:00:31. > :00:35.This programme may contain strong language. Hello and welcome to the
:00:35. > :00:45.programme. We are live. If you want to get in touch, the details are on
:00:45. > :00:45.
:00:46. > :00:51.the screen now. Coming up - speerlburg bring Michael Morpurgo's
:00:51. > :00:59.War Horse to the screen. Michael Fassbender and Carey Mulligan star
:00:59. > :01:03.in Shame. Do you want to play? financial crisis gets the Hollywood
:01:03. > :01:11.treatment in Margin Call. That loss would be greater than the current
:01:11. > :01:21.market capitalisation of this entire company. First tonight, War
:01:21. > :01:27.
:01:27. > :01:32.Horse. We went to meet Steven Spielberg and the cast. It's about
:01:32. > :01:38.courage and hope, set against the backdrop of the First World War.
:01:38. > :01:46.What is it? A horse they found in No Man's Land. What this horse has
:01:46. > :01:50.to teach every human being it comes into contact with, is that they
:01:50. > :01:54.should preserve the best in humanity. There's no reel side of
:01:54. > :01:59.right and wrong, so telling it through the horse's eye is very
:01:59. > :02:06.clever, because here's an animal that has no side. It's very
:02:06. > :02:16.important to tell it from that neutral perspective. Be brave., be
:02:16. > :02:22.brave. You must have loved the story, but making the horse the
:02:22. > :02:30.star, were you not nervous about that, because humans, or an extra
:02:30. > :02:39.ter rest tral, or a shark, you can position, but a horse -- ter rest
:02:39. > :02:43.tral, or a shark, you can make that to position it, but a horse? Indeed.
:02:43. > :02:46.The horse rubs his head all over the dad's woollen jacket and that
:02:47. > :02:53.was something that the horse did every time we brought the camera
:02:53. > :02:58.around for another angle. Don't take him back. We can't take him
:02:58. > :03:02.back until he's broken in. Talk about getting the script together
:03:02. > :03:10.with Richard Curtis and Leigh Hall. You wanted Joey to meet as many
:03:10. > :03:14.people, is that right? Yes. I wanted Joey to spread his gifts of
:03:14. > :03:19.compassion and hope to everybody that he comes in contact with.
:03:19. > :03:24.That's what Richard Curtis did in his script and it was his idea to
:03:24. > :03:31.keep Alberta way from Joey for an entire act. Would you release him
:03:31. > :03:36.to me, Albert? I promise you, man to man, I'll look after him. Joey
:03:36. > :03:41.is taken away and sent to frepbs and Albert is too young to en--
:03:41. > :03:48.France and Albert is too young to enlist. Gentlemen, it's an honour
:03:48. > :03:53.to ride beside you. Make the kiezar rue the day he dared to cross
:03:53. > :04:03.swords with us. Let every man make himself his king, country and his
:04:03. > :04:03.
:04:03. > :04:10.fallen comrades proud. Be brave. Freer God, honour the king. -- fear
:04:10. > :04:15.God, honour the king. Can To get on the set to see that figure saying,
:04:15. > :04:25."We are going to get on some horses and we'll have some great fun." You
:04:25. > :04:26.
:04:26. > :04:34.think, I think I'm ready. I can't tell you how thrilling it is. 120
:04:34. > :04:38.horses in three lines, charging at 40mph, as fast as a horse can carry
:04:39. > :04:46.you and 120 stuntmen screaming hell fury and all the hooves in the ears.
:04:46. > :04:50.The thunder of it. It was absolutely breath-taking. Charge!
