:00:00. > :00:09.And Josie even meets the real life Erin Brockovich.
:00:10. > :00:11.Audiences have always had a big appetite
:00:12. > :00:14.A popular character gets the part that actors want to play
:00:15. > :00:23.As an artistic director, it is my job to consider the kind
:00:24. > :00:31.From biopics to Shakespeare plays, it is something we're thinking
:00:32. > :00:34.In my edition of Artsnight, I will be talking to actors,
:00:35. > :00:38.writers and directors about the real lives they are choosing to show.
:00:39. > :00:41.And asking them if they feel any responsibility to the people
:00:42. > :00:53.I also want to know, how does it reflect our contemporary culture?
:00:54. > :00:55.In 2015 our screen heroes are increasingly drawn from real
:00:56. > :01:00.If you want to get ahead in the Oscar race, it is smart to
:01:01. > :01:06.I spoke to leading practitioners of the form, including
:01:07. > :01:09.Aaron Sorkin, screenwriter, and Tom Hiddleston, about the pleasures
:01:10. > :01:15.Cinemagoers are being offered an array of films exploring a truly
:01:16. > :01:20.Whether it is Steve Jobs, Lance Armstrong,
:01:21. > :01:26.It does feel like there is an increasing proliferation
:01:27. > :01:30.of real stories in cinema and maybe that is something to do with the
:01:31. > :01:33.fact that we live in a world where everything has been documented.
:01:34. > :01:37.I think that humans are by nature voyeuristic, we want to peek
:01:38. > :01:41.into the window of our neighbour and see what kind of things they do
:01:42. > :01:49.People enjoy relating to these people as human beings,
:01:50. > :01:55.as opposed to two-dimensional figures who are far away.
:01:56. > :01:58.When did this modern cinematic obsession with real lives begin?
:01:59. > :02:01.One of the classics of the genre, directed by Steven Soderbergh,
:02:02. > :02:03.dramatises the life of an unknown paralegal secretary
:02:04. > :02:15.The film follows Erin and her lawyer, played by Albert Finney, as
:02:16. > :02:18.they help a small US town, Hinckley, take on a giant corporation.
:02:19. > :02:20.The story caught the imagination of millions and brought
:02:21. > :02:28.With a little effort I really think we can just nail their asses to
:02:29. > :02:31.With all of your legal expertise, you believe that?
:02:32. > :02:35.Do you just know where the money is coming from?
:02:36. > :02:37.That's why most of these cases settle - lack of money.
:02:38. > :02:40.Do you know what toxicologists and geology experts cost?
:02:41. > :02:42.We are looking at 100 grand a month, easy.
:02:43. > :02:44.I have already made a huge dent in my savings.
:02:45. > :02:48.I admit, I don't shit about shit but I know the difference
:02:49. > :02:53.The real Erin Brockovich now tours the world, campaigning
:02:54. > :03:01.But I was curious to know just what impact this seminal film had
:03:02. > :03:04.The movie was overwhelming, the movie shocked me.
:03:05. > :03:12.I had no idea, it was not until somebody said, what are they
:03:13. > :03:18.I don't know, the working title is Erin Brockovich?
:03:19. > :03:20.That is stupid, nobody is going to name the movie Erin Brockovich.
:03:21. > :03:34.He goes, Erin, we don't need to see another movie about a lawyer.
:03:35. > :03:39.Just understand what is going on here.
:03:40. > :03:43.You are running around in miniskirts and stilettos,
:03:44. > :03:46.picking up dead frogs, trying to help these people who have been
:03:47. > :03:57.So a friend of mine this week, he wrote on Twitter that he was
:03:58. > :04:00.annoyed with his car company and he was going to do an Erin Brockovich.
:04:01. > :04:03.I wish I had a penny for every time that happened.
:04:04. > :04:06.How do you feel, now that your name has become a verb and an adjective?
:04:07. > :04:08.You cannot separate Erin Brockovich from Erin Brockovich.
:04:09. > :04:17.Is that so weird that I had to just say that?
:04:18. > :04:21.Does this figure in people's heads, this character, Erin Brockovich,
:04:22. > :04:24.played by Julia Roberts in this movie, how does that woman travel
:04:25. > :04:34.The things people say to me because of the movie and the association,
:04:35. > :04:40.My running joke is, I'm Erin Brockovich, and I'm Julia Roberts.
:04:41. > :04:48.Even today, I will be in a grocery store line and they are like, oh,
:04:49. > :04:53.Well, it was the name of the film and it's a real person and I'm it.
