Browse content similar to Episode 8. Check below for episodes and series from the same categories and more!
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Hello and welcome to the programme, if you want to get in touch, | :00:30. | :00:38. | |
details are on the screen. Coming up: all is fair in love and | :00:38. | :00:41. | |
espionage. Reese Witherspoon and Tom Hardy * | :00:41. | :00:47. | |
In This Means War. Jennifer Aniston and Paul ride are | :00:47. | :00:54. | |
suffering from Wanderlust. should make love some time. | :00:54. | :01:03. | |
And things Burrell added control in Project X. -- spiral out of control. | :01:03. | :01:07. | |
Plas Edgar Wright talks to us about the making of Shaun Of The Dead. If | :01:07. | :01:17. | |
:01:17. | :01:21. | ||
Such a delicate touch! Sheer magnetism, darling. Plenty more of | :01:21. | :01:28. | |
that later. Charlie Higson told us why he loves to play seven. First, | :01:28. | :01:33. | |
Shaun Of The Dead, starring Tom Hardy, Reese Witherspoon and Chris | :01:33. | :01:43. | |
:01:43. | :01:52. | ||
You're my best friend. I would take a bullet for you. What would happen | :01:52. | :02:02. | |
:02:02. | :02:03. | ||
if James Bond was best friends with I was doing the same thing. You | :02:03. | :02:13. | |
:02:13. | :02:15. | ||
want to see her? That is Lauren They respect each other, but would | :02:16. | :02:21. | |
one have acquiesced to the other? Never! | :02:21. | :02:27. | |
You date her. What does that mean? I think we should lay down some | :02:27. | :02:37. | |
:02:37. | :02:38. | ||
ground rules. Let her decide. But left the best man win. It is like | :02:38. | :02:46. | |
the classic straight man, funnyman. He wants to have a family, led a | :02:46. | :02:52. | |
solid wife -- life with his wife and kid. His colleague is like a | :02:53. | :02:58. | |
labrador, let's play, let's have fun. Lauren is the woman who makes | :02:58. | :03:03. | |
their friendship stronger. He teaches them what it means to be | :03:03. | :03:13. | |
:03:13. | :03:25. | ||
Really? Have you ever killed anybody with your bare hands? | :03:25. | :03:29. | |
this week. We were having a great time making | :03:29. | :03:35. | |
a picture like this. Life is very difficult to stop we have all had a | :03:35. | :03:42. | |
great deal of tragedy in our lives. We can all do a bit of dreaming. | :03:42. | :03:52. | |
:03:52. | :03:53. | ||
That wonderful. So you are not I imagine this is your film of the | :03:53. | :04:02. | |
year. At the EU know me so well! This is like if fiendish Hollywood | :04:02. | :04:08. | |
film, the perfect beach movie and rum,. As a film, it is mostly more | :04:08. | :04:12. | |
enjoyable than being kicked between the legs. As an experiment, it is | :04:12. | :04:17. | |
doomed to fail. The action elements do not work. It is sloppy and | :04:17. | :04:21. | |
flaccid. A great action movie is a great thing but it needs to be | :04:21. | :04:25. | |
added with a scalpel and this is edited with a fish slice. The | :04:25. | :04:28. | |
romance is rather strange, because there is a love triangle at the | :04:28. | :04:35. | |
centre of the movie. There is only one side of that. He doesn't mean | :04:35. | :04:43. | |
it. It doesn't involve Reese Witherspoon. The romance is so | :04:43. | :04:46. | |
overheated that if I were a woman and my boyfriend didn't deceive the | :04:46. | :04:51. | |
movie, I would raise a quizzical eyebrow afterwards and wonder if | :04:51. | :04:58. | |
they won't try to tell me something. We do you think, Claudia? Only just. | :04:58. | :05:04. | |
We have had a lot of tweeds. Andrew Jones says, at this is painful. | :05:04. | :05:12. | |
Gail Smith says, this is not tinker, tailor. Life is about expectations, | :05:12. | :05:17. | |
so I went in like that. It is not great, but I liked the fact that it | :05:17. | :05:23. | |
is a nonsense. The job is a nonsense, the house, the boys at | :05:23. | :05:29. | |
the CIA is sit around at desks, and occasionally Angela Bassett says... | :05:29. | :05:34. | |
What about international terrorism! No, it is an absolute nonsense. | :05:35. | :05:39. | |
Chelsea Handler saves it for me, she is hilarious. She has a couple | :05:39. | :05:45. | |
