0:00:21 > 0:00:25Hello, and welcome to Film 2011. We Hello, and welcome to Film 2011. We
0:00:25 > 0:00:32are live, and if you want to get in touch, the details are on the screen
0:00:32 > 0:00:36now. Coming up tonight: George Clooney gets all powerful and
0:00:36 > 0:00:40political in The Ides of March. Today marks the beginning of a fight
0:00:40 > 0:00:45between two sets of ideals. It doesn't matter what you thought, it
0:00:45 > 0:00:49matters what you did and what yo do. Was Shakespeare the real deal?
0:00:50 > 0:00:56was the question in Anonymous. 10,000 listen to go the ideas of one
0:00:56 > 0:01:01man. That's power, Robert. Will Shakespeare, fraud, charlatan.
0:01:01 > 0:01:09And we take your breath away as Top And we take your breath away as Top
0:01:09 > 0:01:13Gun turns 25. I feel the need, the need for speed. Ow!
0:01:13 > 0:01:19Plus Paul Greengrass talks about the Plus Paul Greengrass talks about the
0:01:19 > 0:01:24making of his film, United 93. First The Ides of March, which stars my
0:01:24 > 0:01:28future husband Ryan Gosling and is directed by George Clooney. You OK?
0:01:28 > 0:01:31We are going to be fine. It's the right thing to do and if nothing
0:01:31 > 0:01:40happens we will be doing the right thing. Is this your personal
0:01:40 > 0:01:44theory? I can shoot holes in it. There's exceptions to every rule.
0:01:44 > 0:01:50The movie takes him on a classic The movie takes him on a classic
0:01:50 > 0:01:53story, you start out in something very big and bit by bit you start to
0:01:53 > 0:02:00take things away by people who are better at it than he is and he
0:02:00 > 0:02:04becomes the master of it and gives away only his soul to win.
0:02:04 > 0:02:09That to us was exciting. Got a That to us was exciting. Got a
0:02:09 > 0:02:16couple of minutes? I can't be talking to you. You are. You are
0:02:16 > 0:02:18Is it worth doing this wrong thing, Is it worth doing this wrong thing,
0:02:18 > 0:02:23leaving the campaign while the ropes, to work for
0:02:23 > 0:02:30candidate, but if he works for that candidate then he can potentially
0:02:30 > 0:02:33get into the White House and affect policy and effect change. You are
0:02:33 > 0:02:38a sinking ship. Tell her what she wants to know and jump. Come
0:02:38 > 0:02:41our side. We can control this thing. Steve? I got to go.
0:02:41 > 0:02:44I would say the movie is not I would say the movie is not
0:02:44 > 0:02:51actually about politics. It takes place in a political world. What
0:02:51 > 0:02:56it's about is universal themes like ambition, hubris, betrayal, lust. It
0:02:56 > 0:03:04just so happens it takes place political backdrop and the stakes
0:03:04 > 0:03:09are high. If he loses, you are back at a consulting firm. The themes
0:03:09 > 0:03:13are universal. I thought I was being smooth and subtle. No, you are
0:03:14 > 0:03:20being forward. You have no idea how to tie a tie, do you? No, not a
0:03:20 > 0:03:23clue. George is one of the few actors on the planet you really
0:03:23 > 0:03:26believe could be a President of United States. You look at him and
0:03:26 > 0:03:33say there's a guy who presidential by nature. What do you
0:03:33 > 0:03:35want? Cabinet post. I said I wasn't going to make those deals.
0:03:35 > 0:03:39I love working with a director I love working with a director
0:03:39 > 0:03:42that's also an actor. They know to talk to you, how to take care of
0:03:42 > 0:03:47you and what it's like to be in your shoes so they are really sensitive
0:03:47 > 0:03:51to that. He knows exactly what he wants so you can really relax.
0:03:51 > 0:03:55not telling you what to do but he is so strong in being able to -
0:03:55 > 0:03:59you are offering him, he is saying yes, that works, lose that,
0:03:59 > 0:04:05that, and it's a letter vision he does it with such - it's a
0:04:05 > 0:04:09vision but he does it with such finesse, as you might imagine.
0:04:09 > 0:04:13LAUGHTER. You really want this story getting out? Dignity matters.
