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Hello and welcome to the show. We are live. If you want to get in | 0:00:21 | 0:00:27 | |
touch, details are on the screen. Coming up tonight... | 0:00:27 | 0:00:32 | |
Childish behaviour runs wild in Roman Polanski's Carnage. Oh my | 0:00:32 | 0:00:38 | |
God! Do something! Show actual mouth. Charlize Theron just won't | 0:00:38 | 0:00:43 | |
grow up in Young Adult. We are meant to be together and I'm here | 0:00:43 | 0:00:48 | |
to get him back. And Elizabeth Bolsun is breaking down in Martha, | 0:00:48 | 0:00:58 | |
0:00:58 | 0:00:59 | ||
Marcy, May, Malene. -- Elizabeth Plus, find out why Kermit is doing | 0:00:59 | 0:01:07 | |
this. It is just to jump to the left. If I do any more I have to | 0:01:07 | 0:01:09 | |
pay royalties. When he and Miss piggy answer our questionnaire | 0:01:09 | 0:01:15 | |
later. First tonight, Carnage directed by Roman Polanski and | 0:01:15 | 0:01:19 | |
based on the play God of Carnage. It stars Jodie Foster and Kate | 0:01:19 | 0:01:26 | |
Winslet. Following the dispute in Brooklyn Bridge Park, she struck a | 0:01:26 | 0:01:35 | |
Lawson in the face. Armed. What else can we say? Carrying a stick? | 0:01:35 | 0:01:42 | |
It is my son's he was hit in the mouth. The parents decide let's be | 0:01:42 | 0:01:46 | |
civilised, let's get together and discuss what happened. Thank you. | 0:01:46 | 0:01:50 | |
There is no reason for us to thank each other. Some of us still have a | 0:01:50 | 0:01:55 | |
sense of community. They are in a very polite suburb and you would | 0:01:55 | 0:02:00 | |
think they get on well. Do you know what they would argue about? | 0:02:00 | 0:02:04 | |
would not let him be part of his gang. Did you know he had a gang? | 0:02:04 | 0:02:09 | |
No, but I'm thrilled to hear it. For the first third of the story is | 0:02:09 | 0:02:12 | |
very polite and everybody's trying to present the best version of | 0:02:12 | 0:02:19 | |
themselves. It is a little recipe of mind. Apple and pear. It is new | 0:02:19 | 0:02:27 | |
to me. It is a classic. And then one thing leads to another and | 0:02:27 | 0:02:31 | |
needless to say the gloves come off. Your son is a maniac. He is not a | 0:02:31 | 0:02:37 | |
maniac. Yes, he is. Why are you saying that? He is a maniac. | 0:02:37 | 0:02:45 | |
starts gaining momentum. Enough with the cell phone already. The | 0:02:45 | 0:02:48 | |
victim and the criminal are not the same. As you think my son is a | 0:02:48 | 0:02:53 | |
snitch? I don't think anything. don't say anything. Foretell breaks | 0:02:54 | 0:02:57 | |
loose and it becomes nothing to do with the boys and their fight, but | 0:02:57 | 0:03:01 | |
entirely to do with these two different marriages and the cracks | 0:03:01 | 0:03:11 | |
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Oh my God. Way to go! It is a comedy of people's manners and how | 0:03:13 | 0:03:17 | |
they lose them. You had better watch it. He will be on the edge. | 0:03:17 | 0:03:22 | |
She's horrible. We were nice to you. If we bought tulips. My wife | 0:03:22 | 0:03:27 | |
dressed me as a liberal. something! Shut your mouth. | 0:03:27 | 0:03:32 | |
there's a moral to the story, it's that adults can be more childish | 0:03:32 | 0:03:38 | |
than children. This is what I think. I think I'm going to vomit again. | 0:03:38 | 0:03:44 | |
brilliant line. It is interesting, there's a lot of cuddly movies at | 0:03:44 | 0:03:49 | |
the moment in cinemas. The artist, the descendants, warhorse. Pretty | 0:03:49 | 0:03:54 | |
much everything on show tonight has a slightly different tone. We will | 0:03:54 | 0:03:59 | |
get roaring with Carnage, which has a pint glass of vinegar. You have | 0:03:59 | 0:04:02 | |
these two well-to-do couples and Manhattan who meet up to talk about | 0:04:02 | 0:04:06 | |
their children. They progress very quickly to tearing each other limb | 0:04:06 | 0:04:12 | |
from limb verbally. It is often incredibly funny. The dialogue is | 0:04:12 | 0:04:15 | |
scalpel sharp. Although it is originally a French play set in | 0:04:15 | 0:04:20 | |
America, for British audiences, there will be moments when you will | 0:04:20 | 0:04:24 | |
be heaving with laughter. My reservation is that the play, there | 0:04:24 | 0:04:30 | |
are pretences in the play. This talked about something more grand, | 0:04:30 | 0:04:33 | |
controversial things about human nature. It doesn't really do that. | 0:04:33 | 0:04:37 | |
You just have a lot of people saying expertly unpleasant things | 0:04:37 | 0:04:40 | |
to each other, which is funny but you feel bad for laughing because | 0:04:40 | 0:04:44 | |