of moments, but they are laugh out loud. Once you get it into your | :05:45. | :05:51. | |
head about the tiny hands, you never look at anything else. | :05:51. | :05:57. | |
Somebody says, why is she listening to that old man? I quite liked the | :05:57. | :06:03. | |
fact that it is all out ridiculous. What Reese Witherspoon where it | :06:03. | :06:07. | |
doesn't make sense. She constantly dresses as if she's going to a | :06:07. | :06:11. | |
black-tie ball. I'm not going to argue with that. But I think Tom | :06:11. | :06:16. | |
Hardy is better than this. Everyone associated with it is better, I | :06:16. | :06:19. | |
take on board what the director says one East is not everything has | :06:19. | :06:23. | |
to be about the human condition, but surely a movie should be more | :06:23. | :06:27. | |
than a barely adequate way to fill the time on a long-haul flight | :06:27. | :06:30. | |
between finishing the in-flight magazine Andy Baddeley and kicking | :06:30. | :06:38. | |
in. Breaking news that quite on the poster if they want! To a mention a | :06:39. | :06:42. | |
Hitchcock film and talk about chatting up a goal in a video shop, | :06:42. | :06:47. | |
because that is what they do in 2012! He says the great thing about | :06:47. | :06:51. | |
Hitchcock is he could make these movies which were action movies, | :06:51. | :06:55. | |
romances, thrillers, blended into one. You think, oh my God, this is | :06:55. | :07:00. | |
what they think they are doing here. But to create a movie like a | :07:00. | :07:05. | |
Hitchcock movie, you need to have such delicacy, lightness of touch. | :07:05. | :07:11. | |
This is like watching a didn't making a souffle! Let's move on. | :07:11. | :07:16. | |
am not very good with a souffle. Next, Project X, the story of a | :07:16. | :07:19. | |
group of teenagers who want to throw the ultimate house party. | :07:19. | :07:24. | |
It is my birthday today. You should swing vital stop it is on Beacon | :07:24. | :07:34. | |
:07:34. | :07:34. | ||
Street. That is your party? See you guys tonight then! | :07:34. | :07:38. | |
Project X is the story of these three kids from an anonymous call | :07:38. | :07:42. | |
the one to make a name for themselves. They have the | :07:42. | :07:45. | |
opportunity to throw a party, they want to change something in their | :07:45. | :07:51. | |
lives. The whole idea is to get pictures to recognise this. How do | :07:52. | :07:58. | |
you not to the point? It is the ideal scenario 20 teenager, you | :07:58. | :08:04. | |
parents Garway, you have a certain amount of time. -- your parents go | :08:04. | :08:07. | |
away for the weekend. The party because bigger than it anything | :08:07. | :08:17. | |
they had imagined. It is more crazy that it is even funny. It is just | :08:17. | :08:22. | |
like, what is going on in this movie! It is not a straight out | :08:23. | :08:28. | |
comedy, honestly, it is really just a maybe about a few bad decisions | :08:28. | :08:34. | |
and things spiralling out of control. My dad will go crazy if | :08:34. | :08:39. | |
anything happens to my car. -- his car. I like the idea of some of | :08:39. | :08:43. | |
these partygoers being part of the moody, let's give them cameras, | :08:43. | :08:49. | |
phones. It was amazing, there is a lot of the ditch to go through, but | :08:50. | :08:55. | |
you find that little gem. -- a lot of footage to go through. It is | :08:55. | :09:05. | |
:09:05. | :09:06. | ||
Look at her! We should it mostly chronologically, so the | :09:06. | :09:11. | |
transformation of our physical appearances was real. It is time to | :09:11. | :09:19. | |
shut it down. Shut down or I am calling the cops. It is all on | :09:19. | :09:27. | |
tape! All I got was you punching his face. This was a real house, | :09:27. | :09:32. | |
real people partying. That really added to the whole chaos and the | :09:32. | :09:36. | |
real Miss of this movie, which gives it the texture it has. | :09:36. | :09:45. | |
will have a whole day. What if my parents see it? This high school | :09:45. | :09:51. | |
party, have you seen the footage? This film is absolutely not by me. | :09:51. | :09:56. | |
