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Loach and Laverty are unbowed, though: many scenes in Ae Fond Kiss make liberal use of Urdu, though this in no way makes them hard to understand. The authenticity that he taps into, or rather fashions, is the result of his decision to eschew star actors in favour of newcomers and non-professionals.

Working with Scottish Pakistani performers was a particular challenge, he says, not because they had grown up on the melodramatic acting techniques of Bollywood cinema rather than the naturalism he prefers, but because "they think it's a hoax, or that you're taking the piss when you say you want to make a film about them.

"I was in Arizona when the Twin Towers were destroyed.

I watched TV for three solid days and was stunned not so much by the saturation coverage, which was to be expected, but how crude and shallow it was."And then some nutcase in a town close by shot a Sikh through the head in a petrol station on the same day that I received an email from a Scottish Asian friend living in Glasgow explaining how her niece was scared of going to school with the headscarf on.

"I wouldn't mind seeing them now; before, I didn't want them to be preying on my mind."I don't want to make films about films.

The only thing I want is to be true to the source material and the real people in the story." Laverty is even brisker.

"The world of an Asian in Glasgow is miles apart from an Asian living in Bradford.

The one freshman, John, eighteen years old and a slim six one, was good and drunk by sundown.

He'd started drinking earlier in the day as part of a freshman-jock initiation.

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