0:04:13 > 0:04:20You are off the campaign but thought it was important to "fix
0:04:20 > 0:04:24things"? Integrity matters. future depends on it. Don't do
0:04:24 > 0:04:28this! I will do or say anything if I believe in it but I have to
0:04:28 > 0:04:31believe in the cause. Danny Leigh. Claudia Winkleman. Good, I'm
0:04:31 > 0:04:35pleased we've done that. Let's roll. So this is a story about
0:04:35 > 0:04:38American politics. As a West Wing obsessive, this is always going to
0:04:38 > 0:04:42be a disappointment, before you have even bought your ticket for the
0:04:42 > 0:04:45film. However, that's probably unfair on anybody who wants to write
0:04:45 > 0:04:50a political drama. You've got to put that to one side. I really found
0:04:50 > 0:04:55this enjoyable. It's taut, which I like. Sort of springy, sort of
0:04:55 > 0:04:59tight. It's solid. The actors really good. My only gripe
0:04:59 > 0:05:05to say this early on, is that the basic premise, which is some
0:05:05 > 0:05:11politicians are naughty, or they can betray people, is no biggie, because
0:05:11 > 0:05:15I feel like I think 12 years after Primary Colours you are sort of
0:05:16 > 0:05:20going - ee - however, recommend it. What do you think?
0:05:20 > 0:05:25don't think you talk to the story - I've lost my train of thought
0:05:25 > 0:05:32completely. Take me. I will. George Clooney I think directs
0:05:32 > 0:05:37really, really well. Ryan Gosling is brilliant. My train of thought has
0:05:37 > 0:05:40returned. It's like a very built lovingly crafted box. I think
0:05:40 > 0:05:44the question is whether that's enough. You've got it
0:05:44 > 0:05:48with great performances. Yeah. you say. The main problem is this
0:05:48 > 0:05:52film is saying something which it thinks is revelatory, which is
0:05:52 > 0:05:56as you say the American system does strange things
0:05:56 > 0:06:00they can be corrupted. I don't know if that's enough to carry the movie.
0:06:01 > 0:06:04As a Friday night film it's fine and it is piled high with great
0:06:04 > 0:06:08performances. It's an actor's movie essentially. Yes. Clooney is a
0:06:08 > 0:06:14master really, even when he is in the shot himself. Getting out of
0:06:14 > 0:06:21shot and letting people of the character of Philip Seymour Hoffman
0:06:21 > 0:06:27do their stuff, on that scale it works perfectly. Like you I have
0:06:27 > 0:06:31reservations about the message. The cherry is Ryan Gosling and it's
0:06:31 > 0:06:34brilliantly cast. Here is the thing. When you get 20 minutes
0:06:34 > 0:06:38you are going to sort of know what's going to happen. If you are
0:06:38 > 0:06:42expecting a twist, that's not the way it works. Yes, the thing is,
0:06:42 > 0:06:45the way the film is sold as a political thriller, it's doing
0:06:45 > 0:06:49itself a disservice there because people will be expecting something
0:06:49 > 0:06:54to happen whereas if people are sitting there on the weekend
0:06:54 > 0:06:59they can pause the screen 20 in, if you took a straw poll after
0:06:59 > 0:07:01that and ask to take a wild guess about what will happen to each of
0:07:01 > 0:07:04the characters here, pretty much everyone will be spot on. I have a
0:07:04 > 0:07:08lot of respect for the job George Clooney has done here. What he has
0:07:08 > 0:07:11done is on one level he has got of the way of the actors; on
0:07:11 > 0:07:15level he is also aware that making a film about men in shirt
0:07:15 > 0:07:18talking to each other sort of visual energy and
0:07:18 > 0:07:27imagination. He does just enough. He doesn't do what Roland Emmerich,
0:07:27 > 0:07:32we will be talking about later on - he manages to make these scenes of
0:07:32 > 0:07:35men in rooms work. It's just that you keep coming round to that same
0:07:35 > 0:07:39problem which is that in will be next year, 2011 at the
0:07:39 > 0:07:42moment, talk being the 2012 elections, I don't know if what this
0:07:42 > 0:07:47film is saying is cute or enough because America has bigger
0:07:47 > 0:07:51problems actually than the fact that individual politicians have strange
0:07:51 > 0:07:55proclivities. Yes, but I would recommend it. Would you? I would
0:07:55 > 0:08:01a Friday night movie. What's interesting is that it has its
0:08:01 > 0:08:05shameless Oscar bait and it has pretensions - a cruel word - but
0:08:05 > 0:08:11pretensions to being more than that. As a Friday night movie it's fine.
0:08:11 > 0:08:17Next up is Anonymous. The film the question: was Shakespeare
0:08:18 > 0:08:23We all know Shakespeare, the most We all know Shakespeare, the most
0:08:23 > 0:08:33famous author of all time. Writer of 37 plays, and why we are here today.
0:08:33 > 0:08:37
0:08:37 > 0:08:41But what if I told you Shakespeare never wrote a single word?
