What is the Charlie Chaplin Research Foundation and who can utilize it?

The original idea of the Foundation was to promote interest in and study of Chaplin in the country of his birth. Lord Attenborough in particular was keen that the Chaplin story could be used to inspire young people particularly in deprived areas around where Chaplin was born and brought up - which of course happens to be where the BFI Southbank is located. At one time there was to be a physical presence at the newly developed Southbank site but although the space for educational functions, development of a Mediatheque and other innovations does cater more to the local community, the Chaplin project itself became more focused on maximising access to the collections, setting up the conference to assess the interest in the academic community and restoring the films. Of course we also have our consultant David Robinson on board and the project with some firm foundations can grow from here.

Can you talk a bit about creating the BFI's Chaplin website? How did you decide what you would like to put on it, for instance? What will you add to it in the future, if anything?

What restoration work is currently going on with Charlie's films, if any? Can you talk a bit about this process?

It may seem slightly odd that the BFI should be a major player in the Chaplin Keystone restoration project. There are two reasons for this - one is that the BFI happens to have a very large collection of original nitrate Keystone material, which we have been allowed to keep, unlike archives in some other countries, which have been obliged to dispose of their nitrate for safety reasons. The other reason is that the BFI National Archive has a preservation laboratory and expert staff that can take on a project like this. We have particular expertise at handling early material.

There are 4 more Keystone titles to restore after which we will be preparing a DVD release in partnership with Bologna and Lobster films. The last few titles (Recreation, Those Love Pangs, His Favorite Pastime and Cruel, Cruel Love) are going to be difficult, as no good source material exists - so if any of your readers have full frame 35mm Keystone prints under their beds, now is the time to bring them out in triumph!

The Charlie Chaplin Conference (2005) was a big success and an event long overdue. Is the BFI planning any future Chaplin events and, if so, can you tell us about them?

Yes, in August/September 2008 the BFI will be mounting a complete season of Chaplin's early films at the BFI Southbank focusing on the period between him leaving Britain and the time he returned as 'the most famous man in the world' for his first return visit in 1921.

We will also be engaging with other academic Chaplin projects and helping to encourage research projects.

Legend has it that an important part of the BFI's Chaplin collection was found in a dust bin (trash can for us Americans)? Can you give us the story?

Hmmm, this sounds like one of those urban myths - it's always more exciting if rare and precious archive materials are found in a trash can or are about to end up in flames on the Guy Fawkes Night bonfire. It belongs with all that imagery which dogs the archivist - cans covered in dust, cobweb strewn vaults, unearthing treasures, discovering 'gems' - it's all nonsense - our vaults are clinically clean, most archives look like science labs, all gleaming metal and bright lights - boring alas, but true.

I have it from Kate Guyonvarch that an important part of the Chaplin archive, the Keystone films scene photo book, was possibly compiled in the 1930s by a Mr. Waley of the BFI. If this is true, it seems very forward-thinking of Mr. Waley-in terms of film history in general and the importance of Charlie's work in particular. Can you talk more about this?

Yes, the scrapbooks are fabulous - they are very useful for our film restorers - it makes sense of the continuity and helps us with details such as stills of the final image of Kid Auto Races (an emblematic shot, or close up, of Charlie) and lots of information on alternative titles which helps us track down material.

The scrapbooks were allegedly compiled in 1937 by H D Waley who was indeed a key employee of the BFI in the early days - here is what Christophe Dupin, the BFI's historian was able to tell me:

"HD (aka Hubert) Waley was born in 1892. He was appointed on a permanent basis on 1/4/1936, though he had been the BFI's unofficial technical adviser since the setting-up of the BFI in 1935. Later known as the BFI's 'Technical Director' in 1936, he was officially responsible "for all technical enquiries and information and is also in charge of the Institute's theatre". He was responsible for "advising the Institute on all matters relative to the technical side of cinematography, and answering enquiries on that subject and for similar duties in relation to the vaults of the National Film Library. However his role was not just technical. He was technical editor of Sight and Sound (Autumn 1935) the BFI's magazine. And co-wrote The Cinema Today (1939). He was made redundant in 1951/52, following budget cuts. Part of his job was then taken over by Karel Reisz."

And finally, in your opinion, why do you think Charlie Chaplin's reception in the UK is so poor right now? Why are the British seemingly no longer that interested in either him or his film work?