I am and little old lady. And I was on the side of that poor neighbour | :09:56. | :10:02. | |
who was tasered. We are all on his side. I was very anxious, and they | :10:02. | :10:08. | |
are creating a mass, this is a very bad. I did not what -- don't know | :10:08. | :10:14. | |
what insurance company will cover this. The characters are repellent, | :10:14. | :10:23. | |
I could talk to you for now about the depiction of women in it. -- | :10:23. | :10:29. | |
have fallen apart. But the point is, if I was 17 and I sneaked into this | :10:30. | :10:36. | |
film with four of friends, with weird hot dogs, I imagine that I | :10:36. | :10:41. | |
had died and gone to heaven. It is a nonsense. There is no character, | :10:41. | :10:46. | |
no story. I think one moment, they say, party till the break of dawn. | :10:46. | :10:53. | |
You think, that is a moment. But this promise not for people like me. | :10:53. | :10:59. | |
The Oscars last week, there was a huge celebration of the past, but | :10:59. | :11:03. | |
the elephant in the room was the box office figures across America, | :11:03. | :11:08. | |
the end degeneration seem to be getting away. So what do the job | :11:08. | :11:15. | |
catches do, the perfect time to unveil Project X. It is a time to | :11:15. | :11:18. | |
start off with a stone the Yorkshire terrier on a bouncy | :11:18. | :11:23. | |
castle. A garden gnome are full of Ecstasy and the right chord | :11:23. | :11:28. | |
arriving. But that is it. That is what is grimly interesting. You try | :11:28. | :11:33. | |
and review this film, you think of it, performance, characterisation, | :11:33. | :11:39. | |
number of this matters. -- none of this matters. I have feeling this | :11:39. | :11:43. | |
film is going to be hugely successful. It to music is good, | :11:43. | :11:50. | |
the director has struck lot of videos. Her you are watching it, | :11:50. | :11:57. | |
you think, I have never been to a party like this. But you think, | :11:57. | :12:02. | |
that was a whole youth I didn't have. It is so strange seeing a | :12:02. | :12:07. | |
film made up entirely... Jackass was so real and imaginative, but | :12:07. | :12:12. | |
this is made up of clips from people's cameraphones on YouTube | :12:13. | :12:16. | |
commander had this horrible feeling, if the Oscars was all about cinemas | :12:16. | :12:22. | |
past, you have the strange feeling that this is maybe the future of | :12:22. | :12:29. | |
cinema, in which case I may take up rambling. This is fine for this | :12:29. | :12:33. | |
film to have an audience, but if you're on legal, to see this film, | :12:33. | :12:40. | |
it means you are to hold for it. Now time to the top five, now the | :12:40. | :12:47. | |
top five film teenagers. Teenagers - can't live with them, | :12:47. | :12:51. | |
can't make them tidy their rooms, and you cannot begin to | :12:51. | :12:57. | |
excruciating -- understand their excruciating text speak. They are | :12:58. | :13:04. | |
usually smarter and sassier on film. Here are my top five. | :13:04. | :13:10. | |
At No. 5, Jim Stark in Rebel Without A Cause. The cinema has | :13:10. | :13:15. | |
been full of surly, rebellious teenagers, but one of the first and | :13:15. | :13:25. | |
:13:25. | :13:26. | ||
best remains James Dean in Rebel Without A Cause. The film was one | :13:26. | :13:29. | |
of the first which showed him railing aimlessly at his school | :13:29. | :13:33. | |
mates, parents, his life, everything. You are tearing me | :13:33. | :13:41. | |
apart! What? You say one thing, everybody changes back again! | :13:41. | :13:51. | |
:13:51. | :13:58. | ||
Deanna died a month before its At 4, it is Superbad. I am McLovin. | :13:58. | :14:03. | |
He is a hapless geek, whose journey of discovery as two bumbleing cops | :14:03. | :14:08. | |
show him the time of his life is heart-warming. How is it going with | :14:08. | :14:13. | |
the ladies? It is not the going with the ladies I care about. It's | :14:13. | :14:23. | |
the coming! I get it! It features tonnes of cracking dialogue - this | :14:23. | :14:32. | |
is important - it sounds like stuff that a teenager might say. I've got | :14:32. | :14:40. | |
