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This programme contains some strong I am merrieda. | :00:26. | :00:32. | |
And the planet's greatest arts festival. A polish spectacular, | :00:32. | :00:38. | |
modern Mcdeath haunted by the Middle East. Scandinavian comedians | :00:38. | :00:43. | |
try the luck on the fringe. And two new plays make light of | :00:43. | :00:46. | |
contemporary politics. The tribulations of coalition, and the | :00:46. | :00:52. | |
tragic comic downfall of Tommy Sheridan. | :00:52. | :01:02. | |
:01:02. | :01:09. | ||
Plus a performance from the musical star of Brave, tonight's panel are | :01:09. | :01:17. | |
old hands at the faest value. Mark Thomas performed at the Travis, | :01:17. | :01:27. | |
:01:27. | :01:29. | ||
and has won two awards. And Natelie Hayes has been a survivor of the | :01:29. | :01:34. | |
fringe. The team are reading your tweets even as I speak. | :01:34. | :01:38. | |
The Edinburgh film festival went out with bang with the UK premier | :01:38. | :01:48. | |
:01:48. | :01:49. | ||
Brave, a latest picture from Pixar which on released this week. With a | :01:49. | :01:54. | |
bust blocking like Toy Story, it has a reputation for smart film. | :01:54. | :01:57. | |
They turned their way of Scotland, and for heaven's sakes it is a | :01:57. | :02:03. | |
story about a girl. The stars were out in force for the black tie | :02:03. | :02:08. | |
premier, like Kelly McDonald, Robbie Coltrane and Kevin McKidd. | :02:08. | :02:14. | |
Brave is Pixar's first historic epic, set across the Highlands and | :02:14. | :02:24. | |
:02:24. | :02:27. | ||
islands of medieval Scotland. It boasts their first female lead. | :02:27. | :02:37. | |
:02:37. | :02:37. | ||
am Merida. Kelly McDonald plays the flame haireded heroine, so Connolly | :02:37. | :02:47. | |
:02:47. | :02:50. | ||
is her father. His face scared with one dead eye. Tomboy mer mer - | :02:50. | :02:55. | |
Merida likes nothing more than riding on horseback bare back. | :02:55. | :03:00. | |
She's determined to maintain her freedom, and seeks a supernatural | :03:00. | :03:04. | |
solution with catastrophic results. Brave's producetors toped up their | :03:04. | :03:09. | |
use of real life locations such as Dunnottar Castle. There's even a | :03:09. | :03:15. | |
bit parked for the almost indesieveable, die elect. | :03:15. | :03:19. | |
Politicians, and tourism organisations have grabbed this | :03:19. | :03:23. | |
chance to promote Scotland to a worldwide audience. | :03:23. | :03:29. | |
Brave was a triumph in the opening weekend in the States, but will it | :03:29. | :03:38. | |
hit the Bullseye for local audiences. This is let's hear it | :03:38. | :03:45. | |
for the girls. It is the first time in 201, we've had a female hero, or | :03:45. | :03:50. | |
her wien. But is there a great surprise? It is kind of a | :03:50. | :03:56. | |
disappointing surprise, I was dying for this film to be good. I am a | :03:56. | :04:02. | |
massive pickaxea cry baby, any time when emotional things happen, I | :04:02. | :04:09. | |
cried so hard when looking Up, I had to have two begins. If I'm not | :04:10. | :04:15. | |
crying, someone should get fired. Yeah, that's feisty, and yes, she's | :04:15. | :04:20. | |
got red hair, I was born ready for this film, but she's not very funny. | :04:20. | :04:25. | |
The thing that's joyous about their pictures is they have great | :04:25. | :04:29. | |
friendships, because this is like an old Disney movie, a depairy | :04:29. | :04:33. | |
story, rather than a new story, it is new but feels old, she doesn't | :04:33. | :04:41. | |
have anyone to kick against. Even an old wet nurse. It wasn't like | :04:41. | :04:47. | |
let give her a mate reyark to fight against, they gave her a mum and | :04:47. | :04:53. | |
dad? I took my daughter to see this, and she loved it, relationship | :04:53. | :04:58. | |
between the daughter and mum, and loched that, there are funny bits, | :04:58. | :05:03. | |
where the mum gets transformed and tries to pretend everything is | :05:03. | :05:07. | |
normal and lay out the breakfast table. I think the problem is with | :05:07. | :05:12. | |
Pixar, you come to accept you can go and see it withen adult with | :05:12. | :05:17. | |
children. And if you look at Toy Story, there's amazing subplots | :05:17. | :05:20. | |
with children moving home and moving on, and there's gags about | :05:20. | :05:27. | |
pop culture within it, and none of that here. There's none at all. It | :05:27. | :05:32. | |
kind of does for Scotland what that one did for China. I'm putting that | :05:32. | :05:42. | |
:05:42. | :05:43. | ||
up there, it is not as good as Mulan. What did you think of it | :05:43. | :05:49. | |
was weak, but I didn't mind it. I haven't seen a Pixar movie, I was | :05:49. | :05:54. | |
taken away by the brilliance of technology T advanced so much. It | :05:54. | :05:57. | |
