Ellen E JonesHost
Matthew SweetGuest
Rita TushinghamGuestAnd we're also 60 years on from Blow Up, Italian director Michelangelo Antonioni's cool, elusive vision of a hip photographer floating adrift in swinging London.
That's when he's not in his studio snapping, and sometimes straddling, fashion models.
Good.
That's great.
Yes, that's great.
That's good.
That's good.
Yes.
Go on.
And again, and again, and again.
H- hold that.
Hold with the hair lighter.
Again.
Good.

Short skirts, sports cars, a ton of beautiful women, the occasional beautiful man, and secret gigs by cool and groovy pop bands in underground bars.
And by the time international man of mystery, Austin Powers, arrived in cinemas in 1997, this vision of the '60s was so entrenched that it could be taken out of cryogenic suspension and repackaged for a whole new generation.
Smashing.
Okay.
Coming round now.
Coming round.
Yes.
Yes.
[laughs] Great.
Yes.
And we're also 60 years on from Blow Up, Italian director Michelangelo Antonioni's cool, elusive vision of a hip photographer floating adrift in swinging London.
That's when he's not in his studio snapping, and sometimes straddling, fashion models.
Good.
That's great.
Yes, that's great.
That's good.
That's good.
Yes.
Go on.
And again, and again, and again.
H- hold that.
Hold with the hair lighter.
Again.
Good.

Short skirts, sports cars, a ton of beautiful women, the occasional beautiful man, and secret gigs by cool and groovy pop bands in underground bars.
And by the time international man of mystery, Austin Powers, arrived in cinemas in 1997, this vision of the '60s was so entrenched that it could be taken out of cryogenic suspension and repackaged for a whole new generation.
Smashing.
Okay.
Coming round now.
Coming round.
Yes.
Yes.
[laughs] Great.
Yes.
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