:00:29. > :00:39.Hello and welcome to Film 2012. We're live and if you want to get
:00:39. > :00:40.
:00:40. > :00:44.in touch the details are on the screen now. On tonight's show:
:00:44. > :00:48.Leonardo DiCaprio stars as Janice Edmonds a man who is keeping
:00:48. > :00:54.secrets. I want you to be my number two man. I need you. Ralph Fiennes
:00:54. > :00:59.takes on the barred as he directs and stars in Coriolanus. Sweet as
:00:59. > :01:05.my revenge. It is pay back time for an all star cast in Haywire. Tell
:01:05. > :01:12.me right now why you sold me, or you can tell me when I have your
:01:12. > :01:18.hands around your throat. Last, Terence Davies talks about Distant
:01:18. > :01:20.Voices, Still Lives. Janice Edmonds a biopic of the Federal Bureau of
:01:21. > :01:25.Investigation is staring Clint Eastwood and stars Leonardo
:01:25. > :01:31.DiCaprio. A society unwilling to learn from
:01:31. > :01:36.the past. Is doomed. We must never forget our history. We must never
:01:36. > :01:41.lower our guard. J.Edgar you will rise to be the
:01:41. > :01:46.most powerful man in the country. Edgar Hoover has been a dark figure
:01:46. > :01:50.in American history. There was so many salacious rumours about him,
:01:50. > :01:57.not only a personal but political level. Is that leefl Sometimes you
:01:57. > :02:02.need to bend the rules a little to keep your country safe.
:02:02. > :02:08.fascinating character and human. He did dispeckable things. It is my
:02:08. > :02:13.belief when a man becomes a part of this bureau, he must conduct to
:02:13. > :02:20.alleviate the slightest possible bit of criticism. At 22 years of
:02:20. > :02:25.age, he went from law school and starts this bureau of investigation,
:02:25. > :02:30.and fingerprinting and becomes a pioneer of that. Imagine every
:02:30. > :02:35.citizen was uniquely identifiable by the pattern of our fingers,
:02:36. > :02:40.imagine how quickly we would find him. Was an interesting portrait of
:02:40. > :02:45.a man that kept the same idealistic beliefs what was right for our
:02:45. > :02:50.country from the 20s, to the 60s, when our country was changing
:02:50. > :02:54.immensely, so he didn't adapt. So it was a how a power corrupts
:02:54. > :03:00.absolutely and how horrible things can happen if there aren't checks
:03:00. > :03:07.and balances in political systems. I want four agents on him at all
:03:07. > :03:15.times and photograph him at any dinner, you can walk back. We don't
:03:15. > :03:19.miss lunch. You pulled away from me there. I had to look at this as a
:03:19. > :03:25.tragic love story, they felt so much for each other, but was never
:03:25. > :03:28.able to consummate it. He trusted Tolson and Gandy and that was
:03:29. > :03:33.probably the extent of it. three main characters that worked
:03:33. > :03:39.in the FBI were never married, they never had personal relationship,
:03:39. > :03:42.like a priesthood, they gave up their personal life. So it is an
:03:42. > :03:46.interesting psychological portrait of the family unit they had to
:03:46. > :03:54.create. I'm not interested in getting married, my work comes
:03:54. > :03:59.first. Then, perhaps you would consider a
:03:59. > :04:05.position as my personal secretary. I tried to tell it so the audience
:04:05. > :04:10.can make their own opinions. The audience can decide how they feel
:04:10. > :04:15.about him. What was fascinating was how he's
:04:15. > :04:21.had a tight knit group of people who he worked with for years, like
:04:21. > :04:26.J. Edgar Hoover, you can never get out of the image with his monitor,
:04:26. > :04:32.leaning in the wall piercing you, and it motivates you to tell the
:04:32. > :04:36.truth. Tell the truth. I'm going to tell the truth. Sometimes, one
:04:36. > :04:41.aspect stands out. With Janice Edmonds itch to mention the make-up.
