement about democracy, i think my films must be understood to be implicitly political, rather than overtly political. you once said, i'm going to quote you here, "i know i return endlessly "to the same preoccupations, but i'm not always aware of it initially." what are those preoccupations, do you think?

Way , Films , Bbc-news , Sort , Some , Guys , Drama , Make , Street , Shoot-documentaries , It-real , Class

This Cultural Life

by what other artists do — it's as much about making you think about the possibilities of what you might do. but with the french new wave in particular, was it also about the visual style? do you think that had a direct influence on your later work? well, i mean, the great move forward was shooting in the streets, was shooting in real places. now, of course, i — unlike for example my compatriot ken loach — who was a great pioneer, who, again, was a great inspiration to me a little bit later on in the �*60s, with the work that he and tony garnett, who i used to work with in television, bbc. their great revolution was to say, well, let's not... bbc drama is studio— bound, let's get out there in the street with the guys that shoot documentaries and make, you know... make it real, in that sort of spontaneous and alive way. but just thinking about some of your films and the way that

Style , Possibilities , Artists , Particular , Wave , French , Course , Influence , Places , Shooting , Ken-loach , Who

This Cultural Life

on in the �*60s, with the work that he and tony garnett, whom i also used to work with in television, bbc. their great revolution was to say, well, let's not... bbc drama is studio—bound. let's get out there in the street with the guys that shoot documentaries and make, you know... make it real, in that sort of spontaneous and alive way. but just thinking about some of your films and the way that you have explored social issues, whether that's unemployment in meantime, or back street abortion in vera drake, or class and race in secrets and lies, do you regard yourself as a political filmmaker? yes, i do. i mean, i think that my films, with the arguable exception of peterloo, which is obviously about the peterloo massacre and is without any question a simple statement about democracy, i think my films must be understood to be implicitly political,

Bbc , Television , Work , Tony-garnett , Revolution , 60 , Way , Films , Sort , Some , Guys , Drama

Our World

he and tony garnett, whom i also used to work with in television, bbc. their great revolution was to say, "well, let's not... "bbc drama is studio—bound. "let's get out there in the street "with the guys that shoot documentaries and make, "you know — make it real, in that sort "of spontaneous and alive way." but just thinking about some of your films and the way that you have explored social issues, whether that's unemployment in meantime, or back street abortion in vera drake, or class and race in secrets and lies, do you regard yourself as a political filmmaker? yes, i do. i mean, i think that my films, with the arguable exception of peterloo, which is obviously about the peterloo massacre and is without any question a simple statement about democracy, i think my films must be understood to be

Go-to-bbc , Television , Drama , Revolution , Tony-garnett , Way , Films , Sort , Some , It-real , Guys , Street

This Cultural Life

later on in the �*60s, with the work that he and tony garnett, who i used to work with in television, bbc. their great revolution was to say, well, let's not... bbc drama is studio— bound, let's get out there in the street with the guys that shoot documentaries and make, you know... make it real, in that sort of spontaneous and alive way. but just thinking about some of your films and the way that you have explored social issues, whether that's unemployment in meantime, or back street abortion in vera drake, or class and race in secrets and lies, do you regard yourself as a political film—maker? yes, i do. i mean, i think that my films, with the arguable exception of peterloo, which is obviously about the peterloo massacre and is,

Bbc-news , Work , Television , Tony-garnett , Drama , Revolution , 60 , Way , Films , Sort , Some , Vera-drake

CNN This Morning

that i don't want donald interesting, and i think that sometimes we need to keep that in mind with people like him. who are what i would call institutionalist. they care about their legacy. they care about these offices. they care about their sort of place in history, and it will be interesting to see the argument he makes to the public for why it should be him something real quick before because i know you want to move on another stuff. is it real, though you know, we get this whole social media thing in twitter, and it turns out it doesn't it's not actually real. when you look at biden's accomplishments when you you know, look at that real people saying well, you know, i'm concerned because of the board. i'm concerned because those are real issues. but as when it comes to an election, will that prevent people from voting for joe biden or having enthusiasm? because every president has their issues. i mean, i won't answer this question not to be coy, but because it is so early. no, you're right rest of the summer. people are going to be resolutely not paying attention to this, and then all of a

People , Mind , Offices , Legacy , Want-donald-interesting , Institutionalist , Something , Sort , Argument , Stuff , It-real , Public

Breakfast

on the bbc website is this rather unusual sight, that greeted diners at one of bath's historic hotels yesterday. this car seemingly crashed through the railings and became wedged against the building's basement windows. one of the visitors to the hotel, said, "it was a bit strange." it fits so perfectly! not probably in the way that was intended, but... that looks like a toy car. it is real, everyone.— that looks like a toy car. it is real, everyone. how it fits so neatl . real, everyone. how it fits so neatly- do — real, everyone. how it fits so neatly- do you _ real, everyone. how it fits so neatly. do you think - real, everyone. how it fits so neatly. do you think it - real, everyone. how it fits so . neatly. do you think it shimmied real, everyone. how it fits so - neatly. do you think it shimmied its way down? i’m neatly. do you think it shimmied its wa down? �* ., , �*, way down? i'm not sure. it's terrifying- — way down? i'm not sure. it's terrifying. let's _ way down? i'm not sure. it's terrifying. let's look - way down? i'm not sure. it's terrifying. let's look in - way down? i'm not sure. it's terrifying. let's look in the l terrifying. let's look in the inside. this is in the express. you like a bit of renovation work. normally the things i find are horror stories behind the walls. nasty wallpaper? ﬁr horror stories behind the walls. nasty wallpaper?— nasty wallpaper? or pipes that shouldn't be _ nasty wallpaper? or pipes that shouldn't be there. _ nasty wallpaper? or pipes that shouldn't be there. is - nasty wallpaper? or pipes that shouldn't be there. is not - nasty wallpaper? or pipes that shouldn't be there. is not like l shouldn't be there. is not like this. shouldn't be there. is not like this- this _ shouldn't be there. is not like this. this is—

One , Hotel , Car , Hotels , Visitors , Bbc-news , Website , Tin-bath , Basement-windows , Sight , Diners , Building