But how do you think this, this as a film about death, a very personal film about death, um, how do you think Jarman sort of echoes Marlowe and Edward?

He definitely saw himself more broadly as this, in this lineage of gay people who'd died before their time, and he would include Edward and Marlowe in that.

Um, you know, I, he'd kind of, as I said, he'd very much decided that Marlowe was a kind of gay person killed young for, in part, his provocations, sex- sexual provocations to the church, I guess.

And I, he would've included Caravaggio in that, um, people like Mishima, um, to some extent Saint Sebastian.

[laughs] I mean, kind of a lot of his subjects are people who died young.

And yeah, I think it's interesting thinking about that, um, the end of Edward II.

There's, there's an echo of Jarman living on borrowed time.

Like a household name we all- [laughs]

Queer Edward II?

It's an entirely archival film and the archive kind of came to me.

I was working as an archivist and was asked to give an opinion about this footage that no one had seen for 35 years.

And very quickly, maybe slightly big-headed of me, I thought this is an amazing film that needs to be made and I really want to make it because I feel a really strong... attachment to the particular story within this footage about queer rights in the UK in the late 80s and early 90s, which I felt was, you know, under told and hadn't been told enough, certainly not to the extent that I was familiar enough with it.

And so, yeah, I mean, it really came to me and I was incredibly lucky for that to happen.

I mean, I've made films before, but not documentary films.

But, you know, I very quickly knew what I wanted to make and so went ahead.

How would you say we are on that topic now? I mean, how has the meaning of queer changed since 1990, 1991? These 35 years, how have they changed the meaning of the word queer?