:04:41. > :04:45.Leonardo DiCaprio has the huge challenge, who is J. Edgar Hoover
:04:45. > :04:50.who ages, he's let down by the make-up department, particularly as
:04:50. > :04:58.an older man. The make-up department confused what an
:04:58. > :05:08.overweight 70-year-old, is made up. His face is made of rubber. Clyde
:05:08. > :05:12.Tolson fares worse. At the end he resembles a wizened albino
:05:12. > :05:20.character, a character who can't tell the world how he is, Janice
:05:20. > :05:25.Edmonds can't tell how he is. Given it is two hour and twenty minutes,
:05:25. > :05:29.you never find out how J. Edgar Hoover went after the mafia. You
:05:29. > :05:33.see the obsession with surveillance and bugging, and you never see the
:05:33. > :05:40.lives that he ruined because of that. The problem is it is less
:05:40. > :05:45.interesting film because of that. It is a fascinating how the small,
:05:45. > :05:55.petty obsessive little man, who became so big in America. Instead
:05:55. > :06:00.you have the stodgy, ploding biopic. It is like it is running in real
:06:00. > :06:04.time in ways. It was interesting looking at the characters
:06:04. > :06:09.interviewed, they all said he is fascinating and interesting, they
:06:09. > :06:12.had to convince themselves, because it is not unfortunately a
:06:12. > :06:18.fascinating film. I would like to mention the set. You would want to
:06:18. > :06:22.go home and cover your whole flat in mahogany or foam mahogany, you
:06:22. > :06:27.want to live in the dark world, and it should have been a bit more
:06:27. > :06:33.interesting, if that's unfair. The problem is the script if you like,
:06:33. > :06:38.it was brilliant by the brilliant guy who wrote Milk. You can imagine,
:06:38. > :06:44.they're all sitting around together, going, "Well let make this and go
:06:44. > :06:49.to the Oscars" and they haven't. feel bad giving the film a kicking
:06:49. > :06:54.because there were good things. DiCaprio when he is the younger J.
:06:54. > :07:04.Edgar Hoover, he was a friendless weirdo. You can see there's a good
:07:04. > :07:04.
:07:05. > :07:09.performance, you tell the story of a J. Edgar Hoover closeted in a
:07:09. > :07:13.affair. He was a fantasist and liar and you couldn't believe him which
:07:13. > :07:16.is genuinely interesting, and thrown in the air. But it is like
:07:16. > :07:22.Clint Eastwood can't keep them in the air and it feels botched as a
:07:22. > :07:26.result of that. The problem is after the time, and 77 years, it is
:07:26. > :07:30.like J. Edgar Hoover get away at the end. You don't feel you know
:07:30. > :07:36.him or anything you could read from reading the internet. You have to
:07:36. > :07:41.know the character. Also, he's sympatheticly drawn if you like. We
:07:41. > :07:46.didn't discuss the Iron Lady, but, the same problem with that, which
:07:46. > :07:51.is they might have been horrible but now they're old. And they like
:07:51. > :07:57.cats. There's nothing more than a biscuit they like.
:07:57. > :08:06.There may be more. Directors stars and adaptation of Shakespeare's
:08:06. > :08:16.tragedy, Coriolanus. My name is Gaius Marcius Coriolanus. If ever
:08:16. > :08:22.again I meet him he's mine. Or I am his I felt it had such epic scale
:08:22. > :08:26.in it as a play, a story, that and had such high definition characters
:08:26. > :08:32.and strong themes or questions in it, that I feel those are the
:08:32. > :08:36.things that work well on film. Coriolanus himself is
:08:36. > :08:41.confrontational, and deliberately hard to sympathise with, until you
:08:41. > :08:46.understand he's trying to hold an integrity. Shakespeare wants us to
:08:46. > :08:50.have a complicated reaction, there isn't a message, it is like this is
:08:50. > :08:55.a world, dysfuctional civic society, where people are angling for
:08:55. > :09:01.position, and in the middle there's a man who wants recognition and
:09:01. > :09:09.doesn't at the same time. What would you have, nor peace or war,
:09:09. > :09:15.the one that fright you the other that makes you proud, he who finds
:09:15. > :09:22.hears, foxes geese. I'm amazed how easy it has been to slip into the
:09:22. > :09:32.language, and have it work in the context of where we are. Nobody
:09:32. > :09:39.quite like Aufidius in his ranks, if it there was one man who would
:09:39. > :09:45.match is Coriolanus. I'll fight with none but three, for I do hate
:09:45. > :09:51.three. We hate alike. Coriolanus isn't a bady. He is a soldier, and
:09:51. > :09:56.he has a very rigid set of values. But, where it leads to is that he's
:09:56. > :10:03.timely broken by the person whose made him what he is, which is his
:10:03. > :10:09.mother. My good soldier up, my gentle, Gaius Marcius Coriolanus,
:10:09. > :10:15.and by achieving on newly named, what is it, Coriolanus, must I call
:10:15. > :10:22.three. I found it difficult to think of a woman glorying in her
:10:22. > :10:27.son's battle wounds. I found it difficult to put myself into the
:10:27. > :10:33.skin of a woman who would not cry if her son were killed. I had to
:10:33. > :10:39.take the road of entering the mind of a woman whose parents,
:10:39. > :10:47.grandparents, great grandparents have all been military men. It is a
:10:47. > :10:51.different mind set. A hundred thousand welcomes. In times of
:10:51. > :10:58.strive a lot of people want insurance of extreme leadership.