0:08:41 > 0:08:46This film is a political thriller, This film is a political thriller,
0:08:46 > 0:08:51set on a backdrop of Elizabethan England, and it also begs the
0:08:51 > 0:08:55question whether William Shakespeare of Stratford was the author of the
0:08:55 > 0:09:00complete works of Shakespeare or whether it was Edward de Vere,
0:09:00 > 0:09:05Earl of Oxford, who I play in the film.
0:09:05 > 0:09:09All art is political otherwise it would be just decoration and artists
0:09:09 > 0:09:15have something to say otherwise they would make shoes, and you are not
0:09:15 > 0:09:19cobbler, are you? My God, the Earl of Oxford does not write plays.
0:09:19 > 0:09:25this is to be done, it must be carefully. Skillfully. It was a
0:09:25 > 0:09:33period in England where society and information was in flux. The Church
0:09:33 > 0:09:37was no longer a mouthpiece for the masses. The theatres were.
0:09:37 > 0:09:4310,000 all listening to the ideas one man. That's power. When I
0:09:43 > 0:09:47out I had been asked to audition for Shakespeare, I was excited. It
0:09:47 > 0:09:52not be performed until I tell you what you will only have a day's
0:09:52 > 0:09:56notice. That will be expensive, having everything ready and keeping
0:09:56 > 0:09:59props made cheaply. We wanted him to look like
0:09:59 > 0:10:02to look like William Shakespeare, to have the same hair and everything,
0:10:02 > 0:10:09everyone has an idea, but then to confound that by being quite
0:10:09 > 0:10:17You've had a poem published today. You've had a poem published today.
0:10:17 > 0:10:20Published, what, do you mean, like, in a book?
0:10:20 > 0:10:22I think Will told a lie and there I think Will told a lie and there
0:10:22 > 0:10:26are a lot of famous people that say the same thing and I think
0:10:26 > 0:10:30should be made aware that the man from Stratford is only one of the
0:10:30 > 0:10:37candidates. Ben, I'm an actor. Every inch of me, down to my very
0:10:37 > 0:10:40toes, I want the - crave, to act. So bloody well act like a writer. And
0:10:40 > 0:10:50for God's sake keep off the stage, will you? Writers do not have time
0:10:50 > 0:10:51
0:10:51 > 0:10:55to act. What appealed to me about the film, the whole subject matter,
0:10:55 > 0:11:02Shakespeare, Elizabethan will have, politics.
0:11:02 > 0:11:06What thought of you of our young Lord's play, William, if plays are
0:11:06 > 0:11:14indeed such a sin I pray that I will not find my salivation until very
0:11:14 > 0:11:17late in life. On the one were extremely refined people, the
0:11:17 > 0:11:23Renaissance, on the other hand were quite blood lusty and used
0:11:23 > 0:11:29anything, you know, to keep their power. The theme was: is the pen
0:11:29 > 0:11:33mightier than the sword? He is not an intellectual or worthy or sphere
0:11:33 > 0:11:36I do not remember film; it's a cracking story. This will put
0:11:36 > 0:11:43spanner in the complete works. of your plays will ever carry
0:11:43 > 0:11:47What did you think of this one? What did you think of this one?
0:11:47 > 0:11:51think the first time that you hear about Anonymous, you think: hang on,
0:11:52 > 0:11:57this is absurd. Roland Emmerich, the director of Godzilla and 2012 and
0:11:57 > 0:12:01the Day After Tomorrow is going to put away his effects and make an
0:12:02 > 0:12:06Elizabethan costume drama about the disputed authorship of Shakespeare's
0:12:06 > 0:12:09place. Maybe you think this is a lifetime's passion but no, Roland
0:12:09 > 0:12:16Emmerich didn't like Shakespeare a kid. He has admitted that in a few
0:12:16 > 0:12:21interviews and it was only as adult that he saw some adaptations,
0:12:21 > 0:12:27and I have written this down, and he said: wow, this guy can tell a
0:12:27 > 0:12:37story. Then you see the thing and it's so full of
0:12:37 > 0:12:43it's so full of melodrama and it's just flagrant nonsense. How
0:12:43 > 0:12:47could take this seriously is beyond me. It reaches a pitch of absurdity
0:12:47 > 0:12:52and ludicrousness that actually it pains me to admit it, but it becomes
0:12:52 > 0:12:56weirdly gripping. It's like gripped round the back of the neck,
0:12:56 > 0:13:01not what I'm necessarily comfortable with, but gripped,
0:13:01 > 0:13:04Claudia, I was. I totally agree with you. I haven't been to a
0:13:04 > 0:13:08pantomime but I am sure I will It reminded me of one, if you like,
0:13:08 > 0:13:12where he is going to shout: no, is behind you. The whole thing is
0:13:12 > 0:13:17absurd. If you go into this thinking you will find out the truth
0:13:17 > 0:13:19about Shakespeare you will be (a) lived and (b) disappointed. My
0:13:19 > 0:13:24father is a massive fan of Shakespeare and I imagine he
0:13:24 > 0:13:30be standing up shouting: no, people will get into trouble for this!
