Browse content similar to 20/07/2012. Check below for episodes and series from the same categories and more!
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On the review show tonight, the East End of London. Seen through | :00:18. | :00:23. | |
the lens of one of its most famous sons, David Bailey. I hate all | :00:23. | :00:28. | |
those old fart that is want to talk about the 60s. And transformed by | :00:28. | :00:31. | |
the architecture of the Olympic Park. Four new films commissioned | :00:31. | :00:39. | |
to mark the Olympics. And reverse. Into our cow. | :00:39. | :00:44. | |
And other highlights of the London 2012 festival. 10 million | :00:44. | :00:48. | |
opportunities to see 12,000 events and performances, but to what | :00:48. | :00:54. | |
extent is there something for everyone. | :00:54. | :00:59. | |
Lining up on the starting blocks are the writer and critic, Morley | :00:59. | :01:06. | |
more, author and historian, Bettany Hughes, and Dreda Say Mitchell. The | :01:06. | :01:11. | |
photographer David Bailey was born and brought up in London's East End, | :01:11. | :01:15. | |
it is right his exhibition should be in the Royal Docks, as part of | :01:15. | :01:23. | |
the capital's CREATE festival. David Bailey's east en, encompass - | :01:23. | :01:28. | |
- East End, encompasses the change in the area. Looking at three | :01:28. | :01:34. | |
decades in his career. Using unseen images from his vast collection. | :01:34. | :01:38. | |
How did this exhibition come out, what motivated and prompted it? | :01:38. | :01:42. | |
have been working on a book about the East End three or four years | :01:42. | :01:49. | |
before. There will be three volumes, the 60s, the 80 and the present day. | :01:49. | :01:53. | |
-- the 80 and the present day. Some how, I think somebody contacted | :01:54. | :01:57. | |
somebody, at Boris's office, they showed me this compresser house, | :01:57. | :02:01. | |
they said the lighting is pretty awful, but I quite like that | :02:01. | :02:05. | |
lighting and all the reflections in pictures, it gives it another depth. | :02:05. | :02:09. | |
What about the pictures from the early 60s, they are very surprising, | :02:09. | :02:15. | |
I have never seen that body of your work? Visually for me the 60s are | :02:15. | :02:19. | |
emotional, they are more somebody searching. I'm searching. I love | :02:19. | :02:25. | |
the loneliness of them. I notice there is always a lonely figure, it | :02:25. | :02:30. | |
sort of, I remember the East End, especially around Stepney and Brick | :02:30. | :02:36. | |
Lane, having a lonely feeling. It was always seemingly raining. | :02:36. | :02:43. | |
the 80s, what is the thing there? Cold, I become very technically | :02:43. | :02:51. | |
cute, and knew, you know, you kind of take the cubic path. The 80s | :02:51. | :02:56. | |
ones are my German pictures, they are all on expensive lens and tilts. | :02:56. | :03:00. | |
And then in the last five years? They are more, then I didn't know | :03:00. | :03:08. | |
what to do. I only use digital for street or snaps, it is, the digital | :03:08. | :03:13. | |
cameras don't have attitudes, they take a similar picture. I have | :03:13. | :03:17. | |
watch my mates use digital and they look at it and say they have got t | :03:17. | :03:21. | |
you never have got T because it is on digital you see it and think you | :03:21. | :03:26. | |
have. On film you don't ever think you have it, you go a bit further. | :03:26. | :03:30. | |
The whole exhibition is your relationship to a particular place, | :03:30. | :03:37. | |
or an area? Or a person. Do you feel, still, distinctly connected | :03:37. | :03:41. | |
to that part of London, that is now becoming the Olympic site? First of | :03:41. | :03:44. | |
all, I don't think it is taking over the whole of the East End, | :03:44. | :03:48. | |
there is plenty of it left. The East End gets pushed and pushed, it | :03:48. | :03:53. | |
will end up in France if it is not careful. Or Holland. It keeps going | :03:53. | :03:56. | |
east. They should have gone west, if they were smart arses, that is | :03:57. | :04:04. | |
the way it end went. Does it make you nostalgic? No, I hate nostalgia, | :04:04. | :04:09. | |
it is awful, it is, I can't think, I hate all those old farts that | :04:09. | :04:13. | |
want to talk about the 60s, and notth's gone, it is done, there is | :04:13. | :04:19. | |
a few snaps of it left, let's move on. Now it is the most interesting | :04:19. | :04:23. | |
moment we are ever going to have, isn't it? | :04:23. | :04:28. | |
I think it probably is, in that philosophical sense, Paul Morley. | :04:28. | :04:33. | |
There is plenty of new work in this exhibition, were you surprised or | :04:33. | :04:36. | |
did it reinforce what you expected him to do? I have always known away | :04:36. | :04:40. | |
from the image of Bailey he's great photographer. It great to see the | :04:40. | :04:44. | |
sense of the now of the 60s, that was his now, he was in his element, | :04:44. | :04:49. | |
it is this energy, and a craving of these people he captures, some more | :04:49. | :04:55. | |
famous than others. It tell us how this is both an exhibition about | :04:55. | :04:59. | |
Bailey's growth and the East End of London, and the parts are well done. | :04:59. | :05:04. | |
The tremendous sense of him discovering himself in the 60s. In | :05:04. | :05:08. | |
the 80s, as he says, there is a coldness about it, he's using it as | :05:08. | :05:13. | |
a back drop. The East End has gone into stasis, it is dropping off the | :05:13. | :05:17. | |
edge of the planet. It is almost beyond him when it goes digital. | :05:17. | :05:21. | |
