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From the very beginnings of the film industry, Wales has had a relationship with Hollywood. | 0:00:01 | 0:00:07 | |
And now filming on Welsh soil and in the US, home-grown show Torchwood is taking Wales to the world. | 0:00:07 | 0:00:14 | |
It was a shock because the networks don't do it. | 0:00:14 | 0:00:18 | |
It's unheard of that they've done this. | 0:00:18 | 0:00:20 | |
Can Torchwood change some of Hollywood's misunderstandings and myths about Wales? | 0:00:20 | 0:00:25 | |
People say, "My God, that's such a nice accent, where are you from?" | 0:00:25 | 0:00:30 | |
I'll say "Wales," and they'll go, "OK." | 0:00:30 | 0:00:33 | |
If you watch Clash Of The Titans, that modern remake of Clash Of The Titans, | 0:00:33 | 0:00:36 | |
at the end it says on the credits, "filmed in Wales, England". | 0:00:36 | 0:00:39 | |
On the credits! On the credits, twice! | 0:00:39 | 0:00:42 | |
We take Torchwood writer and former Doctor Who supremo Russell T Davies | 0:00:42 | 0:00:47 | |
to a Malibu park, which 70 years ago doubled up as a South Wales valley. | 0:00:47 | 0:00:52 | |
You can't help wondering how many of these people knew all the extras. | 0:00:52 | 0:00:56 | |
Did they know what Wales was? | 0:00:56 | 0:00:58 | |
It must be like an Outer Mongolian tribe for them or something. | 0:00:58 | 0:01:01 | |
We look at the films that have portrayed Wales ever since. | 0:01:01 | 0:01:04 | |
Stereotypes, cliches and all. | 0:01:04 | 0:01:07 | |
We discover how these two rabbit stealing men in Maesteg helped change the face of Hollywood movies. | 0:01:07 | 0:01:13 | |
And Eve Myles takes trip down the walk of fame to find the Welsh stars | 0:01:13 | 0:01:18 | |
who have made their mark in Tinseltown. | 0:01:18 | 0:01:20 | |
-How are you? -I'm very well, thank you. | 0:01:20 | 0:01:22 | |
-Where you from? -We're from Wales. | 0:01:22 | 0:01:24 | |
We're doing a documentary from Wales. | 0:01:24 | 0:01:25 | |
Oh, welcome, Wales, welcome to Hollywood. All right, awesome. | 0:01:25 | 0:01:29 | |
The Welsh have been making an impact over the pond for quite some time. | 0:01:36 | 0:01:40 | |
And this year home grown show Torchwood is set to fly the red dragon for Wales too. | 0:01:40 | 0:01:45 | |
Filming in Wales and Hollywood, our hit show and our Welsh talent are making a big impression. | 0:01:45 | 0:01:52 | |
There's all this buzz going on, this new production from Wales | 0:01:55 | 0:01:59 | |
was here on the Warner Brothers. | 0:01:59 | 0:02:01 | |
You can't talk about it because it's really exciting. | 0:02:01 | 0:02:04 | |
'To take this stuff and to make it truly international is' | 0:02:04 | 0:02:07 | |
just a compliment for Welsh work, Welsh imagination and Welsh power. | 0:02:07 | 0:02:12 | |
This is stage 27A, | 0:02:12 | 0:02:14 | |
constructed in 1935. | 0:02:14 | 0:02:18 | |
And our Welsh show is on hallowed ground, filming in studios once | 0:02:18 | 0:02:21 | |
graced by George Clooney, Frank Sinatra and Judy Garland. | 0:02:21 | 0:02:25 | |
This is it, that's Swansea, there. | 0:02:25 | 0:02:27 | |
This is inside a house in Swansea. | 0:02:27 | 0:02:31 | |
They've done an amazing job of replicating it, very Welsh. They've done it spot on. | 0:02:31 | 0:02:34 | |
But we're in Los Angeles. | 0:02:34 | 0:02:36 | |
And of course no house in Wales should be without one. | 0:02:36 | 0:02:39 | |
SPEAKS WELSH | 0:02:39 | 0:02:42 | |
'Most people in America' | 0:02:42 | 0:02:43 | |
still think of Britain as being people in Beefeater hats, | 0:02:43 | 0:02:48 | |
so if they think that's what Britain's like, you can imagine what they think Wales is like. | 0:02:48 | 0:02:52 | |
A lot of people even in the States, you say you're going to Wales, they don't know where it is | 0:02:52 | 0:02:57 | |
and that's one thing that's great about doing what we're doing. | 0:02:57 | 0:02:59 | |
It's going to put Wales more on the map, more so than ever. | 0:02:59 | 0:03:04 | |
They may have trouble locating Wales on the map, but our influence in Hollywood goes back a long way. | 0:03:04 | 0:03:10 | |
Way before Torchwood, | 0:03:10 | 0:03:11 | |
even before the birth of Hollywood, | 0:03:11 | 0:03:13 | |
one man from Wales was causing a bit of a stir in America. | 0:03:13 | 0:03:17 | |
This entrepreneur was helping turn flickering images into a global industry. | 0:03:17 | 0:03:24 | |
I don't want you lads worrying about the cost of enjoying yourselves. | 0:03:24 | 0:03:29 | |
I offer you | 0:03:29 | 0:03:31 | |
Haggar's magical world of dreams | 0:03:31 | 0:03:35 | |
for one penny piece. | 0:03:35 | 0:03:38 | |