was breath-taking, the hyper realism. When she gets on the horse | :05:57. | :06:04. | |
and rides across the countryside, I was swept away, absolutely swept | :06:04. | :06:11. | |
away. I was between 4-14 youngsters, who were griped. The animation, and | :06:11. | :06:15. | |
the conversation itself, animatetors were saying how did | :06:15. | :06:20. | |
they do some of that stuff, the hair and bear's fur The hair was a | :06:20. | :06:25. | |
character in its own right. Her hair was amazing, the layers, that | :06:25. | :06:32. | |
got in it. That's wrong, if the hair is stealing the scene. People | :06:32. | :06:35. | |
like Billy Connolly, there were fantastic lines. At the top of the | :06:35. | :06:41. | |
castle, and he said "you can see my house from here". Like the 157 | :06:41. | :06:45. | |
chicken skp run, delivering funny lines. In terms of being anything | :06:45. | :06:50. | |
fresh and different, maybe it doesn't need to be, for 4-14-year- | :06:50. | :06:57. | |
olds? I agree, with Mark, the wit is gone, the brilliant one-liners, | :06:57. | :07:01. | |
we get, but the kids don't miss them. They were taken in the heart | :07:01. | :07:07. | |
of the legend. They're not going, how long is it going to be a story, | :07:07. | :07:13. | |
when a girl is a heroine?. Let hope we don't have to wait that long. In | :07:13. | :07:17. | |
a way, what's strange is it feels very much suspiciously so it is two | :07:18. | :07:22. | |
stories that have been welded together. We start out Watt fairy | :07:22. | :07:27. | |
story, so it feels Shren territory, and of course, she's basically, the | :07:27. | :07:32. | |
one who controlled the bow, and shoot, and you think I'm ready for | :07:32. | :07:39. | |
this, OK, a bear, and it feels. has through the mangle for seven | :07:40. | :07:46. | |
years, and of course, animation itself has changed. They've a few | :07:46. | :07:52. | |
writers on it. They have they loads of writers. The funniest things for | :07:52. | :07:56. | |
me was Kevin McKidd speaking in a die elect, because people won't get | :07:56. | :08:03. | |
that and nobody will try, nobody in Scotland will get that That's brave | :08:03. | :08:09. | |
of Pixar. It is but, when you have people who have done smart things, | :08:09. | :08:16. | |
doing Scots stuff, it feels like me old-fashioned and a bit visit | :08:16. | :08:22. | |
Scotland. It's a big training and bonding Monday at that stage, | :08:22. | :08:27. | |
baseed in Scotland, something, I cannot hear Queen, I have tuned in, | :08:27. | :08:37. | |
:08:37. | :08:40. | ||
expecting to hear Queen, what has happened here. Conor Mccloud of the | :08:40. | :08:46. | |
Clan Mccloud. Brave is out now. One of the smallest festivals, The | :08:46. | :08:52. | |
Festival of Politics has started. Bun shenanigans is not confined to | :08:52. | :08:58. | |
Holyrood, it is a death meting show, slap stick show, with an election | :08:58. | :09:03. | |
campaign and two comedies which set the downfall of high flying | :09:03. | :09:09. | |
politicians. Coalition set in 2014 as the current term of Parliament | :09:09. | :09:15. | |
draws to a close, sat tierising the fictional of a leader and advice | :09:15. | :09:23. | |
leader, played by Thorn Tuck. As the next election looms, Cooper's | :09:23. | :09:28. | |
vaelgsship with the Conservativepm has broken down. Despite threats of | :09:28. | :09:30. | |
multiple defection ass poor rateings, he is determined to hang | :09:30. | :09:35. | |
on to power, and to excertificate an iron grip on his party. Power is | :09:36. | :09:41. | |
all you care about? For Christ sake Jeffrey, if power is all I care | :09:41. | :09:47. | |
about, why on earth would I become a Liberal Democrat? There's cast of | :09:47. | :09:52. | |
comedians with Tuck joined on stage by Jo Caulfield who plays his party | :09:53. | :10:00. | |
Chief Whip. And Jupitus as the Tory maker in two-tone shoes. And we can | :10:00. | :10:06. | |
rely on the colleagues, before squaring behind Matt too. You can | :10:06. | :10:11. | |
always trust the Tories. Another show, finds tragic comic potential | :10:11. | :10:17. | |
in the spectacular downfall of a real life politician. Eye Tommy, | :10:17. | :10:23. | |
traces Tommy Sheridan's career, from his early campaigns to the | :10:23. | :10:33. | |
:10:33. | :10:37. | ||
courtroom and celebrity Big Brother with comedian, Des maclain himself. | :10:37. | :10:41. | |
Freedom. The script where Rab C Nesbitt creates Ricardo Patino | :10:41. | :10:48. | |
takes aim of the self-regard and his gift for overbleen rhetoric. | :10:48. | :10:53. | |
Solidarity has stood a resounding zero seats. Which means, I myself | :10:53. | :10:59. | |
have failed to be reelected. Which is an even greater result than I | :10:59. | :11:04. | |
could possibly have hoped for. Both productions highlight the | :11:04. | :11:10. | |