you are realise you are watching for middle-class equivalent of a | 0:04:44 | 0:04:52 | |
fight in a car-park. They are ghastly, absolutely ghastly. It | 0:04:52 | 0:04:56 | |
takes umbrella parenting to the next level. I saw the play and it | 0:04:56 | 0:05:03 | |
was absolutely brilliant. More claustrophobic on the stage. I | 0:05:03 | 0:05:07 | |
loved this, although it is that a brilliant week for films. You have | 0:05:07 | 0:05:10 | |
to use laugh carefully because on about a really love something and | 0:05:10 | 0:05:18 | |
then love something but -- spectacularly. It is so contrived | 0:05:18 | 0:05:23 | |
because it is a film of the play. At one point Kate Winslet and | 0:05:23 | 0:05:31 | |
Christoph Waltz... I was shouting, get out! Just run! I do think it is | 0:05:31 | 0:05:35 | |
a brilliant master class in performances. It has a real | 0:05:35 | 0:05:39 | |
ensemble piece. It is beautiful to watch, not one of them is better | 0:05:40 | 0:05:44 | |
than the other, they are all good. Kate Winslet might just enjoy it | 0:05:44 | 0:05:49 | |
because she has the best scene. -- inch it. The whole thing is very | 0:05:49 | 0:05:53 | |
theatrical. You can do a couple of things when you're adapting a play. | 0:05:54 | 0:05:58 | |
You can turn him into a massive cinematic spectacle or you can do | 0:05:58 | 0:06:03 | |
what Roman Polanski has done which his film the play. In terms of the | 0:06:03 | 0:06:07 | |
performances, it is very theatrical. You can pick up your favourites, | 0:06:07 | 0:06:11 | |
but it is about the ensemble. It has a good night out at the theatre | 0:06:12 | 0:06:15 | |
at the cinema. I don't have a problem with that. It is a | 0:06:15 | 0:06:18 | |
freakishly good week for films and there are films we are going to | 0:06:18 | 0:06:21 | |
talk about which linger in the mind and a difficult to get out of your | 0:06:21 | 0:06:25 | |
head. The thing about Carnage, there's one joke and it is a really | 0:06:25 | 0:06:29 | |
funny joke, but once you've heard it, you've heard it and then it's | 0:06:29 | 0:06:32 | |
gone. There are other films that have possibly slightly more to | 0:06:32 | 0:06:38 | |
offer, but it is very, very funny. Next, Jason Reitman reunites with | 0:06:39 | 0:06:42 | |
by a blow Cody for Young Adult and it stars Charlize Theron. -- Diablo | 0:06:42 | 0:06:47 | |
Cody. What are you doing backwards might have you moved back? To of | 0:06:47 | 0:06:55 | |
course not, grows. She is a ghost writer for a Young Adult series. | 0:06:55 | 0:07:04 | |
She comes from a small town. She gets sent an e-mail. She gets an | 0:07:04 | 0:07:10 | |
announcement of our unnamed child. Our little girl. She finds this out | 0:07:10 | 0:07:15 | |
and then hatches a plan to come back and still me away. Body and I | 0:07:15 | 0:07:19 | |
are meant to be together. I'm here to get him back. I'm pretty sure he | 0:07:19 | 0:07:24 | |
is married with a kid on the way. I've got baggage, too. Keep all of | 0:07:24 | 0:07:30 | |
this to yourself. I would find a therapist. She gets incredibly | 0:07:30 | 0:07:36 | |
obsessive about this idea that he might be stuck in unhappiness. | 0:07:37 | 0:07:43 | |
Psychotic. And she will be the one that will repay him from that | 0:07:43 | 0:07:47 | |
unhappiness and give him the happiness he deserves. I am going | 0:07:47 | 0:07:51 | |
to a rock concert. I think there's a chance we may reconnect. Let's | 0:07:51 | 0:07:58 | |
show him what he's been missing. has seen me recently, he knows. But | 0:07:58 | 0:08:04 | |
his wife haven't seen me in a while. We all know somebody who seems like | 0:08:04 | 0:08:09 | |
they are stuck in a certain time in their life and they can't get past | 0:08:09 | 0:08:12 | |
it. They are still obsessing over mistakes they might have made for | 0:08:12 | 0:08:17 | |
people they might have let go. kid -- you kids was so cute in high | 0:08:17 | 0:08:21 | |
school. Funny how those initial instincts can be so right. You may | 0:08:21 | 0:08:24 | |
call these mistakes along the way, but the world will make sure you | 0:08:24 | 0:08:28 | |
end up with the person you're meant to be with. I wanted to make you | 0:08:28 | 0:08:32 | |
laugh -- Young Adult for many reasons, mainly because I love | 0:08:32 | 0:08:37 | |
Diablo. She is great at creating characters who have mixed | 0:08:37 | 0:08:41 | |
intentions and yet she Najet -- never judges them. You can come to | 0:08:41 | 0:08:48 | |
the City with me. I'm a married man. We can beat this thing together. | 0:08:48 | 0:08:58 | |
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you could open at a little more. No... Yes, that's perfect. Hey! | 0:09:02 | 0:09:10 | |
