This is the story of the making of the film INDIANS, starting from when I was a London hippy street trader. It was the latter half of the 1960s, and life then was much simpler. We made our jewellery, leather belts, fur waistcoats, and so on, then we simply sold them on the streets or at the rock'n'roll festivals. I myself was extremely successful and had eight different selling points in London at the in places like Carnaby Street, Regent Street, Oxford Street, Portobello Road and Hyde Park. I also ran an arts and crafts community live-together house in Golders Green London, which was visited by the famous Scientology founder, L. Ron Hubbard, who taught us not to use heavy drugs. I became known as the King of the Hippies because of this.

My main selling pitch was on the famous Kings Road, Chelsea, and at that time the Rolling Stones also lived just around the corner. We were all young and adventurous, marijuana was accepted as the norm for the hippies, and of course the Rolling Stones would often walk by my street shop and I would notice that much familiar smell mixed with the pungent smell of the patchouli incense that I was selling. In fact the smell of marijuana was around all the time. It was before the crooked London police started to plant hashish in the pockets of those people that they thought they could get the most bribery money out off, as they did with some pretty famous stars like Mick Jagger, Paul McCartney, Eric Clapton and many others, I myself being one.

I had packed up my pitch, and loaded all my tables and stock into my old London black taxi, and together with my apprentice Charlie, a young 17-year-old Spanish boy, I drove off down the Kings Road only to be stopped by a police car with sirens wailing loudly. The door of my taxi was wrenched open and I was punched in the face by a very irate red-faced looking copper. I was handcuffed, and so was Charlie. We were taken to Chelsea Police Station where it was discovered that I had 1 kg of gold stamp Persian black hashish.

Needless to say it had been implanted in my bag (as was the fashion ). As Charlie had no visa to work in the UK, the police wanted to charge him with the possession and to let me go. But I would not accept that and eventually did a deal with them. I would go to court for the possession of the drug and would plead guilty, on the condition of only possessing one gram, which would show that I was not accustomed to buying therefore not a drug dealer - but the police could get from me a large fine in court.

On returning to my pitch, two extremely significant things happened to my life. A girl from Brazil bought all of my handmade horse shoe nail jewellery, and invited me to open a boutique in one of her shops in Sao Paulo, Brazil. Then at more or less the same time, Bob Saunders and Tony Isaacs, producers from the BBC World About Us programs, approached me about making a film about my past life, having owned six music clubs and being the youngest promoter of rhythm and blues in England. I told the BBC men I would be in touch.

Some weeks later I had a big farewell party and left for Brazil. Neride Dias, now my Brazilian girlfriend, and I opened the very first "Head Shop" boutique in South America, which, along with my arts and crafts workshops, made us into very rich people and very fast. Then, in 1973, I decided to produce a film after having met an Indian, Megaron Txucarame, who told me that his village was under threat of extinction due to the Brazilian government using the Xingu National Park as a military jungle warfare training ground.

I arranged a film team and director, and made a film titled INDIANS. It was while making this film that I first met and filmed Chief Raoni of the Kyapo tribes. I returned to England we sold the 90 minute 16 millimetre documentary to the BBC for 10 years only. On returning to Brazil I opened a fantastic pub/club/music restaurant called Victoria built out of the demolition debris of the of the governor's Palace of Sao Paulo. I also bought a banana farm in Rio de Janeiro which I converted into the Strawberry Fields Nudist Club, where everybody that crossed the bridge across the river waterfall trod on a micro switch which turned on the music Strawberry Fields Forever.

Nobody used clothes. This was my way of welcoming my friends from the Amazon to join me as they also did not use clothes (I think I should tell you at this stage I caught a life threatening skin disease called Bicho Geografico, and that was because I did use clothes in certain extremely hot and damp areas of the Amazon.)

On the opening night of the Victoria I invited Chief Raoni and many other Indian chiefs. All the proceeds from the membership cards and food, and the donations were given to the Indians so they could return with new fishing hooks, beads, flashlights, and many other necessary items. Also Bob Saunders from the BBC came with the new proposal to make another film for BBC about the life of the Villas Boas brothers, who had discovered and pacified many of the tribes some years before whilst mapping out the region on behalf of the government. And that would have been 16 mm, but he also suggested that we smuggle in 35 mm panel vision cameras, and make another film at the same time in secrecy and without permission from the Brazilian government.

The film, he suggested, would be shown on cinemas worldwide and also BBC television. It was to be about the English club owner turned hippy who became known as the King of the Hippys. It was to be a type of a Tarzan film and I was to play the part of the English invader of the Amazon Indian villages. I agreed to this and returned to London to get the camera equipment and smuggle it into Brazil in pieces. I have photos to show where we were filming with both cameras. First we filmed me arriving in my aeroplane then building a wooden house. But before the filming I took the film team and left them there and returned to get the other cameras. I have since found out that Jeanne Pierre Dutileux, the director and also my co-producer in the films Indians and Raoni with Clive Kelly, had arranged with certain Indians to attack and kill me whilst I was being filmed building the house.

JPD, as we abbreviated his name, had, it seems, arranged with certain German magazines to get what they called blood photographs for which they would pay a fortune if I had been killed as the Indians were hitting me to take me prisoner. I learned of JPD's plan later from my friend Prepori, the chief of the Kayabi tribe.

Later I built a special Trimaran boat as a film platform to film tribes that were threatened by extinction, and aboard that trimaran I took the 35 mm film along with the film crew to the 1977 Cannes Film Festival. We gained the Palma de Ouro award, and the film was nominated for the Oscar for best achievement of the year. After that JBD took the film to Hollywood where I was cut out of it illegally, and the actor Marlon Brando was added. My name was taken off the posters and I have never received one penny back from my investment in the films, and JPD refused to answer my letters or mail.

JPD set up many charity scams using this film and my name. Hundreds of thousands of dollars is missing.
I will add more to this story on this website.

I would just like to add that this man JBD had told me in 1973 that we could become millionaires, just like the owners of Greenpeace, and we could use the Amazon Indians. I replied that in no way would I ever get involved in charity scams. It is now 2016 I am ill with cancer and I am writing this laying in bed. I have just been advised that Jeanne Pierre Dutileux is once again in the Xingu Indian villages and intends to use parts of my co-produced film without my permission, showing how it was and how it is now. I advise all those people that know of this that they will be conspiring in a crime of fraud if they help or publish his work.