dangers of hueb rus and rebel in the aubsurdies of political life. | :11:10. | :11:17. | |
Do they do their colleagues justice. What do you do when you're in a | :11:17. | :11:22. | |
hole? Bring on the industrial digers and level the entire area. | :11:22. | :11:27. | |
Mark, just dealing with Coalition first, putting comedians in place, | :11:27. | :11:33. | |
does that take money out of actors mouths or does it give us something | :11:33. | :11:42. | |
difference? It is different skills. And I feel reticent when comedians | :11:42. | :11:47. | |
do films, they hold attention, but do they have the ability to act. By | :11:47. | :11:51. | |
and large, coalition does, there are great performances from Jupitus | :11:51. | :11:56. | |
who is really good. As the oily, Chief Whip, he is really good. | :11:56. | :12:01. | |
Caulfield is really good. There's great performances from Thorn Tuck | :12:01. | :12:07. | |
and Alistair Barrie, that bit is OK. That's good. The play itself, as I | :12:07. | :12:12. | |
was leaving, people were saying it is like Yes Minister, it was a | :12:13. | :12:17. | |
little bit like that, it wasn't as good, good lines, but certainly | :12:17. | :12:22. | |
didn't, it really, it didn't have the skill to hold the entire play | :12:22. | :12:26. | |
together. In fact, with the Coalition in turmoil, did you think | :12:26. | :12:30. | |
it was tough enough Not sharp enough. It was political satire | :12:30. | :12:35. | |
without the bite. It was enjoyable, it was funny, I zpblt see it live, | :12:35. | :12:40. | |
it was on the same time as my show, but the audience were thoroughly | :12:40. | :12:45. | |
enjoying themselves. It is a funny piece, but my problem is Thorn Tuck | :12:45. | :12:50. | |
makes the Clegg figure out like John Cleese and I think we lost the | :12:50. | :12:55. | |
lot there. He was a figure of fun right from the start. I agree, some | :12:55. | :12:59. | |
of the best performances were from the comieedian, Jo Caulfield and | :12:59. | :13:04. | |
Phill Jupitus the one that steals the show is Jessic why as the PR. | :13:04. | :13:09. | |
She plays it straight and that's clever. And it works. | :13:09. | :13:13. | |
The worst is there weren't hit, the audience laughed, it could have | :13:13. | :13:17. | |
confirmed people's view, that people go to the festival have a | :13:17. | :13:21. | |
dig at the Tories, there was no sharp turns in it? No there weren't. | :13:21. | :13:28. | |
I agree, I have to admit and I hope she won't mind me saying this, Jo | :13:28. | :13:32. | |
Caulfield knows me for a long time, and I didn't think she could | :13:32. | :13:41. | |
possibly, she's a good standup, but that's means self-conscious, with a | :13:41. | :13:48. | |
good actor, means you have to slip it out of her skin. She inhabits a | :13:48. | :13:54. | |
good character, it is a 90 minute running time and has, maybe 40-45 | :13:54. | :14:01. | |
minute of worth of story. They miss out on the key things, if you have | :14:01. | :14:07. | |
to do a satire, you have to mention the economy at some point. That get | :14:07. | :14:10. | |
skiped over and magically cured, that's not the case. There are cuts | :14:10. | :14:14. | |
in the next Parliament so that's not the case. There no, sir real | :14:14. | :14:19. | |
ability to find Labour in there, there's the odd mention, but what | :14:19. | :14:24. | |
we do, is Tories, hapless and venal Lib Dems, but then there's a | :14:24. | :14:30. | |
missing chunk. You go, this feels really, immature as a piece of | :14:30. | :14:38. | |
writing. It was longer than 90 minutes. The other production, I | :14:38. | :14:44. | |
Tommy, 90 minces, David, you have presumably, have to put your hand | :14:44. | :14:48. | |
up and say you were offered this? As a director and actor. The play | :14:48. | :14:55. | |
is very well written. I do think it is a good piece of political satire | :14:55. | :15:00. | |
and production lacks imagination, it is pedantic and does not have | :15:01. | :15:06. | |
that, and relatively play is not given justice. It is lift today | :15:06. | :15:15. | |
another level, with that production, it did not do it favours. Des, | :15:15. | :15:20. | |
nailed part of Tommy Sheridan but he is such a fine writer, but Tommy | :15:20. | :15:28. | |
Sheridan is actually, for a start, he is actually, I remember him as a | :15:28. | :15:35. | |
menacing character, very dark. I don't get that. There are times we | :15:35. | :15:39. | |
would support Scotland Socialist Party and do benefits, the play did | :15:39. | :15:47. | |
not have the charisma, Sheridan is car r charismatic, but he was | :15:47. | :15:51. | |
incredibly shrewd and sharp operator, and that bit is missing. | :15:51. | :15:56. | |
Des does a great performance but the writing misses that bit of | :15:56. | :16:00. | |