are you? Is that book for your niece. Yes, thanks for remembering. | 0:09:10 | 0:09:14 | |
I'll send it to her. There's a character in that one that is based | 0:09:14 | 0:09:20 | |
on you. What? In the book. I named him Ashby but it's so blatantly you. | 0:09:20 | 0:09:25 | |
It will be obvious. We are not supposed to do that, was a poster... | 0:09:25 | 0:09:35 | |
0:09:35 | 0:09:40 | ||
Hey! Nice to see you again. You too. There were tears. Adorable. -- | 0:09:40 | 0:09:48 | |
there it is. It is so brilliant. I'm going to be very, very boring. | 0:09:48 | 0:09:53 | |
Very late at night, everyone to sleep. Films that have been | 0:09:53 | 0:09:58 | |
overlooked by the Oscars. Charlize Theron is so brilliant in this film. | 0:09:58 | 0:10:03 | |
This film is fabulous. Diablo Cody wrote Juno, she won an Oscar for | 0:10:03 | 0:10:12 | |
this. This is better. It is smart and darker. Charlize Theron... We | 0:10:12 | 0:10:18 | |
are like best friends! She's amazing. She is absolutely | 0:10:18 | 0:10:22 | |
brilliant in this because she just gives you a little peek into how | 0:10:22 | 0:10:27 | |
tragic and how unwell and how unhinged her character is. She | 0:10:27 | 0:10:31 | |
doesn't behave like any other woman you ever see at the movies. The | 0:10:31 | 0:10:37 | |
supporting cast are fantastic. My favourite thing is the end. It is | 0:10:37 | 0:10:41 | |
the most anti- Hollywood thing. Maybe that is why it has been | 0:10:41 | 0:10:46 | |
overlooked. There's not a lot of learning. It's true. The film is | 0:10:46 | 0:10:49 | |
written by Diablo Cody and her voice is all over it. She made a | 0:10:49 | 0:10:54 | |
big name for herself with Juno. Juno brought me out in hives. I've | 0:10:54 | 0:11:00 | |
been dreading her work ever since. Young Adult, I'm ready to declare | 0:11:00 | 0:11:05 | |
it as genius. It is very different from Juno. There are similarities | 0:11:05 | 0:11:09 | |
in that there's a lot of obscure indie rock references. It's very | 0:11:09 | 0:11:11 | |
different from pretty much everything which comes out of | 0:11:11 | 0:11:16 | |
Hollywood. In a parallel reality, there's a sweet and fluffy wrong, | 0:11:16 | 0:11:20 | |
where the city girl goes back to her hometown and meets her ex- | 0:11:20 | 0:11:23 | |
boyfriend and reconnect. But here he is happily married with a new | 0:11:23 | 0:11:30 | |
baby and she is borderline psychotic. No learning is | 0:11:30 | 0:11:35 | |
absolutely the think it reminded me off. It made me think of Seinfeld, | 0:11:35 | 0:11:41 | |
which made me think no hugging, no learning. In the middle of it, you | 0:11:41 | 0:11:47 | |
have this incredible creation, Mavis, and she is the girl in high | 0:11:47 | 0:11:50 | |
ski -- high-school movies, the prom queen girl who gets her comeuppance | 0:11:50 | 0:11:54 | |
at the end. She doesn't get her comeuppance in this. She is a piece | 0:11:54 | 0:11:59 | |
of work and this is a piece of work. I can't recommend it enough. It | 0:11:59 | 0:12:03 | |
makes me feel very special that I was so on call at school. You're | 0:12:03 | 0:12:10 | |
right. I was incredibly popular! I pick up your point about Charlize | 0:12:10 | 0:12:14 | |
Theron. It is nuts that she hasn't got an Oscar nomination. She won an | 0:12:14 | 0:12:20 | |
Oscar a while ago for playing a serial killer in Monster. This is a | 0:12:20 | 0:12:24 | |
better performers because she hasn't got anything physical. There | 0:12:24 | 0:12:28 | |
she transformed herself. This is just Charlize Theron. Without | 0:12:28 | 0:12:33 | |
giving anything away, it never copped out. A fantastic ending and | 0:12:33 | 0:12:36 | |
the other interesting thing is I like this film more and more the | 0:12:36 | 0:12:40 | |
more I think about it. It is a brilliant, brilliant film. This | 0:12:41 | 0:12:44 | |
year it is the 200th but they have Charles Dickens and to mark that | 0:12:44 | 0:12:51 | |
occasion, Antonio for Countdown her favourite Dickens moment. | 0:12:51 | 0:12:54 | |
Charles Dickens stories have been adapted for the screen more than | 0:12:54 | 0:12:58 | |
any other writers. Many stories were serialised and beautifully | 0:12:58 | 0:13:02 | |
illustrated and act as virtual storyboards for the film-maker. | 0:13:02 | 0:13:09 | |
Here are my top five dickens moments. No. 5, Oliver. Dickens was | 0:13:09 | 0:13:13 | |
famously a magnificent reader of his own work and he travelled the | 0:13:13 | 0:13:16 | |
world thrilling audiences. Towards the end of his life he took to | 0:13:16 | 0:13:20 | |
reading Nancy's death scene from Oliver Twist and the sheer | 0:13:20 | 0:13:23 | |
intensity and drama of it often meant he had to be carried from the | 0:13:23 | 0:13:28 | |