0:13:30 > 0:13:39However, it is a rollicking good ride, I think over 120 minutes, but
0:13:39 > 0:13:45I would say that Rhys Ifans is brilliant, Joely Richardson as well,
0:13:45 > 0:13:48wonderful her mother plays the older Queen Elizabeth. I enjoyed it. I
0:13:48 > 0:13:52think Rhys Ifans holds it together because his character make it is
0:13:52 > 0:13:57believable. Rhys Ifans' career is interesting. He is clearly very
0:13:57 > 0:14:02talented but at the same time if you look back, it's less a filmography
0:14:02 > 0:14:05and more a charge sheet read out a trial but here he gives the film
0:14:06 > 0:14:13heart. There are other great performances. Vanessa Redgrave
0:14:13 > 0:14:16fantastic. I think it's worth mentioning that someone else
0:14:17 > 0:14:20brought in to direct the stage element of the film which is
0:14:20 > 0:14:23interesting because as a director I am not sure Roland Emmerich has such
0:14:23 > 0:14:28a wonderful touch with actors so here you have a film where every
0:14:28 > 0:14:32actor is playing at a slightly different pitch. They seem to be
0:14:32 > 0:14:37acting in a in fact to other characters and
0:14:37 > 0:14:42there's a moment also where the CGI suddenly comes out and you can
0:14:42 > 0:14:47Roland Emmerich exhaling with relief: finally I can blow
0:14:47 > 0:14:50up. Would you tell people to see this film? With reservations.
0:14:50 > 0:14:54What's interesting is it has inspired this real life controversy.
0:14:54 > 0:14:58I can see why Shakespearean dons are angry because they will be spending
0:14:58 > 0:15:01the next 20 years now dealing with people who think that this is
0:15:01 > 0:15:06somehow the truth but at the same time it's Roland Emmerich. The guy
0:15:06 > 0:15:09clearly had to be restrained from recreating Elizabethan England and
0:15:09 > 0:15:16flying pterodactyls over the top of it. Anyone who is taking this as
0:15:16 > 0:15:26historical - Fact. - is sorely misguided. OK, on that topic it's
0:15:26 > 0:15:26
0:15:26 > 0:15:31Cinema always treated history as Cinema always treated history as
0:15:31 > 0:15:39nothing more than one enormous room and here are my top 5
0:15:39 > 0:15:43historically inaccuracies. At number 5: The Patriot. May I sit with you?
0:15:43 > 0:15:48It's a free country. Or will be. Not only does it suggest
0:15:48 > 0:15:53that slavery itself was abolished by the American war of independence, it
0:15:53 > 0:15:57also allows Heath Ledger to get married on a beach amongst
0:15:57 > 0:16:02slaves in what looks like a Caribbean utopia more suitable for
0:16:02 > 0:16:06the cover of a 1980s Sandals brochure. Will you have this
0:16:06 > 0:16:11to be your wife, to live together the covenant of marriage, will you
0:16:11 > 0:16:21love, comfort and honour her for so long as you both shall live?
0:16:21 > 0:16:24At number 4, Titanic. Famously At number 4, Titanic. Famously
0:16:24 > 0:16:33riddled with howlers, there are whole websites devoted to it but I
0:16:33 > 0:16:37particularly rememberrish the moment - cherish where Rose sighs over a
0:16:37 > 0:16:45number of paintings which didn't go down with the ship since
0:16:45 > 0:16:47they currently hang in the Modern Art. They are fascinating,
0:16:47 > 0:16:54like being inside a dream or something. There's truth but no
0:16:54 > 0:17:02logic. What's the artist's name? Something Picasso. He won't
0:17:02 > 0:17:10to a thing, he won't, trust me. At least they were cheap. At number 3,
0:17:10 > 0:17:15No, the Americans did not capture No, the Americans did not capture
0:17:16 > 0:17:22the first naval Enigma machine leading to the cracking of vital
0:17:22 > 0:17:28German codes; it was in fact our very own HMS Bulldog and not even
0:17:28 > 0:17:36the presence of the Bon Jovi is going to change that.
