Nicholas Roeg


saw the light
absent minded

It was after the sale of British Lion films, when the 'owners' of the Wicker Man didn't know who it would play to or what to do with it, so sold the film short by having it play second fiddle to Don't Look Now. Of course, in order to play as a B feature, they had to hack the film to pieces and subsequently lost the master reels, last seen heading to be landfill on a motorway development in the mid-seventies.


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I just watched BAD TIMING. Very good film.
'Mad is an expression I never use.'

Roeg has ADINA in pre-production. 'A philosophical horror film that explores love, sex and death across the universe.' Interesting!


Darned cockwombles.
For my money, Roeg's four films make up the most sumptuous sequence of feature ideas ever committed to Celluloid. The ideas alone make me salivate (they seem to be woven out of Technicolor (mixed metaphor ahoy) compared to the arid synopses one would attribute to most films), but the fact that both Walkabout and Don't Look Now live up to their billing is quite staggering. They both pulse with mystery, dread and sexuality, in a way that few works of art do.

And, as stated before in this thread, the ending of DLN cannot be ruined by over-familiarity. It is, simply, masterful.


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Nic Roeg is synchronous because i was trying to refine and define the inherited anti-English algorithm mentally on another thread and his speech/mannerisms came up. All those quiet, whispery mumblings. Tie fiddlers. Doing everything to defer delight, except they love what they do too much. A poached eggs on toasted home-made bread sort of bloke


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As things went, i was able to work on Roeg's Insignificance.
That was a great experience !
From getting a hastily made mix tape to his hotel in oh '85 or '86 to
arguing with his lawyer about payment for the second track Nicholas wanted to use - but not pay for : )