Tommy's character. What you don't get is the damage Sheridan did to | :16:00. | :16:06. | |
other people's lives. I actually think, too many of the characters | :16:06. | :16:12. | |
were charactertures. If you have your stl - central character as the | :16:12. | :16:17. | |
baffoon the rest of the characters have to play it straight. Gail came | :16:17. | :16:22. | |
on a character suture, Alistair was a caricature, and other characters | :16:22. | :16:28. | |
as well. I exempt ma creedy as Alan, he played, he could have played it | :16:28. | :16:32. | |
straighter, but it would be interesting, to start them off | :16:32. | :16:35. | |
straight and become more caricatureed the more he loses the | :16:35. | :16:38. | |
plot. From your point of view, looking in | :16:38. | :16:43. | |
the Scottish politics. I have to admit, I thought it was not | :16:43. | :16:47. | |
particularly brilliantly written. I found to flawed because if you're | :16:47. | :16:53. | |
going to make a central character a baffoon, 90 minutes is a long time | :16:53. | :16:57. | |
to watch that, you have to give somebody more dimension, you never | :16:57. | :17:02. | |
get an idea why anybody fell for him or voted for him. And it is so | :17:02. | :17:07. | |
frustrating, because the room is not exotic it is a fringe venue, | :17:07. | :17:11. | |
but it feels very much like it could be a political rally could be | :17:11. | :17:21. | |
:17:21. | :17:24. | ||
held. You can't, can we do for something with a potential, you | :17:24. | :17:29. | |
have microphones. I talked to the actors, ass it was the recognise | :17:29. | :17:34. | |
qisity of the management. They must wear microphones, why. Do you think. | :17:34. | :17:38. | |
It puts a barrier between the actors and audience. Do you think | :17:38. | :17:42. | |
it is better suited for telly. writing wasn't up to scratch. You | :17:42. | :17:47. | |
have the story of betrayal, and from all angles the whole load of | :17:47. | :17:52. | |
people invested in Tommy, and his idea from comrades, party, all | :17:52. | :17:55. | |
falling apart and world of possibilities shattering, and | :17:55. | :17:59. | |
that's fantastically rich material, and it is treat to a panto | :17:59. | :18:03. | |
treatment. Sthiefplt well coalition is on until 26th of August, and I | :18:03. | :18:09. | |
Tommy until the 27th. Eye Tommy will be touring Scotland in October. | :18:09. | :18:15. | |
400 years ago, Tommy Sheridan haes story could have plottor | :18:15. | :18:17. | |
Shakespeare himself. But the Scottish play that Shakespeare did | :18:18. | :18:24. | |
write is hard to miss with the festival with 13 different versions | :18:24. | :18:28. | |
on show. MacBeth, set to music, set on an island, in Scots, and even on | :18:28. | :18:34. | |
stilts. There's a version of the Scottish play to suit all tasteness | :18:34. | :18:44. | |
:18:44. | :18:47. | ||
Edinburgh this year. In the International Festival, 2008, | :18:47. | :18:57. | |
:18:57. | :18:59. | ||
MacBeth comes from the polish company, set in a Middle East earn | :18:59. | :19:05. | |
conflict as MacBeth cast as a military commander set in the | :19:06. | :19:15. | |
:19:16. | :19:24. | ||
The split level set incorporates multi-media skhreens, projections, | :19:24. | :19:32. | |
pyre tech nix and multi-laired sound scape to bring it to life. | :19:32. | :19:35. | |
With campaigns in Iraq and Afghanistan still fresh in our | :19:35. | :19:39. | |
minds and Syria in turmoil, does this visceral version of MacBeth | :19:39. | :19:44. | |
tell us something fresh about politics and ambition, or does it | :19:44. | :19:54. | |
:19:54. | :19:57. | ||
David, did you feel that the essence of MacBeth was here, that | :19:57. | :20:03. | |
they striped the story right back? I felt it was there. I felt it was | :20:03. | :20:08. | |
a extraordinary theatrical event inspired by spaix spear MacBeth. | :20:08. | :20:13. | |
Surely we can miss some of the sole skwees, but the director took us on | :20:13. | :20:18. | |
the journey through a night mare to the heart of darkness which I loved. | :20:18. | :20:24. | |
It was captivateing, and visceral, it was tangible, I was completely | :20:24. | :20:28. | |
blown away by it. There was a thousand people in the venue, I put | :20:28. | :20:32. | |
money on the fact that two hours and ten minutes, not a member of | :20:32. | :20:37. | |
the audience took a breath or moved. They were enrapted in it. There was | :20:37. | :20:45. | |
in polish with subtitles. I wasn't looking for lines with MacBeth. It | :20:45. | :20:52. | |
didn't matter. It was incredible, spectacle and brilliant to see | :20:52. | :21:01. | |
Shakespeare done as a huge spectacle. It was I love people | :21:01. | :21:06. | |
abseiling through the floors, I adored how dramatic and brutal and | :21:06. | :21:11. | |
bloody it was. And how stunning it was, a blockbuster version, that | :21:11. | :21:15. | |