0:17:36 > 0:17:42Great movie though. At number 2, Where Eagles Dare and
0:17:42 > 0:17:44specifically Clint Eastwood's hair style, an anachronistic style if
0:17:44 > 0:17:50ever I saw one. This is be
0:17:50 > 0:17:55be the Secret Service in Bavaria. What were you
0:17:55 > 0:17:59about? I told him I was Himmler's brother. I can see why that would
0:17:59 > 0:18:03shake him up a little. More than a little I would think. Keep an eye on
0:18:03 > 0:18:13things, I will be back. At number 1,
0:18:13 > 0:18:14
0:18:14 > 0:18:201, in the 1971 adaptation, most of mankind was to be wiped out by 1975,
0:18:20 > 0:18:29leaving behind little but the entirely humourless Charlton Heston
0:18:29 > 0:18:32which thankfully didn't happen. In 2001 a Space Odyssey they predicted
0:18:32 > 0:18:37a nonstick frying pan on the moon. Which of those
0:18:37 > 0:18:42pass? Brilliant. Thank you so much for
0:18:42 > 0:18:48your tweets. One says: every time I hear someone in a Shakespeare movie
0:18:48 > 0:18:55call him Will, I feel a tiny sick. Another one: he likes to
0:18:55 > 0:19:00fast and loose with history, the little tinker. Another one
0:19:00 > 0:19:04to Schindler's list and passive smoking which was only discovered in
0:19:04 > 0:19:09the 1970s. Up next, a young woman is murdered
0:19:09 > 0:19:19by a notorious gang member, sister wants revenge and joins
0:19:19 > 0:19:22
0:19:22 > 0:19:25rival girl gang to get it. .
0:19:25 > 0:19:34Just want to come up and take what's Just want to come up and take what's
0:19:34 > 0:19:43mine. I will sort it. Leave it. What are you talking about? Leave
0:19:43 > 0:19:53her alone. Stupid bitch. He is the one that killed my sister.
0:19:53 > 0:19:57
0:19:57 > 0:19:59to kill you. /! Come on!
0:19:59 > 0:20:03We are not getting involved. We are not getting involved.
0:20:03 > 0:20:13happened to protecting each over? We are protecting ourselves. She
0:20:13 > 0:20:20
0:20:20 > 0:20:30What happens? The only way you What happens? The only way you
0:20:30 > 0:20:32
0:20:32 > 0:20:41# Break, break your neck # # Break, break your neck #
0:20:41 > 0:20:43All right, bruv? Yes, exactly. What All right, bruv? Yes, exactly. What
0:20:43 > 0:20:46# Break, break I liked about this film is I really
0:20:46 > 0:20:49cared about the characters. There is menace in the air. There is a murder
0:20:49 > 0:20:53scene - I don't think I am giving anything away because they show a
0:20:54 > 0:20:58part of it and it happens the scene, it's really, really quite
0:20:59 > 0:21:02terrifying, really scary. There is a girl in it called Lily Loveless
0:21:02 > 0:21:06is brilliant - hello - who absolutely brilliant, and you can't
0:21:06 > 0:21:10take your eyes off her and I it's just an amazing performance
0:21:10 > 0:21:15because you are always drawn to her. I think what's wrong with it is it
0:21:15 > 0:21:19can be quite disjointed. know if you agree? It is incredibly
0:21:19 > 0:21:23disjointed, rough and would be easy to sit here and
0:21:23 > 0:21:29the boot in. Let's accentuate the positive. If you look at British
0:21:29 > 0:21:34crime movies, certainly in the post-Guy Richie era, so much of it
0:21:34 > 0:21:38doesn't exist in reality. Girl gangs, I think anyone who lives in
0:21:38 > 0:21:42London and any major city, will do exist. I spent a lot of time
0:21:43 > 0:21:49the top deck of the A7 bus so I'm often around girl gangs and at
0:21:49 > 0:21:53that's rooted in authenticity. Lily as you say is the real ace up
0:21:53 > 0:21:57sleeve of this film. That's not to disrespect any of the other cast
0:21:57 > 0:22:01members. Although not the biggest part, she is probably the best known
0:22:01 > 0:22:04person in the film and she is class act. She elevates things. I
0:22:04 > 0:22:08would almost be tempted to leave it there but in fairness we do have
0:22:08 > 0:22:13point out that the film, as I rough and ready is the least of it.
0:22:13 > 0:22:21It almost feels like it's built out of a kit of 101 other movies, and
0:22:21 > 0:22:25there's a sort of sense of kidulthood and Byker Grove. So not a
0:22:25 > 0:22:30winning combination. It's not great, there are good things about it.