Yep. William Haggar gave Welsh audiences just what they wanted. | 0:03:38 | 0:03:42 | |
A penny for your dreams. | 0:03:42 | 0:03:46 | |
And they flocked in their droves. | 0:03:46 | 0:03:49 | |
Essex boy William Haggar moved to Wales to chase the growing wealth from coal. | 0:03:51 | 0:03:55 | |
His family thought he'd lost the plot when he spent their | 0:03:55 | 0:03:58 | |
hard earned savings on a new fangled movie camera. | 0:03:58 | 0:04:01 | |
Audiences of the day were getting bored of the usual films, | 0:04:01 | 0:04:05 | |
trains going through tunnels or even a wall falling down. | 0:04:05 | 0:04:08 | |
So, this visionary showman filmed his own spectacular dramas, | 0:04:08 | 0:04:12 | |
the likes of which had never been seen before. | 0:04:12 | 0:04:15 | |
And he wasn't making film for the love of it. | 0:04:15 | 0:04:17 | |
Like the Hollywood machine of today, it was all about the money. | 0:04:17 | 0:04:22 | |
Peter Yorke, great grandson of William Haggar, works hard to keep | 0:04:22 | 0:04:26 | |
the memory of this pioneering filmmaker alive today. | 0:04:26 | 0:04:30 | |
So this is Desperate Poaching Affray, | 0:04:30 | 0:04:32 | |
made in 1903 on the hills above Maesteg. | 0:04:32 | 0:04:37 | |
The poachers have a butterfly net. | 0:04:37 | 0:04:39 | |
They have two pet rabbits which they proceed to catch in the butterfly | 0:04:39 | 0:04:42 | |
net and stuff into their pockets, so they bundle the butterfly net up and rush away into the bushes. | 0:04:42 | 0:04:50 | |
It may not look much by today's standards | 0:04:50 | 0:04:53 | |
but William Haggar was helping start a revolution in cinema. | 0:04:53 | 0:04:57 | |
I think his films were entertaining because he put into them all the movement, all the violence, all the | 0:04:57 | 0:05:05 | |
shockingness that the fairground audience would find attractive. | 0:05:05 | 0:05:09 | |
The USA couldn't get enough of these shocking films. | 0:05:09 | 0:05:12 | |
Within weeks of making them in Wales they were hitting screens across | 0:05:12 | 0:05:16 | |
America, and were widely emulated by Thomas Edison and others. | 0:05:16 | 0:05:20 | |
His gamble had paid off and was making him very rich. | 0:05:20 | 0:05:24 | |
And believe it or not, this piece of film is a milestone in cinema history. | 0:05:24 | 0:05:28 | |
It's one of the first ever camera pans. | 0:05:28 | 0:05:31 | |
And yes, it was shot here in Wales. | 0:05:31 | 0:05:34 | |
Haggar's poacher chase was so popular it was emulated | 0:05:34 | 0:05:37 | |
in the American film The Great Train Robbery. | 0:05:37 | 0:05:39 | |
His films were inspiring a new generation of movie makers. | 0:05:39 | 0:05:43 | |
And even today we still have all the excitement of a Haggar chase | 0:05:43 | 0:05:47 | |
on location in Rhossili Bay, Gower, with Torchwood. | 0:05:47 | 0:05:51 | |
With a foot on both sides of the Atlantic, the series fuses the best of Wales and America. | 0:05:51 | 0:05:56 | |
OK, OK! Who the hell are you people? | 0:05:56 | 0:05:58 | |
Torchwood. | 0:05:58 | 0:06:00 | |
SCREAMING | 0:06:03 | 0:06:04 | |
Action. | 0:06:04 | 0:06:06 | |
Welsh writer Russell T Davies is on a mission to break the mould | 0:06:06 | 0:06:09 | |
of how Wales and the Welsh are portrayed on screen. | 0:06:09 | 0:06:11 | |
'I can remember when a Welsh person appearing on television was like a miracle.' | 0:06:11 | 0:06:15 | |
I used to put Welsh characters in things, the stuff I wrote in Manchester, and they'd get | 0:06:15 | 0:06:18 | |
taken out because they'd change the surname. People say, "Just cast a local girl, Ennis or something." | 0:06:18 | 0:06:23 | |
You'd go, "Oh, all right." I always was passionate about | 0:06:23 | 0:06:26 | |
getting this stuff. You just shouldn't give up. | 0:06:26 | 0:06:29 | |
There's plenty of people telling you it can't be done and they're the people who never do anything. | 0:06:29 | 0:06:34 | |
It's always been a struggle to get Wales on screen | 0:06:34 | 0:06:37 | |
and when we did see ourselves, many of the cliches and stereotypes were there for all to see. | 0:06:37 | 0:06:42 | |
Torchwood looks set to change some of these ideas, but where did these images of Wales come from? | 0:06:42 | 0:06:48 | |
A look back in cinema history will shed light on some long established myths. | 0:06:48 | 0:06:51 | |
Back in the 1930s | 0:06:53 | 0:06:54 | |
Wales and its landscape was in demand in Hollywood. | 0:06:54 | 0:06:57 | |
They didn't actually film in Wales, but influenced by documentaries showing bleak landscapes, | 0:06:57 | 0:07:02 | |
coal mines and depression, what better place could there be to set dark thrillers? | 0:07:02 | 0:07:07 | |
