Episode 1 Film 2012

Episode 1

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This programme may contain strong language. Hello and welcome to the


programme. We are live. If you want to get in touch, the details are on


the screen now. Coming up - speerlburg bring Michael Morpurgo's


War Horse to the screen. Michael Fassbender and Carey Mulligan star


in Shame. Do you want to play? financial crisis gets the Hollywood


treatment in Margin Call. That loss would be greater than the current


market capitalisation of this entire company. First tonight, War


Horse. We went to meet Steven Spielberg and the cast. It's about


courage and hope, set against the backdrop of the First World War.


What is it? A horse they found in No Man's Land. What this horse has


to teach every human being it comes into contact with, is that they


should preserve the best in humanity. There's no reel side of


right and wrong, so telling it through the horse's eye is very


clever, because here's an animal that has no side. It's very


important to tell it from that neutral perspective. Be brave., be


brave. You must have loved the story, but making the horse the


star, were you not nervous about that, because humans, or an extra


ter rest tral, or a shark, you can position, but a horse -- ter rest


tral, or a shark, you can make that to position it, but a horse? Indeed.


The horse rubs his head all over the dad's woollen jacket and that


was something that the horse did every time we brought the camera


around for another angle. Don't take him back. We can't take him


back until he's broken in. Talk about getting the script together


with Richard Curtis and Leigh Hall. You wanted Joey to meet as many


people, is that right? Yes. I wanted Joey to spread his gifts of


compassion and hope to everybody that he comes in contact with.


That's what Richard Curtis did in his script and it was his idea to


keep Alberta way from Joey for an entire act. Would you release him


to me, Albert? I promise you, man to man, I'll look after him. Joey


is taken away and sent to frepbs and Albert is too young to en--


France and Albert is too young to enlist. Gentlemen, it's an honour


to ride beside you. Make the kiezar rue the day he dared to cross


swords with us. Let every man make himself his king, country and his


fallen comrades proud. Be brave. Freer God, honour the king. -- fear


God, honour the king. Can To get on the set to see that figure saying,


"We are going to get on some horses and we'll have some great fun." You


think, I think I'm ready. I can't tell you how thrilling it is. 120


horses in three lines, charging at 40mph, as fast as a horse can carry


you and 120 stuntmen screaming hell fury and all the hooves in the ears.


The thunder of it. It was absolutely breath-taking. Charge!


The first time I did it I nearly fell off the horse. One of the


stunt boys turned around and said, "It's a rush, isn't it?" we had 300


on first night. When I first arrived on Dartmoor there was a


unit stretching as far as the eye could see. The biggest I've ever


seen, but actually when we got on set, the experience of filming was


very intimate. I have to talk about John Williams. The score is


phenomenal. How does that collaboration work? This year is


our 40th anniversary. He started playing he sketches of the film


music he envisions for the film and they are all beautiful and there


are always too many to choose from. On War Horse especially, when he


played me the three main themes, I cried, just standing in the room,


listening to that music. You make us cry. Is that your intent? Every


movie I've ever tried to direct it I try to make it as emotionally


lightened as I can. I'm always kaquuesed of sentimentality. I


don't think it's fair. -- accused of sentimentality. I don't think


it's fair. I don't go out of my way. The play didn't go out of its way


to make me cry, but I was a sobbing mess by the end. I wanted to do the


same with the play for the film to convey that too. You can see more


from the interview and the rest of the War Horse cast on the website.


Hello. Hello. What did you think? War Horse is a film from another


time. I think we'll see lots of comparisons to everything from


Saving Private Ryan, to Babe. But it reminds me of Gone With The Wind.


