The first time I interviewed Richard Demarco was in the late 1980s; we were walking up Edinburgh’s Royal Mile during the festival. He suddenly dropped to his knees, bowing profusely. An American tourist thought it was a street performance and took photographs. A Japanese tourist thought it was an American and took photographs. In fact, Richard was answering my question why he did not apply for grants from the Scottish Arts Council: “Because this is how they want me to make my application,” he explained.