stage afterwards. In fact, he died soon after such a reading in 1870. | 0:13:28 | 0:13:33 | |
This moment from the 1968 musical adaptation put the fear of God into | 0:13:33 | 0:13:38 | |
me as a kid. Sweet Nancy's double murder at the hands of literature's | 0:13:38 | 0:13:42 | |
greatest Boogie man, Bill Sikes, played by Oliver Reed, it just | 0:13:42 | 0:13:52 | |
0:13:52 | 0:14:07 | ||
feels like the worst thing It is the moment that kill Charles | 0:14:07 | 0:14:13 | |
Dickens himself. And then David Copperfield. When he was 12, | 0:14:14 | 0:14:18 | |
Charles Dickens was sent to work in a factory and retains enormous | 0:14:18 | 0:14:24 | |
sympathy for the poor child. This moment from an early, silent movie | 0:14:24 | 0:14:31 | |
from David Copperfield catchers the isolation of the Victorian urchins. | 0:14:31 | 0:14:39 | |
This was filmed only 60 years after the book was written. | 0:14:39 | 0:14:44 | |
Scrooge. Let's not forget Dickens was brilliant at capturing | 0:14:44 | 0:14:49 | |
happiness. I thought this scene from the unbeatable 1951 adaptation | 0:14:49 | 0:14:55 | |
of A Christmas Carol, where Scrooge was taken up to a knees-up to his | 0:14:55 | 0:15:00 | |
old employers, looks like the best time a person can have. I have | 0:15:00 | 0:15:10 | |
0:15:10 | 0:15:15 | ||
always wanted to be at this party. Was there ever a kinder man? | 0:15:15 | 0:15:22 | |
A tale of two cities. This 1958 adaptation is perfection. You can | 0:15:22 | 0:15:27 | |
pick any scene. I love the opening credits. Was there anything more | 0:15:27 | 0:15:35 | |
romantic? The movie starts Dirk Bogarde who was thought too much of | 0:15:35 | 0:15:42 | |
a lightweight in the role of the disillusioned young barrister. But | 0:15:42 | 0:15:45 | |
you can see hints of the deep melancholy he brought to his | 0:15:45 | 0:15:55 | |
0:15:55 | 0:15:55 | ||
greatest role in Death in Venice. The dream always ends in nothing. | 0:15:55 | 0:16:05 | |
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But a beautiful dream. You have inspired it. Have I know power of | 0:16:06 | 0:16:16 | |
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review at all? Keep my secret. Great expectations. The opening | 0:16:18 | 0:16:23 | |
page of this is the best in literature. The opening scene at | 0:16:23 | 0:16:33 | |
0:16:33 | 0:16:35 | ||
this immaculate adaptation is every bit as good. It is as though both | 0:16:35 | 0:16:45 | |
0:16:45 | 0:16:47 | ||
Dickens and the actor are saying, anything might happen. | 0:16:47 | 0:16:54 | |
SCREAMING. Keep still your little devil. | 0:16:54 | 0:17:00 | |
This man says, my daughter's teacher introduced her class to | 0:17:00 | 0:17:06 | |
Dickens by showing them a market Christmas Carol. | 0:17:06 | 0:17:11 | |
This says, Elizabeth Olsen coming to terms with her former life as a | 0:17:11 | 0:17:15 | |
member of a cult. Do you have the feeling if you | 0:17:15 | 0:17:19 | |
cannot tell if something is a memory or something you have | 0:17:19 | 0:17:29 | |
0:17:29 | 0:17:30 | ||
dreamed? You look like Amos C made. It is about internal struggle with | 0:17:30 | 0:17:36 | |
identity, who took Trust and how to find yourself. Who you identify | 0:17:36 | 0:17:43 | |
yourself with within a group. you like it here? It is great. | 0:17:43 | 0:17:47 | |
People have a band in New York whole life. You can be saved here, | 0:17:47 | 0:17:54 | |
I hope you do. But if you are going to live here, you need to be a part | 0:17:54 | 0:17:59 | |
of things. When she leaves them, she does not belong in her blood | 0:17:59 | 0:18:08 | |
family. The question is, what is your place in the world. Did she | 0:18:08 | 0:18:18 | |
0:18:18 | 0:18:21 | ||
find more love in the community? It is an interesting question. CT. How | 0:18:22 | 0:18:30 | |
far are we? From what? Yesterday. It is about everything that happens | 0:18:30 | 0:18:37 | |
in the Lake House. Sometimes I think I should have come home and | 0:18:37 | 0:18:43 | |
made sure you went to college. don't need your guidance now. I am | 0:18:43 | 0:18:48 | |
a teacher and a leader, you just never let me be that. But I know | 0:18:48 | 0:18:56 | |
who I am. Eight teacher and a leader? What are you talking about? | 0:18:56 | 0:19:03 | |
I would describe it as a sort of paranoia. Someone struggling with | 0:19:03 | 0:19:06 | |
controlling their thoughts and their mind and their actions. As an | 0:19:06 | 0:19:13 | |
actor, that is what is most fun, not knowing at what point she was | 0:19:13 | 0:19:20 | |
going to break. We have to leave. We all have to leave, I know him. | 0:19:20 | 0:19:28 | |
