:00:30. > :00:36.This programme contains strong Hello and welcome to Film 2012. We
:00:36. > :00:44.are live. If you want the get in touch the defails are on the screen.
:00:44. > :00:51.Coming up on tonight's show: it's life on Mars for Taylor Kitchen,
:00:51. > :00:56.John Carter. Good God, I'm on Mars. John Cusack enters the dark world
:00:56. > :01:05.of Edgar Allan Poe in The Raven. And Robert Pattinson has a lust for
:01:05. > :01:08.power in Bel Ami. Do you want to be the man who put down a Government?
:01:08. > :01:11.Plus, Danny takes a look at the enduring influence of David Lynch's
:01:11. > :01:21.masterpiece, Blue Velvet. First tonight, Disney's science
:01:21. > :01:26.
:01:26. > :01:36.fiction epic, John Carter. Let them be crushed. This is a story based
:01:36. > :01:39.
:01:39. > :01:48.on The Princess Of Mars, written by Edgar Rice-Burroughs. You killed
:01:48. > :01:52.him with one blow. When I saw you I believed it was something new, can
:01:52. > :01:56.come into this world. And he also had this extra ordinary ability
:01:57. > :02:02.where he could kind of leap. It wasn't much more than that, but it
:02:02. > :02:11.was just enough that you just felt like he was an extra special person.
:02:11. > :02:15.Good God. I'm on Mars! He's lost his family. Through these events he
:02:15. > :02:21.gets transported to Mars. On Mars he has another chance of love and
:02:21. > :02:30.at finding that cause within himself. What happened to this
:02:30. > :02:37.place? A new power threatens to destroy our city. That doesn't look
:02:37. > :02:47.like a fair fight. The race is on, the med man race and the green man
:02:47. > :02:54.
:02:54. > :03:04.race. They are at war with each. -- with each other. Tars Tarkis.
:03:04. > :03:05.
:03:05. > :03:09.find a nomadic tribe with four arms. Captain John Carter, Virginia. And
:03:09. > :03:13.you have the princess of Mars. You have to leave it to the women to
:03:13. > :03:19.shine that light on himself again. He finds that motivation, if he
:03:19. > :03:29.finds that, he finds love. You are John Carter of Earth?
:03:29. > :03:36.
:03:36. > :03:40.mam. Author author is -- Dejah Thoris,
:03:40. > :03:49.it is only through their journey together that she is vulnerable
:03:49. > :03:55.enough to see him as a man. There is a lot going on on Mars.
:03:55. > :03:59.Danny Leigh of Earth. One of us has got to be. What did you think of
:03:59. > :04:04.it? One of the curses of Hollywood is film making by committee, where
:04:04. > :04:08.everything you see has been passed through dozens of executives
:04:08. > :04:11.working incredibly hard to make sure you don't see anything
:04:11. > :04:15.remotely unpredictable or weird. This is not film making by
:04:15. > :04:18.committee. It is very much the vision of one man. We saw Andrew
:04:18. > :04:26.Stanton there. He's come up through Pixar. He's wanted to make this
:04:26. > :04:32.film since he was a child. If you talk a precocious 8-year-old in the
:04:32. > :04:38.1970s and gave them $250 million, which is what this film cost, they
:04:38. > :04:44.would make something like this. The dialogue is terrible, the acting is
:04:45. > :04:49.even worse. The good guy, he can jump high. The villain's super-
:04:49. > :04:56.weapon is an electric blue death ray pointy finger. Despite or
:04:56. > :04:59.possibly because of that I found it enjoyable. It is a $250 million B
:05:00. > :05:05.movie with a streak of lunacy running through it. Will it be
:05:05. > :05:08.compared to Avatar but it couldn't be more different. I think if
:05:08. > :05:12.Avatar is a machine, this is a contraption. In 30 years people
:05:12. > :05:17.will still be talking about John Carter. I have no idea what they
:05:17. > :05:20.will be saying but they will be talking about it. How do you feel?
:05:20. > :05:25.I can't say anything mean about Andrew Stanton, because he's
:05:26. > :05:34.created some of my favourite films, and we'll be talking about his film
:05:34. > :05:42.Wall-E later. Seeing Kieran in a Togo and lots of great actors
:05:42. > :05:49.including Dominic West, in the sn The Wire, but this reminded me of
:05:49. > :05:57.Flash Gordon. I see that. And a bit of Wonderwoman. I see that less.
:05:57. > :06:02.love the babies. They were much more attractive but the whole thing
:06:02. > :06:06.is hotchpotchy. Anybody who has seen The Phantom Menace like di
:06:06. > :06:10.would prefer this for its bonkersness. We have to be honest
:06:10. > :06:16.about this and say there are passages which are very dull here.