There were several Welsh gothic films made at this time. | 0:07:07 | 0:07:11 | |
And one of them, a favourite of Dylan Thomas, was The Old Dark House. | 0:07:11 | 0:07:15 | |
Oh now, for heaven's sake, stop. | 0:07:16 | 0:07:18 | |
Let's look at a map or something. | 0:07:18 | 0:07:20 | |
Oh you look, I can't see anything. | 0:07:20 | 0:07:23 | |
It's all a stupid puddle. | 0:07:23 | 0:07:25 | |
It seems to represent this country very well. | 0:07:25 | 0:07:27 | |
Everything here is under water. | 0:07:27 | 0:07:29 | |
Hollywood was painting a picture of Wales and this was just the start. | 0:07:29 | 0:07:33 | |
Some powerful images were being created. It always rained in Wales. | 0:07:33 | 0:07:37 | |
Black faced miners would sing on their way to work. | 0:07:37 | 0:07:40 | |
And our tight-knit communities saw outsiders arriving to experience, | 0:07:40 | 0:07:44 | |
and sometimes try to change, this rather strange place. | 0:07:44 | 0:07:47 | |
They burst into song on the slightest provocation. | 0:07:47 | 0:07:49 | |
You mustn't take any notice. | 0:07:49 | 0:07:51 | |
In The Corn Is Green, we see Bette Davies playing an outsider crossing | 0:07:51 | 0:07:55 | |
the border into Wales to improve the lot of us simple Welsh folk. | 0:07:55 | 0:07:59 | |
I'm going to start a school. | 0:07:59 | 0:08:01 | |
-A school! What for? -What for? | 0:08:01 | 0:08:04 | |
You see these books, hundreds of them. These nippers are to be cut off from that forever, are they? Why? | 0:08:04 | 0:08:10 | |
Just because they happen to be born penniless in an uncivilised country. | 0:08:10 | 0:08:13 | |
But I couldn't teach those children, I couldn't. They... They smell. | 0:08:13 | 0:08:17 | |
Well, if we'd never been taught to wash, so would we. | 0:08:17 | 0:08:19 | |
Was this American makeover of Emlyn Williams' stage play | 0:08:19 | 0:08:22 | |
giving audiences a positive image of Wales and its language? | 0:08:22 | 0:08:26 | |
IN DIALECT | 0:08:27 | 0:08:31 | |
That was obviously said for my benefit. | 0:08:32 | 0:08:34 | |
Would you mind translating it for me? | 0:08:34 | 0:08:36 | |
I said, "Teacher, can I stay in after school?" | 0:08:36 | 0:08:38 | |
-You don't like the idea of the school. -We do not. | 0:08:38 | 0:08:42 | |
I hardly expected that you would. | 0:08:42 | 0:08:44 | |
# All through the night... # | 0:08:47 | 0:08:49 | |
The Proud Valley saw yet another outsider coming to Wales. | 0:08:49 | 0:08:52 | |
But this film, featuring American actor and civil rights activist, | 0:08:52 | 0:08:56 | |
Paul Robeson, created a much more favourable picture. | 0:08:56 | 0:08:59 | |
Even so we still had miners and hardship, and another stereotype was being strengthened. | 0:08:59 | 0:09:04 | |
This was the land of song. | 0:09:04 | 0:09:06 | |
# All through the night | 0:09:06 | 0:09:09 | |
# We're singing. # | 0:09:09 | 0:09:11 | |
And we kept singing. | 0:09:11 | 0:09:13 | |
SINGING | 0:09:13 | 0:09:14 | |
And singing. | 0:09:14 | 0:09:16 | |
SINGING | 0:09:16 | 0:09:19 | |
And singing. | 0:09:19 | 0:09:20 | |
Yes, you can always rely on us for a song. | 0:09:20 | 0:09:22 | |
And we sang all the way from the mines to the Oscars with this classic. | 0:09:22 | 0:09:26 | |
How Green Was My Valley. | 0:09:29 | 0:09:32 | |
Clint Eastwood's favourite film. | 0:09:32 | 0:09:34 | |
This thoroughly American epic, for better or worse, was to shine the glitzy Hollywood spotlight on Wales. | 0:09:34 | 0:09:40 | |
Filmed in America, here was a movie painting a rather romanticised | 0:09:40 | 0:09:43 | |
picture of our nation, that was set to stick. | 0:09:43 | 0:09:46 | |
Singing and dancing in traditional Welsh manner all the way down the red carpet. | 0:09:46 | 0:09:52 | |
Here we are driving through Malibu, looking at Wales, | 0:09:52 | 0:09:55 | |
which is the perfect way to spend an afternoon really. | 0:09:55 | 0:09:58 | |
Exactly 70 years since it hit the big screen, Russell T Davies is | 0:09:58 | 0:10:02 | |
taking the freeway to the original location of How Green Was My Valley. | 0:10:02 | 0:10:06 | |
Look at that, it's classic, isn't it? The thing is, that's not just an | 0:10:06 | 0:10:11 | |
American view of Wales, it's an English view of Wales as well. | 0:10:11 | 0:10:14 | |
It's how people see the place. | 0:10:14 | 0:10:17 | |
It's kind of beautiful. | 0:10:17 | 0:10:19 | |
That could be Swansea. | 0:10:19 | 0:10:21 | |
I suppose these are meant to be miners' cottages. | 0:10:21 | 0:10:23 | |
They're quite spacious! They're not doing too badly, these people. | 0:10:23 | 0:10:26 | |
That house is enormous! | 0:10:26 | 0:10:28 | |
