19/10/2012 The Review Show


19/10/2012

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Did This programme contains strong Welcome to the review show, coming,

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for once, from London, where my guests have been immerseing hem

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themselves in the BFI London film fest -- themselves in the BFI

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London film vest fall. My guests join me, Sarfraz Manzoor, and Tori

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Amos will be playing us out. Before I unleash the formidable fire power,

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here is a sample of the 227 features and 111 shorts that

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comprise this year's festival. From Tim Burton, who's animation

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Frankenweenie got the ball rolling, to the rolling stones, who were

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celebrated in Crossfire Two of next year's potential crowd pleasers

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were there. Roger Michell Hyde Park on Hudson, George V is returning,

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seeking support from Bill Murray's note-perfect Roosevelt on the eve

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of World War II. And Quartet, mixing opera with the cream of

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English acting royalty, including Maggie Smith. Don't I get a kiss.

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The festival showcases archive treasures and new talent, from a

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gleaming restoration of David Lean's Lawrence of Arabia, to

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talented youngsters, Brandon Cronenberg, Son of David, and

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futuristic horror, Anti-viral. A total of 68 countries have been

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represented at the festival, from Iceland, Japan to Saudi Arabia. The

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celebration of cinema comes to a close on Sunday, with Mike Newell's

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impressively Gothic adaptation of Great Expectations, with rave fines

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as Magwitch, and Helena Bonham Carter who steals the show as Miss

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Havisham. It is the first year of Claire Stewart as director, has she

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done a good job? It is really impressive, you have to be a

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servant of many masters when you are running the London Film

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Festival, the press wants to see stars on the red carpet, they have

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delivered that, they have had a really good turn out, Bill Murray

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has been here, the rolling stars, Tim Burton, Helena Bonham Carter,

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they are localing, but they came. And yet, you have to please the

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critics, a broad spread, and world premiers. She has done an

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interesting thing, she has sliced it up into different theme, love,

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dare, thrills. It has made it audience-friend loo. Public

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screenings have been really well a- - audience-friendly, public

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screenings have been really well attended. I know how hard it is to

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see the films all year. She has done a great job. How does it sit

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on the international circuit, is it internationally significant? It is

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a notch below Toronto, hitherto it has been a non-competitive festle

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value, it is a best of the rest, collecting together all the films

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that have been showing over the year. Although there was a little

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competition for the Best First Feature, this year there is a Best

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Film Prize, so the big names will be competing for that, and Best

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First Film competition, and Best Documentary competition. That might

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up the profile over time. It is a hard thing to go up the ranks,

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unless you have a big, big cash injection. I know the British Film

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Institute doesn't have those kinds of rds. This festival is bookended

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by Tim Burton, the master of macarbre, and partner Helena Bonham

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Carter, she will close the ceremony on Friday with Great Expectation,

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and he opened it with Frankenweenie, a family-friendly take on

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Frankenstein. The stars graced the red carpet for the premier. Tim

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Burton's Lord Weinstock is a 3-D black and white animation which

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reworks the Mary Shelley classic, featuring WinonaRyder and Martin

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Landau, a young boy resurrectss had beloved dog. He was a great --

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resurrects his beloved dog He was a great dog. When you lose someone

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you love, they never leave you but move into a special place in your

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heart. I don't want him in my heart, I want him here with me. I know. If

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we could bring him back, we would. Inspired by his teacher, Victor

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Frankenstein, harnessing the power of lightning to kick life back into

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the aptly named Sparkey. Goo boy. You're alive. You're alive, Sparkey,

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you're alive. Can you believe it, you're alive. Victor unwittingly

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unleashs a Pandora's box of the undead into his neighbourhood.

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need your help. Frankenweenie first saw the light of day in 1984, as a

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live action short film. Burton has returned to the story nearly 30

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years later, this time using stop- motion animation to bring the tale

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to life. Having been dropped by Disney back

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in the 80s for making stuff that was "too weird", Frankenweenie sees

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Burton back at the House of Mouse, has Hollywood curbed the Prince of

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Darkness's flare for the Gothic. can fix that.