:04:50. > :04:55.The first time I did it I nearly fell off the horse. One of the
:04:55. > :05:00.stunt boys turned around and said, "It's a rush, isn't it?" we had 300
:05:00. > :05:03.on first night. When I first arrived on Dartmoor there was a
:05:03. > :05:07.unit stretching as far as the eye could see. The biggest I've ever
:05:07. > :05:16.seen, but actually when we got on set, the experience of filming was
:05:16. > :05:21.very intimate. I have to talk about John Williams. The score is
:05:21. > :05:25.phenomenal. How does that collaboration work? This year is
:05:25. > :05:30.our 40th anniversary. He started playing he sketches of the film
:05:30. > :05:36.music he envisions for the film and they are all beautiful and there
:05:36. > :05:41.are always too many to choose from. On War Horse especially, when he
:05:41. > :05:48.played me the three main themes, I cried, just standing in the room,
:05:48. > :05:52.listening to that music. You make us cry. Is that your intent? Every
:05:52. > :05:56.movie I've ever tried to direct it I try to make it as emotionally
:05:56. > :06:02.lightened as I can. I'm always kaquuesed of sentimentality. I
:06:02. > :06:07.don't think it's fair. -- accused of sentimentality. I don't think
:06:07. > :06:14.it's fair. I don't go out of my way. The play didn't go out of its way
:06:14. > :06:23.to make me cry, but I was a sobbing mess by the end. I wanted to do the
:06:23. > :06:29.same with the play for the film to convey that too. You can see more
:06:29. > :06:33.from the interview and the rest of the War Horse cast on the website.
:06:33. > :06:39.Hello. Hello. What did you think? War Horse is a film from another
:06:39. > :06:47.time. I think we'll see lots of comparisons to everything from
:06:47. > :06:53.Saving Private Ryan, to Babe. But it reminds me of Gone With The Wind.
:06:53. > :06:58.It is epic family entertainment. It is shot on film. Nothing is shot on
:06:58. > :07:02.film, but Spielberg has wheeled them out. It just astonishing and
:07:02. > :07:10.he doesn't often get quite the credit he deserves a a fail many
:07:10. > :07:16.maker. Sometimes he doesn't deserve that much, but here it is superb. I
:07:16. > :07:19.urge people to go and see the movie just for the cavalry scene. It is
:07:19. > :07:25.beautifully simple and cinematic. Ultimately, sometimes with a movie
:07:25. > :07:30.there is a wrardstick you use, which you think -- yardstick you
:07:30. > :07:36.use, which is you think is that the film he wanted to make. You saw me
:07:36. > :07:42.after the screening. Do my face. I was shellshocked. I was crying. I
:07:42. > :07:46.could not stopping crying. I want to start with a tweet. Alex Evans,
:07:46. > :07:49."This is Spielberg's best film in a decade. I wept eight time. Utterly
:07:49. > :07:54.brilliant." I thought it was magnificent and you mention the
:07:55. > :07:59.fact that it had to be older kid friendly, because it's not R rated
:07:59. > :08:05.so he uses clever ways not to show - he shows the horrors of war, but
:08:05. > :08:09.not the details, so there is an amazing windmill scene. I won't
:08:09. > :08:12.give it away. Call me. You don't see the horror, but you know what
:08:12. > :08:17.is happening, but the cast are brilliant and the horse, you emoat
:08:18. > :08:25.with the horse. I highly recommend this film. I have to mention the S
:08:25. > :08:29.word, which is sentiment. It's Spielberg making a film about World
:08:29. > :08:33.War One, and I almost feel to complain is to complaining about
:08:33. > :08:38.seeing a ghost story and complaining that there are strange
:08:38. > :08:42.noises going on. Go with this. If I had a small bone to pick it's that
:08:42. > :08:46.I think the movie has a episodic structure, like the play, where
:08:46. > :08:51.Joey the horse moves from character to character. Some are stronger
:08:51. > :08:55.than others and I think, I mean, I'll leave it there. I think it
:08:55. > :09:05.works. It is a fantastic piece of cinema. I loved it. You have to
:09:05. > :09:15.look out for Niels Arestrup. He's just a cadlely grand pa in this.
:09:15. > :09:15.
:09:15. > :09:21.You have to work hard. I'm not that cynical. Good. Next, Shame the
:09:21. > :09:29.second film by Steve McQueen. It stars Carey Mulligan and Michael
:09:29. > :09:35.Fassbender. Your harddrive is dirty. He's a native New Yorker and he has
:09:35. > :09:42.a secret and he's a sex addict. During the course of the film you
:09:42. > :09:46.see his routine. It's his daily life. It is interrupted by his
:09:46. > :09:52.sister. That's Sissy. It's about that friction and what she brings
:09:52. > :09:56.from the past and how he deals with her presence and how he deals with
:09:56. > :10:04.his affliction. My sister is playing downtown. Can I stay for a
:10:04. > :10:10.few days? I'm trying to help you. How are you helping me? You come in
:10:10. > :10:14.here and you are a weight on me, a burdern. I can take you somewhere.
:10:14. > :10:21.We are family. We meant to look after each other. Events happened
:10:21. > :10:27.as children which have put them into different directions and brand
:10:27. > :10:33.on, Michael Fassbender's character is introverted and regimented and
:10:33. > :10:43.he controls his life and has an addition and he shuts people out.
:10:43. > :10:51.
:10:51. > :10:58.What is your longest relationship? Exactly. You can pour. Four months.
:10:58. > :11:04.You have to commit. You have to actually give it a shot. I did. For
:11:04. > :11:07.four months. The week before we started shooting there was an
:11:07. > :11:11.article in the New York Times how young boys were having a really
:11:11. > :11:15.hard time sustaining healthy relationships because they were so
:11:15. > :11:18.influenced by porn and they had warped ideas about women's bodies
:11:18. > :11:23.and it's something that makes people uncomfortable and that's why
:11:23. > :11:29.Steve wanted to talk about it. and every one of us is brand on and
:11:29. > :11:33.has elements that we can relate to, so we don't want to ice -- isolate
:11:33. > :11:37.them. For example, sex addition, that is the guy with the raincoat
:11:37. > :11:45.and sweaty palms. No it's an everyday guy. You might see him in
:11:45. > :11:50.the workplace or know him in your building. Please pick up the phone.
:11:50. > :11:58.We didn't want to sort of give an excuse for the characters and their
:11:58. > :12:08.behaviour and set a definitely -- set it definitely in stone.
:12:08. > :12:19.
:12:19. > :12:23.# It's up to you New York, New York... #
:12:23. > :12:29.APPLAUSE Wow. For a film about sex, no-one
:12:29. > :12:33.is having a good time. It's kind of the point. For some people it may
:12:33. > :12:37.be a problem. I won't dwell, but talk about the strengths. First
:12:37. > :12:42.among them is Steve McQueen. Obviously made his first film,
:12:42. > :12:47.Hunger, a few years ago. It's a good-looking movie. It's beautiful.
:12:47. > :12:51.There are some great moments, one is to arising out of the blue. It's
:12:51. > :12:56.like the equivalent of the cavalry. It's Michael Fassbender and the
:12:56. > :13:01.camera follows him in night-time New York. You have absolutely --
:13:01. > :13:07.you have absolutely hip tiesed, but there are lower-key scenes. We saw
:13:07. > :13:12.it on the subway. He's in that way and eyeing the woman up and it's
:13:12. > :13:18.this way of little half-glances and beautifully orchestrated. Obviously,
:13:18. > :13:25.a lot of that credit goes to Steve McQueen and the other great thing,
:13:25. > :13:29.which is the performance.. Michael Fassbender will get a huge acclaim,
:13:29. > :13:34.and Carey Mulligan. They bring characters who could have been
:13:34. > :13:38.conseats on paper and ideas. They bring them -- conceets on paper and
:13:38. > :13:42.ideas. They bring them to life. It is raw and haunting. What do you
:13:42. > :13:45.think? I think it's raw and haunting. I have to tell you
:13:45. > :13:51.there's been so much buzz about this film. People in October
:13:51. > :13:57.talking. I loved Hunger. I saw Shame. I was so - I was livid at
:13:57. > :14:03.the end, because of the ending and livid because I didn't have more
:14:03. > :14:07.back story, but I'm quite thick and I like things written down. I was
:14:07. > :14:11.thinking they must have had an awful time. I wanted more details.
:14:12. > :14:14.The fact he can cry while his sister sings that song. I wanted
:14:14. > :14:20.more and to call somebody. I don't have Steve McQueen's number. It's
:14:20. > :14:24.lost. I wanted much more information. Interestingly, later
:14:24. > :14:28.on we'll talk about a film called A Useful Life and there is a
:14:28. > :14:32.brilliant line when a girl says did you like it and he says it will
:14:32. > :14:36.grow on you. I can't get Shame out of my head. There is a scene at the
:14:36. > :14:42.end involving three people. Not telling you anything else, which is
:14:42. > :14:47.- which cue not remove, but it's the unsexiest hour-and-a-half I've
:14:47. > :14:51.ever spent in the cinema. I could change that for you. There are
:14:51. > :14:55.problems there. In terms of details which don't quite wring true. There
:14:55. > :15:00.is a film about sex addition and I don't know if I buy it. There's a
:15:00. > :15:04.moment when brand on is clearing out his jazz imagines, I believe is
:15:04. > :15:09.the phrase. Who apart from long distance lorry drivers have them
:15:09. > :15:11.any more? As a film about addition and about people whose minds are
:15:11. > :15:15.somewhere else, it works brilliantly. There are problems.
:15:15. > :15:20.It's not perfect. What is so interesting is I've changed my mind
:15:20. > :15:25.about this. At least half a dozen times. I am always interested.
:15:25. > :15:35.Every new person, I want to know what they see in this. I would
:15:35. > :15:39.
:15:39. > :15:44.recommend it because I think that Now it is time for the top five and
:15:44. > :15:48.this week Antonia's favourite films about addiction. Some violence and
:15:48. > :15:52.bad language is inevitable. There's nothing cinema loves more
:15:52. > :15:56.than a narrative about suffering and redemption and portraits of
:15:57. > :16:01.addiction not only fit that criteria, but are showcases for
:16:01. > :16:07.some of our most talented stars. Here are my top five. At number
:16:07. > :16:11.five, Leaving Las Vegas. Nicolas Cage quite rightly won an Oscar for
:16:11. > :16:15.his tragic performance as a man drinking himself to death. But what
:16:15. > :16:22.is so unusual about this addiction movie is that there's no attempt at
:16:22. > :16:28.redemption. You shouldn't drink so much. No going straight. Maybe I
:16:28. > :16:38.shouldn't breathe so much. This guy is an alcoholic with a death wish,
:16:38. > :16:42.
:16:42. > :16:47.And number four, Dance With A Stranger. Obsessive relational
:16:47. > :16:51.obsession. Rupert Everett and a founder Richardson play obsess
:16:51. > :16:56.mothers in this tremendous biographical drama about Ruth Ellis.
:16:56. > :17:03.You know exactly why you came out. Don't walk away from me. Would you
:17:03. > :17:07.like to hit me again? You've asked for it. And I damn well get it.
:17:07. > :17:14.this scene, they capture so perfectly the addict's combination
:17:14. > :17:24.of self-pity and helpless desire. can see your face. I don't want to
:17:24. > :17:36.
:17:36. > :17:46.The urbane anti-hero of this fantastic Belgian film is addicted
:17:46. > :17:55.
:17:55. > :18:05.In this particularly shocking scene, he is suddenly overwhelmed by the
:18:05. > :18:10.
:18:10. > :18:17.At number two, Boogie Nights. Panna diction, addiction to everything,
:18:17. > :18:21.cocaine, sex, you name it. What makes this particular film so
:18:21. > :18:24.unforgettable is it looks like the worst long afternoon imaginable.
:18:25. > :18:30.make these little mix tapes together. I put my favourite songs
:18:30. > :18:40.together. This is Number 11. Unable to stop talking rubbish, unable to
:18:40. > :18:58.
:18:58. > :19:01.Cosmo, he's Chinese. And number one, two girls and the guy. -- two girls
:19:01. > :19:05.and A Guy. Not a movie about addiction, but Robert Downey
:19:05. > :19:10.Junior's personal struggle with drug addiction has been well-
:19:11. > :19:20.documented. He suffered terribly in the 1990s. The director wrote this
:19:21. > :19:21.
:19:21. > :19:25.music -- movie about a troubled This particular scene in front of
:19:25. > :19:31.the Mirror immortalise is the absurdly touching Inside Out
:19:31. > :19:37.charisma of Robert Downey Junior in the bleakest period of his life.
:19:37. > :19:43.# You might have loved me, too. think it is his best performance.
:19:43. > :19:48.Brilliant list. Next, Margin Call starring Kevin pays -- Kevin Spacey
:19:48. > :19:52.and Paul Bettany. It takes a look behind the scenes of a New York
:19:52. > :19:57.investment bank during the first few days of the 2008 furniture
:19:57. > :20:03.crisis. There is some banker's language. These are extraordinary
:20:03. > :20:07.times as you must know. I don't understand. He is being let go.
:20:07. > :20:17.sorry. I was working on something and they would not let me finish.
:20:17. > :20:17.
:20:17. > :20:24.Take a look. Be careful. It is roughly 24-36 hours at a large
:20:24. > :20:28.American investment bank on the day they realise the jig is up. A Paris
:20:28. > :20:33.Eric had been working on this for some time but could not finish it.
:20:33. > :20:39.-- apparently. This morning he asked Peter to take a look. He put
:20:39. > :20:45.a few things in that Eric was missing. This is what came out.
:20:45. > :20:50.need you guys to come back. Penny due back here now. This is not
:20:50. > :20:54.supposed to be a periphery firm, this was supposed to be an example
:20:54. > :20:58.of one of the lead investment banks in the United States. It to a
:20:58. > :21:06.certain extent, the story was a tragedy. A tragedy of misused
:21:06. > :21:12.potential. Studying the ways friction ratios affect things.
:21:12. > :21:17.are rocket scientist? I play the head of a trading floor and my
:21:17. > :21:25.direct superior is Kevin Spacey. Above him, Demi Moore and Simon
:21:25. > :21:31.Baker. Finally, Jeremy Irons. You're speaking with me. If those
:21:31. > :21:34.assets decrease by just 25% and remain on our books, that loss
:21:34. > :21:38.would be greater than the current market capitalisation of this
:21:39. > :21:45.entire company. I have always enjoyed indie films like this the
:21:45. > :21:51.most. I like to shoot fast, a light there not to be too much money
:21:52. > :21:56.about so we are all working sensibly. We, on a wing and a
:21:56. > :22:01.prayer, but descript out to one or two actors and amazingly, they came
:22:01. > :22:07.out and said yes, which for a first-time writer-director was
:22:08. > :22:13.obviously a dream come true. Actors will always be attracted by good
:22:13. > :22:18.scripts and good characters. Not the huge fees, necessarily. It
:22:18. > :22:23.doesn't have a bad cast, does it? Up after a crisis such as this,
:22:23. > :22:32.often times there's this period of reflection, of wondering what was
:22:33. > :22:38.it exactly that I spent my life doing. 1937, 19 74th, 1987. Jesus,
:22:38. > :22:45.didn't that fug me up good. It is all the same thing over and over.
:22:45. > :22:49.We can't help ourselves. That cast, that subject matter, that setting,
:22:49. > :22:55.already this is interesting. We loved inside job and this is, if
:22:55. > :23:00.you like, that played out. I think brilliantly well. Thrilling and
:23:00. > :23:05.exciting. What I liked most is it would have been so easy to make the
:23:05. > :23:11.Bank as the baddies. That would have been easy. It is not that
:23:11. > :23:16.obvious. Anything that Jeremy Irons does I'm on board. He is brilliant,
:23:16. > :23:19.as is Kevin Spacey for top it doubles as a disaster movie.
:23:19. > :23:25.have a film about a bright underling who stumbles upon
:23:25. > :23:29.something horrific and he tries to bring it to everybody's attention.