I don't think they got their research quite right here with humble miners' cottages. | 0:10:28 | 0:10:33 | |
-Mr Mike Malone. -Hello, good morning, Russell. | 0:10:33 | 0:10:37 | |
So good to meet you, finally. | 0:10:37 | 0:10:39 | |
This, in 1941, was Wales here. | 0:10:39 | 0:10:44 | |
Brilliant. Because I'm a Welshman. | 0:10:44 | 0:10:45 | |
It's not quite like this at home. | 0:10:45 | 0:10:47 | |
Right. There was a vision that Zanuck, head of 20th Century Fox, | 0:10:47 | 0:10:52 | |
-had to actually go to Wales. -Yes. | 0:10:52 | 0:10:55 | |
However there was something going on in Europe | 0:10:55 | 0:10:56 | |
called World War Two, at least the early beginnings. | 0:10:56 | 0:10:58 | |
That small detail got in the way. | 0:10:58 | 0:11:01 | |
That made them rethink it. | 0:11:01 | 0:11:02 | |
I'm sad now for a moment, I'm sad they didn't bring Hollywood to Wales. People don't realise. | 0:11:02 | 0:11:06 | |
You look at photos, you think they've put up a few bits of hardboard and stuff like that. | 0:11:06 | 0:11:10 | |
-They built a village. -Right, exactly. | 0:11:10 | 0:11:12 | |
They built an entire village, for real, out of stone on this hill. | 0:11:12 | 0:11:16 | |
Some 150 men laboured over about three months creating and building this village here. | 0:11:16 | 0:11:21 | |
The streets were strewn with rubble and stone. | 0:11:21 | 0:11:25 | |
-This hillside right in front of us actually was littered with slag. -This was turned into a slag heap. | 0:11:25 | 0:11:32 | |
Exactly, it was even black stained, to make it have a sheen. | 0:11:32 | 0:11:36 | |
-They painted rock. -Right, right. | 0:11:36 | 0:11:39 | |
At the time this was the most expensive outdoor set ever created. | 0:11:39 | 0:11:43 | |
And for over ten years it was redressed for many more films. | 0:11:43 | 0:11:48 | |
Down this hill they got Welsh extras apparently, so they say, to walk. | 0:11:48 | 0:11:52 | |
Exactly. | 0:11:52 | 0:11:54 | |
Many of the background actors, or extras, were Welshmen. | 0:11:54 | 0:11:58 | |
-I wonder where they found them. Did they advertise in Los Angeles for Welsh people? -Exactly. | 0:11:58 | 0:12:03 | |
Back then, Welsh actors seldom had lead roles, | 0:12:03 | 0:12:06 | |
even in films set in Wales. | 0:12:06 | 0:12:08 | |
The main characters were often played by English or Americans, | 0:12:08 | 0:12:12 | |
but How Green Was My Valley | 0:12:12 | 0:12:13 | |
marked the debut of a real life Welshman, | 0:12:13 | 0:12:15 | |
proper Welsh accent and all. | 0:12:15 | 0:12:17 | |
Could I have your attention, boys and girls? | 0:12:17 | 0:12:20 | |
Rhys Williams was originally hired as an accent coach. | 0:12:20 | 0:12:23 | |
But director John Ford gave him a role as a prizefighter, | 0:12:23 | 0:12:26 | |
helping start a career as a supporting actor that lasted for 27 years. | 0:12:26 | 0:12:32 | |
Now Matthew Rhys is one of the latest crop of Welsh actors making a career in Hollywood. | 0:12:32 | 0:12:37 | |
I'm very glad that there was a film 70 years ago about Wales, | 0:12:37 | 0:12:41 | |
because there was a little confusion as to where or what Wales was. | 0:12:41 | 0:12:46 | |
People went, "Wow, I didn't know your country's the same size as Connecticut." | 0:12:46 | 0:12:50 | |
I heard that so many times. | 0:12:50 | 0:12:52 | |
Oh yes! Oh, this is like St Mary Street on a Saturday night. | 0:12:52 | 0:12:55 | |
And the folksy style Irish dancing was as confused as the accents. | 0:12:55 | 0:13:00 | |
-Have you been down the collieries? -Ten years. -Ten years? | 0:13:00 | 0:13:05 | |
While I was studying. | 0:13:05 | 0:13:07 | |
-A bit of soap now. -Oh, don't bother, please. | 0:13:07 | 0:13:11 | |
He's not even trying. "Oh, don't bother, please." | 0:13:11 | 0:13:15 | |
There are a number of us here playing Americans, Russians - we play anything. | 0:13:15 | 0:13:20 | |
However, when it comes to the press, we're always very proud | 0:13:20 | 0:13:24 | |
when we say where we're from. | 0:13:24 | 0:13:26 | |
It was actors from Wales that basked in the spotlight in the 50s and 60s. | 0:13:26 | 0:13:31 | |
We were starting to make a name for ourselves. | 0:13:31 | 0:13:35 | |
We saw Stanley Baker, and some of the greatest female actresses, | 0:13:35 | 0:13:39 | |
Rachel Roberts and Rachel Thomas, making their mark. | 0:13:39 | 0:13:43 | |
But it was one man from Pontrhydyfen who dominated the era. | 0:13:43 | 0:13:47 | |
You look at Richard Burton's films, | 0:13:47 | 0:13:49 | |
even though he's not playing a Welsh character, | 0:13:49 | 0:13:51 | |
there's still something particularly Welsh about the work he does in it. | 0:13:51 | 0:13:56 | |
