Click to play
Just
looking
at
that
time
you
were
Twenty Four
years
old
presumably
would
go
out
and
enjoy
yourself
as
well
what
was
your
kind
of
feeling
When
how
did
you
feel
about
the
environment
and
the
things
that
were
going
on
did
you
ever
have to
use
your
own
judgment
about
it
what
did
it
feel
like
to
be
around
it
yeah
it
was
the
thing
is
I
was
missing
out
on
everything
because
I
got
married
when
I
was
Twenty
and
I
had
a
house
and
I
had
all
those
sort
of
responsibilities
and
so
I
was
sort
of
quite
jealous
if
I’m
honest
I
was
like
I
didn’t
I’d
never
heard of it
before
I
started
I
sort of
heard
of
it
in
the
press
but
I
could
never
figure
out
how
everyone
knew
what
was
going
on
and it
made
me
feel
totally
out
of
the
loop
really
it
was
like
I
just
obviously
was
missing
out
on this
but it
wasn’t
really
my
type
of
music
I
didn’t
I
didn’t
hate
it
I
didn’t
have
sort
of
any
real
prejudice
against
it
I
was
amazed
at
how
popular
it
was
but
I
was
sort
of
more
into
like
Velvet
Underground
…
and
that
sort
of
more
heroin
based
rock
you
know
so
it’s
all
guitars
and
and
this
was
I
was
a
little
bit
behind
the
times
so
I
did
feel
though
that
sort
of
like I
say
jealous
more
than
anything
because
you could
see
something
was
happening
and
and
yet
my
life
was
like
a
middle-aged
man
you
know
I
was
I
was
old
before
my
time
and
it
was
a
shame
but
it’s
also
why
you
said
how
I
felt
about
it
yes
going
and
spoiling
everyone’s
fun
that
was
sort
of
around
my
age
and
doing
it
but
there
was
an
element
of
that
but
when
when
we
started
the
job
really
it
was
for
public
order
so
I
hadn’t
really
considered
I
was
just
glad
to
get
out
of
the
darkroom
to
be
honest
I
got
the
opportunity
to
do
it
and
it
was
so
exciting
and
I
also
figured
someone
was
going
to
do
it
anyway
it
might
as
well
be
me
and
although
you
still
had
to
do
that
job
you
still
there
was
a
degree
of
agency
so
for
example
just
this
isn’t
quite
Acid
House
Just
an
example.
we
did
the
the
the
the
old
car
and
a
lot
of
animal
rights
protesters
turned
up
and
they
were
provoked
by
all
the
guys
who
are
into
the
hunting
and
had
gone
to
watch
it
and
they
were
spitting
at
the
saboteurs
and
doing
all
this
so
I
ended
up
filming
and
photographing
them
so
you
could
there
was
still
some
agency
you
could
you
could
interpret
what
was
going
on
in
your
own
way
now
the
thing
is
if
you
were
If
there
was
any
actual
violence
or
there
is
a
sort
of
a
public
order
incident
you
really
couldn’t
tell
what
was
happening
it
was
often
dark
you
are
using
a
flash
gun
so
really
you’re
trying
to
focus
get
as
many
pictures
off
as
you
could
but
you
couldn’t
tell
what
you’re
photographing
but
that
meant
that
the
police
had
to
be
aware
of
what
we
were
doing
because
if
they
were
behaving
criminally
themselves
if
they
were
overstepping
the
mark
if
they
were
doing
something
they
shouldn’t
have
done
I
couldn’t
tell
I
would
still
photograph
them
doing
it
and
when
those
photographs
if
they
had
to
go
forward
as
evidence
in
court
the
negatives
had
to
be
submitted
so
you
couldn’t
edit
it
out
…
you
couldn’t
like
hide
these
photos
where
someone
was
hurting
someone
you
know
it
it
had
to
go
in
and
it
meant
there
was a
little
bit
of
hostility
when
we
first
started
doing
it
police
were
quite
worried
that
they
were
going
to
get
in
in
a
lot
of
trouble
and
they
found
really
after
two
or
three
things
it
was
the
other
way
around
it
actually
helped
and
showed
what
was
going
on
…
but
it
did
mean
when
I
was
around
they
behaved
quite
well
because
they
had
to
you
know
they
just
had
to
there’s
the
sense
that
you
were
working
for
both
sides
because
you
were
Illuminating
what
happened
with
the
way
the
police
handled
situations
as
much
as
the
criminal
behavior
that
happened
well
that’s
how
I
justified
it
to
myself
at
the
time
because
I
did
have
you
know
there
are
all
sorts
of
Orwellian
…
…
connotations
of
it
but
at
the
same
time
I
also
knew
how
we
were
handling the
material
and
I
think
from
the
outside
it might’ve
have
looked
very
very
sinister
