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Det handlar till exempel om färjorna över Östersjön. Ingen grundregel utan undantag, och det finns tyvärr en mängd undantag om vi gör en utblick i världen.
I USA, för att ta ett exempel, är spel om pengar online olagligt. We swam in lochs. We got eaten by midges. About 50 people pulled the Screen Machine with ease though not me, because I had a bad back.
So when I was standing in the Bridge of Allan Co-op last autumn, and Mark called to ask, rather diffidently "I'm sure yous are too busy," he said , if Mary and I would like to produce "A Story of Children and Film," it took me about a second to say yes.
For all his modesty, Mark has a clarity of conviction which makes remarkable things happen, and which delivers enormous rewards for anyone who tags along for the ride.
I've learnt not to hesitate if he asks me to do anything. So being giving the chance to help him make his next film was an extraordinary gift. There are some horses or is it a dog, or a cat?
I've been in love with films since I was a child when I used to go to my local cinema every Saturday from about the age of 8 or 9 to what was then called a "Cine-Disco" child of the 70's!
The local "Cine-Disco" involved about an hour of music where us kids were allowed up on the main stage to dance about to the music, chat with our mates, eat lots of sweets and learn what it was all about to speak to girls!
Then once the hour of music was over we all returned to the cinema seats and were treated to some cartoons, an old black and white mystery serial that would run on each week and then a main feature.
The main feature would invariably be anything that was out at the time like "Star Wars" or "Superman" but more often than not, it would be something by the Children's Film Foundation.
As I got older and into my teens, I was given my first video recorder an old Betamax and I would record virtually any film that was broadcast on TV.
This enabled me to watch the likes of films by Hawks, Hitchcock, Lang, Ford and discover foreign cinema at quite an early age.
I was hooked and wanted to learn more, so started reading many books on film too. Outside of my day job, my work in film has begin to develop over the past 10 years or so, to a point now where I am keen for this to be my main vocation.
I have my own archive of films and documentaries on cinema as well as having access to many private film collections around the world and some film archives too.
I help many film writers, critics, directors and film lecturers by tracking down titles they are looking for, for research and study purposes.
I've known Mark about two years, at first just via email and then our paths crossed in August at Los Angeles airport in the departures lounge.
Whilst at the festival we hung out a few times together, got talking about films generally and gradually got to know a bit more about each another.
I expressed that I was not very happy in my current job and Mark very kindly offered to help to see if he could find me something linked more with my strengths and knowledge of film.
Towards the end of November I received an email from Mark asking if I would be interested in being a researcher on a new film he was about to start making.
About a week later Mark and I met in Cambridge and spent a few hours discussing the film in more detail and what my role would entail. The next challenge, once I had seen a rough cut of the film towards the end of February, was to then start acquiring the best possible source materials of each of the 53 films that are used in the film.
Mark had a few of the titles in his personal collection and the rest I was able to obtain via other means.
By the end there were only a couple of titles that proved difficult to obtain. So it was with A Story of Children and Film.
I realised early on in my thinking that, unlike my other films, it would not be about a journey, a road movie, it would be a series of themes.
So I scribbled each childhood theme — shy, secretive, performative, destructive, watching, leaving, adventurer, dreaming, grumpy, scared, loss, limited horizon, daring, class, adult, dog with a bone, alone — on the page, and drew a rough box around each.
Then, each time I watched a film, if it had a good scene about one of those themes, I wrote it down in the relevant box.
I noted down the order in which I saw the themes — shyness came first, for example, and destructiveness came last. This, by and large, became the order in which we edited the scenes in the film.
When it came to the edit, we chose what I thought were the best examples. The former allows me to jump between themes, notice connections, etc.
The screening was presented by Cannes artistic director Thierry Fremaux. Without condescension or cynicism, Cousins offers us his own humanist idealism, as refreshing as a glass of iced water.
Throughout, the film is rich in [its cinematic] finds, works seldom seen or discussed but, in many cases, just as impressive as the famous examples he samples.
The movie is as self-indulgent as it is brilliant. Vivian Van Dijk writes: Film director Mark Cousins has made with this film a blueprint for many film generations to come.
This is a must-see for anybody who is attending this Cannes Film Festival. Whether you are a film student or a successful film director already or just a film lover, Mark Cousins knows how to point you to the key ingredients that make children shine in film and also make their roles and behavior in film transparent.
Read the review here. Here, he shares with Film4. Another typically thoughtful trawl through the history of film seems likely. Full interview is now online here.
Ross Miller, Thoughts on Film: For any cinephile it would be tough to watch this film and not feel a sense of joy…an intimate lyrical essay on the unique way cinema can showcase childhood.
Chris Buckle, The Skinny: Michael Clancy, The Artifice: It makes for an excellent companion piece to his early opus, The Story of Film: An Odyssey, making Cousins one of the most astute and thoughtful filmmakers working today.
Teddy Jamieson, Herald Scotland: