Browse content similar to 19/10/2012. Check below for episodes and series from the same categories and more!
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Did This programme contains strong Welcome to the review show, coming, | :00:24. | :00:28. | |
for once, from London, where my guests have been immerseing hem | :00:28. | :00:34. | |
themselves in the BFI London film fest -- themselves in the BFI | :00:34. | :00:41. | |
London film vest fall. My guests join me, Sarfraz Manzoor, and Tori | :00:41. | :00:47. | |
Amos will be playing us out. Before I unleash the formidable fire power, | :00:47. | :00:52. | |
here is a sample of the 227 features and 111 shorts that | :00:52. | :00:59. | |
comprise this year's festival. From Tim Burton, who's animation | :00:59. | :01:05. | |
Frankenweenie got the ball rolling, to the rolling stones, who were | :01:06. | :01:12. | |
celebrated in Crossfire Two of next year's potential crowd pleasers | :01:12. | :01:19. | |
were there. Roger Michell Hyde Park on Hudson, George V is returning, | :01:19. | :01:24. | |
seeking support from Bill Murray's note-perfect Roosevelt on the eve | :01:24. | :01:30. | |
of World War II. And Quartet, mixing opera with the cream of | :01:31. | :01:36. | |
English acting royalty, including Maggie Smith. Don't I get a kiss. | :01:36. | :01:41. | |
The festival showcases archive treasures and new talent, from a | :01:41. | :01:46. | |
gleaming restoration of David Lean's Lawrence of Arabia, to | :01:46. | :01:51. | |
talented youngsters, Brandon Cronenberg, Son of David, and | :01:51. | :01:55. | |
futuristic horror, Anti-viral. A total of 68 countries have been | :01:56. | :02:00. | |
represented at the festival, from Iceland, Japan to Saudi Arabia. The | :02:00. | :02:04. | |
celebration of cinema comes to a close on Sunday, with Mike Newell's | :02:04. | :02:11. | |
impressively Gothic adaptation of Great Expectations, with rave fines | :02:11. | :02:15. | |
as Magwitch, and Helena Bonham Carter who steals the show as Miss | :02:15. | :02:25. | |
:02:25. | :02:25. | ||
Havisham. It is the first year of Claire Stewart as director, has she | :02:25. | :02:29. | |
done a good job? It is really impressive, you have to be a | :02:29. | :02:32. | |
servant of many masters when you are running the London Film | :02:32. | :02:36. | |
Festival, the press wants to see stars on the red carpet, they have | :02:36. | :02:38. | |
delivered that, they have had a really good turn out, Bill Murray | :02:38. | :02:42. | |
has been here, the rolling stars, Tim Burton, Helena Bonham Carter, | :02:42. | :02:50. | |
they are localing, but they came. And yet, you have to please the | :02:50. | :02:54. | |
critics, a broad spread, and world premiers. She has done an | :02:54. | :02:58. | |
interesting thing, she has sliced it up into different theme, love, | :02:58. | :03:02. | |
dare, thrills. It has made it audience-friend loo. Public | :03:02. | :03:07. | |
screenings have been really well a- - audience-friendly, public | :03:07. | :03:10. | |
screenings have been really well attended. I know how hard it is to | :03:10. | :03:14. | |
see the films all year. She has done a great job. How does it sit | :03:14. | :03:18. | |
on the international circuit, is it internationally significant? It is | :03:18. | :03:22. | |
a notch below Toronto, hitherto it has been a non-competitive festle | :03:22. | :03:25. | |
value, it is a best of the rest, collecting together all the films | :03:26. | :03:30. | |
that have been showing over the year. Although there was a little | :03:30. | :03:34. | |
competition for the Best First Feature, this year there is a Best | :03:34. | :03:39. | |
Film Prize, so the big names will be competing for that, and Best | :03:39. | :03:42. | |
First Film competition, and Best Documentary competition. That might | :03:42. | :03:46. | |
up the profile over time. It is a hard thing to go up the ranks, | :03:46. | :03:50. | |
unless you have a big, big cash injection. I know the British Film | :03:50. | :03:56. | |
Institute doesn't have those kinds of rds. This festival is bookended | :03:57. | :04:01. | |
by Tim Burton, the master of macarbre, and partner Helena Bonham | :04:01. | :04:06. | |
Carter, she will close the ceremony on Friday with Great Expectation, | :04:06. | :04:10. | |
and he opened it with Frankenweenie, a family-friendly take on | :04:10. | :04:16. | |
Frankenstein. The stars graced the red carpet for the premier. Tim | :04:16. | :04:22. | |
Burton's Lord Weinstock is a 3-D black and white animation which | :04:22. | :04:31. | |
reworks the Mary Shelley classic, featuring WinonaRyder and Martin | :04:31. | :04:40. | |
Landau, a young boy resurrectss had beloved dog. He was a great -- | :04:40. | :04:44. | |
resurrects his beloved dog He was a great dog. When you lose someone | :04:44. | :04:48. | |
you love, they never leave you but move into a special place in your | :04:48. | :04:53. | |
heart. I don't want him in my heart, I want him here with me. I know. If | :04:53. | :04:59. | |
we could bring him back, we would. Inspired by his teacher, Victor | :04:59. | :05:03. | |
Frankenstein, harnessing the power of lightning to kick life back into | :05:03. | :05:13. | |
:05:13. | :05:22. | ||
the aptly named Sparkey. Goo boy. You're alive. You're alive, Sparkey, | :05:22. | :05:29. | |
you're alive. Can you believe it, you're alive. Victor unwittingly | :05:29. | :05:34. | |
unleashs a Pandora's box of the undead into his neighbourhood. | :05:34. | :05:39. | |
need your help. Frankenweenie first saw the light of day in 1984, as a | :05:39. | :05:42. | |
live action short film. Burton has returned to the story nearly 30 | :05:42. | :05:47. | |
years later, this time using stop- motion animation to bring the tale | :05:47. | :05:53. | |
to life. Having been dropped by Disney back | :05:53. | :05:59. | |
in the 80s for making stuff that was "too weird", Frankenweenie sees | :05:59. | :06:05. | |
Burton back at the House of Mouse, has Hollywood curbed the Prince of | :06:05. | :06:09. | |
Darkness's flare for the Gothic. can fix that. | :06:09. | :06:13. | |
Sarfraz Manzoor, it deals with big issues of life and death, it looks | :06:13. | :06:17. | |
beautiful, it is also very emotional? Yeah, it is funny, for a | :06:17. | :06:22. | |
film that is actually Anwar makes film, the bits I liked were the -- | :06:22. | :06:31. | |
an animation film, the bits I liked were the most feeling bits. The | :06:31. | :06:34. | |
relationship between Victor and Sparkey is very real. When he dies | :06:34. | :06:39. | |
you see a tear down the boy's face, it was moving. It was charming and | :06:39. | :06:43. | |
moving when it was small, based on a half-hour short film. When it was | :06:43. | :06:47. | |
small it was really affecting, later on I felt like Tim Burton had | :06:47. | :06:52. | |
a lot of set piece he wanted to crowbar in, without the plot to put | :06:52. | :06:57. | |
them in. Obvious low, based on a very famous novel, does it do | :06:57. | :07:06. | |
anything with the novel's theme's theme themes? It doesn't update it | :07:06. | :07:09. | |
at all. It was dealing with interesting ideas about the nature | :07:09. | :07:14. | |
of life and divine providence, is there a God, what can science do, | :07:14. | :07:18. | |
what can it challenge? That is what the novel dealt with. These aren't | :07:18. | :07:23. | |
big issues now, certainly not to 12-year-old kids, I don't respond | :07:23. | :07:27. | |
well to children's culture generally I don't respond to Toy | :07:27. | :07:35. | |
Story and Shrek. You didn't like Toy Story? Everyone tried in Toy | :07:35. | :07:43. | |
Story 3, everyone cried, I didn't, I was waiting for t maybe it is my | :07:43. | :07:47. | |
childhood hasn't ended. Children want colour, and they will see this | :07:47. | :07:52. | |
and think the screen is broken. It is full of references, I think that | :07:52. | :07:55. | |
was the Edward Scissorhands's suburb, there is references to his | :07:55. | :08:00. | |
own movies, he's entitled to do that, he has made great films, but | :08:00. | :08:04. | |
I didn't understand it. The great weakness at the end is the dog | :08:04. | :08:08. | |
lives. If you are going to teach children anything, is he's always | :08:08. | :08:13. | |
alive in your heart, that you can't bring animals back. They could have | :08:13. | :08:21. | |
saved it in the end by leaving the dog dead. Children will think it is | :08:21. | :08:26. | |
broken in the black and white? was talking to a woman who made her | :08:26. | :08:32. | |
son watch Buster Keaton movies. This is for the young kids open to | :08:32. | :08:36. | |
the black and white, monochrome, it is a bit scary for them, I found | :08:36. | :08:44. | |
some of it generally frightening, especially Mr Ricekrispy, his | :08:44. | :08:48. | |
little tiny teeth. It could be scary and dark. People don't have a | :08:48. | :08:52. | |
resistance to black and white. They are open to it. It is part of the | :08:52. | :08:59. | |
tool box. Technically it looks fantastic. 3-D black and white, you | :08:59. | :09:04. | |
have colour, 3-D, it is as if the reanimated dog is leaping in your | :09:04. | :09:09. | |
face. Everything is in colour, it is almost like we are colour- | :09:09. | :09:12. | |
exhausted, it was something refreshing, like a cool glass of | :09:12. | :09:16. | |
champagne, to watch a really beautifully filmed black and white | :09:16. | :09:24. | |
movie. Jo I don't think it is a move -- movie for kids. Martin | :09:24. | :09:32. | |
Landau plays a character that looks like Vincent Price t reminds me of | :09:32. | :09:37. | |
Hugo, which used 3-D technology, which was an exercise in nostalgia, | :09:37. | :09:43. | |
it is for people who love Tim Burton and love horror movies from | :09:43. | :09:48. | |
the 1930s as opposed for kids. said you felt that some sequences | :09:48. | :09:51. | |
were too frightening for kids, did you feel it didn't strike the right | :09:51. | :09:55. | |
balance between the childish and the adult audience? It is a very | :09:55. | :10:02. | |
hard balance to strike. The Pixar movies do it beautifully. My | :10:02. | :10:06. | |
problem with Frankenweenie is it the script needed an extra pass | :10:06. | :10:10. | |
through the mill, I agree it didn't add anything interesting to the | :10:10. | :10:14. | |
story. If it is meant for kids, there are ways to address issues in | :10:14. | :10:21. | |
a subtle and symbolic way through children's literature. There was a | :10:21. | :10:26. | |
pro-science message. It is a very subversive message. The Vincent | :10:26. | :10:34. | |
Pryc, characters slags the parents off, and wants to break kids' minds | :10:34. | :10:40. | |
and educate them. The science being useded in it is great. He's an | :10:40. | :10:44. | |
immigrant and explains the science of lightning, that the lightning | :10:44. | :10:49. | |
wants to get to the United States from the bad, evil clouds, made | :10:49. | :10:53. | |
immigration sound like a natural thing, like lightning. | :10:53. | :10:57. | |
electrons, they want to flee. is a great thing to be teaching | :10:57. | :11:02. | |
children, no doubt. But it stayed so close to the text. The lynch mob, | :11:02. | :11:05. | |
that was quite scary, partly because we know in Frankenstein, in | :11:06. | :11:11. | |
the book or many films, that the girl gets lynched, wrongly to have | :11:11. | :11:15. | |
been thought to kill the child. They had the lynch mob, they were | :11:15. | :11:23. | |
going to hang the wrongdoing, and the miscarriage of justice. Wasn't | :11:23. | :11:28. | |
it the sense that you didn't feel, are we overanalysing the dead dog, | :11:28. | :11:32. | |
there wasn't enough anguish in Sparkey, when he became reanimated, | :11:32. | :11:37. | |
he wasn't particularly bothered, he was pretty much the same dog he was, | :11:37. | :11:40. | |
except badly stitched together. There was no sense that he was | :11:40. | :11:46. | |
aware of his zombie-like status in any way. This is the pathos of the | :11:46. | :11:50. | |
Frankenstein, and it is a slightly missed trick. Having said that I | :11:50. | :11:54. | |
thought it was brilliantly studied animation. The dog movements, that | :11:54. | :12:01. | |
is someone who really knows dogs. We know Tim Burton is a fan of dogs. | :12:01. | :12:06. | |
The way he moves and scratch, it is beautifully studied. Frankenweenie | :12:06. | :12:11. | |
is out now, I loved it. Two new films by leading female directors | :12:11. | :12:14. | |
set personal stories against backdrops of political instability, | :12:14. | :12:23. | |
the birth of modern India and post- 9/11, both based on books, The | :12:23. | :12:26. | |
Reluctant Fundamentalist, and Midnight's Children on Salman | :12:26. | :12:31. | |
Rushdie's Booker Prize winner, as he described as his love letter to | :12:31. | :12:36. | |
India. Rushdie himself has adapted the sore of Saleem, a boy with | :12:36. | :12:40. | |
magical powers born at watershed moment in history. It is the | :12:40. | :12:48. | |
novelist's own voice that narrates the story. At the precise instant | :12:48. | :12:52. | |
of India's arrival at independence, I tumbled forth into the world. | :12:52. | :12:57. | |
director believes the book's plot and themes called for cinematic | :12:57. | :13:01. | |
treatment. He took romance, tragedy, melodrama, a cinematic vision, if | :13:02. | :13:05. | |
you will, history, politics, and blended them all together. We can | :13:05. | :13:12. | |
show people a new way of being. world is not ideas. If you don't | :13:12. | :13:19. | |
have things, you fight. Mehta appears to be unphased by the | :13:19. | :13:24. | |
challenge of adapting such an epic narrative for the screen. It isn't | :13:24. | :13:27. | |
a process of adapting War and Peace or The English Patient, it is not | :13:27. | :13:31. | |
about looking at the book and saying how do I reduce it. It is | :13:31. | :13:35. | |
like how do I interpret it. The story that we chose to follow is | :13:35. | :13:40. | |
the story of Saleem, and the background of that story is the | :13:40. | :13:46. | |
history of post colonial India. were the promises of independence. | :13:46. | :13:50. | |
Born ated my night, once upon a time. | :13:50. | :13:57. | |
-- Born at midnight, once upon a time. Mohsin Hamid, The Reluctant | :13:57. | :14:02. | |
Fundamentalist, which explores conflict between east and west is | :14:02. | :14:06. | |
another film. Riz Ahmed plays Changez Khan, a young Pakistani, | :14:06. | :14:14. | |
who spent several years as a Wall Street trader, but now a professor | :14:14. | :14:19. | |
in his native town. He left following suspicion after the 9/11 | :14:19. | :14:23. | |
attacks. We will wipe the blood of invaders from our soul. The film is | :14:23. | :14:29. | |
part political thriller, part romance. Recording Khaan's rocky | :14:29. | :14:33. | |
relationship with a photographer played by Kate Hudson. Was that the | :14:33. | :14:39. | |
idea, how chic, I'm going to date a Pakistani after 9/11, and it will | :14:39. | :14:47. | |
be great for my Bohemian street cred. At the core is the tense | :14:47. | :14:52. | |
conversation between Khaan and an American, which raises questions | :14:52. | :14:57. | |
about the relationship between radicalism and the takes on the US. | :14:57. | :15:02. | |
I hope you see I'm not celebrating the death of 2,000 innocent, as you | :15:02. | :15:08. | |
would not celebrate the deaths of 100,000 in Pakistan. Before | :15:08. | :15:13. | |
conscience sets in, have you never felt the split second of pleasure | :15:13. | :15:21. | |
at arrogance brought low? Reluctant Fundamentalist is a very | :15:21. | :15:30. | |
difficult and complex story to tell, it does at its heart some very good | :15:30. | :15:34. | |
performances, Riz Ahmed is particularly wrong? He's amazing, | :15:34. | :15:41. | |
he as incredibly, still, calm and beautiful, and convincing as a | :15:41. | :15:46. | |
terrible raper and capitalist, and as a firebrand academic, who may or | :15:46. | :15:51. | |
anot, you don't now how militant he is. He's one of those actors who | :15:51. | :15:55. | |
can fool you into thinking you are watching a good film. That is what | :15:55. | :15:59. | |
he did in this. He's amazing in the first manifestation, his middle | :15:59. | :16:02. | |
manifestation, when he gets the great opportunity to go to America | :16:02. | :16:06. | |
and be. He basically wins an episode of the Apprentice, he's | :16:06. | :16:11. | |
very much like one of the really, really pushy, I want it, Pakistani | :16:11. | :16:15. | |
characters you get on the Apprentice. He had something about | :16:15. | :16:19. | |
him, when he would punch the air when he sealed the deal. Loved him | :16:19. | :16:23. | |
for his capitalist brilliance, and slightly revolted, drifting further | :16:23. | :16:28. | |
and further from the truth and poetry of his homeland. Then the | :16:28. | :16:31. | |
prosession was thoroughly believable when he was an academic, | :16:31. | :16:35. | |
you could see how. I wondered, being a management consultant, | :16:35. | :16:40. | |
which he basically was, is that a big enough enemy for Islam. We all | :16:40. | :16:44. | |
think they are terrible people. Asset strippers, we all think they | :16:44. | :16:49. | |
are terrible, you don't have to be a devout Muslim to think that. | :16:49. | :16:53. | |
you as convinced by Kate Hudson's performance as his photographer | :16:53. | :16:56. | |
girlfriend, who creates this extraordinary controversial work of | :16:56. | :17:01. | |
art? It is an unperformable part, she has to be a sypher for all | :17:01. | :17:06. | |
America, she embraces him, and falls in love with him, and rejects | :17:06. | :17:13. | |
him when he becomes politicised and having doubts about America. I | :17:13. | :17:18. | |
agree completely, Riz Ahmed's performance, he's such a hottie and | :17:18. | :17:22. | |
charismatic actor and so subtle, he holds the film together. She's | :17:22. | :17:26. | |
awful. It is an unperformable role, she demonstrates that ablely. | :17:26. | :17:33. | |
art she produces, which we saw in the vt, it is complete sympathy | :17:33. | :17:40. | |
with his character, it is exericabl, it was offensive, the use of a | :17:40. | :17:46. | |
throw on a burka. I left with the 20th bomber or something like that. | :17:46. | :17:52. | |
There are women like that. There is a sexual element to terrorism. | :17:52. | :17:55. | |
There are terror groupies, I don't know, that is what she's supposed | :17:56. | :18:05. | |
to be. A bad artist is more credible. Not all of them get such | :18:05. | :18:11. | |
a gallaried place. It walks a thin line between all gory and thriller, | :18:11. | :18:17. | |
does it know what -- allegory and thriller, does it know what it is? | :18:17. | :18:24. | |
I think it does walk a fine line. Riz Ahmed is trying to say big | :18:24. | :18:28. | |
about the relationship between Islam and the west, and America and | :18:28. | :18:35. | |
Islam. I think Aleksadra Mir is a good film maker, in -- she did a | :18:35. | :18:37. | |
transplanted Asian character who goes to America and has their | :18:37. | :18:42. | |
opinions changed in some way. Towards the end of the film, | :18:42. | :18:46. | |
Ahmed's character said how he's tired of reduction, he's tired of | :18:47. | :18:49. | |
being reduced to only being a Muslim. My problem with the film is | :18:49. | :18:56. | |
all the characters were reduced, Kiefer Sutherland's character, and | :18:56. | :19:02. | |
Kate Hudson's character, I'm annoy by all the white women in her films | :19:03. | :19:12. | |
:19:13. | :19:14. | ||
are the intensive lovers, and I felt the allegory part made it a | :19:14. | :19:19. | |
more simple film when you wanted it to be sophisticated. Do you think | :19:19. | :19:28. | |
that was more successful in doing that, the allegory? I this was -- I | :19:28. | :19:33. | |
think it was an appalling film. I think both The Reluctant | :19:33. | :19:38. | |
Fundamentalist and Midnight's Children are allegory, where The | :19:38. | :19:40. | |
Reluctant Fundamentalist had to be fattened up, Midnight's Children | :19:40. | :19:45. | |
had to be slimmed down. Film is a much less forgiving medium than | :19:45. | :19:51. | |
novels. In? If you look at magical realisim, and the idea of allegory | :19:51. | :19:55. | |
that might work on the page, on screen it looked ridiculous. I | :19:55. | :19:59. | |
thought it looked ridiculous. It reduced a story that was meant to | :19:59. | :20:04. | |
be the story of India and Pakistan over the last 70 years to a | :20:04. | :20:10. | |
sacharine and sapy soap opera. is faithful adaptation, does it | :20:10. | :20:16. | |
detract from his -- add to its favour? We have Rushdie doing the | :20:16. | :20:19. | |
voiceover and writing the script, they tussled over which bits to cut, | :20:19. | :20:23. | |
and they were on the page. It is all a bit too reverential, I think | :20:23. | :20:27. | |
it would have been better if they did it like Frankenweenie and had | :20:27. | :20:32. | |
puppets. Serious, I think it would have instilled more magic into it. | :20:32. | :20:37. | |
It is so literal. We will talk later about a film about Beast of | :20:37. | :20:40. | |
the Southern Wild, which is a magicalism in cinema. There is a | :20:40. | :20:44. | |
way to do it, you have to have a sure touch with it. It is a film | :20:44. | :20:47. | |
that really suffers, it is an unfilmable novel. You need a budget | :20:47. | :20:51. | |
about 50-times what they had. Clearly they tried very hard. They | :20:51. | :20:56. | |
had a shoot under wraps in Sri Lanka under an assumed name, | :20:56. | :21:01. | |
because Salman Rushdie is still controversial. They tried to do | :21:01. | :21:06. | |
crowd scenes. But it is narrative about huge changes in history, it | :21:06. | :21:09. | |
feels slightly underfed and undernourished and half put | :21:09. | :21:14. | |
together. What about the fact we have Salman Rushdie as narrative | :21:14. | :21:18. | |
voice, does it lend credibility? Bad choice by Salman Rushdie, you | :21:18. | :21:22. | |
can't disown it, you have written a great book, they are going to make | :21:22. | :21:29. | |
a film of it, you walk away and have nothing to do with it. If you | :21:29. | :21:34. | |
take Marquis, 100 *Years of Solt tued, and Midnight's Children, | :21:34. | :21:41. | |
pillars of it, Marquis want have a film made of the book. Rushdie vurb | :21:41. | :21:47. | |
should have done the same thing. It plays to his public image a | :21:47. | :21:51. | |
brilliant writer, but pompus public image, likes to be at the centre of | :21:51. | :21:55. | |
things. I read that book twice, I believed it was about Saleem, I | :21:55. | :22:01. | |
didn't know it was about anyone else. He doesn't read it as well as | :22:01. | :22:07. | |
an actor would have done. Midnight's Children is out in | :22:07. | :22:08. | |
December, The Reluctant Fundamentalist opens next year. One | :22:08. | :22:13. | |
of my favourite films at the festival is Good Vibrations, which | :22:13. | :22:20. | |
celebrates the birth of the Belfast punk scene against a background of | :22:20. | :22:24. | |
political unrest. Ron Howard has been urging followers on Twitter to | :22:25. | :22:30. | |
look out information on Terri Hooley, Belfast's called Godfather | :22:30. | :22:37. | |
of pump punk. Richard Dormer stars a as punk pioneer and record store | :22:37. | :22:43. | |
owner Terri Hooley, the unlikely leader of a Motley Crue of kids. He | :22:43. | :22:49. | |
discovered the bands scatp scat understones, and others, and had a | :22:49. | :22:54. | |
record shop and worked out of it, it was called Good Vibrations. | :22:54. | :22:59. | |
Hello, where have you been all my life. Do we know you. Terri Hooley, | :22:59. | :23:05. | |
I own the shop. I want that song in my shop. You can want all you like? | :23:05. | :23:09. | |
You haven't recorded it? Who will come to Belfast to sign us. It is | :23:09. | :23:13. | |
the way it is, we don't care. Fuck's sake, raise your | :23:13. | :23:19. | |
expectations. I will do it, I'll put it out. | :23:19. | :23:23. | |
Gloriously unbothered about money, Hooley seeks to create an | :23:23. | :23:27. | |
alternative Ulster, with an emphasis on music, creativity and | :23:27. | :23:32. | |
anti-sec tear granianism. He has to fight -- anti-sectarianism, he has | :23:32. | :23:36. | |
to fight to get heard in a world that has turned a deaf ear to | :23:36. | :23:43. | |
Belfast. "dear Mr Hooley, go fuck yourself" again. The film which | :23:43. | :23:50. | |
mixes fact and stpantcy goes to a seminal -- fantasy, goes to a | :23:50. | :23:55. | |
seminal moment in history when The Undertones went into the studio to | :23:55. | :24:02. | |
record. Shall we cut our losses. Cut our losses. You didn't -- | :24:02. | :24:07. | |
didn't hear the track before this one. | :24:07. | :24:11. | |
This is the best thing I have ever recorded. It is the best thing | :24:11. | :24:21. | |
:24:21. | :24:22. | ||
anyone in this city ever recorded. But what does the film achieve, by | :24:22. | :24:32. | |
:24:32. | :24:33. | ||
shedding light on a neglected piece of punk history. I watched this | :24:33. | :24:37. | |
with a huge smile on my face, and I'm not ashamed to say I cried | :24:37. | :24:42. | |
twice. Did it, for you, capture the spirit of the times? Oh yeah. It | :24:42. | :24:47. | |
really gets the atmosphere of those punk club, of those greasey little | :24:47. | :24:53. | |
dives where everyone is sweaty, a very male energy. The fashions, the | :24:53. | :24:57. | |
look s. I lived through the 80s and was going to club then. It really | :24:57. | :25:00. | |
rang true for me. A little less satisfied than you with the shape | :25:01. | :25:07. | |
of it as a narrative. It works better than other films, rock films | :25:07. | :25:14. | |
as its ilk. We can compare it to the one about even Drury, both | :25:14. | :25:19. | |
central character, both slightly unlikeable, selfish, bad fathers, | :25:19. | :25:23. | |
ultimately the film has problems, it can't let you not sympathise | :25:23. | :25:26. | |
with emthis. They have to be hero of the stories, they can't go all | :25:26. | :25:30. | |
out and make them completely evil. It is a little equivocal in that | :25:30. | :25:34. | |
sense. It get the energy of it, the music is great. The sleaziness, | :25:34. | :25:39. | |
they are there are the cliches of the white transit vans going around | :25:39. | :25:43. | |
the countryside and the camaraderiery, and the drunkenness. | :25:43. | :25:47. | |
Real moments of magic. On a left of craft, beautifully done, nicely | :25:47. | :25:51. | |
shot, and beautifully edited, and capturing that excitement is a very | :25:51. | :25:56. | |
hard thing to do. It does it well. Your main memory of the punk years | :25:56. | :26:00. | |
was being terrified of punk rockers z this bring that rushing back? | :26:00. | :26:04. | |
brought some of it. I didn't see their artistic side, I was born in | :26:04. | :26:08. | |
1969, I was really into the Jubilee, who are these people ruining it | :26:08. | :26:12. | |
with their spikey hair and rude manners. I went to school in a pink | :26:12. | :26:17. | |
uniform with a little cap on, they used to beat me up. I thought they | :26:17. | :26:21. | |
were terrifying, I thought you would see those signs "punk isn't | :26:21. | :26:25. | |
dead" and I was praying for the death of punk. The under upped, by | :26:25. | :26:32. | |
1982 I bought It skaes Going To Happen, you said you cried, it's | :26:32. | :26:38. | |
the scene when he has the head phones on, I'm watching it with my | :26:38. | :26:45. | |
wife, and she's ten years younger, and she's saying what is he | :26:45. | :26:51. | |
listening to? And it is Teenage Kicks. Second only to the scene | :26:51. | :26:56. | |
when John Peel plays it twice in a row. We see it being played on the | :26:56. | :27:05. | |
radio. You talk about Sex Drugs and Rock and Roll. It reminded me of | :27:05. | :27:08. | |
24-Hour Party People, it was this thing about the record store being | :27:08. | :27:13. | |
a refuge in a place where the old labels and allegiances don't matter. | :27:13. | :27:17. | |
It talks about friends who used to be anarchists and socialists, and | :27:17. | :27:22. | |
after the troubles started they were Protestants and clilgts, the | :27:22. | :27:28. | |
way it marshalls the time is very good. The moment when terri and his | :27:28. | :27:33. | |
wife are jumping up -- Terry and his wife are jumping up and down | :27:33. | :27:37. | |
when John Peel plays it and then again, it worth watching it for | :27:37. | :27:40. | |
that. It is about drawing you into and being interested in the music | :27:41. | :27:45. | |
of the people, even if you weren't beforehand, were you drawn into the | :27:45. | :27:49. | |
world of Terri Hooley? I was interested in the music beforehand. | :27:49. | :27:53. | |
A lot of it is down to Richard Dormer, I never heard of him before, | :27:53. | :27:59. | |
I understand he's well known in the Belfast theatre scene, he was | :27:59. | :28:02. | |
terrific, so charismatic and strong. It has to pull you into the human | :28:02. | :28:06. | |
stories. Even though I was unsatisfied at the way, the slight, | :28:06. | :28:10. | |
his interpersonal relationships of his wife and child. He completely | :28:10. | :28:14. | |
can't face fatherhood. He was a terrible individual, I was | :28:14. | :28:17. | |
irritated he was so bad with money. He could have made a few quid. | :28:17. | :28:21. | |
you not find that charming the fact he was so bad with money Eventually | :28:21. | :28:25. | |
I thought I was his wife, come home, stop drinking, you have a child | :28:25. | :28:30. | |
here, you have one gig to give yourself a chance and you gave the | :28:30. | :28:39. | |
money to the -- you gave the tickets to the kids. You are | :28:39. | :28:45. | |
record shop stuff was good. It is not you are a rapist or an entire | :28:45. | :28:47. | |
corporate loser, it is the two extremes, I thought punks were | :28:47. | :28:52. | |
terrifying, but obvious low, in some ways, difficult in 70s Belfast, | :28:52. | :28:57. | |
the punks were the good guy, that line to put on the poster, New York | :28:57. | :29:02. | |
has the haircuts, London has the trousers and Belfast has the reason. | :29:02. | :29:06. | |
The book has a very certainly edge, it pulls on the heartstring, two of | :29:06. | :29:12. | |
us have talked about crying, did you find that sentimentality worked | :29:12. | :29:17. | |
in favour or detriment? It is certainly about a time when music | :29:17. | :29:21. | |
mattered. The idea that music could be something that would bring | :29:21. | :29:25. | |
people from different religions together. That is both sentimental | :29:25. | :29:29. | |
and nostalgic, but also gone. I think for me it is as much an | :29:29. | :29:32. | |
energy for a time when music could be that transformative, people | :29:32. | :29:36. | |
don't listen to radio and jump around in the same way now, because | :29:36. | :29:43. | |
everyone has it on Spotify playlist. You talk about Sex Drugs ska rock | :29:43. | :29:49. | |
'n' roll, that film was stagey and built and construct, this felt much | :29:49. | :29:52. | |
like an all-comers narrative that anyone can watch and enjoy? Very | :29:52. | :29:59. | |
accessible and enjoyable. I thought 24-Party People was more innovative | :29:59. | :30:05. | |
and I liked that much more as a film. I'm less close to the | :30:05. | :30:11. | |
Manchester film, I barely know man chest krb -- Manchester at all, but | :30:11. | :30:16. | |
I felt for the city. This could have been filmed anywhere. You were | :30:16. | :30:19. | |
aware of the smallest of the budget and how tight all the shots could | :30:20. | :30:23. | |
be, outside they couldn't afford to dress the street to look like the | :30:23. | :30:27. | |
70s. Small budget and two men crying, I think that is a thumbs up. | :30:27. | :30:32. | |
With so much to cover at the festival, we decided to split the | :30:32. | :30:37. | |
panel up and send them to see something different. Sarfraz | :30:37. | :30:42. | |
Manzoor went to see a film that the director of The French Connection, | :30:42. | :30:47. | |
said could be the best cult movie every. End of Watch, tells the | :30:47. | :30:56. | |
story of Los Angeles police officers. I date all these girls, | :30:56. | :31:03. | |
they are smoking hot. BEEP badge bunnies. It puts the Monday not fee | :31:03. | :31:10. | |
of car cruising, and the intense crime fighting with a Mexican drugs | :31:10. | :31:20. | |
:31:20. | :31:27. | ||
cartel. Is the film that good? I thought it | :31:27. | :31:30. | |