bit, to see Shakespeare when it is done in a style that is absolutely | :21:15. | :21:22. | |
thrilling, in its, the scale and its epic vision is great. Lady | :21:22. | :21:31. | |
MacBeth is played, she's a vamp, highly sexualised? In my notes, it | :21:31. | :21:38. | |
Hayes Polish Amy wine house MacBeth. She's amazing, one amazing scene, | :21:38. | :21:44. | |
where they turned the lower part in the launderette, industrial | :21:44. | :21:50. | |
machines with the blood pouring out of it. She is a character obsessed | :21:50. | :21:55. | |
by dirt, and stains and guilt. And you go, elect cuteed by a washing | :21:55. | :22:02. | |
machine, yes, elect cuteed by a washing machine is good for me. | :22:02. | :22:05. | |
looking at the whole Middle East start and it starts in the mosque, | :22:05. | :22:12. | |
and you know, it does the terribly brutal murder this the mosque of | :22:12. | :22:15. | |
beheading and so forth. That seems to be the hoop to get you there, | :22:15. | :22:23. | |
but there was no idea how it was developed. You got little hints of | :22:23. | :22:31. | |
the abbuetkpwraib kind of, what went on, the aipbl rape. During the | :22:31. | :22:36. | |
soldier's party. You but it didn't play a big part for me. I do, I | :22:36. | :22:41. | |
think they were transfixed by the idea of behead be, which is | :22:41. | :22:46. | |
necessarily, associated by us, with the Middle East. And they have T | :22:46. | :22:51. | |
begins with the beheading and it ends with, that but: It was a | :22:51. | :22:58. | |
creation that had its own rules. There was the emphasis on the cast | :22:58. | :23:06. | |
on the compound which is the tale of the soldiers trapped in the | :23:06. | :23:10. | |
emerald city. The building itself was very much led to you believe | :23:10. | :23:16. | |
this could be anywhere in Iraq, it could be of course, in Sira, Libya, | :23:16. | :23:21. | |
Tunisia. The other thing was use of cameras, and the effect that had, | :23:21. | :23:27. | |
when you see an actress at one part of the stage, doing a sole qee to | :23:27. | :23:32. | |
the ceiling, and then, the projection of the 0 foot high on | :23:32. | :23:37. | |
the wall was astounding. designer was fantastic. You have | :23:37. | :23:43. | |
the thing of perspective, and this intimate portrait in front of you. | :23:43. | :23:50. | |
The reason I mentioned Lady MacBeth, she stood out an extraordinary | :23:50. | :23:57. | |
character. The rest was ensemble. You didn't see whether MacBeth was | :23:57. | :24:01. | |
playing brilliantly. But that was good. You didn't get a sense, | :24:01. | :24:10. | |
perhaps MacBeth himself? I had who MacBeth was, Duncan,. They were all | :24:10. | :24:16. | |
incredibly even? They were, but she was just as much a part of the | :24:16. | :24:22. | |
ensemble as the others, the dresses, she was the only female. That's | :24:22. | :24:26. | |
another thing where I would say the Middle East setting let them down, | :24:26. | :24:30. | |
if everyone is dressed the same and we're away from it, because it is a | :24:31. | :24:37. | |
massive space, it makes it hard tore differentiate between men | :24:37. | :24:42. | |
wearing uniforms. The plainest, the speeches and the tomorrow and | :24:42. | :24:48. | |
tomorrow, you miss those. internal dilemma, to kill or not to | :24:48. | :24:53. | |
kill. That is removed from him. So that's, there's a sense. | :24:53. | :24:57. | |
completely. When you look at it, he is portrayed as the man of action, | :24:57. | :25:01. | |
soldier, a man who does these bloody act and there's at sense | :25:01. | :25:06. | |
subtletys of the doubt is removed. But, then in the end. Also the man | :25:06. | :25:14. | |
who looked in the beginning there, you go, what did he Stort off, the | :25:14. | :25:20. | |
vein of corder. When you got the story of | :25:20. | :25:25. | |
# Duf, where it brought you back to the Middle East, where they wanted | :25:25. | :25:28. | |
to slaughter the women, children and servants, wiping out swathes of | :25:28. | :25:35. | |
people. That in a sense was incredible done, and done on a | :25:35. | :25:40. | |
television screen. It was mesmerising. But this is where the | :25:40. | :25:46. | |
Middle East falls down, and when you talked about a moving forest, | :25:46. | :25:52. | |
maybe if you done this where there was nor trees. But you still get | :25:52. | :25:57. | |
the Shakespeare which is thrilling. I loved it. What it proves is the | :25:57. | :26:00. | |
power of Shakespeare after 400 years, douck whatever the hell you | :26:00. | :26:04. | |
want the essence will still work and grip an audience. There is just | :26:04. | :26:08. | |
one more performance, of what is called 2008 MacBeth tomorrow night. | :26:08. | :26:13. | |
If you can't make it to Edinburgh, watch a recording of the show on | :26:13. | :26:18. | |