You don't want to live with this. It is almost like a war against | 0:19:28 | 0:19:33 | |
someone that is not tangible for something outside of herself, it is | 0:19:33 | 0:19:42 | |
not tangible. You are not listening to me! Mathur, what happened to | 0:19:42 | 0:19:50 | |
you? Every year, but there are a few | 0:19:50 | 0:19:55 | |
movies which remind me why I fell in love us with films in the first | 0:19:55 | 0:20:00 | |
place. This is one of them. It is spellbinding. Psychological | 0:20:00 | 0:20:03 | |
thriller is possibly one of the most off-putting terms in cinema. | 0:20:04 | 0:20:10 | |
But this is a psychological thriller in the best sense. It is | 0:20:10 | 0:20:15 | |
about what is real and what isn't. You often lose track of that. You | 0:20:15 | 0:20:19 | |
have her in this rural group and then this luxurious Lake House that | 0:20:20 | 0:20:24 | |
they escape from. Physically, they look different. But after a while, | 0:20:24 | 0:20:30 | |
you are uncertain which part of the film you are in. It is expert at | 0:20:30 | 0:20:34 | |
keeping you off balance and on edge. I don't have a bad word to say | 0:20:34 | 0:20:40 | |
about this. It is original, but I would compare it to, interestingly, | 0:20:40 | 0:20:47 | |
it is more of a Roman Polanski film than carnage. I would mention | 0:20:47 | 0:20:54 | |
picnic at Hanging Rock. It has an eeriness and calm. Anyone who has | 0:20:54 | 0:21:00 | |
seen that all know what I mean. It is a fantastic film. If I was | 0:21:00 | 0:21:05 | |
boring about Charlize Theron and how the Young Adult has been | 0:21:05 | 0:21:11 | |
overlooked, this is a crime. You watch this, call me and you will | 0:21:11 | 0:21:19 | |
agree. It is sinister. Nobody is how you think they are going to be. | 0:21:19 | 0:21:25 | |
That is what is so fascinating. Nothing is explicit. Nothing is | 0:21:25 | 0:21:29 | |
absolutely shown. You can only imagine what happened between her | 0:21:29 | 0:21:34 | |
and her sister. You have no idea. Just piecing it together and not | 0:21:34 | 0:21:39 | |
knowing what setting she is going to be in, it is fantastic. She is | 0:21:39 | 0:21:49 | |
0:21:49 | 0:21:50 | ||
phenomenal. She is absolutely mesmerising. The way he shoots her, | 0:21:50 | 0:21:55 | |
she looks so beautiful. There is an amazing scene when she is in a barn. | 0:21:55 | 0:22:01 | |
When you see it, you will understand. This terrible figure, | 0:22:01 | 0:22:06 | |
who is brilliant, Patrick, is there. You'll not get this film out of | 0:22:06 | 0:22:11 | |
your head. It is an extraordinary week for film. There is nothing | 0:22:11 | 0:22:16 | |
that is bad, but please go and see this. I absolutely agree with you. | 0:22:16 | 0:22:22 | |
I'm glad you talked about Elizabeth Olsen. As a breakthrough | 0:22:22 | 0:22:26 | |
performance, it is the first film she has been in. It is incredible. | 0:22:27 | 0:22:33 | |
A lot of that is to do with how she looks. She is a very pretty person, | 0:22:33 | 0:22:37 | |
but there is something alien about her. I don't know if she will ever | 0:22:37 | 0:22:41 | |
give a performance as good as this, but even if she does not, she has | 0:22:41 | 0:22:45 | |
made her mark. John Hawkes, the film wouldn't be the same without | 0:22:45 | 0:22:50 | |
him. The script is fantastic. It lets us know maybe you don't need | 0:22:50 | 0:22:54 | |
to know everything about every character all at once. And maybe | 0:22:54 | 0:22:58 | |
there are some things you do not need to know at all. It is | 0:22:58 | 0:23:03 | |
spellbinding. If we were living in my world, it would walk away with a | 0:23:03 | 0:23:10 | |
bag full of Oscars. It has a fantastic ending. Danny asked, do | 0:23:10 | 0:23:15 | |
we see the same thing when we are watching the same film? He went to | 0:23:15 | 0:23:19 | |
find out. It is a strange way spending time, | 0:23:19 | 0:23:25 | |
going to the cinema. Sitting in the dark and exposing ourselves to a | 0:23:25 | 0:23:29 | |
kaleidoscopic barrage of sound and images, to see life through someone | 0:23:29 | 0:23:35 | |
else's eyes. But film has a unique power to get under our skin and | 0:23:35 | 0:23:41 | |
into our minds. I want to find out about the psychology up of the film | 0:23:41 | 0:23:47 | |
experience, the process that begins the moment the lights go down. | 0:23:47 | 0:23:51 | |
House cinema works on the brain is a hot topic. Edits in films are | 0:23:51 | 0:23:56 | |
getting faster and faster. I want to know how much free will we have | 0:23:56 | 0:24:02 | |
when we watch a film. Just compare this James Bond fight scene from | 0:24:02 | 0:24:12 | |
0:24:12 | 0:24:16 | ||
