thrown through the windscreen. He was not badly hurt, but suffered concussion and was unable to learn his lines for "The Blood Donor", the next show due to be recorded. The result was that his performance depended on the use of teleprompters, and he is seen looking away from other actors when delivering lines. From this time onwards, Hancock came to rely on teleprompters instead of learning scripts whenever he had career difficulties. Introspection In early 1960, Hancock appeared on the BBC's Face to Face, a half-hour in-depth interview programme conducted by former Labour MP John Freeman. Freeman asked Hancock many soul-searching questions about his life and work. Hancock, who deeply admired his interviewer, often appeared uncomfortable with the questions, but answered them frankly and honestly. Hancock had always been highly self-critical, and it is often argued that this interview heightened this tendency, contributing to his later difficulties. According to Roger, his brother, "It was the biggest mistake he ever made. I think it all started from that really. ...Self-analysis - that was his killer." Cited as evidence is his gradual ostracism of those who contributed to his success, such as Sidney James and his scriptwriters, Galton and Simpson. His reasoning was that, to refine his craft, he had to ditch catch-phrases and become realistic. He argued, for example, that whenever an ad-hoc character was needed, such as a policeman, it would be played by someone like Kenneth Williams, who would appear with his well-known oily catchphrase 'Good evening'. Hancock believed the comedy suffered because people did not believe in the policeman, knowing it was just Williams doing a funny voice. Break with Galton and Simpson Hancock starred in the film The Rebel (1961), in which he plays the role of an office worker-turned-artist who finds himself successful after a move to Paris, but only as the result of mistaken identity. Although a success in Britain, the film was not well received in the United States: owing to a contemporary American television series of the same name, the film had to be retitled, and the new title, Call Me Genius, inflamed American critics. His break with Galton and Simpson took place at a meeting held in October 1961, where he also broke with his long-term agent Beryl Vertue. During the previous six months, the writers had developed – without payment and in consultation with the comedian – three scripts for