:10:58. > :11:08.For this film, I wanted the accessible of a modern world we've
:11:08. > :11:08.
:11:08. > :11:14.seen with Shakespeare's dialogue. Make you a sword of me.
:11:14. > :11:18.All right it is early on in the year. Second show back. Let us not
:11:18. > :11:23.go, mention that again. This is my film of the year.
:11:23. > :11:29.Just want to say that, it was brilliant. I thought I had a body
:11:29. > :11:33.blow, it is powerful, exact. John Logan who adapts it has done a
:11:33. > :11:42.magnificent job. He's written fantastic things like Gladiator.
:11:42. > :11:49.Coriolanus I love it, but it is unweldly, but that TS Eliot said it
:11:49. > :11:54.was better than ham het. The point is, he's done a brilliant job and
:11:54. > :11:59.it is powerful Vanessa Redgrave is fabulous, Gaius Marcius Coriolanus
:11:59. > :12:03.is his flaw, his mother, which makes it brilliant. Ralph Fiennes
:12:03. > :12:08.did an excellent job and at the end there's a powerful speech.
:12:08. > :12:11.I'm losing my voice. I thought how are they going to do
:12:11. > :12:17.that. He does it absolutely brilliantly.
:12:17. > :12:22.It is easy to forget, it is Ralph Fiennes' debut as a director. It is
:12:22. > :12:26.a you have to play, one of the things is about is how people are
:12:26. > :12:31.thick and easily led. It is a message that makes us feel
:12:31. > :12:38.unfortunately. The flip side is that it doesn't
:12:38. > :12:42.get performed, so it has a sense of freshness. I think not a lot will
:12:42. > :12:48.come to stage, it is an energy to it. A film that is about soldiers
:12:48. > :12:53.and war, you expect a sense of agro to the fight season, it has that,
:12:53. > :12:56.but the whole thing is kept at boiling point. I liked, you have
:12:56. > :13:00.the overtones of Iraq and Afghanistan, and it is interesting,
:13:00. > :13:09.it is shot by acknowledge acknowledge acknowledge the same
:13:09. > :13:14.person who hit a Hurt locker. But he doesn't overplay, that here is
:13:14. > :13:18.another one nudging new the ribs, I was impressed. Ralph Fiennes'
:13:18. > :13:23.himself is so good, because Coriolanus isn't somebody you want
:13:23. > :13:29.to have a beer with? The soldier in a world of politicians and PR men
:13:29. > :13:35.and doesn't fit in, and he wants to tell the truth and rule the people,
:13:35. > :13:41.but he is not carries matic, it is a you have to job, because he has
:13:41. > :13:46.to play this character. Vanessa Redgrave walks away with the movie.
:13:46. > :13:54.Volumnia his mother is superb, the shake speersian language comes so
:13:54. > :14:04.naturally to her, where it wouldn't to I. Gerard Butler who knew,
:14:04. > :14:05.