1971. To this one, in 2008. I have come to Birkbeck University to take | 0:24:16 | 0:24:20 | |
part in the unit -- experiment to find out more about the signs to | 0:24:20 | 0:24:26 | |
the art of filming. I want to watch this clip as naturally as possible. | 0:24:26 | 0:24:31 | |
Reaction times are a factor in this, so please pay attention and answer | 0:24:31 | 0:24:36 | |
as fast as you can. I have seen this so many times but I have never | 0:24:36 | 0:24:43 | |
seen it with my head in a vice. It is fine, go with it. I want you to | 0:24:43 | 0:24:49 | |
put the machine on. If the machine does not work? What was I just | 0:24:49 | 0:24:55 | |
doing? I got you to put your chin Verso this strip could record your | 0:24:55 | 0:24:59 | |
face. The tracker has high-speed infra-red cameras that illuminate | 0:24:59 | 0:25:04 | |
your face and allow us to see where your pupils are and where you are | 0:25:04 | 0:25:08 | |
looking on the screen. We are using this to see how you watch films and | 0:25:08 | 0:25:11 | |
how it relates to what the film- maker is doing to manipulate your | 0:25:11 | 0:25:17 | |
attention. What is manipulating my attention, what tricks do they have | 0:25:17 | 0:25:22 | |
up their sleeve? You think you can take in the whole scene that is in | 0:25:22 | 0:25:27 | |
front of you when you choose. But the skill of the film-maker it is | 0:25:27 | 0:25:35 | |
to guide your attention, take advantage of habits you have in the | 0:25:35 | 0:25:39 | |
real world to guide you to what they want you to look at in the | 0:25:39 | 0:25:45 | |
Dome. It is focus, lighting and the framing. When you are hooked in, | 0:25:45 | 0:25:50 | |
they can edit things to cut to the things we are interested in. I am | 0:25:50 | 0:25:58 | |
Rachel's. There is lots of conventions and film, that have | 0:25:58 | 0:26:03 | |
been there for decades. Cutting from long shots, as you come into a | 0:26:03 | 0:26:07 | |
scene to closer shot. The film maker goes from one viewpoint to | 0:26:07 | 0:26:12 | |
another that he wants you to be interested in. He has to have a way | 0:26:12 | 0:26:15 | |
of doing this in a natural way, so it does not seem as though he is | 0:26:15 | 0:26:19 | |
forcing the viewer to look at something. So we forget we are | 0:26:19 | 0:26:24 | |
watching a film? It should be just as fluid and easy for us to watch a | 0:26:24 | 0:26:30 | |
film as it is to watch a natural seen playing out in front of us. | 0:26:30 | 0:26:36 | |
How does that go in Blade runner? One character is on the left and | 0:26:36 | 0:26:42 | |
one is on the right. When our interests which to one character, | 0:26:42 | 0:26:48 | |
the film-maker cuts to a close up. If you roll back timed to the | 0:26:48 | 0:26:53 | |
beginning of film and the start of the 20th century, film-makers, | 0:26:54 | 0:26:57 | |
through experimentation were getting an insight to these | 0:26:57 | 0:27:02 | |
Technics. And they understand these principles before psychologists | 0:27:02 | 0:27:07 | |
were able to investigate and quantify them. Have you had other | 0:27:07 | 0:27:15 | |
people before me watching the same clip? I can show you the behaviour | 0:27:15 | 0:27:19 | |
of eight people watching this clip. These circles is the location of | 0:27:19 | 0:27:23 | |
one viewer. We have had more to put circles all looking at the same | 0:27:23 | 0:27:29 | |
time. And there is this heat map which tells us how co-ordinated it | 0:27:29 | 0:27:35 | |
is. What you can see is how rapidly attention moves around, but how | 0:27:35 | 0:27:40 | |
focused it is on small areas of the screen. The editing is there to cut | 0:27:40 | 0:27:46 | |
and focus us to new parts of the image. But what is surprising is | 0:27:46 | 0:27:50 | |
viewers would generally look at the same part of the image. So we look | 0:27:50 | 0:27:54 | |
at this shot and the reverse shot, it is quick, then cutting across | 0:27:54 | 0:27:59 | |
and finding the face of the person who is speaking. For the first time | 0:27:59 | 0:28:03 | |
we can use this experiment to show how effective these editing | 0:28:03 | 0:28:11 | |
inventions really are. At your data, your gaze is these red box. And the | 0:28:11 | 0:28:14 | |
lines are when you are making a sweeping movement when your eyes | 0:28:14 | 0:28:20 | |
move somewhere else. Your attention is doing mostly the same thing. | 0:28:20 | 0:28:24 | |
am watching presumably what Ridley Scott, the director, wants me to | 0:28:24 | 0:28:28 | |
watch? He probably knows exactly what he want you to be | 0:28:29 | 0:28:33 | |
concentrating on. He is setting up the shots, lighting it and staging | 0:28:33 | 0:28:38 | |