You realise the great analog period is over in many sorts of ways, and | :05:21. | :05:28. | |
that energy and depth and life of the 60s has become ghostly he is | :05:28. | :05:31. | |
not sentimental about t he's still looking and finding things. | :05:31. | :05:34. | |
Equipment isn't helping him. There is a brittleness about it -- the | :05:34. | :05:39. | |
equipment isn't helping him, there is a brittleness about it, that is | :05:39. | :05:44. | |
clear to the times. These are historical documents, is there a | :05:44. | :05:50. | |
timelessness, does Bailey manage to transcend his time, or is he always | :05:50. | :05:54. | |
emphatically seeming to produce it? He is of his time, that is why he's | :05:54. | :05:57. | |
such a brilliant photographer. So interesting to hear him talking | :05:57. | :06:03. | |
about the 60s, and not being nostalgic about the 60s, he's so | :06:03. | :06:06. | |
right, I'm sick of hearing about the swinging 60s, for those who | :06:06. | :06:09. | |
lived in the decade the party was happening somewhere else, and you | :06:09. | :06:15. | |
were on your own in a street in Stepney or Hackney. Or in Ronnie | :06:15. | :06:19. | |
Kray's pub, which was firebombed moments after he took those photos | :06:19. | :06:24. | |
there. If you look at some of the photos from 1961, you would say | :06:24. | :06:29. | |
they were blilts photos, these are bombed and devastated streets. He | :06:29. | :06:34. | |
has such tenderness for them. It takes place in the compressor | :06:34. | :06:38. | |
building that was an old refrigerator. Without being too coy | :06:38. | :06:42. | |
about it, the warmth out of the exhibition is enormous, he loved | :06:42. | :06:47. | |
the taking of the photos, he loved the selecting, very few photos, not | :06:47. | :06:51. | |
man in there at all. I get the sense he's being very involved in | :06:51. | :06:57. | |
the way they have been mounted. I know he has, we were talking to the | :06:57. | :07:04. | |
attendant, he said they made them find a tape producer for the labels, | :07:04. | :07:10. | |
and they had to get one from the 60s. I love that he has said he | :07:10. | :07:14. | |
doesn't like old farts getting nostalgic about the 60s, what about, | :07:14. | :07:18. | |
then, the present in Bailey's work, what about the more recent | :07:18. | :07:22. | |
photographs in particular, you live and work in the East End. Is this | :07:22. | :07:27. | |
your East End, or does it chime with Bailey's East End? Which | :07:27. | :07:32. | |
picture really struck me, from the 1960s, and I think what he does is | :07:32. | :07:36. | |
very complex, it is the one in Spitalfields that we have shown, | :07:36. | :07:41. | |
with the church in the background, I used to be a brownie at a | :07:41. | :07:44. | |
neighbouring church down the road. What you have in that picture is | :07:44. | :07:48. | |
not just a sense in the foreground of the wreckage of an Industrial | :07:48. | :07:52. | |
Society, but you have that fabulous church that, even the shape of it, | :07:52. | :07:57. | |
the tallness of it, you have got a real sense of prosperity and grand | :07:57. | :08:01. | |
do you remember of the industrial age. So you have these two ages, | :08:01. | :08:05. | |
that he snaps in this one shot. I tell you what I found out about the | :08:05. | :08:10. | |
80s that was interesting. I lived in Docklands, I lived in Wapping | :08:10. | :08:15. | |
for years, the pictures of his wife, I tell you what, I think sometimes | :08:15. | :08:19. | |
what I would have liked is this sense that the Docklands and the | :08:19. | :08:21. | |
warehouses, now people have stopped working in them, now they are | :08:21. | :08:25. | |
living in them. I would have liked some pictures of people living in | :08:25. | :08:28. | |
the warehouses, because I think sometimes we get this impression | :08:28. | :08:33. | |
that the 80s in the East End was a dead time, it wasn't actually at | :08:33. | :08:37. | |
all. It is about the idea of dwelling slightly on the 60s, now | :08:37. | :08:41. | |
we are beorning to work out what was going on -- beginning to work | :08:41. | :08:45. | |
out what was going on there, we are asking the questions and disregard | :08:45. | :08:48. | |
them. And the idea that people were trying to piece together a new | :08:48. | :08:53. | |
world, and sourcing their own sense of freedom, I think Bailey's trying | :08:53. | :08:56. | |
to find his freedom. In the programme today it is interesting | :08:56. | :08:59. | |
to see an unmonitored sense of people away from constantly being | :08:59. | :09:04. | |
caught out and looked at. Bailey is capturing something that was rare | :09:04. | :09:09. | |
to capture. Now, most images are constant, ever present. You get | :09:09. | :09:14. | |
something really rare about the past that transcends being just | :09:14. | :09:17. | |
nostalgic, you are not looking at it to say the good old days, but | :09:17. | :09:20. | |
you are seeing a real energy, and the complexity of the photographs, | :09:20. | :09:24. | |
the sense of the overwhelming nature of history, to an extent had | :09:24. | :09:28. | |
fallen apart. And people with real, boisterous energy, like Bailey, | :09:28. | :09:34. | |
starting to piece it back together. For me, he really gets into the | :09:34. | :09:38. | |
whole of the East End, when people go into East London, particularly | :09:38. | :09:44. | |
now, if you see films, it is gritty, tough, poor and downtrodden, if you | :09:44. | :09:48. | |
look at the pictures in the club, they are suited and booted, the | :09:48. | :09:52. | |