:04:54. > :04:58.I am, like, no, Julia played my person, I am Erin Brockovich.
:04:59. > :05:01.No, that was the name of the movie. They don't make that connection.
:05:02. > :05:04.Do you think the movie delayed understanding of your role in it?
:05:05. > :05:11.I remember the night that the movie premiered.
:05:12. > :05:17.And I was literally panic-stricken coming up to the event and my car
:05:18. > :05:23.There is a red carpet here and here and I can see all
:05:24. > :05:26.of the lights and activity and I get out of the car and there
:05:27. > :05:41.The night that the film came out, some of the agents and stuff
:05:42. > :05:44.and my friends came over to the house and we went to
:05:45. > :05:47.the movie theatre and we could not get into the movie theatre.
:05:48. > :05:57.I had to detach and it has taken this process
:05:58. > :06:03.and all of these years to really see what it ultimately feels like.
:06:04. > :06:07.When a movie is a famous, you then put "the real" in front...
:06:08. > :06:28.I wanted know something, it is not about the number.
:06:29. > :06:32.It is about the way that my work is valued in this firm.
:06:33. > :06:34.It is about how, no matter what I do, you are not...
:06:35. > :06:46.I have decided that the figure you proposed was inappropriate.
:06:47. > :06:55.The bonus he gave me was a true act of love.
:06:56. > :07:03.So if I watch it, I am going to tear up,
:07:04. > :07:07.It is a memorial as well as a monument?
:07:08. > :07:19.So, you shouldn't ask me that question!
:07:20. > :07:36.That was the first time I saw Julia on set.
:07:37. > :07:40.That is the first time you saw her, the day you went to play the part?
:07:41. > :07:45.I was in the trailer getting my hair and make-up ready, so they say.
:07:46. > :07:47.And she came in through the side door.
:07:48. > :07:50.Apparently, she was not supposed to be talking to me so she went
:07:51. > :07:54.And I think to myself, that is kind of rude.
:07:55. > :08:01.So I looked up this way and she stopped and looked at me
:08:02. > :08:11.She goes, I'm so embarrassed, I don't even have my boobs in yet!
:08:12. > :08:24.It was an awkward moment but she brought laughter to it.
:08:25. > :08:27.Erin worked closely with the director on her celluloid
:08:28. > :08:29.portrayal but some recent biopics have been more controversial
:08:30. > :08:34.Aaron Sorkin, who wrote the new Steve Jobs film, believes
:08:35. > :08:38.creative freedom is vital when writing biographical screenplays.
:08:39. > :08:41.You're not an engineer, you're not a designer.
:08:42. > :08:48.The graphical interface was stolen from Xerox.
:08:49. > :08:52.He was a leader of the team before you threw him off his own project!
:08:53. > :08:59.So how come, ten times in a day, I read that Steve Jobs is a genius?
:09:00. > :09:09.Many journalists have taken on, they have done their own version
:09:10. > :09:11.of a biopic, including Walter Isaacson, who wrote the book
:09:12. > :09:19.The movie announces itself pretty early on as a painting
:09:20. > :09:25.and not a photograph and not a piece of journalism but a subjective,
:09:26. > :09:32.artistic take on one particular aspect of the life of Steve Jobs.
:09:33. > :09:35.I think if you lined up ten screenwriters and asked each one to
:09:36. > :09:38.write movie about Steve Jobs, you would get ten very different
:09:39. > :09:41.movies, even among those writers who did choose to do a literal version
:09:42. > :09:51.Sorkin's approach has sometimes left his subjects unhappy.
:09:52. > :09:53.Mark Zuckerberg, the hero of The Social Network, rejected
:09:54. > :09:58.the film, stating, this is my life so I know it is not so dramatic.
:09:59. > :10:02.I thought that was a perfectly understandable response.
:10:03. > :10:05.I don't think any of us would like to have a movie made out
:10:06. > :10:09.of the things that we did when we were 19 years old.
:10:10. > :10:20.In that our lives are not the same as movies and
:10:21. > :10:23.the properties of people and the properties of characters don't have
:10:24. > :10:29.People don't speak in dialogue and people's lives don't lay
:10:30. > :10:32.themselves out in a series of scenes that form a narrative.
:10:33. > :10:38.That is something that a writer does to a story.
:10:39. > :10:40.You have part of my attention, you have the minimum amount.
