No art form stands alone. Film-making more than others is a composite of other arts, and many of its practitioners are often drawn from that wide span. To connect the ties of literature, painting, music and more is to bind further colour and texture not only for the film-maker but for Paul Buck’s writing approach. His modus operandi throughout the years has been about breaking and blurring boundaries, disrupting the idea of categories, pulling at threads to weave together other narratives. Writing and publishing since the late sixties, his work is characterised by its sabotaging of the various forms in order to explore their overlaps and differences. In Street of Dreams Buck produces new pictures, of cities, of mental spaces; indeed, of a street of dreams. He suggests that when one does not write for a viable commercial proposition, it is possible to abandon, to leave incomplete, if not destroy, when it seems impossible to achieve what is striven for. This is the touchstone of what he has admired in writers who have guided him.