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Michael Grigsby
Michael Kenneth Christian Grigsby (7 June 1936 – 12 March 2013) was an English documentary filmmaker.
With a filmography spanning six decades and nearly 30 films, Grigsby occupies a unique position in British documentary filmmaking, having witnessed and commented on many of the dramatic changes in British society (and beyond) from the late 1950s into the next century. As a critic noted, "from Michael Grigsby back to John Grierson runs an unbroken tradition in British documentary-making: a passionate commitment to the poetry of everyday life."〔Matthew Sweet "Michael Grigsby: Shooting on the Edge", ''The Independent'', 22 June 2004〕
==Early life and career==
Born in Reading, Berkshire, Grigsby’s passion for documentary dates back to his time at Abingdon School, an independent boarding school for boys. There, he ran the school’s film society and discovered the films of John Grierson’s documentary movement. These had an amazing impact on then 14-year-old boy. While at school, he also talked the headmaster into funding his first attempts at documentary filmmaking. One of the films, ''No Tumbled House'' (1955), deals with the realities faced by a boy in a boarding school. After leaving Abindgon, he gained his first job as a trainee assistant editor at Granada Television in Manchester, working with Harry Watt, who had co-directed the short film ''Night Mail'' (1936). Unfortunately, Watt left shortly afterwards, and Grigsby was then offered a job as a studio cameraman, which by his own admission was very dull, but gave him a chance to purchase his own 16mm Bolex camera.
Along with a bunch of disaffected Granada colleagues, he set up a filmmaking collective, Unit Five Seven, and spent several years shooting and editing ''Enginemen'', a short film about work in a locomotive shed, in his spare time. By chance, the critic and filmmaker Lindsay Anderson heard of his project. Anderson was particularly impressed by the rushes, and with fellow filmmaker Karel Reisz, he helped Grigsby secure funding from the British Film Institute to complete the film, which was included in the last Free Cinema programme at the National Film Theatre in March 1959, alongside Reisz’s ''We Are the Lambeth Boys'' and Robert Vas’ ''Refuge England''. Growing in confidence, Grigsby made another short documentary with the Unit Five Seven, ''Tomorrow’s Saturday'' (1962), about mill workers in Blackburn, Lancashire preparing for the weekend. After these two well received shorts, he succeeded in persuading Granada to support his work and was finally allowed to direct his first documentary for the company, ''Deckie Learner'' (1965).
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