:14:05. > :14:09.actually, Jessica Chastian alies less successful. And Jon Snow I was
:14:09. > :14:15.impressed by Jon Snow the best news reading performance all week. Now
:14:15. > :14:22.it is time for the top five. Countdown, his famous film speeches,
:14:22. > :14:27.and it does contain strong language. Cinema is full of great
:14:28. > :14:32.inspirational speeches. Those moment when one man and it is
:14:32. > :14:40.usually one man grandstands in a gaggle, and whips them in a frenzy.
:14:40. > :14:50.On this very night, you shall hear my first five great speeches of all
:14:50. > :14:56.
:14:56. > :15:03.time. At number five, it is Animal House, where inspiration was when
:15:03. > :15:09.brothers were insprierd to stand up against oppression. He does so by
:15:09. > :15:17.Manningling fact. When the going gets you have to. My God it is
:15:17. > :15:27.magical. The tough get going. Who's with me? Let's go.
:15:27. > :15:31.Come on. At number four it is Independence Day. People love
:15:31. > :15:37.restraint, where you can get your teeth in a monologue, you know what
:15:37. > :15:41.goes well with meat is cheese. fourth of July will no longer be
:15:41. > :15:48.known as an American holiday, but the day where the world declared
:15:48. > :15:58.with one voice, we will not go quietly on the eve of the night.
:15:58. > :16:06.gives the speech, that outShakespeare, Shakespeare. Today,
:16:06. > :16:11.we celebrate Independence Day. Edward Norton N25th hour. In spite
:16:11. > :16:19.of the hour, Manuel Antonio Noriega pops to the bathroom, there he sees
:16:19. > :16:24.something rude on the mirror are are mirror. Sparking a six minute
:16:24. > :16:29.diatribe, with where he raves everything that is wrong with New
:16:29. > :16:35.York and himself. Self-styles master of the universe, Michael
:16:35. > :16:40.Douglas, Gordon, mother lockers finding out how to rob poor people
:16:40. > :16:46.blind. Send those ass holes to jail for
:16:46. > :16:52.locking life. Number two, in William Shatner in Star Trek II:
:16:52. > :16:59.The Wrath Of Khan. He wants to save the end price, so it fall toss
:16:59. > :17:05.William Shatner Kirk to perform the eulogy. He doesn't allow the eyes
:17:05. > :17:15.to twinkle. Of all the souls I encountered in it my travels. He
:17:15. > :17:17.
:17:17. > :17:21.was the most human. Number one, it is Peter Finch in Network,
:17:21. > :17:25.dishevelled and news caster, deliver a live rant on aifrplt
:17:25. > :17:35.I know first you got to get mad. You got to say I'm a human being,
:17:35. > :17:37.
:17:37. > :17:43.God damn it, my life has value. Finch won as Oscar in Alarming
:17:43. > :17:47.Pretty in Sat fire. He won this for this speech alone. I want it to get
:17:47. > :17:54.up open the window and stick your head out and yell "I'm as mad as
:17:54. > :18:00.hell and I'm not going to take this any more". Brilliant from Chris.
:18:00. > :18:08.We've had so many tweets. Dave, 29, said, Gladiator in the forum and I
:18:08. > :18:15.will have my revenge in this life or the next. Woody's speech in toy
:18:16. > :18:20.story, Ross says Pacino in Any Given scab Sunday.
:18:20. > :18:25.Great dictator. Next up is Huawei which focuses on the affair between
:18:25. > :18:32.King Edward VIII and Wallis Simpson as seen as a contemporary woman in
:18:32. > :18:37.New York. How come all Americans are such good dancers. I wouldn't
:18:37. > :18:42.know Sir. The Prime Minister won't stand for. Then I'll give up the
:18:42. > :18:46.throne. And I will be the most despiseed woman in the world. The
:18:46. > :18:56.film explores the life of Wallis Simpson and seen through the eyes
:18:56. > :18:56.
:18:56. > :19:03.of a future fictional character who as spires to live like Walsh.