people in the club have their cufflinks on. It was a real thing | :09:52. | :09:57. | |
you had to make yourself look good. Baileyesque almost, it is a big | :09:57. | :10:02. | |
thing in communities. That is a nice thing to end it on, we are | :10:02. | :10:06. | |
setting up what the future and the East End is now, not just suited | :10:07. | :10:11. | |
and boot, but clad in high-tech. For the moment, David Bailey's, | :10:11. | :10:15. | |
East End runs in the Royal Docks until August, there is a longer | :10:15. | :10:20. | |
verse of the interslew on the website. Some of Bailey's -- on the | :10:20. | :10:25. | |
interviews on the website. One of the stated aims of the London 2012 | :10:25. | :10:29. | |
Olympics was to transform and regenerate a neglected area of the | :10:29. | :10:34. | |
city. The results are visible in the Olympic Park, containing eight | :10:34. | :10:40. | |
new venues, alongside Britain's tallest work of art, and a 4,000 | :10:40. | :10:47. | |
square metres megastore. Beijing's centre piece was the | :10:47. | :10:51. | |
bird's nest, it was always going to be hard act to follow. London's bid | :10:51. | :10:56. | |
for the 2012 Olympics took a different approach, these are the | :10:56. | :10:59. | |
sustainable games, where function trumps form, and buildings are | :10:59. | :11:04. | |
lauded for their green credentials. The main stadium fits the bill. A | :11:04. | :11:07. | |
straight forward structure praised for the use of low-carbon concrete, | :11:07. | :11:14. | |
and the removal is up a teir, making it more viable. The | :11:14. | :11:20. | |
velodrome has made an affectionate nickname, the pringle. The exterior | :11:21. | :11:28. | |
echoing the shape of the track outside, has won many fans. It has | :11:28. | :11:36. | |
been likened to a Stradivarius. The Aquatic Centre, with the wave-like | :11:36. | :11:40. | |
roof, with highboards, and has secured approval from architects | :11:40. | :11:48. | |
and swimmers alike. Other notable new venues are made to the | :11:48. | :11:52. | |
sustainable brief, a reuseful basketball arena, and the copper | :11:52. | :11:57. | |
box, set to become a community sports centre. The stand out | :11:57. | :12:03. | |
structure is the Orbit, it is said to be inspired by the Tower of | :12:03. | :12:09. | |
Babel, but it is more akin to a giant Helter Skelter. As the | :12:09. | :12:14. | |
tallest tower in Britain, it comes with impressive views and a high | :12:14. | :12:18. | |
price tag. Will it become the legacy of London 2012. | :12:18. | :12:23. | |
How did these buildings measure up as landmarks, to previous Olympic | :12:23. | :12:31. | |
landmarks? I think we are judging them a bit too soon, nothing is | :12:32. | :12:37. | |
bedded in yet. When you go to the Olympic Park it is like a fun fair | :12:37. | :12:42. | |
ride, you are arrive on the DLR or the cable car, it feels like an | :12:42. | :12:46. | |
adventure. It is a really mixed bag. Definitely, the Pringle wins out | :12:46. | :12:51. | |
over the volume will you vent, and none match up to the bird's nest. | :12:51. | :12:56. | |
We can develop our new Cockney rhyming slang with all the names we | :12:56. | :13:00. | |
give them. I have been underwhelmed by the buildings, apart from the | :13:01. | :13:05. | |
velodrome, which is equisitely beautiful. It looks like what we | :13:05. | :13:10. | |
are getting right, is it is called an Olympic Park, and for good | :13:10. | :13:15. | |
reason, there is a goodment amount of green space. I want to see as | :13:15. | :13:19. | |
the park develops and matures. Space as much as structure? I have | :13:19. | :13:23. | |
seen quite a lot of this being built, in the car as we drive-by | :13:23. | :13:28. | |
the Olympic stadium, and the velodrome. I have to say, like | :13:28. | :13:32. | |
Bettany, I'm underwhelmed by it all. I don't hear people talking about | :13:32. | :13:36. | |
it, not in the way people are talking about the Shard, you either | :13:36. | :13:41. | |
like it or you don't, but people are talking about it. I remember | :13:41. | :13:45. | |
when the Arsenal stadium of being built, did people talk about that. | :13:45. | :13:51. | |
Only Arsenal fans? No, everyone talked about it. I have to say, in | :13:51. | :13:55. | |
terms of talking about this new architecture, I'm a believer in why | :13:55. | :14:01. | |
not use what we had already, like they did in 1948, very localised | :14:01. | :14:04. | |
games, very successful. The athletes came into accommodation | :14:04. | :14:09. | |
now that was there. And also that venues that were there. I don't | :14:09. | :14:15. | |
know why we spent all this money. You want a Poundland Olympics, more | :14:15. | :14:19. | |
appropriate to the high streets as they are. I want something that | :14:19. | :14:21. | |
focuses on the Olympics, individuals and their talents and | :14:21. | :14:26. | |
what they can do. Looking at the building and space, this was billed, | :14:26. | :14:30. | |
if not the "Austerity Games" of 1948, one of the selling points | :14:30. | :14:34. | |
that Sebastian Coe made to the Olympic Committee, is he would | :14:34. | :14:38. | |
leave the Olympics in a more sustainable state, in terms of | :14:38. | :14:43. | |
structures and buildings. Does that chime with you, have they succeeded | :14:43. | :14:51. | |
in that? It has redrawn my map of East London, therefore, it might | :14:51. | :14:58. | |
redraw the map of East London to a large extent. When you see the | :14:58. | :15:02. | |
street down Bethnal Green, it looks like a distressed rollercoaster, | :15:02. | :15:06. | |