:10:41. > :10:43.The rest of my attention is back at the offices of Facebook,
:10:44. > :10:47.where my colleagues and I are doing things that no one in this room,
:10:48. > :10:48.including and especially your clients, are intellectually or
:10:49. > :10:55.Did that adequately answer your condescending question?
:10:56. > :10:59.If you put cameras and tape recorders in anyone's workplace,
:11:00. > :11:05.It would not be a movie. You need someone to come
:11:06. > :11:11.along and shape that, to find some kind of truth in that.
:11:12. > :11:16.It seems that the line between fact and fiction is increasingly blurred.
:11:17. > :11:19.James Marsh's Oscar-winning documentary Man on Wire,
:11:20. > :11:23.about the French tightrope walker Philippe Petit, was recently turned
:11:24. > :11:36.Stories come to you as documentaries because they appear to be so beyond
:11:37. > :11:39.the realms of believability, if you were to present them as fiction,
:11:40. > :11:44.And my rule is, if the story feels utterly incredible and unbelievable,
:11:45. > :11:48.then the documentary is possibly the best way of doing it.
:11:49. > :11:51.And if a story feels a little bit more manageable, maybe a drama is
:11:52. > :11:59.Marsh has made the shift into biographical drama with
:12:00. > :12:02.The Theory Of Everything, the story of Stephen and Jane Hawking.
:12:03. > :12:04.Why didn't he make it as a documentary?
:12:05. > :12:07.I think a documentary could not get you into where the drama could get
:12:08. > :12:12.So, in the case of Steven Hawking and Jane Hawking, there are many
:12:13. > :12:16.kinds of films you could make about Stephen and Jane's life, but unless
:12:17. > :12:19.I was filming the marriage for 25 years or 20 years, I could not
:12:20. > :12:21.really have had the same access to the emotional life
:12:22. > :12:26.of the characters that you could do through the dramatic script.
:12:27. > :12:29.I am not qualified to say which is more true and what isn't.
:12:30. > :12:33.All I know is that both documentaries and films that I have
:12:34. > :12:36.made based on true stories, you are looking for something that, to you,
:12:37. > :12:47.Neither of those media or mediums of film making are the literal truth.
:12:48. > :12:49.How does an actor make the stretch into playing a real-life character?
:12:50. > :12:55.Especially when their experience is far from their own?
:12:56. > :12:57.British actor Tom Hiddleston transformed into American country
:12:58. > :13:05.I wanted to hear what it took for him to make this leap
:13:06. > :13:11.So you've taken on this icon, this hero, this massive figure
:13:12. > :13:18.How deep was the breath that you drew before doing it?
:13:19. > :13:27.It was daunting, it was challenging, but exciting.
:13:28. > :13:29.Because Hank Williams changed the landscape of American music.
:13:30. > :13:34.Bob Dylan, the Rolling Stones, Johnny Cash, Bruce Springsteen,
:13:35. > :13:45.Basically, he was born with spina bifida, which wasn't diagnosed
:13:46. > :13:53.But he was apparently quite a weak child and he wasn't strong,
:13:54. > :13:57.which is why he missed the draft, so he wasn't a soldier himself.
:13:58. > :14:02.He didn't work on the railroad, he didn't work in the field,
:14:03. > :14:05.he didn't work on the farm, which is I think part of
:14:06. > :14:08.the reason why he latched onto music and why he latched onto the guitar,
:14:09. > :14:14.How did you begin to get into this music, which is not your music?
:14:15. > :14:18.That was the hardest thing, I think, was trying to change
:14:19. > :14:26.Our British rhythm is actually very on the beat.
:14:27. > :14:29.It's very neat, it's very tidy, it's very British.
:14:30. > :14:34.You unstitch it by going to Nashville for six weeks
:14:35. > :14:39.# She changed a lock on our front door
:14:40. > :14:51.I went to train with a man who is actually Nashville royalty
:14:52. > :14:55.He himself saw Hank Williams play, on his father's shoulders,
:14:56. > :14:59.at the age of two and it's one of his earliest memories.
:15:00. > :15:03.And Hank is the biggest inspiration in his life.
:15:04. > :15:06.The thing he instructed me to do from the get-go was to interpret
:15:07. > :15:12.which is really just like playing a Shakespearean role.
:15:13. > :15:15.He said, there's no way you can imitate Hank.