a bona. Good. So it is not Shakespeare. At three, it is Carrie | :14:40. | :14:50. | |
:14:50. | :14:53. | ||
in Carrie. Take Carrie, a sweet soul... It is Carrie... Carrie is | :14:53. | :15:00. | |
abused at home by her nut-job of a mum, shunned by her teachers and | :15:00. | :15:07. | |
bullied by her classmates. She is a melting pot of Torment and rage | :15:07. | :15:17. | |
:15:17. | :15:19. | ||
which boils over at the school prom. At two, it is Olive in Easy A. Here | :15:19. | :15:25. | |
is a teenager who can restore faith in the future of the human race. | :15:26. | :15:29. | |
She's smart, articulate and schooled enough in pop culture to | :15:29. | :15:35. | |
know that she is living her life inside a John Hughes' movie. | :15:35. | :15:43. | |
Whatever happened to chivalry? I want John Cusack holding a Boombox | :15:43. | :15:49. | |
outside my window. I want Jake waiting outside the church with me. | :15:49. | :15:56. | |
I want Judd Nelson thrusting his fist in the air because he knows he | :15:56. | :16:06. | |
:16:06. | :16:07. | ||
got me just once. No, no, John Hughes did not direct my life. | :16:07. | :16:16. | |
one, it's Marty McFly in Back To The Future. The hero of Robert | :16:16. | :16:20. | |
Zemeckis' time-travel flick is special. He is smart, resourceful | :16:20. | :16:23. | |
and self-possessed enough to be best friends with a crazy white- | :16:23. | :16:29. | |
haired old man. Wait a minute, Doc, are you telling me you built a Time | :16:29. | :16:36. | |
Machine? He's also seriously cool, whether he is taking care of | :16:36. | :16:46. | |
:16:46. | :16:49. | ||
bullies, Marty is the ultimate teenager. He invented the Blues. | :16:49. | :16:55. | |
You know that new sound you were looking for? Listen to this! | :16:56. | :17:03. | |
the skateboard, and the concept of repeats! Great Scott, he is | :17:03. | :17:07. | |
amazing(!) Brilliant. We have had so many e- | :17:07. | :17:17. | |
:17:17. | :17:24. | ||
mails. One has to be Ferris Bueller. Saturday morning detention has | :17:24. | :17:29. | |
never been so fun. That is only a few. Thanks very much. Next, | :17:29. | :17:35. | |
Wanderlust, a comedy starring Jennifer Aniston and Paul Rudd. | :17:35. | :17:41. | |
ready for your meeting? Yeah. them dead, all right? I'll call you | :17:41. | :17:48. | |
later. Know what I want to do? I want to take off that robe. Why are | :17:48. | :17:56. | |
you not at work? I got fired! Linda and I are this couple who is kind | :17:56. | :17:59. | |
of, I kind of think hanging by a thread. As soon as we can get back | :18:00. | :18:04. | |
on our feet, we'll come back to New York. Atlanta is the best place for | :18:04. | :18:13. | |
us to be. The bottom drops out of their life. They stumble into a | :18:13. | :18:20. | |
bed-and-breakfast which is this commune and they have an amazing | :18:20. | :18:28. | |
night there. It is coming after us! He wants to make a suit out of our | :18:29. | :18:36. | |
skin. You guys OK? There he is, my homeless brother. Where's your | :18:36. | :18:41. | |
cardboard box? Your body is... think you are making everybody | :18:41. | :18:47. | |
uncomfortable. When it is such a nightmare, George's brother, Rick... | :18:47. | :18:55. | |
You want me to enter this data? questioning me? Are you serious? | :18:55. | :19:02. | |
They final decide why not, let's go for it and move into this place. | :19:02. | :19:05. | |
Welcome to the community. It is not like we are signing a lease. We | :19:05. | :19:14. | |
will give it a month... Two weeks. I felt very close to Linda, coming | :19:14. | :19:20. | |
out of your shell and getting out of the rules and letting your guard | :19:20. | :19:25. | |
down. George, I hear Eva asked to have intercourse with you? What? | :19:25. | :19:31. | |
Yes, thanks(!) That was what I was going to tell you. Apparently, they | :19:31. | :19:36. | |
practice free love. She's found her, as Paul would say, her Wanderlust. | :19:36. | :19:39. | |
She doesn't want to leave, she's contributing, she is finally being | :19:39. | :19:44. | |
part of the community and helping and giving and making a difference. | :19:44. | :19:51. | |