:19:03. > :19:07.What it must feel to be loved that much. You're dealing with two
:19:07. > :19:12.historical figures, and there's a vast amount of information about
:19:12. > :19:19.them. Much of it is contradictory, the wonderful thing is the script
:19:19. > :19:24.was clear, the story that Madonna wanted to tell. Every time I would
:19:24. > :19:30.go to dinner, it would like bringing a cocktail on the table.
:19:30. > :19:34.Suddenly the table would erupt and get into an argument. That I read
:19:34. > :19:39.the story, my feelings toward them kept changing. One thin I was
:19:39. > :19:44.enthralled and swept up in it, the next minute I was kind of, irritate
:19:44. > :19:48.with them and thinking of them as superficial. The next minute, I
:19:48. > :19:53.thought they're human beings like all of us. This guy gave up the
:19:53. > :19:59.throne, what dref him to do that. If it was for a woman and love,
:19:59. > :20:06.what did this woman have. I have nef known one person, so ut
:20:06. > :20:10.territorial possessed by another, as he was by her. I have found it
:20:10. > :20:16.impossible to discharge my duties as King without the support of the
:20:16. > :20:22.woman I love. They were exiled from each other after he abdicated. And
:20:22. > :20:26.that is the letters they brot to each other, are in books now. And
:20:26. > :20:30.it is every bit of passion national as the love affair that we all
:20:30. > :20:35.remember, when we first fell in love.
:20:35. > :20:44.Jo do you understand, you can go wref you want, whatever you do,
:20:44. > :20:51.I'll follow you. She is the most famous woman on the planet, so yes,
:20:51. > :20:57.she comes with an enormous amount of perceived information. As indeed,
:20:57. > :21:02.do walllies and J.Edgar ward. What is wonderful about the film is it
:21:02. > :21:08.explores more fully the life of Edward, and give the audience a
:21:08. > :21:13.chance to see Madonna in a slightly different light. Darling, they
:21:13. > :21:19.can't hurt you, unless you let them. Would you say I can't talk about, I
:21:19. > :21:24.have a personal connection to it, my husband worked on it. And can I
:21:24. > :21:30.hand it over to you. What do you want to know. What do you think tf?
:21:30. > :21:34.The good things first. Andrea Riseborough is very good, I'm not
:21:34. > :21:39.just saying that, because she's genuinely very good and the film
:21:39. > :21:44.comes to life. The set design, and I am he a being genuine about this
:21:44. > :21:48.is great, if films were about glass wear and door handles, it would be
:21:48. > :21:53.walking away with Oscars. I'm slightly running away with good
:21:53. > :22:01.things to say. What did you not like about it The thing about the
:22:01. > :22:07.film is it is in two halves. A contemporary issue section, set in
:22:07. > :22:13.1998, which is part of the problem, it is slightly Hainness and
:22:13. > :22:19.deranged, the modernish, because it is the story of Wally, this girl in
:22:19. > :22:24.New York. Lives in a world where Russian security guards turn out to
:22:24. > :22:30.be poets, and where Mohamed Al Fayed comes on screen and comes to
:22:30. > :22:37.the rescue in an office filled with teddy bears. It is like a veeg
:22:37. > :22:42.began cheese drink, I'm not feeling The period stuff is a lot better,
:22:42. > :22:48.scripted and acted and she should have made a period film. The stuff
:22:48. > :22:55.about Wallis Simpson and Edward it works, it works better, shall I say.
:22:55. > :23:02.The problem is it is Janice Edmonds syndrome. I know why he wouldn't
:23:02. > :23:07.want to make a conflict, but we have a fop and walking heart of
:23:08. > :23:13.gold, that's not interesting ultimately. The thing is it is not
:23:13. > :23:19.terribly directed. The director is competent the writing wants to make
:23:19. > :23:27.myself set myself on firement up, Fatal Attraction is 25 years
:23:27. > :23:30.old, Catherine Bray takes a look back, containing some spoil
:23:30. > :23:34.spoilies. The plot of Fatal Attraction is simple, Anthony
:23:34. > :23:42.Douglas plays Dan, a successful lawyer with charming wife and
:23:42. > :23:47.daughter, as an American as apple pie. But it is when he has aen an
:23:47. > :23:52.affair with Alex Forrest that all hell breaks lose. I'm going.