It is epic family entertainment. It is shot on film. Nothing is shot on


film, but Spielberg has wheeled them out. It just astonishing and


he doesn't often get quite the credit he deserves a a fail many


maker. Sometimes he doesn't deserve that much, but here it is superb. I


urge people to go and see the movie just for the cavalry scene. It is


beautifully simple and cinematic. Ultimately, sometimes with a movie


there is a wrardstick you use, which you think -- yardstick you


use, which is you think is that the film he wanted to make. You saw me


after the screening. Do my face. I was shellshocked. I was crying. I


could not stopping crying. I want to start with a tweet. Alex Evans,


"This is Spielberg's best film in a decade. I wept eight time. Utterly


brilliant." I thought it was magnificent and you mention the


fact that it had to be older kid friendly, because it's not R rated


so he uses clever ways not to show - he shows the horrors of war, but


not the details, so there is an amazing windmill scene. I won't


give it away. Call me. You don't see the horror, but you know what


is happening, but the cast are brilliant and the horse, you emoat


with the horse. I highly recommend this film. I have to mention the S


word, which is sentiment. It's Spielberg making a film about World


War One, and I almost feel to complain is to complaining about


seeing a ghost story and complaining that there are strange


noises going on. Go with this. If I had a small bone to pick it's that


I think the movie has a episodic structure, like the play, where


Joey the horse moves from character to character. Some are stronger


than others and I think, I mean, I'll leave it there. I think it


works. It is a fantastic piece of cinema. I loved it. You have to


look out for Niels Arestrup. He's just a cadlely grand pa in this.


You have to work hard. I'm not that cynical. Good. Next, Shame the


second film by Steve McQueen. It stars Carey Mulligan and Michael


Fassbender. Your harddrive is dirty. He's a native New Yorker and he has


a secret and he's a sex addict. During the course of the film you


see his routine. It's his daily life. It is interrupted by his


sister. That's Sissy. It's about that friction and what she brings


from the past and how he deals with her presence and how he deals with


his affliction. My sister is playing downtown. Can I stay for a


few days? I'm trying to help you. How are you helping me? You come in


here and you are a weight on me, a burdern. I can take you somewhere.


We are family. We meant to look after each other. Events happened


as children which have put them into different directions and brand


on, Michael Fassbender's character is introverted and regimented and


he controls his life and has an addition and he shuts people out.


What is your longest relationship? Exactly. You can pour. Four months.


You have to commit. You have to actually give it a shot. I did. For


four months. The week before we started shooting there was an


article in the New York Times how young boys were having a really


hard time sustaining healthy relationships because they were so


influenced by porn and they had warped ideas about women's bodies


and it's something that makes people uncomfortable and that's why


Steve wanted to talk about it. and every one of us is brand on and


has elements that we can relate to, so we don't want to ice -- isolate


them. For example, sex addition, that is the guy with the raincoat


and sweaty palms. No it's an everyday guy. You might see him in


the workplace or know him in your building. Please pick up the phone.


We didn't want to sort of give an excuse for the characters and their


behaviour and set a definitely -- set it definitely in stone.


# It's up to you New York, New York... #


APPLAUSE Wow. For a film about sex, no-one


is having a good time. It's kind of the point. For some people it may


be a problem. I won't dwell, but talk about the strengths. First


among them is Steve McQueen. Obviously made his first film,


Hunger, a few years ago. It's a good-looking movie. It's beautiful.


There are some great moments, one is to arising out of the blue. It's


like the equivalent of the cavalry. It's Michael Fassbender and the


camera follows him in night-time New York. You have absolutely --


you have absolutely hip tiesed, but there are lower-key scenes. We saw


it on the subway. He's in that way and eyeing the woman up and it's


this way of little half-glances and beautifully orchestrated. Obviously,


a lot of that credit goes to Steve McQueen and the other great thing,


which is the performance.. Michael Fassbender will get a huge acclaim,


and Carey Mulligan. They bring characters who could have been


conseats on paper and ideas. They bring them -- conceets on paper and


ideas. They bring them to life. It is raw and haunting. What do you


think? I think it's raw and haunting. I have to tell you


there's been so much buzz about this film. People in October


talking. I loved Hunger. I saw Shame. I was so - I was livid at


the end, because of the ending and livid because I didn't have more


back story, but I'm quite thick and I like things written down. I was


thinking they must have had an awful time. I wanted more details.


The fact he can cry while his sister sings that song. I wanted


more and to call somebody. I don't have Steve McQueen's number. It's


lost. I wanted much more information. Interestingly, later


on we'll talk about a film called A Useful Life and there is a


brilliant line when a girl says did you like it and he says it will


grow on you. I can't get Shame out of my head. There is a scene at the


end involving three people. Not telling you anything else, which is


- which cue not remove, but it's the unsexiest hour-and-a-half I've


ever spent in the cinema. I could change that for you. There are


problems there. In terms of details which don't quite wring true. There


is a film about sex addition and I don't know if I buy it. There's a


moment when brand on is clearing out his jazz imagines, I believe is


the phrase. Who apart from long distance lorry drivers have them


any more? As a film about addition and about people whose minds are


somewhere else, it works brilliantly. There are problems.