close it is something else. There is a sense of inside an enclosed | :15:06. | :15:13. | |
space, what has happened is a Balardic construct, an other place, | :15:13. | :15:16. | |
the need for the British to present the Olympics in their own way, and | :15:17. | :15:21. | |
the history of the Olympics has created a sub totalitarian bubble, | :15:21. | :15:27. | |
where suddenly the Olympic rings have the feeling of a totalitarian | :15:27. | :15:33. | |
logo. Something sinister has joined in, not the joyfulness of the rings | :15:33. | :15:38. | |
replaced by that. The rings remind me when you had the hypermarkets at | :15:38. | :15:42. | |
the edge of down. They are monuments to capitalism, who are | :15:42. | :15:47. | |
these monuments to? To a few people's egos, within it is a | :15:47. | :15:51. | |
wonderful thing. One or two architects have responded to the | :15:51. | :15:55. | |
freedom of the brief to create wonderful things that no-one else | :15:55. | :15:59. | |
has allowed them to do. temporary is an interesting thing, | :15:59. | :16:05. | |
funnily enough, sculpture in the public domain has become temporary, | :16:05. | :16:11. | |
but in the Olympic Park it is permanent. I want to say to you, | :16:11. | :16:15. | |
Paul, I think you are being a bit harsh on it, I think, actually, | :16:15. | :16:20. | |
there is an permanence there. There is tempity stuff coming away. But | :16:20. | :16:24. | |
there is a character of London that you can't beat down. We have too | :16:25. | :16:28. | |
deep roots to destroy. That the fact you have the beautiful | :16:29. | :16:33. | |
buildings, but still, muddy old Bow Creek is surging around the corner. | :16:33. | :16:37. | |
You were saying that, about the energy and character of the people, | :16:37. | :16:40. | |
it doesn't represent this kind of London, it is droplets of something | :16:40. | :16:45. | |
else. If you talk to local people, there is a real disconnect with | :16:45. | :16:48. | |
those buildings. I think it is what you are saying, Paul, it seems to | :16:48. | :16:52. | |
be happening over there. That may change when the Olympic Park is | :16:52. | :16:58. | |
opened? And the long-term. They look like carcasses already. | :16:58. | :17:02. | |
that edifying and optimistic note, we will end that. We will move. | :17:02. | :17:07. | |
love sport! We will move into the creative domain. The Olympics may | :17:07. | :17:12. | |
not have started yet, but we have almost reached the end of the | :17:12. | :17:16. | |
fourth year of the Cultural Olympiad. According to the | :17:16. | :17:20. | |
organisers more than 16 million people have taken part in or | :17:20. | :17:23. | |
attended performance in the largest cultural celebration in the history | :17:23. | :17:28. | |
of the modern Olympics. If you feel it has passed you buy, don't worry, | :17:28. | :17:34. | |
the London 2012 festival is in full swing. As the Cultural Olympiad | :17:34. | :17:39. | |
races towards the finish line, the arts baton is passed to the 2012 | :17:39. | :17:45. | |
festival. An all-encompassing programme, bringing together | :17:45. | :17:50. | |
artists from all over the world. The festival deserves a gold medal | :17:50. | :17:55. | |
for the sheer scale of programming. You may have attended an exhibition | :17:55. | :18:05. | |
:18:05. | :18:05. | ||
Apology for the loss of subtitles for 57 seconds | :18:05. | :19:02. | |
It's clearly enormous, does that size reflect ambition and | :19:02. | :19:05. | |
achievement for you? It does, I think if you are going to have a | :19:06. | :19:09. | |
party, have a big one. I think it does, I think if you're having an | :19:09. | :19:13. | |
Olympics that is looking at humour, endurance and achievement, why not | :19:13. | :19:17. | |
have cultural events as well. What I love about what we are doing with | :19:17. | :19:20. | |
this festival is we are drawing in artists, I believe, from all the | :19:20. | :19:25. | |
countries taking part in the Olympic. What we are doing is | :19:25. | :19:27. | |
putting British achievement, cultural achievement, in the | :19:27. | :19:31. | |
context of world achievement. I just think it is fantastic. We are | :19:31. | :19:35. | |
also having everything from the Proms, to Tate Modern exhibitions, | :19:35. | :19:41. | |
to various projects that may have exists any wa, but is the 2012 | :19:41. | :19:46. | |
Festival a good idea, because it gains a momentum and gives a sense | :19:46. | :19:50. | |
of something much larger? There is an obligation to the shadowy | :19:50. | :19:54. | |
figures that run the International Olympic Committee that this must be | :19:54. | :20:04. | |
:20:04. | :20:04. | ||
done. Sorry to be all Albert Steptoe, I love art and sport, I | :20:04. | :20:08. | |
think there is a cultural obligation. The closer you get to | :20:09. | :20:14. | |
that, and things squeezed in to being sporty, and inclusive, and in | :20:14. | :20:17. | |
the long run it is anti-democratic, it gets cold. I get the feeling if | :20:18. | :20:22. | |
you have been to some things and didn't know you were the Olympiad, | :20:22. | :20:25. | |
you would have come across fantastic things. As soon as it | :20:25. | :20:29. | |
gets close to that bloody logo it starts to shiver into the corporate | :20:29. | :20:33. | |
world that is slightly underwomening. The ambition and | :20:33. | :20:38. | |
idea of sell -- underwomening, the ambition and the idea of selling it, | :20:38. | :20:43. | |
it is not all the bleeding obvious. A lot of the mainstream celebration | :20:43. | :20:48. | |
and cermonial aspect of the Olympics is the bleeding obvious, | :20:48. | :20:54. | |