:15:16. > :15:23.But the way that you'll carry it across - and he used these words -
:15:24. > :15:25.he said, "If you can sing with the same
:15:26. > :15:33.feeling and show us what that means to you, we'll hear it, we'll
:15:34. > :15:39.Because that's the power he had, it came from his heart.
:15:40. > :15:41.Hank wouldn't be tamed by the music industry.
:15:42. > :15:44.Famously, he once stormed out of an interview, something musicians
:15:45. > :15:54.What I loved, I guess, is that Hank has a rebelliousness I don't have.
:15:55. > :15:56.I'm too English and too well brought up probably.
:15:57. > :15:58.Do you think you will acquire that with age?
:15:59. > :16:05.I don't know that I'll ever walk out of an interview.
:16:06. > :16:16.We love biographical plays and films, but if history tends to
:16:17. > :16:20.be about dead white men, who is pulling in the other direction?
:16:21. > :16:22.Screenwriter and playwright Abi Morgan has made a career
:16:23. > :16:25.and a reputation putting women at the heart of stories.
:16:26. > :16:28.I spoke to her about her latest film, Suffragette, and how she
:16:29. > :16:39.Abi Morgan has created a memorable - now classic array -
:16:40. > :16:41.of leading parts for actors on stage and screen.
:16:42. > :16:43.Her heroes and antiheroes are often women.
:16:44. > :16:46.Here at the Donmar, we just staged a production of Morgan's
:16:47. > :16:50.First performed in the year 2000, it was set on the eve
:16:51. > :17:07.of a violent revolution and starred an all-female cast.
:17:08. > :17:09.When we met in the Donmar, I began by asking Abi
:17:10. > :17:13.when the words female or woman are put in front of
:17:14. > :17:18.When women turn to me and say, 'How does it feel to be a female
:17:19. > :17:21.writer?', I think four or five years ago, I used to baulk at that.
:17:22. > :17:25.One of the things I really don't think I considered properly
:17:26. > :17:31.You know, and so I never went into a room
:17:32. > :17:33.and thought - I'm lesser in the room.
:17:34. > :17:37.What's interesting as I hit my 40s and my mid-40s is that I'm more
:17:38. > :17:41.Not just my own, because you have to look outside
:17:42. > :17:49.The young Abi was drawn to compelling female leads like
:17:50. > :17:50.Rosalind Russell in His Girl Friday.
:17:51. > :17:53.When I think about those films that have been
:17:54. > :17:56.female-lead that I was drawn to, I can often relate them to actresses.
:17:57. > :18:09.It's often films that have been led by strong actresses like
:18:10. > :18:11.Meryl Streep, and it's Sissy Spacek and Sally Field.
:18:12. > :18:14.And Hildy in His Girl Friday, and Shirley MacLaine in The Apartment.
:18:15. > :18:17.Both of those were absolutely astonishing to me because they were
:18:18. > :18:29.And there is a group of powerful, campaigning women at the centre
:18:30. > :18:37.Yes, but I consider myself more of a soldier, Mrs Watts.
:18:38. > :18:39.Will these women's testimonies make a difference?
:18:40. > :18:43.But as Mrs Pankhurst says, it's deeds, not words,
:18:44. > :18:51.I think it was being ignited by another woman's passion, which
:18:52. > :19:02.What I also realised was it was rare for me to be on a set where there
:19:03. > :19:06.You don't often get a mainstream movie led by women,
:19:07. > :19:16.Or a fantasy, or a kind of romantic film.
:19:17. > :19:20.Politics of a very different colour were at the heart of The Iron Lady,
:19:21. > :19:29.Margaret, with all due respect, when one has been to war...
:19:30. > :19:32.With all due respect, sir, I have done battle every single day
:19:33. > :19:35.of my life and many men have underestimated me before.
:19:36. > :19:40.This lot seem bound to do the same, but they will rue the day!
:19:41. > :19:44.And when you went back to look at Thatcher,
:19:45. > :19:47.was that driven by a desire to re-examine or reinterpret, or was
:19:48. > :19:53.I remember Phyllida saying to me that actually, she wanted to make
:19:54. > :19:58.What really intrigued me was the very simple premise, which was, what
:19:59. > :20:01.would happen if I passed Margaret Thatcher buying a pint of milk?
:20:02. > :20:05.And then when I learnt that she was experiencing dementia, it became
:20:06. > :20:08.even more intriguing to me and I realised that actually, it had the
:20:09. > :20:14.potential to be the kind of prism in which to look at the kind of power
:20:15. > :20:18.of loss and loss of power, which is at the centre of the film.