the Guardian website on second of September. With what Wallander, and | :26:18. | :26:26. | |
two in the killing T would seem appropriate piety for Nordic | :26:26. | :26:29. | |
insatiable. But on the fringe this year, there's at chance to see | :26:29. | :26:39. | |
:26:39. | :26:53. | ||
another, perhaps unexpected side to the Scandinavian psyche. Magnus | :26:53. | :26:59. | |
Betner made his debut in Scotland two years ago in four star reviews. | :26:59. | :27:05. | |
If a killer you are a murderer, and if you dismember the body, you are | :27:05. | :27:13. | |
a stick murderer, use that, I'm giving it to you, why the fuck | :27:13. | :27:19. | |
would you take the other words, you don't need those, you need stick | :27:19. | :27:25. | |
mode. The first thing I did in English was 98, in a small rookie | :27:25. | :27:31. | |
club somewhere in London, and it was horrible. I was so nervous, coy | :27:31. | :27:35. | |
barely walk to the gig andel gig was horrible. Like seven people in, | :27:35. | :27:40. | |
every comic on the bill was horrible and I was horrible too. | :27:40. | :27:45. | |
Carl-Einar Haeckner is Sweden's answer to Tommy Cooper, with an | :27:45. | :27:49. | |
interest in the furniture, Mcyidge tricks and comic songs. | :27:50. | :27:54. | |
I just want to say thank you to internet. | :27:54. | :28:04. | |
:28:04. | :28:09. | ||
And to Skype and to Facebook and to thanks to the murderer. Daniel | :28:09. | :28:15. | |
Simonsen winner of So You Think You're Funny Award, exploits his | :28:15. | :28:21. | |
awkwardness for comic effect. you see somebody far away, | :28:21. | :28:27. | |
sometimes they get nervous because I say hello too early. 300 minutes | :28:27. | :28:34. | |
before we get. It gets sucked in your voice, because where are you | :28:34. | :28:39. | |
supposed to look when you get close enough. This is why it is auck ward, | :28:39. | :28:49. | |
you have to talk to each other and nod, 600 yards. Is the novelty of a | :28:49. | :28:53. | |
comedian performing in another language enough to sustain an hour- | :28:53. | :28:57. | |
long show for audience. Reviewers and jourp lists might have an | :28:57. | :29:02. | |
interest, the fact it is my second language, the audience want a good | :29:02. | :29:08. | |
show, so they don't care. # Darling why don't you make a face | :29:09. | :29:13. | |
operation # A trip to Switzerland fix it all | :29:13. | :29:20. | |
# It would be nice consolation # And then we could put the mirror | :29:20. | :29:27. | |
on the wall # You are not yourself any more | :29:27. | :29:32. | |
# I'm sure, not after our last visit to the circus # | :29:32. | :29:36. | |
So then we've had the Scandinavian writers and then we have the wave, | :29:36. | :29:43. | |
the Vikings have arrived. But you know, there's nothing particularly | :29:43. | :29:48. | |
Scandinavian about them, because they've the second language, it is | :29:48. | :29:54. | |
not Tommy Cooper, and Billy Connolly, there's no Swedish humour | :29:54. | :30:01. | |
is there? Melen cholic streak. Laura Bechtolsheimer has a very, | :30:01. | :30:05. | |
bleak side to him which I like. That's what I was always trying to | :30:05. | :30:10. | |
dox when I walked in, and saw this man, who was so wilfully taking | :30:10. | :30:14. | |
liberal audience who share his views, and just disquieting them, | :30:14. | :30:23. | |
which is out of malice, it made me go, the Fringe is Safe. | :30:23. | :30:28. | |
Be back there in Sweden, facing charges? I thought he was thrilling, | :30:28. | :30:33. | |
I wouldn't recommend him to everybody, because he would be an | :30:33. | :30:37. | |
aqaird taste or specific taste, but he was my favourite. I thought he | :30:37. | :30:45. | |
was wonderful. What did you make of him? Beck Magnus Betner I liked, I | :30:45. | :30:51. | |
couldn't, Carl-Einar Haeckner the magician. He comes across as a | :30:51. | :30:56. | |
personable young man, but it was confusing, he was confused, where | :30:56. | :31:03. | |
he a fool, a standup. A magician. But it was far too adolescent for | :31:03. | :31:08. | |
me. I came out screaming, thinking someone has stolen an hour of my | :31:08. | :31:13. | |
life and I want it back. He is sweet but I want to see him perform. | :31:13. | :31:18. | |
He is good at tricks. He is very clearly a clown, and he's great, I | :31:18. | :31:22. | |
really enjoyed it. He plays with the audience, he has a sense of | :31:22. | :31:28. | |
vulnerability and fun, and he comes, when he does the mouth organ in his | :31:28. | :31:32. | |
mouth, and gets a member of the audience, not only does he play, | :31:32. | :31:42. | |
:31:42. | :31:42. | ||
but gets a member to remove it with a spat Tula, that's clowning, | :31:42. | :31:47. | |
toured all over the world, he is not a random favourite, he is | :31:47. | :31:52. | |
