The last time David Duchovny was in Scotland he was 10-years-old, just another American kid being dragged round the old country by a mother who had left her home near Aberdeen for a new life on another continent.
When a man who's already played two black cultural icons tells you there is no agenda at work, that he's only an actor and it just sort of happened that way, m'lud, you'd be forgiven for lobbing an ''Aye, right'' back over the net at him.
When the actor in question recently won a prestigious Golden Globe for his portrayal of a third black icon - Rubin ''Hurricane'' Carter, the boxer framed for murder by a racist police force in the 1960s and later celebrated in song by Bob Dylan - you'd almost certainly lob it back with top spin.
What does a Swedish film director look like? More to the point, what does a Swedish film director whose early work includes Abba: The Movie and a segment for The Beatles' Magical Mystery Tour that was dropped from the final edit look like? Bitter, probably.
Waiting to meet Lasse Hallström, then, I'm half expecting a grim Benny Anderson-Bjorn Borg hybrid: wispy beard, blonde hair, good English, bad headband, white flared Elvis-in-Stockholm jumpsuit.
Twenty six years after it was initially withdrawn from cinema screens Stanley Kubrick's A Clockwork Orange is finally receiving a full UK wide distribution. Rajan Malhotra looks at how, with its notorious scenes of violence, A Clockwork Orange became one of the most darkly enigmatic works of the cinematic age.
During its absence, Kubrick's A Clockwork Orange has taken on a mystique which has rarely surrounded a film since. It has achieved a notoriety which has, over the years, given it something akin to legendary status.
Richard Mowe, curator of film at the Lumiere Cinema, National Museum of Scotland in Edinburgh, selects the best Scottish films from over the last century. This is the second part.
Richard Mowe, curator of film at the Lumiere Cinema, National Museum of Scotland in Edinburgh, selects his top twenty Scottish films from over the last century.
It is 1947. Now that India is no longer a British colony, politician Mohammed Ali Jinnah (Christopher Lee) sets himself a simple task: "To carve out a country. But how and where to start?" The founding father of Pakistan is faced with a King Solomon conundrum, but errs on the side of partition, with a new country that will safeguard the rights of the Muslim minority by breaking free of Hindi-dominated India. An advocate of fair play and religious freedom, Jinnah militates for a separation of faith and state.