:23:52. > :23:59.don't you come over here and say goodbye fiesly, let's be friends.
:23:59. > :24:07.Playing with our expectations, screenwriters, created a character
:24:07. > :24:14.that seemed like the most modern leb rated woman, only to reveal an
:24:14. > :24:18.unbalanced figure. Your hands are all wet. By the first wrist-
:24:18. > :24:22.slashing, I would have probably gone home to high husband and
:24:22. > :24:29.confessed all. This is the way do you T showing up at my apartment.
:24:29. > :24:34.What am I suppose today do, you don't ignore pie calls. Her key
:24:34. > :24:40.line is "I will not be ignored", she has a point, if you have a
:24:40. > :24:45.whole weekend relationship with her, and I think he expects an easy get
:24:45. > :24:49.off and she makes it hard for him and makes him pay. You don't get it.
:24:49. > :24:53.There's a valid voice she gives to the other woman, that you don't
:24:54. > :24:59.oven hear. There are points when you say, you've had your fun, you
:24:59. > :25:04.think you can throw me in the trash can, damn right, he wallets her, it
:25:04. > :25:09.is like hutch and dump her. pregnant, I'm going to have our
:25:09. > :25:17.child. You think, hang on, it is to do with you, and you really think
:25:17. > :25:23.this is a good point, I am on her side, and then you negate this when
:25:23. > :25:30.she goes mad. I thought you would get away with it, well you can't.
:25:30. > :25:39.Many thought the idea of unstable career woman was deeply weird, you
:25:39. > :25:43.can argue it. Two women, Anne is gorgeous housewife and glen close
:25:43. > :25:48.unbalanced career woman, sides with Conservative and Archer afternoon
:25:48. > :25:52.femnipt, it is like stick with this, this is what you want this, is good.
:25:52. > :25:56.I don't think Alex get a good deal as being a career woman and
:25:56. > :26:04.obviously therefore she's lonely and hasn't got any children. But I
:26:04. > :26:09.don't think that Dan gets a good deal, as just a man, it is the idea
:26:09. > :26:17.that even if a man has steak at home, he's going to have a dirty
:26:17. > :26:23.cheese burger, just because he can. This swe well. As a woman, you
:26:23. > :26:27.think the 80s, as women strideing in shoulder pads, it is working
:26:27. > :26:35.girl and Margaret Thatcher, this one feels like a slap in the mouth
:26:35. > :26:41.to all that. This film is directed by line line line, that brought
:26:41. > :26:44.nine-and-a-half weeks, and Flash Dance, and all credit to him,
:26:44. > :26:54.there's this infamous scene where they're having sex over the washing
:26:54. > :26:57.
:26:57. > :27:02.up, and this is a man that makes dirty dishes look dirty! They're
:27:02. > :27:08.explicit and aggressive. What's interesting is she's very much in
:27:08. > :27:15.control. And what I like about the sex scene is they're realistically
:27:15. > :27:21.clumsy. He's trying to step out of the trousers, so from the start it
:27:21. > :27:26.is messy, it is not romantic. way the darkness and madness
:27:26. > :27:32.escalates is so perfectly done. The idea of coming into your house, and
:27:32. > :27:36.knowing, instipgively knowing that something is wrong, and different,
:27:36. > :27:41.but, really it is just a pan on a hob, that's all it is, but you know
:27:41. > :27:47.that something's wrong. As she's walking towards the pan, the
:27:47. > :27:51.audience is starting to realise something is wrong, because it is
:27:51. > :28:01.with the little girl running towards the rabbit, towards the
:28:01. > :28:04.