:20:19. > :20:23.Phyllida is also always described as 'King Lear for girls'.
:20:24. > :20:26.And I think if nothing else, whether you revere or revile her,
:20:27. > :20:28.she would be really that great feminist/antifeminist figure that we
:20:29. > :20:33.I think what drew me to her was trying to find out those big almost
:20:34. > :20:37.They're great because they're another way of
:20:38. > :20:39.redressing the balance of stories that have been told about men.
:20:40. > :20:43.We've seen numerous films about Kennedy.
:20:44. > :20:46.We've only ever seen one movie about Margaret Thatcher, and I hope that
:20:47. > :20:50.In the critically-acclaimed series The Hour,
:20:51. > :20:54.Abi also explored what it was to succeed in a male-dominated world.
:20:55. > :20:58.This time, the backdrop was a 1950s newsroom.
:20:59. > :21:05.When you decided to write The Hour, was that what most motivated you,
:21:06. > :21:12.It was Romola's character and it was the character of Lix Storm
:21:13. > :21:19.which, in itself, is a complete nod to those 1930s/1940s slightly coded
:21:20. > :21:21.sort of, you know, enpowered names of that time.
:21:22. > :21:24.It was a time where there were huge sexual politics going on
:21:25. > :21:27.in the office and yet there wasn't necessarily the language.
:21:28. > :21:31.Certainly not the political language to talk about it.
:21:32. > :21:35.A new programme, a new era, and they want me as producer.
:21:36. > :21:52.And you can never really find one who will ever stay.
:21:53. > :21:54.A couple more years, you'll probably want a baby.
:21:55. > :21:57.And even if they don't say that to your face,
:21:58. > :21:59.It's all about creating fully rounded women.
:22:00. > :22:02.I think what's really interesting about, say, working on a film
:22:03. > :22:04.like Shame, ultimately, that's about a very sexual man,
:22:05. > :22:10.but it's also about a group of very sexual women as well.
:22:11. > :22:12.And that was fascinating to me and actually, I guess,
:22:13. > :22:15.really simply, I think women, there's a lot of shame around sex
:22:16. > :22:18.and admitting that you have a sexual appetite and being enpowered.
:22:19. > :22:21.And so that permeates the way we portray women on the screen.
:22:22. > :22:23.You've gone backwards with this kind of new historicist
:22:24. > :22:26.Going forwards, what do you really want to hear?
:22:27. > :22:29.One of the things I would like to see is that we allow
:22:30. > :22:33.ourselves to take on some of those big themes, big worlds, big genres
:22:34. > :22:34.that we would normally reserve for men.
:22:35. > :22:39.It would be really great to see a female Bond.
:22:40. > :22:44.I love James Bond and it's probably sacrilege to say that, but when
:22:45. > :22:51.you're looking at the mix of Idris Elba and Damian Lewis,
:22:52. > :22:53.you know, do have a think about the woman
:22:54. > :22:57.In my final film tonight, I meet some theatre practitioners
:22:58. > :23:03.who are challenging received wisdom behind the casting
:23:04. > :23:07.Shakespeare said that great acting holds a mirror up to nature,
:23:08. > :23:10.but do you need a white male actor to play one of America's
:23:11. > :23:18.We meet people behind two shows who are challenging the idea of how
:23:19. > :23:27.# I'm passionately smashing every expectation, every action... #
:23:28. > :23:30.The hottest show on Broadway right now tells the story of a key figure
:23:31. > :23:32.in the early history of the USA, Alexander Hamilton.
:23:33. > :23:36.Alexander Hamilton was our first Treasury Secretary.
:23:37. > :23:42.He came from this tiny island in the Caribbean, he left when he
:23:43. > :23:46.was 15, joined the revolution and became George Washington's aide.
:23:47. > :23:49.So he arrived in America in, like, 1775, so just
:23:50. > :23:54.The actors playing America's Founding Fathers look and sound like
:23:55. > :23:57.America today, and the soundtrack album is making its way towards
:23:58. > :24:02.We also wanted to eliminate any distance between then and now.
:24:03. > :24:06.So if we populated our show with people
:24:07. > :24:12.that looked like the world that we see today, then automatically, we're
:24:13. > :24:18.And that proximity gives us immediacy and doesn't
:24:19. > :24:21.create a gulf between something that happened and where we are.
:24:22. > :24:24.I think seeing the show certainly changed me and my perception of what
:24:25. > :24:29.Are you feeling excited and hopeful for what's next?