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Sarfraz Manzoor, it deals with big issues of life and death, it looks

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beautiful, it is also very emotional? Yeah, it is funny, for a

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film that is actually Anwar makes film, the bits I liked were the --

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an animation film, the bits I liked were the most feeling bits. The

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relationship between Victor and Sparkey is very real. When he dies

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you see a tear down the boy's face, it was moving. It was charming and

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moving when it was small, based on a half-hour short film. When it was

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small it was really affecting, later on I felt like Tim Burton had

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a lot of set piece he wanted to crowbar in, without the plot to put

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them in. Obvious low, based on a very famous novel, does it do

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anything with the novel's theme's theme themes? It doesn't update it

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at all. It was dealing with interesting ideas about the nature

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of life and divine providence, is there a God, what can science do,

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what can it challenge? That is what the novel dealt with. These aren't

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big issues now, certainly not to 12-year-old kids, I don't respond

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well to children's culture generally I don't respond to Toy

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Story and Shrek. You didn't like Toy Story? Everyone tried in Toy

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Story 3, everyone cried, I didn't, I was waiting for t maybe it is my

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childhood hasn't ended. Children want colour, and they will see this

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and think the screen is broken. It is full of references, I think that

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was the Edward Scissorhands's suburb, there is references to his

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own movies, he's entitled to do that, he has made great films, but

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I didn't understand it. The great weakness at the end is the dog

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lives. If you are going to teach children anything, is he's always

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alive in your heart, that you can't bring animals back. They could have

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saved it in the end by leaving the dog dead. Children will think it is

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broken in the black and white? was talking to a woman who made her

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son watch Buster Keaton movies. This is for the young kids open to

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the black and white, monochrome, it is a bit scary for them, I found

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some of it generally frightening, especially Mr Ricekrispy, his

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little tiny teeth. It could be scary and dark. People don't have a

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resistance to black and white. They are open to it. It is part of the

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tool box. Technically it looks fantastic. 3-D black and white, you

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have colour, 3-D, it is as if the reanimated dog is leaping in your

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face. Everything is in colour, it is almost like we are colour-

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exhausted, it was something refreshing, like a cool glass of

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champagne, to watch a really beautifully filmed black and white

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movie. Jo I don't think it is a move -- movie for kids. Martin

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Landau plays a character that looks like Vincent Price t reminds me of

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Hugo, which used 3-D technology, which was an exercise in nostalgia,

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it is for people who love Tim Burton and love horror movies from

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the 1930s as opposed for kids. said you felt that some sequences

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were too frightening for kids, did you feel it didn't strike the right

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balance between the childish and the adult audience? It is a very

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hard balance to strike. The Pixar movies do it beautifully. My

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problem with Frankenweenie is it the script needed an extra pass

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through the mill, I agree it didn't add anything interesting to the

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story. If it is meant for kids, there are ways to address issues in

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a subtle and symbolic way through children's literature. There was a

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pro-science message. It is a very subversive message. The Vincent

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Pryc, characters slags the parents off, and wants to break kids' minds

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and educate them. The science being useded in it is great. He's an

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immigrant and explains the science of lightning, that the lightning

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wants to get to the United States from the bad, evil clouds, made

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immigration sound like a natural thing, like lightning.

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electrons, they want to flee. is a great thing to be teaching

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children, no doubt. But it stayed so close to the text. The lynch mob,

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that was quite scary, partly because we know in Frankenstein, in

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the book or many films, that the girl gets lynched, wrongly to have

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been thought to kill the child. They had the lynch mob, they were

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going to hang the wrongdoing, and the miscarriage of justice. Wasn't

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it the sense that you didn't feel, are we overanalysing the dead dog,

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there wasn't enough anguish in Sparkey, when he became reanimated,

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he wasn't particularly bothered, he was pretty much the same dog he was,

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except badly stitched together. There was no sense that he was

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aware of his zombie-like status in any way. This is the pathos of the

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Frankenstein, and it is a slightly missed trick. Having said that I

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thought it was brilliantly studied animation. The dog movements, that

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is someone who really knows dogs. We know Tim Burton is a fan of dogs.

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The way he moves and scratch, it is beautifully studied. Frankenweenie

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is out now, I loved it. Two new films by leading female directors

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set personal stories against backdrops of political instability,

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the birth of modern India and post- 9/11, both based on books, The

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Reluctant Fundamentalist, and Midnight's Children on Salman

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Rushdie's Booker Prize winner, as he described as his love letter to

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India. Rushdie himself has adapted the sore of Saleem, a boy with

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magical powers born at watershed moment in history. It is the

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novelist's own voice that narrates the story. At the precise instant

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of India's arrival at independence, I tumbled forth into the world.