0:22:30 > 0:22:34years ago saw the release of that I love. Danny, you may look
0:22:34 > 0:22:37away. As if my night weren't enough already. It may not be
0:22:37 > 0:22:43considered a classic - is - it may not be high up but it
0:22:44 > 0:22:52contains a volleyball sequence voted best scene in a film by Suck
0:22:53 > 0:23:02magazine three years in a row. What more do you want?
0:23:03 > 0:23:22
0:23:22 > 0:23:26It's easy to see why Top Gun struck It's easy to see why Top Gun struck
0:23:26 > 0:23:36such a chord back in the 1980s. It has everything, fast planes, big
0:23:36 > 0:23:37
0:23:37 > 0:23:42guns, hot guys, cool shades and tache. It's a movie about hot young
0:23:42 > 0:23:46guys flying planes. This gives me a hard on. It's vacuous, empty, loud.
0:23:46 > 0:23:50Don't tease me. Incredibly This is what I call a target-rich
0:23:50 > 0:23:57environment. It matches the drug of the decade. This is a cocaine movie.
0:23:57 > 0:24:05You are the top 1% of all naval Aveiators. The elite. Best of the
0:24:05 > 0:24:14best. We will make you better. OK, we all know that it is no Citizen
0:24:14 > 0:24:21Kane but the story of iceman and colleagues has become the stuff of
0:24:21 > 0:24:25legend. I feel the need, the need for speed, it's one of my favourite
0:24:25 > 0:24:35lines, quoted all the time. I they would send me a buck every time
0:24:35 > 0:24:36
0:24:36 > 0:24:44the line is quoted. Jester's dead. Yehaw. I can't have the rest of my
0:24:45 > 0:24:51life without someone shouting that at me from across the airport. You
0:24:51 > 0:25:01are. You are all Top Guns. It is deftly deconstructed by Tarantino
0:25:01 > 0:25:01
0:25:01 > 0:25:09himself. It is a story about a struggling with his own
0:25:09 > 0:25:14homosexuality. The director is beavering away on a conversion but
0:25:14 > 0:25:19he told us why it's still flying high after 25 years. It's a rare
0:25:19 > 0:25:28mixture of everything: character, of action, of a very simplistic
0:25:28 > 0:25:33but a great story. Tony Scott and famously Ridley Scott, London ad men
0:25:33 > 0:25:36went over in the 1980s and brought this wonderfully glossy airbrushed
0:25:36 > 0:25:43take to Hollywood. If you look commercial directors even today they
0:25:43 > 0:25:47are all doing bad imitations of Tony Scott's look. Sunrises, saucy light,
0:25:47 > 0:25:55motorbikes roaring through the desert. All of that is Tony
0:25:55 > 0:26:00and he invented it with Top Gun. Real fighter pilots and
0:26:00 > 0:26:05were used to create extraordinary sequences. But working
0:26:05 > 0:26:10with the US Navy wasn't always easy, particularly when it came to getting
0:26:10 > 0:26:16this crucial shot. CHEERING. Got the shot all ready to go and then they
0:26:16 > 0:26:21turned the aircraft carrier so the light went flat and horrible,
0:26:21 > 0:26:25and I got the admiral on the bridge and said what does it cost
0:26:25 > 0:26:29minute to run in a particular direction, and I think in the end I
0:26:29 > 0:26:35paid $25,000, I got them to send my chequebook up on a rope to the
0:26:35 > 0:26:45Admiral, he then turned around and I got my shot. You! You
0:26:45 > 0:26:48
0:26:48 > 0:26:54are still dangerous. You can be my wing man any time. Bull, you can be
0:26:54 > 0:26:56sadly not all problems could be sadly not all problems could be
0:26:56 > 0:26:56sadly not all problems could be solved quite so easily. They
0:26:56 > 0:26:57solved quite so easily. They solved quite so easily. They
0:26:57 > 0:27:04sadly not all discovered in the editing room
0:27:04 > 0:27:07these incredibly expensive, incredibly complicated and
0:27:07 > 0:27:11choreographed air sequences didn't actually make any sense and were not
0:27:11 > 0:27:16communicating to the audience the drama, the nearness of the
0:27:16 > 0:27:21the tension that they needed it to so they had to sort of start over.