:23:29. > :23:34.You're right, what is so interesting about that idea is it
:23:34. > :23:37.could be an asteroid, it could be biological warfare. It is the end
:23:37. > :23:43.of the financial system as we know it. None of them want to know about
:23:43. > :23:48.that. It is about psychology. It is about what happens. Been a disaster
:23:48. > :23:52.movie, you save the world. Here, they saved themselves. It is
:23:52. > :23:57.fascinating that these are not heroes of Valence, they bring up
:23:57. > :24:01.the fact that these are salesmen. We gave the world over to salesmen.
:24:01. > :24:08.In terms of cinema, it rings bells with things like Glengarry Glen
:24:08. > :24:12.Ross. The script is very good. For first-time director, J C Chandor
:24:13. > :24:18.has done a fantastic job. I will be interested to see what he does next,
:24:18. > :24:22.but I'm also intrigued by this movie. The cast are all massive
:24:22. > :24:27.stars, but they almost cancel each other out. It is not like there are
:24:27. > :24:31.a lot of our nose and then in works Kevin Spacey. It works as well.
:24:31. > :24:36.These are supposed to be people on top of the world. It dovetails
:24:36. > :24:42.nicely with the film. This is highly recommended. Next, A Useful
:24:42. > :24:52.Life, the story of a lonely man who passed to adjust to a single life
:24:52. > :24:52.
:24:52. > :26:03.Apology for the loss of subtitles for 71 seconds
:26:03. > :26:10.after the cinema he has worked out The eye thought this film was
:26:10. > :26:18.adorable. That clip makes me smile. It is freakishly short. We went in
:26:18. > :26:21.and it finished. No bad thing. Jorge Jellinek, you want to pick
:26:21. > :26:26.him up and say I want to be your friend. I want to mention the tone
:26:26. > :26:30.because City shot in, and transferred to black and white. It
:26:30. > :26:35.looks nutty, if that doesn't sound bonkers. What I liked about it is
:26:35. > :26:39.it changes quite sneakily halfway through. The first 30 minutes is
:26:39. > :26:44.almost like a documentary about this ailing art house cinema in
:26:44. > :26:48.Uruguay. It has all but rickety projectors. It is great, but half
:26:48. > :26:53.an hour in, it subtly changes and becomes a story of him and his
:26:53. > :26:55.battle to find a life outside the cinema. He still has all these
:26:55. > :27:01.soundtracks from countless movies in his head and now he has to find
:27:01. > :27:05.his own film. He is fantastic. The film is sweet and smart. I am
:27:06. > :27:12.alarmed by the idea that men who spend a lot of time in the cinema
:27:12. > :27:16.are possibly socially backwards! But that is fine. Clearly that is
:27:16. > :27:20.just preposterous. That is a nonsense, we loved chatting. Very
:27:20. > :27:25.difficult to choose because all four are great. How would you
:27:25. > :27:28.choose your film of the week? tough call. All four films have a
:27:28. > :27:37.lot to recommend them. If you are pushing me into a corner, Margin
:27:37. > :27:41.Call. Are you? I did not see that coming. War Horse. A Useful Life is
:27:41. > :27:46.on limited nationwide release from Friday, 13th January. Log onto the
:27:46. > :27:53.website to find out where it will shows. CGI, Lovett or hated?
:27:53. > :27:57.Everybody has an opinion. CGI or computer generated imagery gets a
:27:57. > :28:00.bad rap. But at its very best, it allows directors to realise a
:28:00. > :28:06.vision in a way that otherwise probably would not have been
:28:06. > :28:11.possible. James Cameron waited 14 years to make about up until
:28:11. > :28:15.technology caught up with him. The biggest film of all time. Now
:28:15. > :28:20.there's no limit to what a director can achieve. Tired of standing in
:28:20. > :28:27.front of the drab green screen? Not any more. Not with CGI. Look at
:28:27. > :28:30.that. Much nicer. Nice and warm. Well, we all know the only worth --
:28:31. > :28:34.beach worth being of is a real one and locations are not a heart of
:28:34. > :28:38.the movies. It is actors and I really hate what CGI has done to
:28:38. > :28:42.them. The movie star is a complicated double thing, part
:28:42. > :28:47.person, but character, so to see them dressed up in Velcro running
:28:47. > :28:52.up and down green ramps, it ruins what we are looking at, it
:28:52. > :28:58.diminishes their power. Think of Lawrence of Arabia. Here we have
:28:58. > :29:03.Peter O'Toole commanding a crowd of Jordanians. He is standing in front
:29:03. > :29:12.of them as their hero leader. That is actually happening to that actor.