It's not perfect. What is so interesting is I've changed my mind


about this. At least half a dozen times. I am always interested.


Every new person, I want to know what they see in this. I would


recommend it because I think that Now it is time for the top five and


this week Antonia's favourite films about addiction. Some violence and


bad language is inevitable. There's nothing cinema loves more


than a narrative about suffering and redemption and portraits of


addiction not only fit that criteria, but are showcases for


some of our most talented stars. Here are my top five. At number


five, Leaving Las Vegas. Nicolas Cage quite rightly won an Oscar for


his tragic performance as a man drinking himself to death. But what


is so unusual about this addiction movie is that there's no attempt at


redemption. You shouldn't drink so much. No going straight. Maybe I


shouldn't breathe so much. This guy is an alcoholic with a death wish,


And number four, Dance With A Stranger. Obsessive relational


obsession. Rupert Everett and a founder Richardson play obsess


mothers in this tremendous biographical drama about Ruth Ellis.


You know exactly why you came out. Don't walk away from me. Would you


like to hit me again? You've asked for it. And I damn well get it.


this scene, they capture so perfectly the addict's combination


of self-pity and helpless desire. can see your face. I don't want to


The urbane anti-hero of this fantastic Belgian film is addicted


In this particularly shocking scene, he is suddenly overwhelmed by the


At number two, Boogie Nights. Panna diction, addiction to everything,


cocaine, sex, you name it. What makes this particular film so


unforgettable is it looks like the worst long afternoon imaginable.


make these little mix tapes together. I put my favourite songs


together. This is Number 11. Unable to stop talking rubbish, unable to


Cosmo, he's Chinese. And number one, two girls and the guy. -- two girls


and A Guy. Not a movie about addiction, but Robert Downey


Junior's personal struggle with drug addiction has been well-


documented. He suffered terribly in the 1990s. The director wrote this


music -- movie about a troubled This particular scene in front of


the Mirror immortalise is the absurdly touching Inside Out


charisma of Robert Downey Junior in the bleakest period of his life.


# You might have loved me, too. think it is his best performance.


Brilliant list. Next, Margin Call starring Kevin pays -- Kevin Spacey


and Paul Bettany. It takes a look behind the scenes of a New York


investment bank during the first few days of the 2008 furniture


crisis. There is some banker's language. These are extraordinary


times as you must know. I don't understand. He is being let go.


sorry. I was working on something and they would not let me finish.


Take a look. Be careful. It is roughly 24-36 hours at a large


American investment bank on the day they realise the jig is up. A Paris


Eric had been working on this for some time but could not finish it.


-- apparently. This morning he asked Peter to take a look. He put


a few things in that Eric was missing. This is what came out.


need you guys to come back. Penny due back here now. This is not


supposed to be a periphery firm, this was supposed to be an example


of one of the lead investment banks in the United States. It to a


certain extent, the story was a tragedy. A tragedy of misused


potential. Studying the ways friction ratios affect things.


are rocket scientist? I play the head of a trading floor and my


direct superior is Kevin Spacey. Above him, Demi Moore and Simon


Baker. Finally, Jeremy Irons. You're speaking with me. If those


assets decrease by just 25% and remain on our books, that loss


would be greater than the current market capitalisation of this


entire company. I have always enjoyed indie films like this the


most. I like to shoot fast, a light there not to be too much money


about so we are all working sensibly. We, on a wing and a


prayer, but descript out to one or two actors and amazingly, they came


out and said yes, which for a first-time writer-director was


obviously a dream come true. Actors will always be attracted by good


scripts and good characters. Not the huge fees, necessarily. It


doesn't have a bad cast, does it? Up after a crisis such as this,


often times there's this period of reflection, of wondering what was


it exactly that I spent my life doing. 1937, 19 74th, 1987. Jesus,


didn't that fug me up good. It is all the same thing over and over.