And in 1959, a Welsh legend from Anglesey | 0:13:56 | 0:14:00 | |
Hugh Griffith, was proud to share his accent with the world | 0:14:00 | 0:14:04 | |
in his portrayal of an Arab sheikh in the epic, Ben Hur. | 0:14:04 | 0:14:07 | |
One wife? One God, that I can understand, | 0:14:07 | 0:14:11 | |
but one wife, that is not civilised. It is not generous. | 0:14:11 | 0:14:16 | |
HE BELCHES | 0:14:16 | 0:14:18 | |
He managed to bag an Oscar for this larger than life performance. | 0:14:19 | 0:14:25 | |
-HE BELCHES -Thank you, thank you! | 0:14:26 | 0:14:28 | |
It may have been a golden era for some of our actors in Hollywood, | 0:14:28 | 0:14:31 | |
but a familiar theme was still present. | 0:14:31 | 0:14:34 | |
Another 1959 film, Tiger Bay, | 0:14:34 | 0:14:36 | |
a critically acclaimed thriller set in Cardiff, | 0:14:36 | 0:14:39 | |
was yet again offset by the lack of big lead roles for Welsh actors. | 0:14:39 | 0:14:43 | |
But sometimes we can forgive such lapses. | 0:14:43 | 0:14:45 | |
Only Two Can Play, filmed in Swansea, saw Peter Sellers | 0:14:45 | 0:14:48 | |
portray a Welsh librarian - with a very convincing accent. | 0:14:48 | 0:14:53 | |
-You wouldn't do anything violent, would you? -Mmm, violent. | 0:14:53 | 0:14:58 | |
Only I'd like to kiss you, you see, because... | 0:14:58 | 0:15:01 | |
I'm a great believer in first impressions myself. | 0:15:01 | 0:15:05 | |
Our greatest acting export, Richard Burton, | 0:15:05 | 0:15:09 | |
helped Cardiff filmmaker Jack Howells win an Oscar | 0:15:09 | 0:15:12 | |
for this documentary on Dylan Thomas in 1963. | 0:15:12 | 0:15:16 | |
Death wouldn't bother him. | 0:15:16 | 0:15:20 | |
After the first death, he said, "There is no other. | 0:15:20 | 0:15:24 | |
"Pity the living who are last alone. | 0:15:24 | 0:15:27 | |
"The dead in Hades have their host of friends." | 0:15:27 | 0:15:31 | |
Well, wherever he is, and somehow it can't be Hades... | 0:15:33 | 0:15:39 | |
you can bet that Dylan has his host of friends. | 0:15:39 | 0:15:42 | |
And it was Burton's unmistakable Welsh tones | 0:15:43 | 0:15:46 | |
that opened this epic, Zulu. | 0:15:46 | 0:15:49 | |
The Secretary of State for War has received the following despatch from Lord Chelmsford. | 0:15:49 | 0:15:53 | |
Actor and producer Stanley Baker sweated and laboured to create | 0:15:53 | 0:15:56 | |
this moving and heartfelt picture of a Welsh regiment | 0:15:56 | 0:16:01 | |
in the midst of the Anglo-Zulu war. | 0:16:01 | 0:16:04 | |
# ...spear points gleaming, see their warrior... # | 0:16:04 | 0:16:09 | |
Now we were fighting back using song as a weapon, | 0:16:09 | 0:16:12 | |
and Zulu is remembered as one of the greatest war films ever made. | 0:16:12 | 0:16:17 | |
-SINGING -Come on, sing! | 0:16:17 | 0:16:19 | |
Back in modern day Hollywood, Torchwood's Eve Myles | 0:16:24 | 0:16:27 | |
is out to find the Welsh acting talent formally recognised on the Walk of Fame. | 0:16:27 | 0:16:33 | |
Spotted in London, one actor was whisked off to Hollywood | 0:16:33 | 0:16:36 | |
to give us our first ever red carpet victory. | 0:16:36 | 0:16:39 | |
Best Actor in 1946 for the film, The Lost Weekend. | 0:16:39 | 0:16:43 | |
This is Ray Milland's star. He was the first Welsh actor to ever win an Oscar. | 0:16:43 | 0:16:48 | |
He was born in Neath. So he came a long way. | 0:16:48 | 0:16:52 | |
And the land of song has produced some stars in the world of music. | 0:16:53 | 0:16:58 | |
This is Alec Templeton. | 0:16:58 | 0:16:59 | |
He was a blind composer and pianist from Cardiff who came over to America with his own show. | 0:16:59 | 0:17:06 | |
He memorised his scripts by having them repeated to him 20 times. Grafter. | 0:17:06 | 0:17:11 | |
And our biggest singing sensation seems to have made a bit of a name for himself. | 0:17:11 | 0:17:17 | |
-Finally... -Tom Jones. -Tom Jones. Do you know Tom Jones? | 0:17:17 | 0:17:20 | |
-Great singer, good Welsh singer. -OK, very good. | 0:17:20 | 0:17:24 | |
# Delilah! # | 0:17:24 | 0:17:26 | |
That's it, that's the one! | 0:17:26 | 0:17:28 | |
This is Anthony Hopkins' hand prints and feet prints. | 0:17:31 | 0:17:37 | |
He has huge feet. My God, he's got hands like a shovel! | 0:17:37 | 0:17:43 | |
Fantastic to see. | 0:17:43 | 0:17:46 | |
Oh, Elizabeth Taylor! Oh, oh, oh! | 0:17:47 | 0:17:50 | |
There's no Richard Burton star, which I can't quite understand or believe. | 0:17:50 | 0:17:55 | |
I'm looking around and I'm really impressed. It's quite phenomenal. | 0:17:55 | 0:18:00 | |
But there simply isn't enough Welsh names on this walk. | 0:18:00 | 0:18:04 | |