:06:16. > :06:21.Visually it is set in an arid featureless landscape. That gets
:06:21. > :06:30.tiring quickly. Between the lumpy storytelling and the scenery, it is
:06:30. > :06:33.a test of your short term memory. Why does he have to go to the
:06:33. > :06:43.sacred gates? That's a bit lame, but at the same time you have
:06:43. > :06:48.scenes where John Carter is captured by the ten foot tall green
:06:48. > :06:54.people. And he is half naked and they are having Martian talcum
:06:54. > :06:58.powder. This is the most awesomely bizarre thing I've seen. That's
:06:58. > :07:04.before we hear John Carter saying, "Good God I'm on Mars" as if he's
:07:04. > :07:08.overslept on the train and is? Stoke. It is a deranged vision. We
:07:08. > :07:10.don't have enough of those in cinema. Next, Bel Ami, starring
:07:10. > :07:13.Robert Pattinson as a social- climbing lothario in 19th century
:07:13. > :07:23.Paris. It also stars Uma Thurman, Kristin Scott Thomas and Christina
:07:23. > :07:26.
:07:26. > :07:33.Let me buy you a drink. Paris is filthy with money. Why don't you
:07:33. > :07:37.come to dinner, come and meet my wife. It's about this cut throat
:07:37. > :07:45.young man who is very beautiful and discovers he has one commodity to
:07:45. > :07:53.sell. He basically seduces powerful women up the tree of French society.
:07:53. > :08:03.What is interesting? Well, I like enjoying myself. What do you enjoy?
:08:03. > :08:03.
:08:03. > :08:07.Well, I don't know. Everything. think the women as they are all
:08:07. > :08:12.perceived as nothing really by they are husbands and the people around
:08:12. > :08:15.them. They want to acknowledge his adoration and they can see
:08:15. > :08:21.immediately that he thinks they are more special than anyone else
:08:21. > :08:25.thinks they are. And it works really well for him. He mansion to
:08:25. > :08:30.persuade them to do things they wouldn't necessarily do otherwise.
:08:30. > :08:36.I have something very important to tell you, something for your
:08:36. > :08:43.advantage. It is about my husband. They are very political animals and
:08:43. > :08:51.romance is a tool in this story. you want to be the man who put down
:08:52. > :08:57.a Government? Or do you want to be a fool?
:08:57. > :09:03.Weng people are sincere they tend to go wrong. It seems there is more
:09:03. > :09:13.a system of arranged relationships in this story. Who is she?
:09:13. > :09:18.
:09:18. > :09:23.Madeleine Forestier. You've chosen exactly the woman you need. It is
:09:23. > :09:30.implyed in the movie that he really does love her but his ambition is
:09:30. > :09:35.greater than his love, love is not enough for him. Everyone is baffled
:09:35. > :09:39.by the fact he doesn't get his comeuppance, because in films these
:09:39. > :09:43.days if someone does bad things they will be punished for it.
:09:43. > :09:51.loved you. It is not enough to be loved. It is so clear to me. There
:09:51. > :09:56.is no next life, and I am going to live.
:09:56. > :10:02.Nice and pale coming out of a church. I think this story has been
:10:02. > :10:05.told many times before. It is a brilliant story and a lovely tale
:10:05. > :10:10.of somebody going in and social climbing and working their way,
:10:10. > :10:15.using sex and all kinds of things. I don't think it totally works in
:10:15. > :10:20.this. I don't think it works at all. He should be slightly more
:10:20. > :10:23.interested in power. B, slightly more charming, and instead he is
:10:23. > :10:28.petulant and not really smart enough. I don't know whether it is
:10:28. > :10:32.his fault or the script's fault. I would say the women are brilliant.
:10:32. > :10:37.Kristin Scott Thomas isn't in it a lot but when she is, she is
:10:37. > :10:44.fantastic, and so is Christina Ricci. Anyone interested in set
:10:44. > :10:48.design and clothes will love it. Part of the reason why Robert
:10:48. > :10:52.Pattinson took this role was to shock the world and his Army of
:10:52. > :10:59.fans. As soon as he comes on set and he's got greasy hair,
:10:59. > :11:04.surrounded by 1890s good-time girls, it feels like a teenage boy
:11:04. > :11:07.cranking up the music in his bedroom to irritate his mum. He has
:11:07. > :11:14.to carry the whole movie. He's in pretty much every scene. And he is
:11:14. > :11:19.trying to do something sut until a movie that's anything but the.
:11:19. > :11:25.Whatever anyone thinks about Robert Pattinson there are other actors
:11:25. > :11:31.struggling, the set design, and the cleavage, and Phillip Glenister's
:11:31. > :11:37.whiskers. And this overfruity movie. I don't think you can blame Robert
:11:37. > :11:42.Pattinson. No, but it will make you five minutes in go, wait, why
:11:42. > :11:48.aren't I watching dangerous liaisons, watching this murky world
:11:48. > :11:56.of closed doors and whispers. And he is just too spoilt I suppose. It
:11:56. > :12:01.doesn't ring due. I will want to exempt Christina Ricci. She's had a
:12:01. > :12:06.strange career since the glory years of Wednesday Adams. This is a
:12:06. > :12:12.weird role and it reminds you of how good she can be - coquettish
:12:12. > :12:17.and vulnerable. When she is good with Robert Pattinson, it comes to
:12:17. > :12:22.life. Cinema history is littered with great movie stars who started
:12:22. > :12:26.out as quite vapid teen heart- throbs. It has taken Brad Pitt 20
:12:26. > :12:31.years to stop doing this all the time and become a measured calm
:12:31. > :12:38.actor who has an Oscar nomination. Now it's time for the Top 5 and
:12:38. > :12:41.this week Antonia counts down her favourite cinematic love rats.
