A lot of Callow’s frustrations come from the difference between stage and film processes. On the stage, he could create a whole character and use his entire body to bring him forth. Callow seems constantly taken by surprise by M.’s demands or lack of them.

I haven’t seen any of M.’s movies, which makes me a pretty half-baked commentator on this book. I think it’s WR that Callow raves so much about. He was really excited about working with the director of WR. After working with him, not so much excitement.

Decades after their release, both are still fairly provocative, especially the latter, in which you may find yourself thinking you’re seeing a film directed by a genuine madman, someone whose choice of images are so disturbing, disgusting, alienating and borderline illegal that you wonder if he hasn’t lost his mind.