it is great to get things around the edge that are not. Does it | :20:54. | :20:57. | |
matter the Olympiad cultural festival? David Bailey is not part | :20:57. | :21:02. | |
of the festival, and part of CREATE. The art is great as long as the | :21:02. | :21:06. | |
audiences are right. There were interesting kids in the David | :21:06. | :21:10. | |
Bailey, I have been to the events and it is your standard public, it | :21:10. | :21:13. | |
doesn't seem to be anybody new coming to appreciate the art. | :21:13. | :21:17. | |
go deeper into the art, in particular, we have seen the | :21:17. | :21:22. | |
festival is nothing if not diverse, the film strnd is small t includes | :21:22. | :21:28. | |
-- strand is small, it includes four of our known directors and two | :21:28. | :21:33. | |
new ones. From the director of the acclaimed documentary, Senna, | :21:33. | :21:38. | |
coming The Oddyssey. It is a mixture of aerial footage, Olympic | :21:38. | :21:43. | |
archive, and interviews with unnamed Londoners, recalling the | :21:43. | :21:47. | |
excitement of the announcement of the games in 2005, and reflecting | :21:47. | :21:52. | |
the troubles since. It celebrate the inspirational power of sports, | :21:52. | :21:57. | |
and asks, if London, in spite of recent difficulties, can bounce | :21:57. | :22:01. | |
back. Lifetimes of stuff has happened, since that joyous | :22:01. | :22:05. | |
screaming day in Trafalgar Square, but it is still London. | :22:06. | :22:12. | |
It probably is still the greatest city in the world. Mike Leigh's A | :22:12. | :22:19. | |
Running Jump, is fast-paced comedy about an all singing and diving car | :22:19. | :22:25. | |
salesman, desperate to nail a sale. Shimmy on in and take a test flight. | :22:25. | :22:28. | |
You can drive this with chopsticks and wash it on a Saturday night. | :22:28. | :22:33. | |
Away you go. Leight's film also reflects the importance of sport in | :22:33. | :22:37. | |
people's lives. From armchair punditry, to the teaching of | :22:37. | :22:46. | |
aerobics and yoga. And reverse, into your cow. | :22:46. | :22:54. | |
Set on a London council estate, What If, by the street dancing | :22:54. | :23:04. | |
:23:04. | :23:05. | ||
directing duo, draws on Rudyard Kipling's people If, a guardian | :23:05. | :23:09. | |
angel guides a young boy through his troubles. Your's it is earth | :23:09. | :23:15. | |
and everything in it. And which is more, there will be -- | :23:15. | :23:25. | |
:23:25. | :23:26. | ||
you will a man, my son. Swimmer is Lynn Ramsey's poetic | :23:26. | :23:30. | |
interpretation following a swimmer through Britain's waterways, lakes, | :23:30. | :23:37. | |
rivers and urban canals. Intended as a showcase of Britain's finest | :23:38. | :23:42. | |
director, these show radically different interpretations of a wide | :23:42. | :23:49. | |
brief. Do they represent the best of British film making talent? | :23:49. | :23:54. | |
How was the balance for you, both of the directors chosen and the | :23:54. | :23:58. | |
films produced? It was a great balance. You have a very quirky, | :23:58. | :24:02. | |
fast-moving film with Mike Leigh, A Running Jump, then you have the | :24:02. | :24:09. | |
documentary, that is great, I loved that. You get such an aerial vision, | :24:09. | :24:13. | |
The Oddyssey, then you get the Swimmer, which to me was a lot more | :24:13. | :24:17. | |
abstract. It was the one I didn't connect with. I could see people | :24:17. | :24:21. | |
connecting with it, it is absolutely beautiful. The favourite | :24:21. | :24:28. | |
one for me was What If, it made me for the first time like brutalist | :24:28. | :24:36. | |
architecture, I absolutely ait hate that. But they use it to show sport | :24:36. | :24:41. | |
really well. And the nod to the Paralympics with the baseball | :24:41. | :24:46. | |
player in the baseball court in a wheelchair. The basketball player? | :24:46. | :24:50. | |
None of them feel like films that would have been commissioned by a | :24:50. | :24:54. | |
tourist board, maybe that was never going to happen. But they give, to | :24:54. | :24:57. | |
a certain extent, warts and all view of Britain, with the | :24:57. | :25:03. | |
exceptional of Swimmer, much more poetic? I wouldn't argue with you, | :25:03. | :25:08. | |
The Oddyssey could be given to the tourist board, beautiful aerial | :25:08. | :25:12. | |
shots. It has the financial crisis? Then you go back to the wonderful | :25:12. | :25:20. | |
sunset across the Shard. They are an eclectic mix, I love the Lynn | :25:20. | :25:25. | |
scam Ramsey, completely abstract and it seems to be the most about - | :25:25. | :25:29. | |
- Lynn Ramsey, completely abstract and it seems to be the most about | :25:29. | :25:39. | |
London. It is waters all around us and the swimming is part. As a | :25:39. | :25:45. | |
historian you must have liked it? There was a Famous Five theme tune | :25:45. | :25:50. | |
to it, she enjoyed making it, you could see that. I love films, there | :25:50. | :25:54. | |
was the thing that happens, I hate to come back to it, it is the sense | :25:54. | :25:58. | |
of obligation. Here it is, we have to dot films now. In that sense, | :25:58. | :26:02. | |
Mike Leigh's was the most honest because it was so slap dash and | :26:02. | :26:08. | |
thrown away, it was like a weak sitcom F he was the Woody Allen, it | :26:08. | :26:13. | |
was the film that would be his worst. The Lynn Ramsey and the What | :26:13. | :26:17. | |
If, and The Oddyssey, they are interesting, they have a sense of | :26:17. | :26:22. | |