and
I
understood
that
it
could
do
but
when
you
actually
saw
how
everything
was
collated
and
what
was
done
with
it
you
realize
there
was
no
there
was
no
sort
of
big
master
plan
for
figuring
out
everything
is
I
would
literally
take
these
photographs
and
something
happened
and
it
needed
to
be
shown
to
the
bosses
to
share
what’d
…
gone
on
that
would
happen
but
the
negatives
were
filed
away
in
envelopes
just
a
bag
of
and
you
know
about
ten
films
in
an
envelope
which
would
…
go
in
a
filing
cabinet
and
the
photographs
would
just
again
they’d
just
be
filed
and
they
would
never
be
used
again
so
it
wasn’t
like
it
was
a
big
database
being
built
up
I
think
now
I
would
have
far
more
concerns
with
the
computerisation
of
everything
you
would
be
able
to
log
everything
so
clearly
but
having
seen
I
wouldn’t
say
it
was
just
it
was
very
very
low-tech
and
it
was
really
covering
the
backs
to
begin
with
rather
than
trying
to
do
anything
else
so
I
was ok
with
it
well
I
did
I
was
quite
well-read
…
…
I
was
into
sort-of
counterculture
so
I
wasn’t
going
out
just
with
this
sort
of
right-wing
agenda
to
these
people
are
committing
crimes
let’s
nail
em
let’s
do
that
and
what
I
found
was
quite
good
was
half
the
people
I
worked
with
were
young
policemen
and
they
weren’t
like
that
either
they
were
actually
quite
understanding
a
lot
of
them
would
really
like
the
culture
it
was
the
older
ones
that
tended
to
have
…
more
sort
of
old-fashioned
views
towards
it
and
more
sort
of
that
old
style
of
policing
the
younger
ones
were
a
lot
more
tolerant
and
prepared
to
talk
to
people
rather
than
just
give
orders
and
that
was
something
I
also
did
was
if
people
asked
me
what
I
was
doing
I
always
chatted
because
I
knew
how
it
looked
and
I
knew
I
would
be
annoyed
if
someone
stuck
a
camera
in
my
face
so
I
did
try
some
of
those
people
were
okay
about
it
sometimes
they
weren’t
and
I
understand
why
they
weren’t
but
I
did
always
it
would
never
just be
I
would
always
try
and
sort
of
give
an
account
of
what
we’re
doing
whether
they
believed
me
or
not
I
don’t
know.
Full Transcript:
Just
looking
at
that
time
you
were
Twenty Four
years
old
presumably
would
go
out
and
enjoy
yourself
as
well
what
was
your
kind
of
feeling
When
how
did
you
feel
about
the
environment
and
the
things
that
were
going
on
did
you
ever
have to
use
your
own
judgment
about
it
what
did
it
feel
like
to
be
around
it
yeah
it
was
the
thing
is
I
was
missing
out
on
everything
because
I
got
married
when
I
was
Twenty
and
I
had
a
house
and
I
had
all
those
sort
of
responsibilities
and
so
I
was
sort
of
quite
jealous
if
I’m
honest
I
was
like
I
didn’t
I’d
never
heard of it
before
I
started
I
sort of
heard
of
it
in
the
press
but
I
could
never
figure
out
how
everyone
knew
what
was
going
on
and it
made
me
feel
totally
out
of
the
loop
really
it
was
like
I
just
obviously
was
missing
out
on this
but it
wasn’t
really
my
type
of
music
I
didn’t
I
didn’t
hate
it
I
didn’t
have
sort
of
any
real
prejudice
against
it
I
was
amazed
at
how
popular
it
was
but
I
was
sort
of
more
into
like
Velvet
Underground
…
and
that
sort
of
more
heroin
based
rock
you
know
so
it’s
all
guitars
and
and
this
was
I
was
a
little
bit
behind
the
times
so
I
did
feel
though
that
sort
of
like I
say
jealous
more
than
anything
because
you could
see
something
was
happening
and
and
yet
my
life
was
like
a
middle-aged
man
you
know
I
was
I
was
old
before
my
time
and
it
was
a
shame
but
it’s
also
why
you
said
how
I
felt
about
it
yes
going
and
spoiling
everyone’s
fun
that
was
sort
of
around
my
age
and
doing
it
but
there
was
an
element
of
that
but
when
when
we
started
the
job
really
it
was
for
public
order
so
I
hadn’t
really
considered
I
was
just
glad
to
get
out
of
the
darkroom
to
be
honest
I
got
the
opportunity
to
do
it
and
it
was
so
exciting
and
I
also
figured
someone
was
going
to
do
it
anyway
it
might
as
well
be
me
and
although
you
still
had
to
do
that
job
you
still
there
was
a
degree
of
agency
so
for
example
just
this
isn’t
quite
Acid
House
Just
an
example.