Where's the Bassey? Where's the Bassey, I ask? | 0:18:04 | 0:18:07 | |
Honest to God. Where's Catherine Zeta Jones? | 0:18:07 | 0:18:11 | |
Where's Eve Myles? | 0:18:11 | 0:18:13 | |
Back in the 1970s and 80s, Hollywood was largely ignoring Wales. | 0:18:18 | 0:18:22 | |
But by now we were set to forge our own path, | 0:18:22 | 0:18:25 | |
making the films we wanted to make about ourselves. | 0:18:25 | 0:18:29 | |
And one man was determined to throw off the past | 0:18:29 | 0:18:32 | |
and project a stark new view of modern Welsh life. | 0:18:32 | 0:18:35 | |
The man in charge is Karl Francis, the Welsh director, | 0:18:35 | 0:18:38 | |
one of the busiest and most versatile filmmakers of the moment. | 0:18:38 | 0:18:42 | |
Carl Francis broke away from the stereotypes. | 0:18:42 | 0:18:45 | |
He cast non-actors to portray real people. | 0:18:45 | 0:18:47 | |
Using Welsh farmers, coalminers and the unemployed, | 0:18:47 | 0:18:51 | |
his films projected a sense of realism and integrity that hadn't been seen before. | 0:18:51 | 0:18:56 | |
I think it's a damn shame we're not awarded the same benefits as other nations. | 0:18:56 | 0:19:02 | |
And there was one film that didn't figure on the Hollywood radar, | 0:19:02 | 0:19:04 | |
but showed that, despite the harsh realism of the era, | 0:19:04 | 0:19:09 | |
Wales hadn't lost its funny bone. | 0:19:09 | 0:19:11 | |
-Grand Slam. -Grand Slam. | 0:19:11 | 0:19:14 | |
The Grand Slam. | 0:19:14 | 0:19:15 | |
I mean, that was a huge cultural moment, that show. | 0:19:15 | 0:19:17 | |
To see Welsh people be funny and, you know, | 0:19:17 | 0:19:22 | |
larger than life. | 0:19:22 | 0:19:24 | |
That's nice, that is, innit? Madame Rochas. | 0:19:24 | 0:19:27 | |
-What do you want that for? -Maldwyn. | 0:19:27 | 0:19:29 | |
-Buy it in France, man. -What, waste drinking time? You must be joking. | 0:19:29 | 0:19:33 | |
I was asked to rewrite it a few years ago and I wouldn't touch it. | 0:19:33 | 0:19:36 | |
Were you? Oh, it's a classic. It's a classic. | 0:19:36 | 0:19:38 | |
-What I want you to remember is that we are ambassadors of Wales. -Quite right. | 0:19:38 | 0:19:43 | |
Wales! | 0:19:43 | 0:19:46 | |
Wales had to keep shouting through the 80s to even get a look in. | 0:19:46 | 0:19:49 | |
And when it did, a familiar theme from the past re-emerged. | 0:19:49 | 0:19:53 | |
All I need is somewhere | 0:19:53 | 0:19:54 | |
I can have total isolation, | 0:19:54 | 0:19:56 | |
and above all, atmosphere. | 0:19:56 | 0:19:59 | |
Well, there's a friend of mine with a property in Wales. | 0:19:59 | 0:20:02 | |
We were back to the same plot as The Old Dark House 50 years earlier. | 0:20:02 | 0:20:06 | |
Go on Mr Kendall, I'm not easily frightened. | 0:20:06 | 0:20:08 | |
We were still seeing outsiders | 0:20:08 | 0:20:10 | |
coming to our dark, rain-soaked land, | 0:20:10 | 0:20:13 | |
and Wales was still a rather scary place to come. | 0:20:13 | 0:20:17 | |
-I seem to be lost. -Hardly surprising in this godforsaken part of the world. | 0:20:17 | 0:20:21 | |
My husband's idea of a holiday. | 0:20:21 | 0:20:23 | |
I've almost forgotten what civilisation is like. | 0:20:23 | 0:20:27 | |
They're all like that around here. | 0:20:27 | 0:20:30 | |
And had the portrayal of the Welsh moved on? Possibly not. | 0:20:30 | 0:20:34 | |
I think that Wales and Welsh people in particular have always been | 0:20:34 | 0:20:37 | |
portrayed in quite a silly way sometimes. | 0:20:37 | 0:20:40 | |
It used to pain me that there were so few Welsh characters on screen, | 0:20:40 | 0:20:44 | |
never mind Welsh drama, just Welsh characters in other things. | 0:20:44 | 0:20:47 | |
They'd be very rare. And if they did appear, | 0:20:47 | 0:20:49 | |
they'd be stupid like Huw in EastEnders and things like that. | 0:20:49 | 0:20:52 | |
There's something wrong with this yoghurt. | 0:20:52 | 0:20:55 | |
It's not yoghurt. It's mayonnaise. | 0:20:55 | 0:20:57 | |
Oh, right. There we are then. | 0:20:57 | 0:21:00 | |
There may have been the odd exception, | 0:21:00 | 0:21:02 | |
but in the 1990s, Wales and the Welsh were on the up. | 0:21:02 | 0:21:04 | |
A Welshman, Anthony Hopkins, won an Oscar for this chilling performance. | 0:21:04 | 0:21:09 | |
A census taker once tried to test me. | 0:21:09 | 0:21:12 | |
I ate his liver with some fava beans and a nice Chianti. HE SLURPS | 0:21:12 | 0:21:18 | |
In 1994, we received our first Oscar nomination | 0:21:21 | 0:21:25 | |
for a Welsh language film, Hedd Wyn. | 0:21:25 | 0:21:28 | |
With all this newfound confidence in our culture, | 0:21:28 | 0:21:31 | |