proper good. The thing about there, the Scandinavian invasion is | :31:52. | :31:58. | |
happening, is a PR thing. They're a load of people from Noriega way and | :31:58. | :32:05. | |
Sweden, and then it ties in. Magnus shows the globalised comic, he | :32:05. | :32:11. | |
works in New York, he works in America, and travels around. He is | :32:11. | :32:15. | |
topical. But he tells the story of travelling and being in Japan. If | :32:15. | :32:19. | |
you look, you can do festivals in Melbourne and go to Montreal and | :32:19. | :32:24. | |
America, and Europe. So, really, he is an example of globalised comic, | :32:25. | :32:29. | |
than actually a Swedish come I can. What about the young boy then? | :32:29. | :32:33. | |
Jiefplt there are moments which are interesting when he was auck yard | :32:33. | :32:39. | |
and sweet as outsider. I think, that he's probably got some good | :32:39. | :32:43. | |
material that's about 20 minutes long and it is an hour-long set and | :32:43. | :32:46. | |
it is a little thing. He started the set from behind the curtain, | :32:46. | :32:53. | |
for three or four minutes, which was very, very funny the way he | :32:53. | :32:59. | |
handled it. He is classic Tommy Cooper. I liked him, I found him | :32:59. | :33:04. | |
personable and I found some material was brilliant. I lieblgd | :33:04. | :33:09. | |
the fact he is neurotic, he has the evil voice that talks to him. He | :33:09. | :33:15. | |
has maybe 0 minutes, widely, given the room is a pit, it is so | :33:15. | :33:19. | |
incredibly hot, he ran it short. Because people were probably going | :33:19. | :33:26. | |
to pass out otherwise. He may have run it short for two reasons, if | :33:26. | :33:32. | |
you live with girls and they didn't clean the toilet - that won't do. | :33:32. | :33:39. | |
He is self-effaceing and self- confessed geeck. He comes over with | :33:39. | :33:43. | |
the shyness. Don't you have to work harder. You have to have your | :33:43. | :33:49. | |
material in good shape. In the old days of the Fringe, come up with 20 | :33:49. | :33:52. | |
minutes with the start and you then have a hour, the particular Celts | :33:52. | :33:59. | |
are expense I have and you have to have it ready. There are incredible, | :33:59. | :34:06. | |
and amazing too comics, David Trent, and Ellis James, amazing good | :34:06. | :34:11. | |
comics. You say they're not particularly Swedish, but we had | :34:11. | :34:17. | |
the Tetra pack guy, the Ikea stuff as well? To be fair, no-one can | :34:17. | :34:23. | |
deny his props. I don't go for prop comedy, because it makes me tense, | :34:23. | :34:29. | |
that everything will be cleared up. He has the best collapsing props | :34:30. | :34:37. | |
I've ever seen. The geetar, falls apart, and administerable prop work. | :34:37. | :34:44. | |
He said of wards, there's a follow spot, so the whole stage. I think | :34:44. | :34:50. | |
maybe I would be calmer then. three comedians are on for ten days. | :34:50. | :34:53. | |
The fact performers come from owl ever on the world would suggest the | :34:53. | :34:56. | |
Edinburgh Fringe has unique to offer. But this year, more loudly | :34:56. | :35:02. | |
than before, the cry has gone up that things ain't what they used to | :35:02. | :35:10. | |
be. The 66th Edinburgh Fringe is the biggest yet with 2,695 shows | :35:10. | :35:20. | |
:35:20. | :35:20. | ||
and 279 venues, delivered by 0,000 performers. As usual as it mix, | :35:20. | :35:24. | |
everything from a theatre company of injured soldiers to Brazilian | :35:24. | :35:30. | |
drans troops and on the surface the Fringe appears to be riding high. | :35:30. | :35:37. | |
But this year the clash with the Olympics hit take nnks the first | :35:37. | :35:42. | |
week and the strive tarnished the image. Veteran owners has been | :35:42. | :35:48. | |
fighting over the name, the Assembly Rooms which are now under | :35:48. | :35:53. | |
new management. Comedians, Stuart Lee, claimed the alliance of the | :35:53. | :35:57. | |
four biggest rein news, led to increased commercialisation and | :35:57. | :36:02. | |
betrayal of the experimental ethos that originally defined the Fringe. | :36:02. | :36:07. | |
The Big Four hit back, highlighting their track record and finding and | :36:07. | :36:11. | |
promoting new talent. But there's a threat from outside | :36:11. | :36:16. | |
too, with fringe festivals popping up in Brighton, Bath, Buxton and | :36:16. | :36:20. | |
elsewhere, that doesn't begin with a B. Is Edinburgh's preEminence | :36:20. | :36:26. | |
under threat or the mother of all fringes, fit and flexible enough to | :36:26. | :36:29. | |
see of challengers? I feel it is right to come to you, because | :36:30. | :36:34. | |
you've been at the Fringe in one capacity for more than 30 years? | :36:34. | :36:39. | |
Good Lord no, where did you get that information. It is time passes | :36:39. | :36:44. | |