This place is incredible. I feel I'm part of something that is real. | :19:51. | :19:57. | |
What is this? I can fly! You can't. I believe I can fly. If you are | :19:57. | :20:07. | |
:20:07. | :20:09. | ||
going to get literal with an R Kelly song do Trapped in a Closet. | :20:09. | :20:15. | |
I'm not having an on-air nervous breakdown. There is something that | :20:15. | :20:18. | |
was very funny. You have this New York couple whose lives are | :20:18. | :20:22. | |
unravelling and there is a pace and a rhythm that feels like a | :20:22. | :20:30. | |
screwball comedy. After that, their lives take a different take and | :20:30. | :20:40. | |
:20:40. | :20:41. | ||
they end up in this old-fashioned New York commune. The comedy is | :20:41. | :20:45. | |
often a bit creaky, it is a bit repetitive, bup there is a lot of | :20:45. | :20:51. | |
funny stuff -- but there is a lot of funny stuff in there as well. I | :20:51. | :20:57. | |
am detecting a lot of hostility from you. Yes, correct. Why so | :20:57. | :21:01. | |
hostile? Well, it is not funny enough! It is not funny enough and | :21:01. | :21:05. | |
I found it ever so painful. The screening, everybody else was | :21:05. | :21:09. | |
laughing so maybe there is something wrong with me! LAUGHTER | :21:09. | :21:14. | |
Don't! Don't tweet about that! Be a love. The point is, it is not funny | :21:14. | :21:20. | |
enough. I think if I'm honest, I have a problem - I love her as | :21:20. | :21:25. | |
Rachel Green, but Jennifer Aniston, it is the same mannerisms. Paul | :21:25. | :21:29. | |
Rudd is great. The stereotype of this commune come think and fast | :21:29. | :21:33. | |
and in a minute somebody will make a gift out of twigs and oranges - | :21:33. | :21:36. | |
there it is. In a minute, there will be a naked guy making wine - | :21:36. | :21:42. | |
oh, there it is. I just found it - it's sad because you think it is | :21:42. | :21:46. | |
going to be funnier and it just isn't funny. Life is very short. | :21:46. | :21:51. | |
I'm not going to spend much of it defending Jennifer Aniston. I will | :21:52. | :21:59. | |
stick up for her seeing as she "trips her balls off". Paul Rudd is | :22:00. | :22:04. | |
in every American comedy that has come out over the last ten years. | :22:05. | :22:09. | |
His timing here and his responses are fantastic. Listen, this isn't | :22:09. | :22:18. | |
Some Like It Hot, this isn't Airplane, but there is a warmth to | :22:18. | :22:28. | |
:22:28. | :22:30. | ||
it - even the minor characters get something to do. There are some | :22:30. | :22:37. | |
classic lines. Another week I would be less charitable about it. Listen, | :22:37. | :22:41. | |
it is perfectly decent. I will settle for that. There is a bigger | :22:41. | :22:47. | |
conversation to be had about who these films are for, both Reese | :22:47. | :22:49. | |
Witherspoon's film, This Means War, and this one. I don't think they | :22:49. | :22:53. | |
have done very well. We will have to ask Charles Gant. I don't know | :22:53. | :22:58. | |
who they are for. They should be aimed at me? It is Hollywood's | :22:58. | :23:02. | |
problem. Yeah. The film which we are reviewing this week is Project | :23:02. | :23:07. | |
X, that will make money. Next, Charlie Higson, author of the Young | :23:07. | :23:17. | |
:23:17. | :23:22. | ||
Bond series tells us why 007 will James Bond has been a huge part of | :23:22. | :23:27. | |
my life. I can actually remember the first film I went to see in the | :23:27. | :23:30. | |
cinema, it was Thunderball. I can vividly remember everything about | :23:30. | :23:35. | |
that night, the excitement of it, the scale, the music, the action, | :23:35. | :23:41. | |
the jet-pack. The villain's boat that splits in half. The underwater | :23:41. | :23:46. | |
scenes where you haven't got a clue who anybody is. For me, and for | :23:46. | :23:50. | |
everyone else in the '60s, James Bond was the coolest guy in the | :23:50. | :24:00. | |
:24:00. | :24:02. | ||
world. He must have followed us. think he got the point! And James | :24:02. | :24:06. | |
Bond has managed to remain being the coolest guy in the world by | :24:06. | :24:12. | |