:28:04. > :28:08.rabbit. SCREAMS. When a therapist sits you down for �170 an hour in
:28:08. > :28:17.her 0s, and say did anything happen to you when you were a child,
:28:17. > :28:22.that's the first one out of the bag. People have said it is a metaphor
:28:22. > :28:27.for AIDS, that this woman infects this family. It is a metaphor for
:28:27. > :28:34.the end of the 80s, at the end is you have to pay the piper, you had
:28:34. > :28:39.your good times and fun, that's it, fun's over. If you ever come near
:28:39. > :28:44.my family again, I'll kill you you understand. At the time, audiences
:28:44. > :28:50.were cheering with the wronged wife finally puts a stop to the woman
:28:50. > :28:58.that's threatening her family. Yet it would be a fine nationaly
:28:58. > :29:02.without the testings, the end Alex is dead. But the studio decidesed
:29:02. > :29:05.the test audiences were weren't meant to decide. Who will you root
:29:05. > :29:13.for, so then you have to see the afternoon aifpb afternoon character
:29:13. > :29:18.giving it all to Glenn Close. don't think I would have bought the
:29:18. > :29:23.ending, she slashed her own throat, there was mileage in her.
:29:23. > :29:29.If they shnt shot Alex, she wouldn't have been able to lie in
:29:29. > :29:39.the bath, with her eyes open, and then suddenly pop up for that final
:29:39. > :29:41.
:29:41. > :29:45.go with the knife. When you hear the story that audiences zooed and
:29:45. > :29:50.cheered at the idea of pregnant woman shot in the stomach, there's
:29:50. > :29:55.part of me that wants to disapprove of that, but I sat in my house and
:29:55. > :30:00.watched it the other night, and after a long time, by the time Beth
:30:00. > :30:06.arrives with the gun, you're like "kill her". I would have shot her
:30:06. > :30:10.again. As well as contributing the moreal phrase, buner boiler, Fatal
:30:10. > :30:16.Attraction left its mark on American cinema. The film converted
:30:16. > :30:22.none of the six Academy Award nominations into Winthorps. And
:30:22. > :30:27.whether the downbeat ending would have found fave with an Oscar is a
:30:27. > :30:35.mystery. Brilliant from kathry, I would have shot her in the head
:30:35. > :30:42.from Grace. Next, Haywire, from Steven Soderberg. He said he would
:30:42. > :30:50.pick you up. You're really to cut into my vacation time, so can we go
:30:50. > :30:54.now. You're not going to get in the car are you. I kont think so.
:30:55. > :30:57.That's like a black water special worker, she works for a private
:30:57. > :31:07.company, that gets contracted out for the Government and finds
:31:07. > :31:14.herself in sticking situations. She doesn't know who to trust. My
:31:14. > :31:18.experience is I got really blessed, because Stephen shoots fast and
:31:18. > :31:23.surrounded me with the best business, he knew his vision for
:31:23. > :31:26.this movie. And he gave the opportunity of a lifetime, by just
:31:26. > :31:34.seeing me perform at something that I was passionate about.
:31:34. > :31:39.The story was compelling. It had element of Bond in it, and the
:31:39. > :31:47.borne supremacy, it had the covert operatives, and in a world we've
:31:47. > :31:54.always been interested in. It is interesting to bring fresh people
:31:54. > :31:59.in, non-professionals into the world of acting, because there's a
:31:59. > :32:04.willingness to jump in head first. And Gina is like that, having a
:32:04. > :32:14.fight training, you can see she's a winner, so she wants to get things
:32:14. > :32:27.
:32:27. > :32:32.She has a war mentality, she can fight, she's a professional fighter,
:32:33. > :32:36.it is a similar mind set from war specialists, her battle is one-on-
:32:36. > :32:41.one. I hope you decided to turn yourself in. You can tell me right
:32:42. > :32:47.now, why you sold me out and what you're in, or ten minutes, when I
:32:47. > :32:52.have my hands around your throat. You're swinging as hard as you can,
:32:52. > :32:58.and sur' missing each other by that much. When you have someone like
:32:58. > :33:06.her, who knows their body so well and knows control so well, it is
:33:06. > :33:11.just it just sinks. You better run. I was a bit down on it, when I
:33:11. > :33:17.walked out of the cinema having seen this. But with the clips, I'm
:33:17. > :33:23.like I'm going to see that again. She's tough, the whole film is
:33:23. > :33:27.exact. The end something lovely. That's a good word for it. The only
:33:27. > :33:32.problem was the sound track, which is deeply unnerveing. It feels like
:33:32. > :33:38.you're watching the sound track to a different film. It is like ding.