it was time to explode the myths once and for all. | 0:21:31 | 0:21:34 | |
Now it was cool to be Welsh. | 0:21:34 | 0:21:36 | |
Were these homegrown hits helping demolish the stereotypes? | 0:21:40 | 0:21:44 | |
Boom-shanka! | 0:21:44 | 0:21:45 | |
Or were these films building more new ones about the youth of Wales? | 0:21:45 | 0:21:50 | |
Every club is different, but in the Asylum it's the manager. | 0:21:50 | 0:21:53 | |
He has a string of home boys | 0:21:53 | 0:21:55 | |
dealing the pukka Es to the party people in the club. | 0:21:55 | 0:21:57 | |
Justin Kerrigan's Human Traffic was set in Cardiff, | 0:21:57 | 0:22:00 | |
but could easily have been set anywhere. | 0:22:00 | 0:22:02 | |
It simply told a story of urban youth, | 0:22:02 | 0:22:04 | |
capturing the zeitgeist of the time. | 0:22:04 | 0:22:07 | |
And the film didn't get hung up on whether it was being Welsh or not. | 0:22:07 | 0:22:10 | |
And a film starring Matthew Rhys, House Of America, | 0:22:10 | 0:22:13 | |
was to create a mash-up of Wales's past and reinvent it as cool Cumbria. | 0:22:13 | 0:22:17 | |
THEY CHEER | 0:22:17 | 0:22:18 | |
Here was disaffected Welsh youth | 0:22:18 | 0:22:20 | |
mocking stereotypes | 0:22:20 | 0:22:22 | |
'that they had been burdened with.' | 0:22:22 | 0:22:26 | |
On Monday morning. You and me, boyo, we'll be getting up very early, | 0:22:26 | 0:22:32 | |
getting on the Harley and, with the rest of the rabble in the village, | 0:22:32 | 0:22:36 | |
we'll be going up to the opencast... | 0:22:36 | 0:22:40 | |
..to sign up for jobs as labourers. | 0:22:40 | 0:22:43 | |
We may have been mocking, but were we reinforcing old stereotypes? | 0:22:43 | 0:22:47 | |
You know, you had the miners and Tom Jones | 0:22:47 | 0:22:49 | |
'and there was that conflict of identity.' | 0:22:49 | 0:22:53 | |
Right, five pints of lager, two whiskies, five Scampi Fries. | 0:22:54 | 0:22:58 | |
'You have to get away from stereotypes of singing miners. They don't exist now.' | 0:22:58 | 0:23:02 | |
There's a new stereotype one battles against, | 0:23:02 | 0:23:05 | |
which is the depressed heroin-ridden, | 0:23:05 | 0:23:08 | |
post-industrial Society. | 0:23:08 | 0:23:09 | |
That's the one that seems to be more prevalent now, in a way. | 0:23:09 | 0:23:13 | |
And there's a huge nostalgia for singing miners. | 0:23:13 | 0:23:15 | |
Whether they sang to that extent or not, I do not know. | 0:23:15 | 0:23:17 | |
At the turn of the new millennium, | 0:23:19 | 0:23:20 | |
we saw the stereotypes repackaged. | 0:23:20 | 0:23:23 | |
Once again, a lead character was not played by a Welsh actor. | 0:23:23 | 0:23:27 | |
And the bad accents were back... | 0:23:27 | 0:23:30 | |
Hello. Can't stop. Father sent me out for our supper. | 0:23:30 | 0:23:33 | |
..along with the singing. | 0:23:35 | 0:23:37 | |
SINGING | 0:23:37 | 0:23:38 | |
And we sang... | 0:23:38 | 0:23:40 | |
SINGING | 0:23:40 | 0:23:42 | |
..and we sang. | 0:23:42 | 0:23:43 | |
And we sang some more. | 0:23:43 | 0:23:47 | |
HE SINGS | 0:23:47 | 0:23:49 | |
So, can we change some of the stereotypes that have stuck with us | 0:23:59 | 0:24:03 | |
since How Green Was My Valley? | 0:24:03 | 0:24:04 | |
And do we want to? | 0:24:04 | 0:24:06 | |
To be honest, 70 years ago, I would not expect an accurate representation. | 0:24:07 | 0:24:13 | |
Ten, 15 years ago, we were still getting cliched representations and probably will continue to. | 0:24:13 | 0:24:18 | |
It's the writers who will break those cliches. | 0:24:18 | 0:24:20 | |
They ultimately will give us our identity. | 0:24:20 | 0:24:23 | |
'There was an awful lot of people who think Welsh drama should be something called Daffodil, | 0:24:23 | 0:24:28 | |
'that explores the lives of Welsh people been Welsh all day long.' | 0:24:28 | 0:24:32 | |
-Some of that should exist. I'll write something like that one day. -Absolutely. | 0:24:32 | 0:24:35 | |
You can't focus on one thing and say that is what Welsh drama is. | 0:24:35 | 0:24:38 | |
You have got to look at the whole thing. The whole picture and the picture is massive. | 0:24:38 | 0:24:42 | |
In the last few years, Wales, in all its variety, | 0:24:42 | 0:24:45 | |
has found its way onto the big screen. | 0:24:45 | 0:24:47 | |
Mr Nice followed the life of a notorious Welshman. | 0:24:47 | 0:24:51 | |
Welcome to California. | 0:24:51 | 0:24:52 | |
And here we had our very own Howard Marks played by, yes, | 0:24:52 | 0:24:56 | |
a real-live Welshman, Rhys Ifans. | 0:24:56 | 0:24:58 | |
I can hear you the other end of the field, man. It's not even on, Jim. | 0:24:58 | 0:25:02 | |
And in 2006, it was Howard Marks himself | 0:25:02 | 0:25:04 | |