it. He will know most of the time were you are looking and therefore | 0:28:38 | 0:28:42 | |
were all of the viewers will be looking. It is unnerving. You ask | 0:28:42 | 0:28:47 | |
yourself do we have any freewill whatsoever? For 90% of most | 0:28:47 | 0:28:52 | |
Hollywood movies, we are looking at a small region of the screen, just | 0:28:52 | 0:28:58 | |
about 3%. It is only these individual things we point our eyes | 0:28:58 | 0:29:02 | |
at that make it into our memory. proved we are all looking at the | 0:29:02 | 0:29:12 | |
0:29:12 | 0:29:12 | ||
same thing when we are watching a film. You are reading a magazine | 0:29:12 | 0:29:21 | |
and you come across a full-page nude picture of a girl. Is this | 0:29:21 | 0:29:24 | |
testing my resonance or that I am a lesbian. Does this mean we feel the | 0:29:24 | 0:29:29 | |
same way about what we see? show it to your husband, and he | 0:29:29 | 0:29:37 | |
hands it on your bedroom wall? They can make us look at whatever | 0:29:37 | 0:29:41 | |
they like, but they can't control how we feel for her those images | 0:29:41 | 0:29:44 | |
mesh with whatever was in our minds to start with and that is cinema's | 0:29:45 | 0:29:48 | |
greatest trick and it's the one that makes sure that no matter how | 0:29:48 | 0:29:54 | |
many films I see, they keep coming back for more. | 0:29:54 | 0:29:58 | |
Next, Chronicle, the story of three high-school friends who suddenly | 0:29:58 | 0:30:08 | |
0:30:08 | 0:30:09 | ||
develop superhuman powers. probably won't want this on camera. | 0:30:09 | 0:30:14 | |
Do it. Give me a countdown. This film is about what would happen if | 0:30:14 | 0:30:24 | |
0:30:24 | 0:30:30 | ||
very ordinary American teenagers We opened a movie on a kid who is | 0:30:30 | 0:30:40 | |
0:30:40 | 0:30:42 | ||
dealing with a lot of problems at home. No way! The main character is | 0:30:42 | 0:30:47 | |
a loner. These powers affect him kind of like a temptation. A | 0:30:47 | 0:30:57 | |
0:30:57 | 0:30:58 | ||
temptation to strike back. What is wrong with you? Was it an accident? | 0:30:58 | 0:31:08 | |
Andrew? That is in direct contrast to Steve Montgomerie and his cousin, | 0:31:08 | 0:31:18 | |
0:31:18 | 0:31:20 | ||
Matt. I really wanted, as a big film lover, to approach the found | 0:31:20 | 0:31:25 | |
footage bathetic and create a movie rather than a gimmick or just a | 0:31:25 | 0:31:34 | |
one-off experience. Can you hear that? How creepy is that? A sound | 0:31:34 | 0:31:43 | |
coming up. Probably. I think it reflects on what I think is the | 0:31:43 | 0:31:46 | |
most self photograph generation of all time. Kids are also equipped | 0:31:46 | 0:31:50 | |
with the technology to document their lives, every minute from the | 0:31:50 | 0:32:00 | |
0:32:00 | 0:32:02 | ||
time they wake up to the time they From the first scene of the film to | 0:32:02 | 0:32:05 | |
the last scene of the film, we didn't want any of the visual | 0:32:05 | 0:32:15 | |
0:32:15 | 0:32:21 | ||
effects to take you out of that The other films we have talked | 0:32:21 | 0:32:27 | |
about are very girl heavy. Even Carnage feels like a woman's film. | 0:32:27 | 0:32:33 | |
This is boys. He say that like it's a bad thing. Teenage boys! It has a | 0:32:33 | 0:32:39 | |
cheekiness and I think it has some great scenes high up in the sky. I | 0:32:39 | 0:32:45 | |
really enjoyed it. However, and I'm just going to say this, the device, | 0:32:45 | 0:32:49 | |
which is that everybody shoots everything, I think went one person | 0:32:49 | 0:32:56 | |
too far with the girlfriend who was, do you mind, I've got a camera. I | 0:32:56 | 0:33:02 | |
get it. I do think I'm a little old lady and I think everybody films | 0:33:02 | 0:33:05 | |
everything and puts it on Facebook. I'm possibly of the wrong | 0:33:05 | 0:33:11 | |
generation but I found it a bit contrived. But in general, I said | 0:33:11 | 0:33:14 | |
15-year-old boys would love this. think it is an incredibly pleasant | 0:33:14 | 0:33:20 | |
surprise. The found footage Bangor is what people will pick up on | 0:33:20 | 0:33:27 | |
because they will think of this like Cloverfield. It is a really | 0:33:27 | 0:33:31 | |
nice idea and I hear what you are saying about the script. There are | 0:33:31 | 0:33:34 | |
a lot of explanations for why people last filming. But visually | 0:33:34 | 0:33:40 | |
it works brilliant and without giving away too much, the finale is | 0:33:40 | 0:33:45 | |
completely dependent on there found footage. I'm happy with the film, I | 0:33:45 | 0:33:49 | |
won't criticise it. What is so impressive is the way it changes | 0:33:49 | 0:33:55 | |
tone. To do something realistically about what it is like to grow up as | 0:33:55 | 0:33:59 | |