:29:12. > :29:22.He has changed, they are changed, It is profoundly more meaningful
:29:22. > :29:27.than Brad Pitt and his army of CGI I am as bigger fan of in the moment
:29:27. > :29:31.reality as the next person. Indiana Jones would never have been hastily
:29:31. > :29:37.improvised had they been shooting on a sound stage. But if Harrison
:29:37. > :29:41.Ford -- or if Harrison Ford hadn't been suffering from dysentery. But
:29:41. > :29:46.acting in CGI should be no problem for any actor worth their salt.
:29:46. > :29:50.Both are equally it official. You have to use your imagination. What
:29:50. > :29:56.did Lawrence of Olivier -- long as Olivier say to Dustin Hoffman? Have
:29:56. > :29:59.you tried acting, dear boy? really insidious thing about CGI it
:30:00. > :30:05.is it is so controlled. No wonder studios love it so much, it can
:30:05. > :30:09.never get sick or blown away by a freak tornado. It is the enemy of
:30:09. > :30:13.spontaneity and serendipity and magic. Take jaws. Free plastic
:30:13. > :30:16.sharks which hardly ever work. Actors sitting around for days and
:30:16. > :30:20.weeks and months perfecting dialogue. And then John Williams
:30:20. > :30:24.coming up with a score that had to brilliantly imply a shock that was
:30:24. > :30:34.hardly ever there. That would never happen now because in LA, someone
:30:34. > :30:37.
:30:37. > :30:40.would knock up a shock on a laptop. That is a real shooting star, it is
:30:40. > :30:44.beautiful and eerie and special. If you saw that now on screen, we
:30:44. > :30:50.would assume it had been added in later digitally. I hate fat that
:30:50. > :30:52.has happened. In many ways, CGI is the opposite of control. On the
:30:52. > :31:02.Adventures of Tintin, Steven Spielberg put his camera anywhere
:31:02. > :31:08.
:31:08. > :31:12.How's that for spontaneity? We'll never know for sure, but I'm sure
:31:12. > :31:15.that Hitchcock and Orson Wells would have loved playing with the
:31:15. > :31:24.toolbox. Wells once called movie making the best train set a boy
:31:24. > :31:29.ever had. With CG the boundaries would have been endless. Why is it
:31:29. > :31:35.all the same, dull, flat shade of grey? Creatures don't move with any
:31:35. > :31:39.gravity. They are so frictionless. Just think of the terrible spiders
:31:40. > :31:45.in King Kong. They are weightless. Something that big cannot move that
:31:45. > :31:50.fast. It is simple biology. How can any adult look at that and not just
:31:50. > :31:54.switch off? It's so boring. I'll grant you up until now, not every
:31:54. > :32:00.character has been completely convincing. However, as a tool it's
:32:00. > :32:08.still very much in its infancy and the quality control is working.
:32:08. > :32:14.Look at the eyes of Caesar here. The eyes have a soulful quality. CG
:32:14. > :32:19.had not been able to touch it until now. Are you seriously telling me
:32:19. > :32:23.that the actor deserves an Oscar? This is what I hate about this in
:32:23. > :32:28.relation to the computer modelling of the human face. It's the
:32:28. > :32:35.propaganda. We have to stand around in awe of new tech nomgy and I want
:32:35. > :32:41.to say, -- technology and I want to say, "That is not very good." I
:32:41. > :32:46.don't see revolutionary performance by a human. I see something
:32:46. > :32:56.something absent of the feeling and clumsy and silent movie sized
:32:56. > :32:57.