who voiced the opening to this film | 0:25:04 | 0:25:06 | |
in true Richard Burton tradition. | 0:25:06 | 0:25:08 | |
With new digital methods of production, | 0:25:16 | 0:25:18 | |
anybody can make a movie and the Welsh did just that. | 0:25:18 | 0:25:21 | |
It may be crass, but these boys were representing a new generation to a worldwide audience. | 0:25:21 | 0:25:27 | |
Today, the internet and television are now having an even wider impact | 0:25:27 | 0:25:31 | |
than traditional cinema. | 0:25:31 | 0:25:34 | |
And Torchword is exploding across television screens in America and all around the world. | 0:25:36 | 0:25:40 | |
Wales is insane! | 0:25:40 | 0:25:43 | |
-If you're the best England has to offer, God help you. -I'm Welsh. | 0:25:43 | 0:25:46 | |
With more and more TV and film now being made in Wales, | 0:25:49 | 0:25:53 | |
and new drama studios set to open in Cardiff Bay, | 0:25:53 | 0:25:56 | |
the film and TV production industry seems to be moving at a pace. | 0:25:56 | 0:26:01 | |
'We're working with Welsh actors, | 0:26:01 | 0:26:02 | |
'we're working with Welsh technical crews.' | 0:26:02 | 0:26:05 | |
It is a very well-oiled machine in South Wales, which is a good thing. | 0:26:05 | 0:26:09 | |
Kicked off by Doctor Who, Torchwood and other TV dramas, | 0:26:10 | 0:26:13 | |
there is a tangible impact on the ground and on screen. | 0:26:13 | 0:26:16 | |
Bring it on. The Doctor Who effect is amazing. It is providing an infrastructure, | 0:26:16 | 0:26:21 | |
it's providing technicians, it's providing a critical mass. | 0:26:21 | 0:26:24 | |
And is proving that we can make stuff of quality. It's a helluva thing. | 0:26:24 | 0:26:27 | |
All those jobs and departments, they are in Wales. | 0:26:27 | 0:26:31 | |
You don't have to think you have to travel. I think that is vital. | 0:26:31 | 0:26:35 | |
Yes, I think it is becoming the hub, which I am very proud of. And why not? | 0:26:35 | 0:26:40 | |
'I would love to see more stories actually about Wales' | 0:26:40 | 0:26:45 | |
and for us to actually put our life | 0:26:45 | 0:26:46 | |
'and our modern life on the screen in a way that is obviously Welsh.' | 0:26:46 | 0:26:51 | |
I'm not sure that Doctor Who and Torchwood are going to change things | 0:26:51 | 0:26:55 | |
in any way in that respect, but it is fantastic | 0:26:55 | 0:26:59 | |
that such a successful and high-quality production is associated with Wales. | 0:26:59 | 0:27:03 | |
And, since 1991, we have been celebrating our Welsh talent | 0:27:03 | 0:27:06 | |
at Bafta Cymru, our own Oscars. | 0:27:06 | 0:27:10 | |
What does the future hold for Wales on screen? | 0:27:11 | 0:27:13 | |
I saw a film recently called Submarine, | 0:27:13 | 0:27:15 | |
which I thought was probably one of the most beautiful depictions | 0:27:15 | 0:27:19 | |
of Wales. It was the Swansea Bay area and Barry and beautifully done. | 0:27:19 | 0:27:23 | |
'I think that is going to be a milestone in terms of Wales on film.' | 0:27:23 | 0:27:26 | |
You must be chuffed to bits with the film. It has done ready well. | 0:27:26 | 0:27:30 | |
Yes. It has done ready well. It has opened in America. | 0:27:30 | 0:27:33 | |
With Submarine's lead actor Craig Roberts also taking Wales to America | 0:27:33 | 0:27:36 | |
and Welsh locations featured in blockbusters like Harry Potter, Robin Hood and Ironclad, | 0:27:36 | 0:27:42 | |
it seems Wales does figure on the global radar. | 0:27:42 | 0:27:46 | |
And the future looks bright in Hollywood, too. | 0:27:46 | 0:27:48 | |
Martin Scorsese is planning to make a film about our own Richard Burton, | 0:27:48 | 0:27:52 | |
who at last looks set to get the recognition he deserves with a star on the Walk Of Fame. | 0:27:52 | 0:27:58 | |
Pioneered by William Haggar and continued by Torchwood, | 0:27:58 | 0:28:02 | |
we are making an impact across the pond and all around the world. | 0:28:02 | 0:28:06 | |
And, 100 years on, what can Wales learn from the original film pioneer? | 0:28:06 | 0:28:11 | |
It needs to embrace a very commercial, popcorn attitude. | 0:28:11 | 0:28:15 | |
We have to start adhering to what people want - make some money. | 0:28:15 | 0:28:20 | |
Make some money to make the other stuff. | 0:28:20 | 0:28:22 | |
# Get away from me | 0:28:24 | 0:28:28 | |
# Get away from you | 0:28:28 | 0:28:30 | |
# What I want to see | 0:28:30 | 0:28:33 | |
# What I want to do | 0:28:33 | 0:28:36 | |
# I'm going to live in Hollywood | 0:28:36 | 0:28:39 | |
# Bet you thought I never could | 0:28:39 | 0:28:41 | |
# Went to the neighbourhood | 0:28:41 | 0:28:44 | |
# I want to live in Hollywood. # | 0:28:44 | 0:28:46 |