whistfulness and bleakness, honest in a different sort of way. I like | :26:22. | :26:25. | |
the idea that The Oddyssey could be a travel log film, it could be | :26:25. | :26:28. | |
selling London to the rest of the world. There is a thing that Jeremy | :26:28. | :26:35. | |
Hunter wants us to move up from the legal tables of most visited | :26:35. | :26:41. | |
countries, from sixth to fifth. I guess that is what it is about, it | :26:41. | :26:45. | |
is what are these films saying about London at the moment a l they | :26:45. | :26:51. | |
achieve it. The Ramsey one, looking back to a postoral Britain, a | :26:51. | :26:54. | |
psycadelic Britain, in black and white, is maybe what will bring | :26:54. | :26:57. | |
people. To an extent The Oddyssey as well, the sense that London is | :26:57. | :27:01. | |
an anxious and tough place, and it represents that really well. But | :27:01. | :27:04. | |
also with a rather British sentimental quality as well. Just | :27:05. | :27:09. | |
to say, it is a shame, I think, as you said it is the best of British | :27:09. | :27:13. | |
making film talent, but not the best films they have ever made. | :27:13. | :27:17. | |
should be, we are going to watch athletes in that. Jo what is the | :27:17. | :27:22. | |
brief, who is in charge? I found it difficult, it needs that thing that | :27:22. | :27:26. | |
at the moment that is so out of fashion, which maybe Danny Boyle | :27:26. | :27:32. | |
will deliver, which is one voice, not this inclusive thing. We don't | :27:32. | :27:37. | |
live We don't live in a country of one voice. You need one in control. | :27:37. | :27:40. | |
That is the problem, it was interesting, this year I went to | :27:40. | :27:47. | |
see John Carlos, one of the Olympiads from 1968, with the Black | :27:47. | :27:51. | |
Power salute, which he said wasn't Black Power, he was talking about | :27:51. | :27:54. | |
what we allow to happen to ourselves, is we allow people to | :27:54. | :27:59. | |
choose our icons, that is kind of almost your modern one voice, that | :27:59. | :28:03. | |
everyone filters through, I don't think it is like that. I think we | :28:03. | :28:06. | |
can have many voices and pathway, that is what I liked about the | :28:06. | :28:13. | |
films, it gave us an eclectic range of forces. Choosing Noel Clarke as | :28:13. | :28:20. | |
our icon. What is wrong with him? That delivery of "If". It was great. | :28:20. | :28:30. | |
:28:30. | :28:33. | ||
No, no, no. They felt slightly committeeised. There were still six | :28:33. | :28:38. | |
executive producers. And the sport was squeezed in. The sport was the | :28:38. | :28:42. | |
overarching thing, you think that was tokenistic. What is it saying, | :28:42. | :28:45. | |
an unexpected sporting moment, not planned and not an ad telling us | :28:45. | :28:49. | |
what will happen, will light up the Olympic Games. At the moment there | :28:49. | :28:51. | |
is so much ordering and organising of how we should respond, and even | :28:51. | :28:57. | |
this art is doing that. I think they have enabled art is a terrible | :28:57. | :29:02. | |
thing. You want the one voice. missing something and focus, its a | :29:02. | :29:05. | |
committee, the committee is the voice. The wider committee, once | :29:05. | :29:10. | |
you start to get inclusive is the voice. That won't lead it a good | :29:10. | :29:14. | |
place, this called Blue Peter inclusiveness. As tkhair of the | :29:14. | :29:18. | |
committee I will stop this -- as chair of the committee, I will stop | :29:18. | :29:23. | |
this. Unlike this sofa here, actually BBC Two and Channel 4 have | :29:23. | :29:29. | |
collaberated on this proebgtj, all films will be shown -- project, all | :29:29. | :29:35. | |
films will be shown next week. In an attempt to cover as much ground | :29:35. | :29:38. | |
as possible, we have split the panel up and sent them to report on | :29:38. | :29:42. | |
different events. Bettany, you first, you went to the Royal Opera | :29:43. | :29:46. | |
House, to see a collaboration that involved ballet, choreographer, | :29:46. | :29:56. | |
:29:56. | :29:57. | ||
dancers, artists and a robot? robot who is a goddess. It wasn't | :29:57. | :30:00. | |
entirely coincidental, there is an ancient historic theme to this, | :30:00. | :30:04. | |
that is why I leapt at the chance to see it. There is a lot of names, | :30:05. | :30:10. | |
I went to see Titian 2012, there is also Metamorphosis, at the national | :30:10. | :30:16. | |
gall hery they are responses to this extraordinary group of peoples, | :30:16. | :30:21. | |
in particular the story of Diana and Acteon, the cheeky hunter, who | :30:21. | :30:28. | |
spies on her, turns into a stag, and eaten by his own hounds. | :30:28. | :30:32. | |
Chris Ofili, responding to Titian, and in turn they have worked with | :30:32. | :30:42. | |
:30:42. | :30:42. | ||
Apology for the loss of subtitles for 57 seconds | :30:42. | :31:27. | |
the Royal Ballet. Let's see the Plenty of Metamorphosis there, did | :31:27. | :31:32. | |
it do justice to its origins? I loved the ambition of the project, | :31:32. | :31:37. | |
I loved the fact it could have gone so spectacularly wrong, you have so | :31:37. | :31:41. | |
many people involved, it short circuited you back to the | :31:41. | :31:45. | |
brilliance, and beyond that to the primal, prehistoric roots of the | :31:45. | :31:51. | |
games themselves, like the sanctuary of Artimis, a spiritual, | :31:51. | :31:56. | |
dark, dangerous place, Trespass, gets you straight there. It | :31:56. | :32:01. | |
succeeds on every level. It is at the Royal Ballet, but there is an | :32:01. | :32:07. | |
