Neorealism was not born out of aesthetics but rather out of necessity. The neorealist filmmakers made their films in the streets among the lives of everyday people in post war Europe because they had no other choice. It is that realism that heightens the poignancy of films like Bicycle Thieves.

This idea that you can simply go out into the street and make a film amongst the commotion of everyday life is wonderfully democratic. I don’t have access to a studio and because I work full time, have a wife who also works full time and have two young children, I have to fit my photography in wherever I can. So like the neo-realists, I go out into the street with my camera, find interesting looking people or places or things and photograph them. I do this whenever I can; in between meetings, while on business trips, if I have a spare 40 minutes at the end of the day.

They are the places or the artefacts that speak of our humanity, of the world we create for ourselves. These are the ‘moments’ in our lives that we take for granted and that so often pass without conscious thought. They are moments of whimsy and caprice, of serenity, solitude, peacefulness, love, tenderness, angst or engagement. They are the times when we are most like who we really are, when we are happy to accept as true that no one is watching even when we know that most likely someone probably is; this is our suspension of disbelief that allows us to simply ‘be’.