constantly adapting to the times. Sean Connery's '60s bond handed | :24:12. | :24:18. | |
over to Roger Moore's camp '70s disco Bond and then we had Timmy | :24:18. | :24:25. | |
Dalton's politically correct Bond, the '90s gave us Pierce Brosnan's | :24:25. | :24:28. | |
designer Bond and Daniel Craig has brought the character right up-to- | :24:28. | :24:33. | |
date with his portrayal of James Bond. He perfectly captures these | :24:33. | :24:38. | |
murky uncertain times in which we are living. Like everybody else, my | :24:38. | :24:43. | |
James Bond will be the one that I grew up with. I'm much obliged. | :24:43. | :24:49. | |
all began in 1962 with the release of Dr No. While they were filming | :24:49. | :24:52. | |
it, there were no great expectations. Certain things came | :24:52. | :24:59. | |
together on that film to create the perfect storm. Sean Connery had an | :24:59. | :25:06. | |
animal sexuality, he knew how to wear a suit, fire a gun and deliver | :25:06. | :25:14. | |
a one-liner. It's a Smith and Wesson and you have had your six! | :25:14. | :25:24. | |
:25:24. | :25:30. | ||
Sean Connery was... Bond, James Bond. And then there was Ursula | :25:30. | :25:35. | |
emerging from the sea in the Caribbean. It led to a succession | :25:35. | :25:45. | |
:25:45. | :26:07. | ||
My favourite Bond Girl - Diana Rigg and Ava Green were classy, Britt | :26:07. | :26:13. | |
Eckland appealed to my teenage years, but I'm going to go for | :26:13. | :26:20. | |
Madeleine Smith because Roger Moore got to try out a gadget - a watch - | :26:21. | :26:26. | |
that unzips dresses. Such a delicate touch. I can't find one | :26:26. | :26:31. | |
anywhere! The next killer ingredient was Ken Adams' amazing | :26:31. | :26:38. | |
sets and there will never be a better set than the volcano in You | :26:38. | :26:44. | |
Only Live Twice, the ultimate Bond villain's lair. Many of the Bond | :26:44. | :26:47. | |
interiors have been shot here. What made the film stand out right from | :26:47. | :26:52. | |
the start was the use of genuine exotic foreign locations. James | :26:52. | :27:02. | |
:27:02. | :27:15. | ||
Bond has been everywhere and done I only have to hear those opening | :27:15. | :27:20. | |
twangy guitar notes and I am back there as a seven-year-old boy in my | :27:20. | :27:27. | |
seat, in wonder at James Bond. Add in M, Moneypenny, the villain, the | :27:27. | :27:32. | |
cars, the guns, the gadgets, you have the most enduring hero in | :27:32. | :27:42. | |
:27:42. | :28:03. | ||
You expect me to talk? No, Mr Bond, He has no wife and kids, no boring | :28:03. | :28:11. | |
domestic life and he is allowed to kill people - fantastic. Brilliant. | :28:11. | :28:15. | |
Next, Carancho, a thriller about an ambulance-chasing personal injury | :28:15. | :28:25. | |
:28:25. | :28:25. | ||
Apology for the loss of subtitles for 109 seconds | :28:25. | :30:15. | |
In an odd week, finally we get to a film which is worth the ticket | :30:15. | :30:21. | |
price. I should explain a bit about the plot. It is about ambulance | :30:21. | :30:25. | |
chasers in Buenos Iris, doesn't sound exciting, but it really is. | :30:25. | :30:30. | |
It is a warped love story, and the end is the best climax ever. Well, | :30:31. | :30:36. | |
not ever! But this week. We have talked a lot about Hollywood and | :30:36. | :30:40. | |
its failings, one of the things they used to do well in the Fifties | :30:40. | :30:44. | |
was churn out these tough films about real issues, which were | :30:44. | :30:48. | |
gripping dramas which were not afraid to have characters with | :30:48. | :30:54. | |
murky pasts. Hollywood doesn't make those often any more, but | :30:54. | :30:59. | |
thankfully, someone does. Film two is a punchy little film noir. -- | :30:59. | :31:09. | |
film two. He has got this great are haunted presence, he is haunted and | :31:09. | :31:15. | |
great for the role. You so wanted to work. He is so well cost, there | :31:15. | :31:19. | |
is a love story, it is the one chink of light in this otherwise | :31:19. | :31:25. | |
dark moody. I wish I could get another director in to watch this. | :31:25. | :31:30. | |
