Terence Davies (born 10 November 1945) is an English screenwriter, film director, and novelist. He is best known as the writer and director of autobiographical films, including Distant Voices, Still Lives (1988), The Long Day Closes (1992) and the collage film, Of Time and the City (2008), as well as literature adaptations, such as The House of Mirth (2000). Early years Davies was born in Kensington, Liverpool, Merseyside, the youngest of ten children of working-class Catholic parents. Though he was raised Catholic by his deeply religious mother, at the age of 22 he rejected religion and considered himself an atheist. Davies' father, whom Terence remembers as "psychotic", died of cancer when Davies was seven years old. From then until he entered boarding school at the age of 11, he remembers as the four happiest years of his life. Career After leaving school at sixteen, Davies worked for ten years as a shipping office clerk and as an unqualified accountant, before leaving Liverpool to attend Coventry Drama School. While he was there, he wrote the screenplay for what became his first autobiographical short, Children (1976), filmed under the auspices of the BFI Production Board. After that introduction to film-making, Davies attended the National Film School, completing Madonna and Child (1980), a continuation of the story of Davies' alter ego, Robert Tucker, covering his years as a clerk in Liverpool. Three years later, he completed the trilogy with Death and Transfiguration (1983), in which he speculates about the circumstances of his death. Those works went on to be screened together at film festivals throughout Europe and North America as The Terence Davies Trilogy, winning numerous awards. Davies, who is gay, frequently explores gay themes in his films. Davies' first two features, Distant Voices, Still Lives and The Long Day Closes, are autobiographical films, set in Liverpool in the 1940s and 1950s. In reviewing Distant Voices, Still Lives, Jonathan Rosenbaum wrote that "years from now when practically all the other new movies currently playing are long forgotten, it will be remembered and treasured as one of the greatest of all English films". In 2002, critics polled for Sight & Sound ranked Distant Voices, Still Lives as the ninth-best film of the previous 25 years. Jean-Luc Godard, often dismissive of British cinema in general, singled out Distant Voices, Still Lives as an exception, calling it "magnificent". The Long Day Closes was also praised by