About The Film

Director's Statement

Central banks are surrounded by an aura of complexity, so much so that the mere utterance of the word or thought of the institution renders many a person to the abyss of boredom. Yet, as Richard Werner demonstrates in “Princes of the Yen”, central banks are fascinating institutions and should be observed closely. To be able to do this, we need to understand what it is that they do.

Prof. Richard Werner

Richard Werner has been at the University of Southampton since 2004. He is Director of International Development and founding Director of the Centre for Banking, Finance and Sustainable Development. Richard is also a member of the Southampton Management School’s Executive Board, as well as its Advisory Board.

Production Team

Director/Producer/Writer Michael Oswald

Michael Oswald is a ‘self-styled’ documentary filmmaker who takes inspiration from investigative documentaries, surrealism and essay films. His films explore the themes of secrecy and abuse of power, they aim to challenge dogma and encourage thinking.

Associate Producer
Michael Horwath

Mike formed Queuepolitely during the 2008 credit crisis as a reaction to the continuing media interpretation of events. The coverage of these events are undertaken in a way which seeks to control the narrative and provide predefined solutions. The vision of Queuepolitely was to investigate alternative ideas that exist outside the main stream

Andrew Piper

Trained: Bristol Old Vic Theatre School (BOVTS)

Theatre includes Yes, Prime Minister (West End), John (‘Jack’) Profumo in Keeler (No. 1 Tour), George in Same Time, Next Year (Esk Valley Theatre), 

Matthew Swinerton

Buro is a collaboration between media composer and sound designer Marc Sylvan and former Rakes guitarist and songwriter Matthew Swinnerton. Taking their cue from the synth led film scores of John Carpenter and the spectral guitar sound of bands like The Durutti Column they interweave drone textures with haunting guitar melodies.


Antonymes music emerges from the adjustments and erasures of ambient, the pace and persistence of minimalism, where music expresses nothing but itself, from the serenity and austerity of Morton Feldman and the profound prettiness of Harold Budd, from the relationship between continuity and repetition rather than of contract and interplay, from secrecy, from quietness, from pause, from thought, from emptiness, from time, from far off, from itself, from where it is set and where it is setting off to.

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