:32:57. > :33:04.emotions. I would love to have seen the real Andy Sirkus. No propaganda
:33:04. > :33:09.here, at least not yet. If you ask Andy he'll tell you that CG has
:33:09. > :33:17.opened up the floodgates and any actor can be anything he wants to
:33:17. > :33:22.be. Already it's given us some of the most memorable images and it's
:33:22. > :33:24.only just getting started. The influence on the industry has been
:33:24. > :33:31.undeniable, often invisible and profound, like colour and sound
:33:31. > :33:39.before it, it is progress at work and that is just beautiful. Well,
:33:39. > :33:47.we are still working on it! Brilliant! I love them both. Me too.
:33:47. > :33:53.We have had brilliant tweets. I have to read out some. Zoe says,
:33:53. > :33:57."Who needs CGI with films like the Artist?" then Jane says, "Hogwarts,
:33:58. > :34:07.a bunch of kids leaping in the air on sticks." It's a good point. Now
:34:07. > :34:13.time for the questionnaire and this week it's Tom Hooper. I think about
:34:13. > :34:20.the true man Show as one of my favourites, because it is the
:34:20. > :34:26.perfect fusion of cinema as commerce and art, in that it's the
:34:26. > :34:30.most brilliantly commercial idea, but it also has such moments of
:34:30. > :34:39.surrealism. Like when he comes to the edge of his world and discovers
:34:39. > :34:44.it's a wall. The fact that Peter understood how absolutely central
:34:44. > :34:50.reality television was going to be to our culture, way before it had
:34:50. > :34:56.happened and made an incredibly sophisticated analysis and satire
:34:56. > :35:06.of the limits and problems of reality TV and actually imagine a
:35:06. > :35:13.
:35:13. > :35:16.more extreme scenario that has yet The immediate one is Kubrick, just
:35:16. > :35:23.because he's such an extraordinary towering genius and I definitely
:35:23. > :35:28.owe a debt to him in my own film making. Can you light this scene by
:35:28. > :35:35.candles and create a lens that is fast enough to do that? He had NASA
:35:35. > :35:44.to help make the special lenses that were as close to an F1 fast
:35:44. > :35:49.stop than you could get then. are only six Miss Bradys now.
:35:49. > :35:59.of the films I watched most and I'm slightly embarrassed to say is
:35:59. > :36:03.Black Hawk Down. I think I've walked it endlessly, because Ridley
:36:03. > :36:11.Scott is such a visual master, that I kept going back and trying to
:36:12. > :36:17.work out how he created some of the images. I think the story hooks you,
:36:17. > :36:24.because it has a fascination with the detail and the immersion into
:36:24. > :36:28.the experience. There is something about the way he shoots the
:36:28. > :36:31.helicopter sequences and it's the audacity of how he does it. When he
:36:31. > :36:35.puts cameras in the helicopter, so you are directly above another and
:36:35. > :36:40.looking right down on the blades. Also, he's very brilliant at
:36:40. > :36:50.staging action sequences with multiple cameras, so you do have an
:36:50. > :36:52.
:36:52. > :36:57.extraordinary sense of being inside it. I suppose the other guilty
:36:57. > :37:02.pleasure is maybe The Sound of Music. If you imagine reading the
:37:02. > :37:06.script, helicopter in over mountains, and find a woman singing
:37:06. > :37:14.on top of a green meadow and you probably would think how will I
:37:14. > :37:19.pull that off? # The hills are alive with The
:37:19. > :37:24.Sound of Music... # There's something about her performance
:37:24. > :37:27.that wins you over and disarms you in those first seconds. I certainly
:37:27. > :37:33.have the guilty admission that it made me cry, which is crazy,
:37:33. > :37:39.because surely I should be well armed against that. That's all for
:37:39. > :37:46.tonight. Next week, we'll be back at 11.15 and we'll be reviewing
:37:46. > :37:51.Coriolanus, J Edgar, WE and Haywire. Blaiing us out is Wrath of the
:37:51. > :37:54.Titans -- playing us out is Wrath of the Titans, starring Sam