exhibition at the national gallery and there is a book. Something more | :32:07. | :32:10. | |
temporary, you were in Stratford at the royal theatre in Stratford, you | :32:10. | :32:13. | |
weren't inside, what were you doing? This is a collaboration | :32:13. | :32:21. | |
between the theatre Royal, strat -- Theatre Royal, and an Australian | :32:21. | :32:27. | |
company, it is an award-winning production, called On Route, you | :32:27. | :32:31. | |
turn up in a designated space outside, someone sends you to | :32:31. | :32:36. | |
someone else, you get a set of headphones and an MP3 player, and | :32:36. | :32:42. | |
lots of interactive instructions, envelopes on walls, messages own | :32:42. | :32:47. | |
walls, tracks telling you where to go. You start wandering in spaces | :32:47. | :32:52. | |
you wouldn't usually wander. It is a fantastic example of psycho- | :32:52. | :32:57. | |
geography. The idea is people in urban dwellings are meant to send | :32:57. | :33:01. | |
off their beaten track. I ended up in spot and spaces. I know | :33:01. | :33:07. | |
Stratford well, that I would never end up in. Let's see where you did | :33:07. | :33:12. | |
end up. If I told you a loved and hated the city. Loved and hated the | :33:12. | :33:17. | |
way it surprises me, the way it changes, transforms. If I told you | :33:17. | :33:22. | |
I loved this city. Loved and hated the way it takes me with it, | :33:22. | :33:31. | |
absorbs me. Love the way it surprises me. Would you believe me? | :33:31. | :33:41. | |
:33:41. | :33:47. | ||
Take a photo, now, take a photo. Licensed graffiti there. I loved it. | :33:47. | :33:50. | |
Did you feel vulnerable, did you feel you were being taken to place | :33:50. | :33:55. | |
you didn't necessarily want to go? Definitely, for example, there were | :33:55. | :34:00. | |
a couple of stairwells, if I had been on my own, I had somebody with | :34:00. | :34:03. | |
me, I wouldn't have actually gone up. I know the theatre company they | :34:03. | :34:06. | |
were monitoring and making sure you were safe. But as a woman, every | :34:06. | :34:10. | |
now and then, I thought, if I was doing this on my own, he wouldn't | :34:10. | :34:14. | |
go to certain spaces. But, you knew somebody was looking after you. So | :34:14. | :34:17. | |
it was great in that sense, because you were then able to enter spaces | :34:17. | :34:23. | |
you wouldn't go to. Theatre tends to be, obviously we're isolated | :34:23. | :34:28. | |
individuals, but we experience it communally, this seemed to be a | :34:28. | :34:32. | |
more isolated experience, of that strong? What they wanted to do was | :34:32. | :34:35. | |
to make it a solitary experience, for somebody to do on their own of | :34:35. | :34:40. | |
the I'm not that kind of person, I want somebody with me, I had | :34:40. | :34:44. | |
somebody with me, every now and then I could flip the ear phones of | :34:45. | :34:49. | |
and ask what you think and what will you write on the wall. | :34:49. | :34:52. | |
Something very nice happens to you at the end, which I won't tell | :34:52. | :34:55. | |
anybody about. People can experience it for themselves. Paul, | :34:55. | :35:01. | |
had you the monumental job of experiencing as many of the 20, | :35:02. | :35:05. | |
2012 commissions for music, 12- minute slots each. They have been | :35:05. | :35:08. | |
played in various place all over the country. For the first time | :35:08. | :35:11. | |
they were all performed over the same weekend at the Southbank | :35:11. | :35:21. | |
:35:21. | :35:48. | ||
# Can you not stop running # Stop running | :35:48. | :35:58. | |
:35:58. | :36:10. | ||
So how was it for you? Just wandering into spaces you never | :36:10. | :36:14. | |
usually wander, that is the function of this kind of music, | :36:14. | :36:17. | |
contemporary music. I love music, what is interesting about that is | :36:17. | :36:22. | |
the idea that some of this contemporary music will be some of | :36:22. | :36:27. | |
the most marginalised alleyways of modern culture, to an extent. It is | :36:27. | :36:31. | |
often the distance is down ununusual alleyways, it is an | :36:31. | :36:34. | |
opportunity for them to get some attention. Within that you kind of | :36:34. | :36:39. | |
think, there has to be 20, and they have to be 12 minutes each, they | :36:39. | :36:42. | |
didn't have to have a sporting theme, but everybody did do them. | :36:42. | :36:48. | |
There is lots of lines on the stage. That was a frame for people to kick | :36:48. | :36:52. | |
against? It is interesting, it workeded in a number of ways. The | :36:52. | :36:57. | |
opera, in 12 minutes it is a tremendous opera. It gave us an | :36:57. | :37:04. | |
opportunity to come across someone like Graham Phikin, one of the | :37:04. | :37:09. | |
great composers in the country, no- one will know his name. Even though | :37:09. | :37:15. | |
he's squashed into being one of the 20, you get a sighting of someone | :37:15. | :37:20. | |
who needs more exposure. That was a real success. People wandering off | :37:20. | :37:24. | |
the streets too, because they were free. People sit down and coming | :37:24. | :37:28. | |
across different forms of music, way outside the Gary Barlow end of | :37:28. | :37:32. | |
things. And being excited, seeing different levels of fantasy, noise, | :37:32. | :37:36. | |
ways of expressing themselves. Even though the thing had that thing | :37:36. | :37:41. | |
that I love music, but the relay, it is a marathon, I think this was | :37:41. | :37:45. | |
a tremendous example of how a focus over things released over a year or | :37:45. | :37:48. | |