was absolutely spectacular. I really did. Essentially, you know, | :31:30. | :31:36. | |
the plot is about these two cop, they patrol the streets of South | :31:36. | :31:39. | |
Central LA, they cross into random problems, whether it is to do with | :31:39. | :31:42. | |
gangs or human trafficking, but to be honest, what I found most | :31:42. | :31:45. | |
interesting is the moments when nothing was happening, and there | :31:45. | :31:49. | |
was these two guys, sitting in a car and talking about their lives. | :31:49. | :31:52. | |
I thought it was one of the best depictions of male friendship I | :31:52. | :31:55. | |
have seen. It was fascinating, what you found is these were guys | :31:55. | :31:59. | |
talking about their search for love, and wanting things, and suddenly | :31:59. | :32:04. | |
they would be getting in the middle of getting shot and aed. I thought | :32:04. | :32:06. | |
what was really interesting is there were only two moment when | :32:06. | :32:09. | |
these two guys said they love each other, one is when they are drunk, | :32:09. | :32:13. | |
and the other one is when they are being shot. There was something | :32:13. | :32:18. | |
really fascinate beg it. It is also so visceral, there is a car chase, | :32:18. | :32:22. | |
at the beginning, with footage in it, there is a camera in the front | :32:23. | :32:27. | |
of the car zipping through. It was so exciting I was having to remind | :32:27. | :32:32. | |
myself to breath. Did you find any of the shaky camfootage distancing, | :32:32. | :32:39. | |
or did it work? -- shaky cam footage distancing or did it work? | :32:39. | :32:45. | |
It felt a bit of a thing that this character, Jake Gylenhall's | :32:45. | :32:48. | |
character was filming everything, once you got over that, you cared | :32:48. | :32:53. | |
about the characters, and I didn't care about any of the characters of | :32:53. | :32:57. | |
the films we are talking about so far. You wanted them to live and | :32:57. | :33:02. | |
you were getting to know them. It made me respected as cop, saw them | :33:02. | :33:05. | |
as human beings and then being shot at. Do you think Andrew Mitchell | :33:05. | :33:08. | |
needs it see that? Giles Giles Giles asked for | :33:08. | :33:16. | |
something to do with superheros or sport. This is what he got. | :33:16. | :33:23. | |
Mighty king of the gods, dear father, it's your son, Thor. This | :33:23. | :33:30. | |
is Iceland's full length animation, adapted from the Norse myth, Thor | :33:30. | :33:33. | |
and his hammer need little introduction. The text has been to | :33:33. | :33:39. | |
end down for children, but the story is the name. Thor's father | :33:40. | :33:46. | |
drops the hammer to earth. Thor himself is destined to defend | :33:46. | :33:56. | |
:33:56. | :34:08. | ||
Valhalla from the evil Queen of the underworld. | :34:08. | :34:12. | |
You wanted sport or superhero, this is what you got how was it? This | :34:12. | :34:16. | |
goes and presents Thor as a meat head, I don't know when that | :34:16. | :34:22. | |
happened, he was a warrior, but the Marvel Thor is meat head and this | :34:22. | :34:27. | |
chap is a complete meat head. This is the first Icelandic animated | :34:27. | :34:31. | |
feature, if anyone waves anything and says the Icelandic are coming, | :34:31. | :34:37. | |
they are entirely wrong. This one sinks like a stone. They made it | :34:37. | :34:41. | |
for eight million euros, $12 million dollars, very cheap | :34:41. | :34:46. | |
compared to a Disney film. As you saw there, the movement isn't great. | :34:46. | :34:49. | |
It is less fluid than Frankenweenie, which was made with little models, | :34:49. | :34:55. | |
this is meant to be CGI. They have missed a trick in dubbing it for | :34:55. | :34:59. | |
the English market. At the very least they could have given them | :34:59. | :35:09. | |
:35:09. | :35:09. | ||
coddy, Nordic, they -- comedy Nordic, you could have had Bjork, | :35:09. | :35:19. | |
:35:19. | :35:21. | ||
or swars neglecter, they have with -- Schwartz neglecter, and they | :35:21. | :35:26. | |
have Sw -- they have these silly accents and the hammer. You drew | :35:26. | :35:31. | |
the short straw. We sent Leslie to a film that has become a festival | :35:31. | :35:33. | |
favourite. Beast of the Southern Wild, is | :35:34. | :35:40. | |
adapted from the play Juicy and Delicious by Lucy Alaba, it is | :35:40. | :35:46. | |
narrated by hush puppy, who lives with her hard drinking father in | :35:46. | :35:54. | |
the bath tub, a fictional locality, beset by rising waters and | :35:54. | :35:58. | |
Catriona-style storms. The whole universe defends on everything | :35:58. | :36:08. | |
:36:08. | :36:09. | ||
fitting together just right. If one piece busts, even the smallest | :36:09. | :36:16. | |
piece, the entire universe will get busted. Director Ben Zietlin, won | :36:16. | :36:23. | |
the Cannes dor for Best Feature in Cannes this year. Chose to cast | :36:23. | :36:29. | |
non-professional actors from the Louisiana Bayou. Are you leaving me | :36:29. | :36:36. | |
alone. If you be gone, I be gone too. Plaudits all around the world, | :36:36. | :36:39. | |
an extraordinary performance of the five years old, six-year-old when | :36:39. | :36:43. | |
she did. Your feelings? I was bowled over by it. There is already | :36:43. | :36:49. | |
a bit of a backlash, it is around since sun dance, winning awards | :36:49. | :36:55. | |