We can't help ourselves. That cast, that subject matter, that setting,


already this is interesting. We loved inside job and this is, if


you like, that played out. I think brilliantly well. Thrilling and


exciting. What I liked most is it would have been so easy to make the


Bank as the baddies. That would have been easy. It is not that


obvious. Anything that Jeremy Irons does I'm on board. He is brilliant,


as is Kevin Spacey for top it doubles as a disaster movie.


have a film about a bright underling who stumbles upon


something horrific and he tries to bring it to everybody's attention.


You're right, what is so interesting about that idea is it


could be an asteroid, it could be biological warfare. It is the end


of the financial system as we know it. None of them want to know about


that. It is about psychology. It is about what happens. Been a disaster


movie, you save the world. Here, they saved themselves. It is


fascinating that these are not heroes of Valence, they bring up


the fact that these are salesmen. We gave the world over to salesmen.


In terms of cinema, it rings bells with things like Glengarry Glen


Ross. The script is very good. For first-time director, J C Chandor


has done a fantastic job. I will be interested to see what he does next,


but I'm also intrigued by this movie. The cast are all massive


stars, but they almost cancel each other out. It is not like there are


a lot of our nose and then in works Kevin Spacey. It works as well.


These are supposed to be people on top of the world. It dovetails


nicely with the film. This is highly recommended. Next, A Useful


Life, the story of a lonely man who passed to adjust to a single life


Apology for the loss of subtitles for 71 seconds


after the cinema he has worked out The eye thought this film was


adorable. That clip makes me smile. It is freakishly short. We went in


and it finished. No bad thing. Jorge Jellinek, you want to pick


him up and say I want to be your friend. I want to mention the tone


because City shot in, and transferred to black and white. It


looks nutty, if that doesn't sound bonkers. What I liked about it is


it changes quite sneakily halfway through. The first 30 minutes is


almost like a documentary about this ailing art house cinema in


Uruguay. It has all but rickety projectors. It is great, but half


an hour in, it subtly changes and becomes a story of him and his


battle to find a life outside the cinema. He still has all these


soundtracks from countless movies in his head and now he has to find


his own film. He is fantastic. The film is sweet and smart. I am


alarmed by the idea that men who spend a lot of time in the cinema


are possibly socially backwards! But that is fine. Clearly that is


just preposterous. That is a nonsense, we loved chatting. Very


difficult to choose because all four are great. How would you


choose your film of the week? tough call. All four films have a


lot to recommend them. If you are pushing me into a corner, Margin


Call. Are you? I did not see that coming. War Horse. A Useful Life is


on limited nationwide release from Friday, 13th January. Log onto the


website to find out where it will shows. CGI, Lovett or hated?


Everybody has an opinion. CGI or computer generated imagery gets a


bad rap. But at its very best, it allows directors to realise a


vision in a way that otherwise probably would not have been


possible. James Cameron waited 14 years to make about up until


technology caught up with him. The biggest film of all time. Now


there's no limit to what a director can achieve. Tired of standing in


front of the drab green screen? Not any more. Not with CGI. Look at


that. Much nicer. Nice and warm. Well, we all know the only worth --


beach worth being of is a real one and locations are not a heart of


the movies. It is actors and I really hate what CGI has done to


them. The movie star is a complicated double thing, part


person, but character, so to see them dressed up in Velcro running


up and down green ramps, it ruins what we are looking at, it


diminishes their power. Think of Lawrence of Arabia. Here we have


Peter O'Toole commanding a crowd of Jordanians. He is standing in front


of them as their hero leader. That is actually happening to that actor.


He has changed, they are changed, It is profoundly more meaningful


than Brad Pitt and his army of CGI I am as bigger fan of in the moment


reality as the next person. Indiana Jones would never have been hastily


improvised had they been shooting on a sound stage. But if Harrison


Ford -- or if Harrison Ford hadn't been suffering from dysentery. But


acting in CGI should be no problem for any actor worth their salt.