we
did
the
the
the
the
old
car
and
a
lot
of
animal
rights
protesters
turned
up
and
they
were
provoked
by
all
the
guys
who
are
into
the
hunting
and
had
gone
to
watch
it
and
they
were
spitting
at
the
saboteurs
and
doing
all
this
so
I
ended
up
filming
and
photographing
them
so
you
could
there
was
still
some
agency
you
could
you
could
interpret
what
was
going
on
in
your
own
way
now
the
thing
is
if
you
were
If
there
was
any
actual
violence
or
there
is
a
sort
of
a
public
order
incident
you
really
couldn’t
tell
what
was
happening
it
was
often
dark
you
are
using
a
flash
gun
so
really
you’re
trying
to
focus
get
as
many
pictures
off
as
you
could
but
you
couldn’t
tell
what
you’re
photographing
but
that
meant
that
the
police
had
to
be
aware
of
what
we
were
doing
because
if
they
were
behaving
criminally
themselves
if
they
were
overstepping
the
mark
if
they
were
doing
something
they
shouldn’t
have
done
I
couldn’t
tell
I
would
still
photograph
them
doing
it
and
when
those
photographs
if
they
had
to
go
forward
as
evidence
in
court
the
negatives
had
to
be
submitted
so
you
couldn’t
edit
it
out
…
you
couldn’t
like
hide
these
photos
where
someone
was
hurting
someone
you
know
it
it
had
to
go
in
and
it
meant
there
was a
little
bit
of
hostility
when
we
first
started
doing
it
police
were
quite
worried
that
they
were
going
to
get
in
in
a
lot
of
trouble
and
they
found
really
after
two
or
three
things
it
was
the
other
way
around
it
actually
helped
and
showed
what
was
going
on
…
but
it
did
mean
when
I
was
around
they
behaved
quite
well
because
they
had
to
you
know
they
just
had
to
there’s
the
sense
that
you
were
working
for
both
sides
because
you
were
Illuminating
what
happened
with
the
way
the
police
handled
situations
as
much
as
the
criminal
behavior
that
happened
well
that’s
how
I
justified
it
to
myself
at
the
time
because
I
did
have
you
know
there
are
all
sorts
of
Orwellian
…
…
connotations
of
it
but
at
the
same
time
I
also
knew
how
we
were
handling the
material
and
I
think
from
the
outside
it might’ve
have
looked
very
very
sinister
and
I
understood
that
it
could
do
but
when
you
actually
saw
how
everything
was
collated
and
what
was
done
with
it
you
realize
there
was
no
there
was
no
sort
of
big
master
plan
for
figuring
out
everything
is
I
would
literally
take
these
photographs
and
something
happened
and
it
needed
to
be
shown
to
the
bosses
to
share
what’d
…
gone
on
that
would
happen
but
the
negatives
were
filed
away
in
envelopes
just
a
bag
of
and
you
know
about
ten
films
in
an
envelope
which
would
…
go
in
a
filing
cabinet
and
the
photographs
would
just
again
they’d
just
be
filed
and
they
would
never
be
used
again
so
it
wasn’t
like
it
was
a
big
database
being
built
up
I
think
now
I
would
have
far
more
concerns
with
the
computerisation
of
everything
you
would
be
able
to
log
everything
so
clearly
but
having
seen
I
wouldn’t
say
it
was
just
it
was
very
very
low-tech
and
it
was
really
covering
the
backs
to
begin
with
rather
than
trying
to
do
anything
else
so
I
was ok
with
it
well
I
did
I
was
quite
well-read
…
…
I
was
into
sort-of
counterculture
so
I
wasn’t
going
out
just
with
this
sort
of
right-wing
agenda
to
these
people
are
committing
crimes
let’s
nail
em
let’s
do
that
and
what
I
found
was
quite
good
was
half
the
people
I
worked
with
were
young
policemen
and
they
weren’t
like
that
either
they
were
actually
quite
understanding
a
lot
of
them
would
really
like
the
culture
it
was
the
older
ones
that
tended
to
have
…
more
sort
of
old-fashioned
views
towards
it
and
more
sort
of
that
old
style
of
policing
the
younger
ones
were
a
lot
more
tolerant
and
prepared
to
talk
to
people
rather
than
just
give
orders
and
that
was
something
I
also
did
was
if
people
asked
me
what
I
was
doing
I
always
chatted
because
I
knew
how
it
looked
and
I
knew
I
would
be
annoyed
if
someone
stuck
a
camera
in
my
face
so
I
did
try
some
of
those
people
were
okay
about
it
sometimes
they
weren’t
and
I
understand
why
they
weren’t
but
I
did
always
it
would
never
just be
I
would
always
try
and
sort
of
give
an
account
of
what
we’re
doing
whether
they
believed
me
or
not
I
don’t
know.