:24:30. > :24:33.All of our hope is that whoever that kid is that came to see Rent, who
:24:34. > :24:39.made this, there is somebody out there who is hopefully going to see
:24:40. > :24:43.the show and say - my story matters, that it can sound like me, that it
:24:44. > :24:46.can look like me, that it can be about something that I care about.
:24:47. > :24:49.And I think that idea that all of our stories are relevant
:24:50. > :24:54.and have a place, even in a world as commercial as Broadway,
:24:55. > :24:58.what it's saying fundamentally is, this can be for everybody.
:24:59. > :25:12.On this side of the Atlantic, how our history is being represented
:25:13. > :25:19.In the last three years, director Phylidda Lloyd has produced radical
:25:20. > :25:21.interpretations of Shakespeare's Julius Caesar and Henry IV,
:25:22. > :25:35.How I came by the Crown, O God forgive
:25:36. > :25:41.And grant it may with thee in true peace live
:25:42. > :25:53.My gracious liege, you won it, wore it, kept it, gave it me...
:25:54. > :25:57.Following critical acclaim in London, Phylidda and
:25:58. > :26:02.the cast are back rehearsing Henry IV before it transfers to New York.
:26:03. > :26:06.Why did Phylidda choose to do an all-female production?
:26:07. > :26:12.What we're trying to question is - who is entitled to what we have
:26:13. > :26:15.come to think of as the Crown Jewels of our culture,
:26:16. > :26:20.Who has got the keys to this kingdom?
:26:21. > :26:27.Men get all the amazing stuff to talk about.
:26:28. > :26:31.Honour, justice and rivalry and peace and power, and women talk
:26:32. > :26:33.about domestic things, or they talk about their husband,
:26:34. > :26:43.It's kind of romantic and domestic, it's a smaller world.
:26:44. > :26:47.I would like to try another exercise of the actual changing of the space.
:26:48. > :26:49.Rehearsals begin with movement sessions in this radical
:26:50. > :26:51.interpretation of Shakespeare, the actors have to learn to inhabit
:26:52. > :27:00.The room should feel completely full.
:27:01. > :27:10.To start engaging with bits of yourself that you don't usually.
:27:11. > :27:13.Like, we talk a lot about the pelvis and the power there.
:27:14. > :27:16.I've been going to the gym and I've been really enjoying getting muscles
:27:17. > :27:19.and swaggering and taking up space and not apologising,
:27:20. > :27:27.Well, I found myself sat legs open, doing the man spread on the Tube,
:27:28. > :27:34.How does telling the story in this way make it more accessible
:27:35. > :27:41.One of the things that's most surprised
:27:42. > :27:46.and to all sorts of people who've never done Shakespeare before.
:27:47. > :27:48.And how instantly the words fit the situation
:27:49. > :28:02.I love talking to young men after the show.
:28:03. > :28:05.Going, God, I didn't know how you lot are going to play men!
:28:06. > :28:07.And then eventually going, I stopped thinking about it
:28:08. > :28:10.You weren't playing men, you were playing the character.
:28:11. > :28:12.And we're like, that's exactly what we're doing, playing the essence
:28:13. > :28:15.Lie down, lie down here close to the ground
:28:16. > :28:20.If these productions open up Shakespeare to new audiences,
:28:21. > :28:22.how might they have opened up the actors to new ways
:28:23. > :28:28.Spiderman, definitely, without a doubt.
:28:29. > :28:33.I always loved Spiderman, but the idea that I can play him is amazing.
:28:34. > :28:40.The challenge is on for everybody else in the world because we know
:28:41. > :28:48.what we can do, because we are saying - the best, some of the most
:28:49. > :28:50.spectacular writing ever written in the English language, we are
:28:51. > :28:52.tackling it and we have the muscles for it.
:28:53. > :28:57.I'm going to leave you with a clip of the Company of Henry IV
:28:58. > :29:04.singing a song from the production Daddy's Gone.
:29:05. > :29:07.# I won't be the lonely once sat in on my own inside
:29:08. > :29:09.# Forget your daddy's gone, forget your daddy's gone
:29:10. > :29:15.# He's gone, he's gone, he's gone, he's gone
:29:16. > :29:23.# He's gone, he's gone, he's gone, he's gone
:29:24. > :29:44.Mild and wet and windy. Wet and windy into Northern Ireland and much
:29:45. > :29:46.of Scotland. For