What is your film of the week? is this one. But I'm going to stick | :31:30. | :31:36. | |
up for Wanderlust. What I was obviously in a slightly odd mood! | :31:36. | :31:42. | |
Now it is time for director's cut. Edgar Wright talks twice about | :31:42. | :31:51. | |
Shaun Of The Dead. Some strong When we first pitched it, we said | :31:51. | :31:55. | |
it was like life is sweet with zombies. We didn't want it to be a | :31:55. | :32:05. | |
:32:05. | :32:19. | ||
So, to be true to form to the sum the films we loved, most of the | :32:19. | :32:29. | |
:32:29. | :32:52. | ||
The first day of the shoot was this shot where he walked from his house | :32:52. | :33:00. | |
to the corner shop and back. I remember wandering out on a Sunday | :33:00. | :33:05. | |
morning, just walking up the road and across the street to the corner | :33:05. | :33:11. | |
shop and back again without seeing any cars. What if you walked out | :33:11. | :33:15. | |
here and there were zombies, what if you saw it from the point of | :33:15. | :33:25. | |
:33:25. | :33:27. | ||
view of somebody who was hung over It could bigger based on the | :33:27. | :33:33. | |
distance between the two locations. We couldn't find a flat we liked | :33:33. | :33:43. | |
and a corner shop we liked. So we had to make that interesting. The | :33:43. | :33:47. | |
cameraman on the film said that he believed the shot would be cut out, | :33:47. | :33:51. | |
his be said there was no way it would stay in the movie. I said, I | :33:51. | :33:56. | |
am going to make it is as -- interesting. So why did it with | :33:56. | :34:00. | |
some background jokes, because I was annoyed at this guy had | :34:00. | :34:10. | |
:34:10. | :34:20. | ||
suggested it would be cut out. It has been a funny sort of day. | :34:20. | :34:25. | |
When I look back did come are the thing I most proud of is the scene | :34:25. | :34:30. | |
with his mum. It was kind of distressing to shoot, as well, | :34:30. | :34:36. | |
because it was her last seen. So literally, her laughter shock when | :34:36. | :34:41. | |
she was on -- her last shot when she was on the screen was heard | :34:41. | :34:51. | |
getting shot. She is not going anywhere! She is my mum! He was | :34:51. | :34:55. | |
right towards the end of the shoot, everybody was really tired. You can | :34:55. | :35:01. | |
see that Simon is really emotional. Because we were kind of tired and | :35:01. | :35:11. | |
:35:11. | :35:20. | ||
We relied may be too heavily on some very lovely fans of Space that | :35:20. | :35:26. | |
he came out and worked for essentially nothing. They were | :35:26. | :35:32. | |
pouring on those windows for two weeks street. When they eventually | :35:32. | :35:37. | |
came into the pub and attacked Dylan, you can see this bloodlust | :35:37. | :35:43. | |
rising, because they were trying -- finally getting to do something. | :35:43. | :35:50. | |
They are a bit crazy because they had been waiting around along time. | :35:50. | :35:56. | |
Can I have two sugars? Adventurist! I might pop into the garden for a | :35:56. | :36:03. | |
bit. The joke is that he gets the best of both worlds, he gets to | :36:03. | :36:07. | |
live with his girlfriend, but keep his best friend, his childhood | :36:07. | :36:17. | |
:36:17. | :36:22. | ||
Some people have said that it is a romantic comedy between two dies, | :36:22. | :36:28. | |
which they think is probably pretty accurate. -- two dies. Brilliant. | :36:28. | :36:32. | |
You can see more of that interview on our website. That is all for | :36:32. | :36:42. | |
:36:42. | :36:43. | ||
tonight. Playing as at, a look at the branded the trailer for -- | :36:43. | :36:53. | |
:36:53. | :36:58. | ||
playing as out a look at this brand War has started. And we are | :36:58. | :37:08. | |
:37:08. | :37:18. | ||
Are you trying to get me back in the world? Trying to save it. | :37:18. | :37:28. | |
:37:28. | :37:30. | ||
need you to come in. A what if I What are you asking me to do? | :37:30. | :37:38. | |
called the Avengers initiative. thought I didn't qualify. | :37:38. | :37:48. | |
:37:48. | :37:58. | ||
Apparently I was a volatile, self- How desperate to buy you? -- had | :37:58. | :38:08. | |
:38:08. | :38:10. |