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director believes the book's plot and themes called for cinematic

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treatment. He took romance, tragedy, melodrama, a cinematic vision, if

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you will, history, politics, and blended them all together. We can

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show people a new way of being. world is not ideas. If you don't

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have things, you fight. Mehta appears to be unphased by the

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challenge of adapting such an epic narrative for the screen. It isn't

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a process of adapting War and Peace or The English Patient, it is not

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about looking at the book and saying how do I reduce it. It is

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like how do I interpret it. The story that we chose to follow is

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the story of Saleem, and the background of that story is the

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history of post colonial India. were the promises of independence.

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Born ated my night, once upon a time.

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-- Born at midnight, once upon a time. Mohsin Hamid, The Reluctant

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Fundamentalist, which explores conflict between east and west is

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another film. Riz Ahmed plays Changez Khan, a young Pakistani,

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who spent several years as a Wall Street trader, but now a professor

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in his native town. He left following suspicion after the 9/11

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attacks. We will wipe the blood of invaders from our soul. The film is

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part political thriller, part romance. Recording Khaan's rocky

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relationship with a photographer played by Kate Hudson. Was that the

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idea, how chic, I'm going to date a Pakistani after 9/11, and it will

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be great for my Bohemian street cred. At the core is the tense

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conversation between Khaan and an American, which raises questions

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about the relationship between radicalism and the takes on the US.

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I hope you see I'm not celebrating the death of 2,000 innocent, as you

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would not celebrate the deaths of 100,000 in Pakistan. Before

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conscience sets in, have you never felt the split second of pleasure

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at arrogance brought low? Reluctant Fundamentalist is a very

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difficult and complex story to tell, it does at its heart some very good

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performances, Riz Ahmed is particularly wrong? He's amazing,

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he as incredibly, still, calm and beautiful, and convincing as a

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terrible raper and capitalist, and as a firebrand academic, who may or

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anot, you don't now how militant he is. He's one of those actors who

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can fool you into thinking you are watching a good film. That is what

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he did in this. He's amazing in the first manifestation, his middle

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manifestation, when he gets the great opportunity to go to America

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and be. He basically wins an episode of the Apprentice, he's

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very much like one of the really, really pushy, I want it, Pakistani

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characters you get on the Apprentice. He had something about

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him, when he would punch the air when he sealed the deal. Loved him

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for his capitalist brilliance, and slightly revolted, drifting further

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and further from the truth and poetry of his homeland. Then the

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prosession was thoroughly believable when he was an academic,

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you could see how. I wondered, being a management consultant,

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which he basically was, is that a big enough enemy for Islam. We all

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think they are terrible people. Asset strippers, we all think they

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are terrible, you don't have to be a devout Muslim to think that.

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you as convinced by Kate Hudson's performance as his photographer

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girlfriend, who creates this extraordinary controversial work of

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art? It is an unperformable part, she has to be a sypher for all

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America, she embraces him, and falls in love with him, and rejects

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him when he becomes politicised and having doubts about America. I

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agree completely, Riz Ahmed's performance, he's such a hottie and

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charismatic actor and so subtle, he holds the film together. She's

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awful. It is an unperformable role, she demonstrates that ablely.

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art she produces, which we saw in the vt, it is complete sympathy

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with his character, it is exericabl, it was offensive, the use of a

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throw on a burka. I left with the 20th bomber or something like that.

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There are women like that. There is a sexual element to terrorism.

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There are terror groupies, I don't know, that is what she's supposed

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to be. A bad artist is more credible. Not all of them get such

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a gallaried place. It walks a thin line between all gory and thriller,

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does it know what -- allegory and thriller, does it know what it is?

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I think it does walk a fine line. Riz Ahmed is trying to say big

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about the relationship between Islam and the west, and America and

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Islam. I think Aleksadra Mir is a good film maker, in -- she did a

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transplanted Asian character who goes to America and has their

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opinions changed in some way. Towards the end of the film,

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Ahmed's character said how he's tired of reduction, he's tired of

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being reduced to only being a Muslim. My problem with the film is

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all the characters were reduced, Kiefer Sutherland's character, and

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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

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that was more successful in doing that, the allegory? I this was -- I

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think it was an appalling film. I think both The Reluctant

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Fundamentalist and Midnight's Children are allegory, where The

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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

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thought it looked ridiculous. It reduced a story that was meant to

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be the story of India and Pakistan over the last 70 years to a

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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

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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

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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.

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