a teenager in America, teenagers never have personalities. This | 0:33:59 | 0:34:05 | |
movie gives them personalities. You move through different genres. They | 0:34:05 | 0:34:10 | |
are 15, 16, they have superpowers. It is jackass. Them as they explore | 0:34:10 | 0:34:14 | |
their powers, it becomes a bit more sci-fi, then it becomes darker. | 0:34:14 | 0:34:18 | |
This is where the film excels and it starts to show an uglier side of | 0:34:18 | 0:34:23 | |
growing up in America. Award mention that the right one in and | 0:34:23 | 0:34:30 | |
carry. It is not a name to be trifled with. There's a No vote on | 0:34:30 | 0:34:34 | |
March to carry. I'm very keen on this film. It will be very | 0:34:34 | 0:34:40 | |
difficult to pick film of the week. Devilishly hard. There are three | 0:34:40 | 0:34:43 | |
excellent film someone very good one. I will go for Martha, Marcy, | 0:34:43 | 0:34:48 | |
May, Malene. Me too. If you are listening, please also see Young | 0:34:48 | 0:34:52 | |
Adult. It's now time for the questionnaire. This week it is | 0:34:52 | 0:35:01 | |
This sounds like a good question. What is your favourite almost | 0:35:01 | 0:35:08 | |
watched film? Well, probably the market movie. That was sweet. | 0:35:08 | 0:35:15 | |
Starring me. Maybe a film your Martin. Anything you ever watch? | 0:35:15 | 0:35:21 | |
How about breakfast at Tiffany's? Good choice. I can really relate to | 0:35:21 | 0:35:26 | |
Audrey Hepburn's character. She brought up on a farm and then went | 0:35:26 | 0:35:31 | |
to the big city. Just like me. nice. I can't think of any films | 0:35:31 | 0:35:34 | |
about a guy who brought up in a swamp and went to the big city, but | 0:35:34 | 0:35:41 | |
I quite like vanilla sky. It is a very important one for me. It is a | 0:35:41 | 0:35:45 | |
Tom Cruise film. I could have played that role. Really? | 0:35:45 | 0:35:50 | |
imagine yourself playing that role? Perhaps. I can identify with the | 0:35:50 | 0:35:54 | |
character. Total confusion, stuff going on he can't understand and | 0:35:54 | 0:35:58 | |
then he finds out his head but chopped off. It is very dear to my | 0:35:58 | 0:36:07 | |
heart. What? Remind me not to see that movie. They are a couple I | 0:36:07 | 0:36:13 | |
particularly enjoyed working with. Jim Henson is wonderful. Yes! | 0:36:13 | 0:36:18 | |
fellow named Frank Oz. I worked with him a couple of times. If I | 0:36:18 | 0:36:22 | |
could choose a director now to work with, I liked the idea of doing a | 0:36:22 | 0:36:26 | |
film with Martin Scorsese. He is a wonderful director, I love his | 0:36:26 | 0:36:30 | |
style. He seems like a pretty nice guy. Mostly it's about him being a | 0:36:30 | 0:36:35 | |
nice guy. He does have a movie out that is competing with The Muppets. | 0:36:35 | 0:36:39 | |
I know. You're giving the competition screen time. I am. | 0:36:39 | 0:36:43 | |
You're promoting him and his movie when you should be promoting our | 0:36:43 | 0:36:48 | |
movie. That's true. I suppose it would be nice to eliminate the | 0:36:48 | 0:36:54 | |
competition so maybe he will work for us next time! Wow! That's hard. | 0:36:54 | 0:37:00 | |
A what do you think? Bogeyed and the call. We can do their life | 0:37:00 | 0:37:08 | |
story. Hepburn and Tracy. We could be Fred Astaire and Ginger Rogers. | 0:37:08 | 0:37:18 | |
0:37:18 | 0:37:22 | ||
Yet! We can dance. Those are all good. I concur. I quite like the | 0:37:22 | 0:37:26 | |
Rocky Horror Show. We could do that part. We could play those roles. | 0:37:26 | 0:37:31 | |
That is a pretty good movie. A huge cult success which I could put my | 0:37:31 | 0:37:36 | |
flippers up and watch any time. It's just to jump to the left. If I | 0:37:36 | 0:37:41 | |
do any more of have to pay royalties! That is all for tonight. | 0:37:41 | 0:37:46 | |
Next week's show will be back at 11:15pm and we will review The | 0:37:46 | 0:37:51 | |
Muppets, The Vow and A Dangerous Method. Playing it out is this must | 0:37:51 | 0:37:55 | |
be the plays starring Sean Penn. It's in cinemas this April. Thank | 0:37:55 | 0:38:02 | |
you for watching. Good night. father is dying and I haven't flown | 0:38:02 | 0:38:08 | |
in 30 years. Fear of flying is not your only problem. That's true. | 0:38:08 | 0:38:17 | |
of the reasons I fell in love with I didn't talk to my father in 30 | 0:38:17 | 0:38:25 | |
years. I don't know the first thing about him. All I ever did was | 0:38:25 | 0:38:31 | |
search... You know about the Holocaust? And a general way. | 0:38:31 | 0:38:38 | |
father, did you know your father? In a general way. Would you like to | 0:38:38 | 0:38:46 |