two suddenly came into one place, and really gave a meaning about | :37:49. | :37:53. | |
other places to listen to, that are usually covered up. Instead of the | :37:53. | :37:57. | |
idea about Olympics and the Cultural Olympiad being about | :37:57. | :38:02. | |
legacy in terms of monument or works of art that will last, I get | :38:02. | :38:05. | |
the impression from you all that the strongest things are | :38:05. | :38:10. | |
experimental, and are only with now, and what happens in the future are | :38:10. | :38:13. | |
not a concern of the those creating them? It is interesting that it | :38:13. | :38:17. | |
needs something like this to give access and space to the tremendous | :38:17. | :38:20. | |
nature of what is at the heart of this, one of the most central parts | :38:21. | :38:23. | |
of our soul, which is experimentation. But the corporate | :38:23. | :38:28. | |
world, of course, continue, and tries to undermine it, because it | :38:28. | :38:31. | |
is ideolgical, they want to control that, because it leads to the sort | :38:31. | :38:35. | |
of freedom they wouldn't like, and we would all be complaining about | :38:35. | :38:39. | |
the totalitarian logo. The legacy is the moment when your mind is | :38:39. | :38:43. | |
open to something new. That is the thing. And we share it. I think it | :38:44. | :38:49. | |
is the connections people make, dare I use the word "inclusive" | :38:49. | :38:54. | |
connections people make. We may have agreement breaking out. We | :38:54. | :39:00. | |
will end with historical precedence, the arts and Olympics have a long | :39:00. | :39:05. | |
shared history, a long time ago, artists were up for medals | :39:05. | :39:11. | |
alongside the athletes. The revival of the Olympics came down it a | :39:11. | :39:15. | |
Frenchman. Art was just as important to his vision as sport. | :39:15. | :39:19. | |
He wanted the event to unite the muscles and the mind. | :39:19. | :39:25. | |
Beginning with the stock Millennium Dome games of 1912, art med -- | :39:25. | :39:32. | |
Stockholm games in 1912, art medals were given out in 12 catagories, | :39:32. | :39:37. | |
sculpture, music, literature and art. They had to relate to sport in | :39:37. | :39:42. | |
some way. Works have been submitted from all over the world. This group | :39:42. | :39:50. | |
in plaster from Sweden has won a first prize. He himself won the | :39:50. | :40:00. | |
:40:00. | :40:04. | ||
literature measure, with his Ode to Even athletes got in on the act, | :40:04. | :40:08. | |
several wins medals for sports and art. | :40:08. | :40:17. | |
Bartok, Ravel and Stravinsky sat on the music board, but were so | :40:17. | :40:21. | |
unimpressed they didn't award a single medal. Few Olympic artists | :40:21. | :40:26. | |
are remembered today. After 1948 art medals were dropped in favour | :40:26. | :40:30. | |
of exhibitions and festivals. If art medals had survived, who would | :40:30. | :40:37. | |
be on the podium this year? Bettany, is this an hissoral idea | :40:37. | :40:44. | |
to be resurrected in further -- an historic idea to be r resurrected? | :40:44. | :40:53. | |
It was Mark Wenlock who reinvented the Olympic Games, and had medals | :40:53. | :40:57. | |
for embroidery. I think we should have medals for the unsung heros. I | :40:57. | :41:04. | |
would like to see a medal for a group that have revived | :41:04. | :41:09. | |
synchronised swimming in Worthing. Who would get your medal for | :41:09. | :41:16. | |
cultural achievement in the Cultural Olympiad? Dr D, Rufus N | :41:16. | :41:22. | |
Norris, a beautiful collaboration with David Albarn. The great and | :41:22. | :41:26. | |
the good getting your medals? a man of the street. I don't agree | :41:26. | :41:30. | |
they should be brought back. Because I think it is the Olympics, | :41:30. | :41:34. | |
and it should be a focus on sports, I used to do sports when I was | :41:34. | :41:38. | |
younger, I would love it see that continue. In the spirit of my crass | :41:38. | :41:42. | |
question, who would win the medal for you. I wouldn't choose anyone, | :41:42. | :41:46. | |
I have an issue with the question, my issue is, I often think awards | :41:46. | :41:51. | |
are done by a small select group of people, and the majority of people | :41:51. | :41:54. | |
don't get to vote, really, we would be choosing the great and the good. | :41:54. | :41:59. | |
If you asked me, I want people who do cake-making, corb chet, and | :42:00. | :42:09. | |
those kind of people. There was an excellent piece I | :42:09. | :42:16. | |
didn't mention called Spinal Chords. I love this, I would give all sorts | :42:16. | :42:22. | |
of people it. The gold medal should go to the cast of 2012 they are our | :42:22. | :42:26. | |
enduring legacy I'm hoping Danny Boyle will be energetic and | :42:26. | :42:30. | |
romantic and eccentric enough to win a medal as well. That is almost | :42:30. | :42:36. | |
all from us, review show medals and Jim Will Fix It to Paul and Bettany, | :42:36. | :42:40. | |
they will fight it out in the Green Room. Tell us what you think via | :42:40. | :42:44. | |
Twitter, and check out the website. We are taking a break for the | :42:44. | :42:48. | |
Olympics, but the review show will be back looking at the best of the | :42:48. | :42:53. | |
Edinburgh Festival in August. We leave you with one of the fiech | :42:53. | :42:59. | |
official songs composed for Rock the Games. It is Survival by Muse. | :42:59. | :43:03. | |
# I'm gonna win # Yes I'm gonna win | :43:03. | :43:10. | |
# I will make the fuse # I'll never lose | :43:10. | :43:16. | |
# I choose to survive # Whatever it takes | :43:16. | :43:20. |