0:27:21 > 0:27:27Scott and the film's producers spent days and nights re-working the
0:27:27 > 0:27:35aerial footage. Adding new lines of dialogue under the character's
0:27:35 > 0:27:42masks. Watch out, there's an Mig your right, he is firing. I am hit,
0:27:42 > 0:27:46I'm hit! There were first complaints that there wasn't
0:27:46 > 0:27:53action on the ground, in the bedroom, so at the last minute
0:27:53 > 0:28:01Scott pulled together a love scene. Tom was off then shooting Colour of
0:28:01 > 0:28:11Money and we shot the elevator scene. Hair had been changed since
0:28:11 > 0:28:14
0:28:14 > 0:28:22the first takes, hence the cap and an unlit set. The best song by
0:28:22 > 0:28:32Berlin was also added at the minute and Top Gun was complete.
0:28:32 > 0:28:34
0:28:34 > 0:28:40Right now, the sequel is being worked on. I ask only one thing for
0:28:40 > 0:28:46that, that they somehow bring back Anthony Edwards from the dead, him
0:28:47 > 0:28:56and his magnificent tache. Now, if you will excuse me, I feel the need,
0:28:57 > 0:28:58
0:28:58 > 0:29:03the need for speed. God damn it, son after bitch! Yeeha! I love Chris
0:29:03 > 0:29:11Hewitt. We've had so many tweets. Does it really upset you? It does
0:29:11 > 0:29:18rather. You have a far away your eye. I apologise. Has been
0:29:18 > 0:29:23sent in: I will never watch it. I'm 42. The other one: I grew to love
0:29:23 > 0:29:27it. Worked in cinema when first released, it played for 26 weeks.
0:29:27 > 0:29:31Not a lot else going on in Portsmouth. That's unfair, I love
0:29:31 > 0:29:36Portsmouth, but that's a long time to sit in the cinema watching that
0:29:36 > 0:29:41film. Next the story of a Mexican girl who dreams of becoming
0:29:41 > 0:29:48queen but is forced into a life of drug running after she become as
0:29:48 > 0:29:58eyewitness to a terrible crime. . Judge.
0:29:58 > 0:29:58
0:29:58 > 0:30:59Apology for the loss of subtitles for 60 seconds
0:30:59 > 0:31:03. GUNFIRE . Judicious.
0:31:03 > 0:31:09I think technically, as a piece of I think technically, as a piece of
0:31:09 > 0:31:13capital F Film, it's face-slappingly good, breathtaking. It's all about
0:31:13 > 0:31:17camerawork and that's extraordinary here. What I do need to say to
0:31:17 > 0:31:22people, particularly having seen that clip and they may be slightly
0:31:22 > 0:31:27misled, although it's a bullet-strewn story, this isn't City
0:31:27 > 0:31:30of God. It's something much arm's length and more distinctive
0:31:30 > 0:31:35because of that. You are following the camera into strange
0:31:35 > 0:31:41and unlikely places. There's a virtuoso gun battle that we saw in
0:31:41 > 0:31:47that clip. You are following it all from ground level so it's
0:31:47 > 0:31:51disorientating. City of God was a fantastic movie, but it was
0:31:52 > 0:31:55Scorsese's Brazil. I love that this never seems like an audition for
0:31:55 > 0:31:58Hollywood, it is made completely on its own account. I know, I thought
0:31:58 > 0:32:03it was brilliant as well, and I keep on expecting her to be saved, just
0:32:03 > 0:32:07because you mentioned Hollywood. are just thinking: please, can it go
0:32:07 > 0:32:10differently? It's incredibly tense because everything you think is
0:32:10 > 0:32:14going to happen you have to wait for so it's almost worse - you will know
0:32:14 > 0:32:19hopefully when you go and see it, but you are just waiting for the
0:32:19 > 0:32:23horror and of course it comes. is brilliant, this girl in it. She
0:32:23 > 0:32:28is fantastic because it's such unusual character. You are not
0:32:28 > 0:32:31dealing with a plucky underdog she is also not a villainous and her
0:32:31 > 0:32:35character is in shock for most of the film. She has to play that.
0:32:35 > 0:32:39doesn't have a big back story, a big emotional set piece, and yet all the
0:32:39 > 0:32:44same it's a fantastic performance. What's your film of the week?
0:32:44 > 0:32:52Miss Barlow in fact. And The Ides of March. Neither of us
0:32:52 > 0:33:00have said Anonymous which is a heartbreaker. You can log onto our
0:33:00 > 0:33:07website to find details. Next, director's cut and this week
0:33:07 > 0:33:10we hear about the filming of 93.
0:33:10 > 0:33:14Not that long after 9/11, I started Not that long after 9/11, I started
0:33:14 > 0:33:20thinking about how I could make film that would explore it.
0:33:20 > 0:33:23United 93 Cleveland, verify your United 93 Cleveland, verify your
0:33:23 > 0:33:28altitude. Tom, I'm getting no response out of an United 93.