:33:38. > :33:46.A bit jazz. What I liked about it, it doesn't rest on the laurels, it
:33:46. > :33:53.is like we're making a Born born woman, and it let's her to be a
:33:53. > :33:58.real woman. When she's walking around the
:33:58. > :34:04.apartment in the Chinese silk robe, you can see how heavy her footsteps
:34:04. > :34:09.are, there's a sense of realism. know the fact you know the details.
:34:09. > :34:14.I like that, and the realism in the fight and action scenes, is great.
:34:14. > :34:22.That makes it work. The music, I take your point, but it drops out
:34:22. > :34:30.whenever there's a fight scene, so all you hear are thuds and caex and
:34:30. > :34:34.people's noses being broken. I like it. What do you think of the all
:34:34. > :34:39.star cast, Ewan McGregor, and Puss In Boots, Antonio Banderas, and how
:34:39. > :34:45.will they work out? They have experience in juggleling the cast,
:34:45. > :34:52.he did the same last year, and Traffic. It is fine, all the people
:34:52. > :34:58.orbiting, for a fan, it is interesting. It is lock like the
:34:58. > :35:04.limey. Film of the week? I'm going to go with Haywire. I'm going to go
:35:04. > :35:09.with Huawei. I'm going to go with Huawei too. Then I can buy hair
:35:09. > :35:17.bands. How director he is cut. Terence Davies talks about distant
:35:17. > :35:25.voices and still lives. I wanted to do something by bi- my family,
:35:25. > :35:29.because I'm the youngster of ten. It got a wonderful press. And that
:35:29. > :35:36.was completely unexpect, people saying they've spent their lives
:35:36. > :35:41.there. One or two of my one sister and brother, got angry and said you
:35:41. > :35:46.shouldn't have made it. My mother said he told the truth. And that
:35:46. > :35:51.was the best compliment. Occasional showers in the north, visibility
:35:51. > :35:55.otherwise goods. When you got up in the mornings, those days in the 50s,
:35:55. > :36:01.and my mother was always first up and put the radio on. It was the
:36:01. > :36:07.shipping forecast, and I didn't know what it meant. It was like a
:36:07. > :36:14.magic mantra. As soon as you use that, you are back in the 50s, it
:36:14. > :36:23.is immediate. Where the second shot came from, God alone, I don't know,
:36:23. > :36:32.we were in the tiny terraceed house, how do to did a 180 degrees track
:36:32. > :36:37.and pan was hard, I still don't know how we did it. When you grow
:36:37. > :36:43.up in an era, it is not just the way it looks, but the way it feels.
:36:43. > :36:51.I'd heard of this process called the blaeched by pass progress,
:36:51. > :36:56.where it changes the colour. I wanted the colour palette in
:36:56. > :37:03.Distant Voices, Still Lives to be where it can go to pink, but I just
:37:03. > :37:13.knew that was the palette. We did a lot of tests and then that's it,
:37:13. > :37:15.
:37:15. > :37:20.The sing songs in the pub, absolutely memory, seeinging them
:37:20. > :37:25.hearing them and going when I was old enough to go to pubs, everyone
:37:25. > :37:30.did that. But pop music was meant to be sung, not like now, that's
:37:30. > :37:40.not the function, then it was you learn the words, you oven got the
:37:40. > :37:41.
:37:41. > :37:45.words on the back of the sleeve. # I love the ladies #
:37:45. > :37:50.I've always, I'm always looking into other people's windows,
:37:50. > :37:54.especially when it is Christmas and you're a child. People had few
:37:54. > :37:58.decorations but they seemed magical because it was only used once a
:37:58. > :38:03.year. You saw in the Hollywood films, and it was always Christmas,
:38:03. > :38:12.and ut territorial perfect. I mean, so that influenced the way you
:38:12. > :38:17.perceived the world, do you that when you're a child. God bless kids.
:38:17. > :38:24.You junction supposed that with him being sentimental. You say why
:38:24. > :38:30.couldn't you have been nice to hem when they're awake, not sleep. Like
:38:30. > :38:34.all tyrants, he confused sentimentality with compassion. But
:38:34. > :38:38.Christmas was special. Because we had so little and then it's