Both are equally it official. You have to use your imagination. What


did Lawrence of Olivier -- long as Olivier say to Dustin Hoffman? Have


you tried acting, dear boy? really insidious thing about CGI it


is it is so controlled. No wonder studios love it so much, it can


never get sick or blown away by a freak tornado. It is the enemy of


spontaneity and serendipity and magic. Take jaws. Free plastic


sharks which hardly ever work. Actors sitting around for days and


weeks and months perfecting dialogue. And then John Williams


coming up with a score that had to brilliantly imply a shock that was


hardly ever there. That would never happen now because in LA, someone


would knock up a shock on a laptop. That is a real shooting star, it is


beautiful and eerie and special. If you saw that now on screen, we


would assume it had been added in later digitally. I hate fat that


has happened. In many ways, CGI is the opposite of control. On the


Adventures of Tintin, Steven Spielberg put his camera anywhere


How's that for spontaneity? We'll never know for sure, but I'm sure


that Hitchcock and Orson Wells would have loved playing with the


toolbox. Wells once called movie making the best train set a boy


ever had. With CG the boundaries would have been endless. Why is it


all the same, dull, flat shade of grey? Creatures don't move with any


gravity. They are so frictionless. Just think of the terrible spiders


in King Kong. They are weightless. Something that big cannot move that


fast. It is simple biology. How can any adult look at that and not just


switch off? It's so boring. I'll grant you up until now, not every


character has been completely convincing. However, as a tool it's


still very much in its infancy and the quality control is working.


Look at the eyes of Caesar here. The eyes have a soulful quality. CG


had not been able to touch it until now. Are you seriously telling me


that the actor deserves an Oscar? This is what I hate about this in


relation to the computer modelling of the human face. It's the


propaganda. We have to stand around in awe of new tech nomgy and I want


to say, -- technology and I want to say, "That is not very good." I


don't see revolutionary performance by a human. I see something


something absent of the feeling and clumsy and silent movie sized


emotions. I would love to have seen the real Andy Sirkus. No propaganda


here, at least not yet. If you ask Andy he'll tell you that CG has


opened up the floodgates and any actor can be anything he wants to


be. Already it's given us some of the most memorable images and it's


only just getting started. The influence on the industry has been


undeniable, often invisible and profound, like colour and sound


before it, it is progress at work and that is just beautiful. Well,


we are still working on it! Brilliant! I love them both. Me too.


We have had brilliant tweets. I have to read out some. Zoe says,


"Who needs CGI with films like the Artist?" then Jane says, "Hogwarts,


a bunch of kids leaping in the air on sticks." It's a good point. Now


time for the questionnaire and this week it's Tom Hooper. I think about


the true man Show as one of my favourites, because it is the


perfect fusion of cinema as commerce and art, in that it's the


most brilliantly commercial idea, but it also has such moments of


surrealism. Like when he comes to the edge of his world and discovers


it's a wall. The fact that Peter understood how absolutely central


reality television was going to be to our culture, way before it had


happened and made an incredibly sophisticated analysis and satire


of the limits and problems of reality TV and actually imagine a


more extreme scenario that has yet The immediate one is Kubrick, just


because he's such an extraordinary towering genius and I definitely


owe a debt to him in my own film making. Can you light this scene by


candles and create a lens that is fast enough to do that? He had NASA


to help make the special lenses that were as close to an F1 fast


stop than you could get then. are only six Miss Bradys now.


of the films I watched most and I'm slightly embarrassed to say is


Black Hawk Down. I think I've walked it endlessly, because Ridley


Scott is such a visual master, that I kept going back and trying to


work out how he created some of the images. I think the story hooks you,


because it has a fascination with the detail and the immersion into


the experience. There is something about the way he shoots the


helicopter sequences and it's the audacity of how he does it. When he


puts cameras in the helicopter, so you are directly above another and


looking right down on the blades. Also, he's very brilliant at


staging action sequences with multiple cameras, so you do have an


extraordinary sense of being inside it. I suppose the other guilty


pleasure is maybe The Sound of Music. If you imagine reading the


script, helicopter in over mountains, and find a woman singing


on top of a green meadow and you probably would think how will I


pull that off? # The hills are alive with The


Sound of Music... # There's something about her performance


that wins you over and disarms you in those first seconds. I certainly


have the guilty admission that it made me cry, which is crazy,


because surely I should be well armed against that. That's all for


tonight. Next week, we'll be back at 11.15 and we'll be reviewing


Coriolanus, J Edgar, WE and Haywire. Blaiing us out is Wrath of the


Titans -- playing us out is Wrath of the Titans, starring Sam


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