0:33:28 > 0:33:35response at all. I remember absolutely drawn to United 93. And
0:33:35 > 0:33:41the struggle on the plane. So it was a question of situating that
0:33:41 > 0:33:48struggle in its correct context, which was all these systems. The
0:33:48 > 0:33:53thin tissue of rationality by which we live our lives and how easy it is
0:33:53 > 0:34:00to tear it, and what happens when we do and how swiftly the systems
0:34:00 > 0:34:01All the people were all air traffic All the people were all air traffic
0:34:01 > 0:34:03controllers who had been there on controllers who had been there on
0:34:03 > 0:34:08All the people the day. We had brought over to play
0:34:08 > 0:34:12that part. The idea was that you would sort of have a few actors in
0:34:12 > 0:34:17amongst professionals, and, if you get that balance right and
0:34:17 > 0:34:25are very, very lucky, the sort of actors stop acting and the
0:34:25 > 0:34:28non-actors start acting and you get this beautiful sense of reality.
0:34:28 > 0:34:33Ben, New York centre called, they were tracking the primary target and
0:34:33 > 0:34:37they've lost it. Where? Somewhere over the city. Over the city?
0:34:38 > 0:34:45down over the city? All in touch with the Metro tower,
0:34:45 > 0:34:48if they have a visual. Jesus! my - And there was this incredible
0:34:48 > 0:34:51emotional electricity on the you could see it in other moments. I
0:34:51 > 0:34:57remember, there's a shot in that film, one of my
0:34:57 > 0:35:03the film actually, where you are inside that military command centre.
0:35:03 > 0:35:06Did you see that, sir? One of the Did you see that, sir? One of the
0:35:06 > 0:35:16planes has gone off course and they are trying to work out what's
0:35:16 > 0:35:24on. Jesus Christ. And the second plane, I think, has just hit
0:35:24 > 0:35:29tower. And you see this woman and one of the officers is pushing the
0:35:29 > 0:35:36room for information and you can see on her face shock and emotion. What
0:35:36 > 0:35:42have you got, Shona? Passengers said they have another hijacked aircraft,
0:35:42 > 0:35:47United 175. And that's not acting. You know, she had re-lived events
0:35:47 > 0:35:50that she had gone through. What is happening?
0:35:50 > 0:35:54h happen. We are going back to the airport, everything is going to
0:35:54 > 0:35:58fine. The rule that I set was that we weren't going to shoot
0:35:58 > 0:36:03from outside the aeroplane. In other words, we weren't going to use it as
0:36:03 > 0:36:06a set with floating walls, which you could have done. We could have cut
0:36:06 > 0:36:14the thing on half. They are on the ground, outside the cockpit. They
0:36:14 > 0:36:18are on the floor. I wanted the situation that we were on the plane
0:36:18 > 0:36:24and as constricted. She saw two bodies in front of the
0:36:24 > 0:36:27the floor. You know, the way Barry Ackroyd and Clements shot it, they
0:36:27 > 0:36:37were inhabiting this world so they were responding to events
0:36:37 > 0:36:38
0:36:38 > 0:36:41were occurring, and it gave it that heightened sense of reality.
0:36:41 > 0:36:51I think that scene that begins with I think that scene that begins with
0:36:51 > 0:36:51
0:36:51 > 0:36:55the counterattack, if you like, from the passengers - go, go, go! Then
0:36:55 > 0:37:04it always felt to me, watching that, that there was something of what was
0:37:04 > 0:37:13going on in our world. That was the post-9/11 world. You know. A
0:37:13 > 0:37:16desperate sort of struggle for the control of modernity, you know.
0:37:16 > 0:37:21So fascinating, that's my film of So fascinating, that's my film of
0:37:21 > 0:37:25the week. Mine too. Just stay in, get that. You can see more on the
0:37:25 > 0:37:30Film 2011 website and over following weeks you will he we will have more
0:37:30 > 0:37:37directors including Mike Leigh and Stephen Frears. Next week we will be
0:37:37 > 0:37:42reviewing Straw Dogs and back to our regular Wednesday night spot.
0:37:42 > 0:37:46Playing us out tonight a clip from In Time starring Justin Timberlake
0:37:46 > 0:37:56in cinemas from 1st you very much for watching.
0:37:56 > 0:38:04
0:38:04 > 0:38:14MUSIC. You are going to kill us. MUSIC. You are going to kill us.
0:38:14 > 0:38:18
0:38:18 > 0:38:19MUSIC. You are going to kill us. What are you doing? Do you even know
0:38:19 > 0:38:23What are you doing? Do you even know What are you doing? Do you even know