everywhere, winning the Palme d'Or at Cannes. It was an emotional film, | :36:55. | :36:59. | |
it was beautifully assembled. We are talking about budgets. Money | :36:59. | :37:03. | |
into light is the great phrase of what cinema is about. This was done | :37:03. | :37:09. | |
on �2 million, less than the Icelandic Thor movie. It looks | :37:09. | :37:13. | |
luminous, it is beautiful 16mm filming. The idea it is shot in | :37:13. | :37:16. | |
16mm, rather than digital, you would think with a tight budget | :37:16. | :37:21. | |
that would be the default setting, but the 16mm does add to the look | :37:21. | :37:31. | |
of the film? It gives it the grainy, gritty feeling, it goes back to the | :37:31. | :37:40. | |
films like the 1960, Give Me Shelter. Yet he's working on film | :37:40. | :37:46. | |
with water and children and fire. The things you shouldn't do, and | :37:46. | :37:49. | |
got astonishing performance, the little girl has charisma to spare, | :37:49. | :37:54. | |
a great little performer, but the director needs the he credit. To | :37:54. | :37:58. | |
coax that performance out of a five-year-old is no mean feat. It | :37:58. | :38:02. | |
has depth, beauty, something to say about America. It is symbolic and | :38:02. | :38:06. | |
beautiful and magical realist, but it also is about itself. It works | :38:06. | :38:11. | |
on a very simple realist level, about a story about a community | :38:11. | :38:15. | |
under stress, experiencing tragedy, pulling together. But not soppy. | :38:15. | :38:20. | |
Some people have accused it of being sentimental. It worked for me. | :38:20. | :38:25. | |
This had me in floods of tears, especially the ending scene. | :38:25. | :38:28. | |
looks great and sounds great, it has a wonderful soundtrack t | :38:28. | :38:32. | |
becomes almost a musical in some places? There is a lock together of | :38:32. | :38:36. | |
sound and image. These sweeping strings, slightly electronic noises, | :38:36. | :38:43. | |
mixed with the sound of the thunder, these creatures, prehistoric | :38:43. | :38:51. | |
creatures, Ice Age creatures, the Orox, the little girl character | :38:51. | :38:55. | |
imagining being thawed out, and they are working their way towards | :38:55. | :39:00. | |
her, and the sound of the hooves and the water rushing with the | :39:00. | :39:06. | |
flood. Everything is organically unified throughout the film. When | :39:06. | :39:15. | |
ever one evokes Malix? I don't think Terence Malik should have | :39:15. | :39:21. | |
ownership over the elements. He has made something quite different. | :39:21. | :39:25. | |
Terence Malik has gone into Cosmo logical creations, I think this is | :39:25. | :39:35. | |
better than recent malik. I went to see Argo Ben Affleck's gripping | :39:35. | :39:39. | |
thriller about the siege of the embassy in Iran. Many are unaware | :39:39. | :39:44. | |
of the bizarre twist of CIA teeming up with Hollywood attempting to | :39:44. | :39:52. | |
sneak people out of the country under a fake science fiction movie. | :39:52. | :39:58. | |
We all fly out together as a film crew. I need you to make a fake | :39:58. | :40:03. | |
movie and help me. You want to act like a big shot in Hollywood | :40:03. | :40:06. | |
without knowing anything? You will fit right in. | :40:06. | :40:11. | |
We need an exotic location to shoot. You need a producer. If I'm doing a | :40:11. | :40:17. | |
fake movie, it will be a fake hit. This isn't going to be the best | :40:17. | :40:21. | |
baded in? This is the best bad idea by far. Argo is out in November. | :40:21. | :40:31. | |
That is almost all. My thanks to Leslie, Safraz, and Jo. And the One | :40:31. | :40:36. | |
Studio for letting us use the -- the One Studio, and letting us use | :40:36. | :40:46. | |
:40:46. | :40:47. | ||
the studio. We will be looking at Sky fld fall, stay tuned for Jools | :40:47. | :40:57. | |
Holland. Tori Amos has re-released her album with orchestra, here she | :40:57. | :41:05. | |
is now. # So it begins again | :41:05. | :41:11. | |
# One zip # Favouring familiar sill wits | :41:11. | :41:21. | |
:41:21. | :41:23. | ||
# Behind I'm boycotting trends # It is my new look this season | :41:23. | :41:28. | |
# Riding on bags of # Palominos | :41:29. | :41:32. | |
# It is as good # As good | :41:32. | :41:41. | |
# As it gets # With girl disappearing | :41:41. | :41:47. | |
# With all of the cold ankle # She's right in front of me | :41:47. | :41:54. | |
# Girl disappearing # To some secret prison | :41:54. | :42:02. | |
# Behind her # Eyes she whispers | :42:02. | :42:05. | |
# Big surprise # There was | :42:05. | :42:15. | |
:42:15. | :42:16. | ||
# No protection by this # Urban life | :42:16. | :42:23. | |
# So I'm running to # A constellation | :42:23. | :42:33. | |
:42:33. | :42:41. | ||
# Where they can still see you # She can spread | :42:41. | :42:45. | |
# Herself so thinly # She slipped in before I could | :42:45. | :42:48. | |
notice it # Riding on bags | :42:48. | :42:58. | |
:42:58. | :42:58. | ||
# Of palominos # Working her hell | :42:58. | :43:05. | |
# On that red carpet # With girl disappearing | :43:05. | :43:08. | |
# What is occurring # Because she's right in front of | :43:08. | :43:18. | |
:43:18. | :43:19. | ||
# A girl disappearing # To some secret prison | :43:19. | :43:24. | |
# Behind her # Eyes she whispers | :43:24. | :43:27. | |
# Big surprise # There was | :43:27. | :43:37. | |
:43:37. | :43:40. | ||
# No protection by this # Urban light | :43:40. | :43:47. |