so quickly. So, do you think the whole thing, now the fringe | :36:44. | :36:47. | |
programme is like a telephone directory? It is but I believe you | :36:47. | :36:51. | |
will still always get something very special and something unusual | :36:51. | :36:57. | |
and exciting every Fringe. But it is getting difficult because of the | :36:57. | :37:05. | |
costs involved. If you take the venue, I'm performing in the | :37:05. | :37:10. | |
Assembly Rooms, including publicity to book that for three weeks, is | :37:10. | :37:13. | |
�26,000. I was asked to appear there, the management are paying | :37:13. | :37:17. | |
that money, but I had to sign a contract if I drop out of this, I | :37:17. | :37:23. | |
would have to pay them �6,000. That's a hell of price. Would that | :37:23. | :37:28. | |
scare the life out of performers would, but there are venues, you | :37:28. | :37:33. | |
could pay less for thax you get enormous young comics that come up, | :37:33. | :37:38. | |
that's probably where part of the idea that there's an idea that the | :37:38. | :37:44. | |
fringe is losing the edge. I don't think that's true. There's amazing | :37:44. | :37:49. | |
venues, their programmeer is inventive and exciting. When you | :37:49. | :37:56. | |
take the Stuart Lee argument that The Big Four conglomerate is trying | :37:56. | :38:00. | |
to control everything and that the true festival is on the old | :38:00. | :38:05. | |
Assembly Rooms, do you hold with that? I revere Stuart everything, | :38:05. | :38:09. | |
and everything he says to get more tickets for his show I agree, | :38:09. | :38:14. | |
because that's more people will enjoy the spirit of Stuart Lee. I | :38:14. | :38:17. | |
agree with him. The co- operationisation of the comedy bit | :38:17. | :38:22. | |
particular shri not very beautiful. Now the good thing is as that's | :38:22. | :38:26. | |
progressed of the last few years, things like the Free Fringe have | :38:26. | :38:31. | |
sprung up. So the fringe has its own fringe. And you could do a week, | :38:31. | :38:36. | |
you don't have to sign for three- and-a-half weeks of the Free Fringe | :38:36. | :38:41. | |
shows hand around a bucket and they're getting �50 a show, that's | :38:41. | :38:45. | |
not too bad. They're paying more than that on accommodation, because | :38:45. | :38:50. | |
it is not cheap to live. With you you could do it for less, than | :38:50. | :38:55. | |
�6,000 but there's no doubt, when I was doing solo shows, if I | :38:55. | :39:00. | |
helicopter had a sponsor, I wouldn't have afforded to do them. | :39:00. | :39:03. | |
There's a tendency for new comics to come up, management company to | :39:03. | :39:08. | |
put the show on, and then they're endentureed for the rest of the | :39:09. | :39:18. | |
:39:19. | :39:23. | ||
year. It was two years ago, Bridges played massively, he went from to | :39:23. | :39:28. | |
zero quickly. They're looking to launch young comics career careers | :39:28. | :39:32. | |
and not so much as getting the money but changing the positioning | :39:32. | :39:35. | |
where comics are in regards with their pierce and within the | :39:35. | :39:38. | |
industry. That's what they're looking for. His career was built | :39:38. | :39:43. | |
by doing TV, not the Fringe, whereas there are comics, Richard | :39:44. | :39:48. | |
Harg, who comes up every year, he does a show here, and absolutely, | :39:48. | :39:53. | |
his career is kemented. I know he did do television, but he cemented | :39:53. | :39:57. | |
a live show every year, for how many decades it is now. | :39:57. | :40:01. | |
economy's tough. The first week was down because of the Olympics, when | :40:01. | :40:05. | |
things cost more than they used to, relatively, you can't take a punt | :40:05. | :40:10. | |
all the time. You have to have guise. It is funny, it is big money | :40:10. | :40:20. | |
for tickets, you're talking �15-20 for tickets The stand does �7-8. | :40:20. | :40:25. | |
The stand has a brilliant set of clubs, with great performers on, | :40:25. | :40:29. | |
relatively cheap ticket prices. I argue against that. Something for | :40:29. | :40:33. | |
everybody and it is in rude health, no matter mow haen have around the | :40:33. | :40:41. | |
country. I make a plea, don't buy all the tickets, because you've | :40:41. | :40:46. | |
bought tickets you've heard of. Go to the someone you don't know. | :40:46. | :40:51. | |
Others will tell you what to see, it is word of mouth. That's about | :40:51. | :40:56. | |
all we've time for, thanks to Dave, mark and Natelie. You will find out | :40:56. | :41:03. | |
about all the shows we've discussed on our website. Toinjoin us for a | :41:03. | :41:11. | |
next week, I will be talking about Ian quenquen, we end with music | :41:11. | :41:16. | |
from one of the stars of Brave, admittedly, you won't see animation | :41:16. | :41:21. |