:12:41. > :12:47.We've all been one and we've all been in the clutches of one, but
:12:47. > :12:52.who has tonne it best on screen? Here are my top five love rats. At
:12:52. > :12:55.number five In The Company Of Men. A film about two guys taking their
:12:55. > :13:01.revenge for their broken relationships by horribly
:13:01. > :13:06.manipulating a young deaf woman. take a girl that time, just some
:13:06. > :13:12.cord fed bitch who would practically mess her pants if you
:13:12. > :13:19.sharpened a pencil for her. We both hit her, small talk, a dinner date,
:13:19. > :13:23.flowers. And we just do it, youened me, upping the ante all the time.
:13:23. > :13:31.Suddenly she's calling her mom and wearing make-up again. And we play,
:13:31. > :13:35.on and on. One day out goes the rug and Jill, she just comes tumbling
:13:36. > :13:41.after. In this scene Aaron Eckhart is forced to confess what he's been
:13:41. > :13:46.up to. Are you playing a game with me? He later said he had to put on
:13:46. > :13:54.three stone in order to disguise himself when the film came out to
:13:54. > :14:01.stop women hurling abuse at him. can't keep a straight face, so,
:14:01. > :14:07.lock it. Surprise! At number four, Body Heat. In this terrific sweaty
:14:07. > :14:11.pastiche of a 1940s film noir two untrustry lovers do the dirty on
:14:11. > :14:16.everyone else but how much are they love ratting each other. I want to
:14:16. > :14:21.buy you a drink. I've told you, I've got a husband. I will buy him
:14:21. > :14:26.one too. He's out of town. favourite kind. But Turner is
:14:26. > :14:33.frightening. She's a hotted up love rat psychopath. I could never do
:14:33. > :14:39.anything to hurt you. I love you. You've got to believe that. You are
:14:39. > :14:45.experience, I can do anything. number three, Damage. Damage is
:14:45. > :14:49.hands down one of my guilty pleasures. Jeremy Irons and Juliet
:14:49. > :14:54.Binoche star as the greatest love rats of all time. She's engaged to
:14:54. > :15:00.Jeremy Irons' son and yet they are hotly pursuing an affair which does
:15:00. > :15:05.seem mysterious and meaningful and romantic until this tragic scene
:15:05. > :15:15.demonstrates how revolting they are both being. Poor Rupert gaves, he
:15:15. > :15:19.
:15:19. > :15:25.At number two, Reds, the true story of a radical American journalist
:15:25. > :15:31.whose lover, played by Diane Keaton, has a brief affair with a
:15:31. > :15:34.playwright played by Jack Nicholson. Are you keeping up? You're a lying
:15:34. > :15:42.Polish whore. When she tells him she doesn't share his deep feelings
:15:42. > :15:47.and in fact has gone off and married Warren Beattie, you can see
:15:47. > :15:51.Nicholson curdling in front of you. What a heartbreaker you are.
:15:51. > :15:57.sorry. Diane Keaton, love rat. At number one, Doctor Zhivago.
:15:57. > :16:01.Sometimes you can't help but support someone in their love-
:16:02. > :16:06.rattery. In Doctor Zhivago, Omar Sharief has the perfect, good, kind
:16:06. > :16:10.wife who adores him and whom he adores back. Shall I get some tea?
:16:10. > :16:15.Yes, do. And yet you still find yourself
:16:15. > :16:18.hoping things are going to work out between him and his mistress Laura.
:16:18. > :16:24.If only there were someone to look after you. Of course, if there were,
:16:24. > :16:29.I'd be destroyed by jealousy. You simply forget that there is a
:16:29. > :16:35.sweet, loyal, pregnant wife back at home - waiting.
:16:36. > :16:43.A brilliant list. Uh-huh. Next, The Raven, a fictionalised account of
:16:43. > :16:53.Edgar Allan Poe's last days. John Cusack stars as Po.
:16:53. > :16:56.
:16:56. > :17:01.- Poe. Dear God. His murder was familiar to me, Edgar Allan Poe.
:17:01. > :17:05.seems my writing has become the inspiration for an actual killer.
:17:05. > :17:09.There had never been a film about Poe's life because it's very
:17:09. > :17:14.depressing, so this gives you the best of both worlds. You get the
:17:14. > :17:17.best stories and the highlights from Poe's life melded together in
:17:17. > :17:21.this serial killer construct. challenge the brilliant mind of
:17:21. > :17:25.Edgar Allan Poe a game of wits. I will kill again, and on that corpse
:17:25. > :17:31.I will leave clues. Please!
:17:32. > :17:37.We are in dire need of your unwholesome expertise.
:17:37. > :17:39.Poe is this hyper-intellectual literal genius but who was also
:17:39. > :17:46.writing these pulpy Saturday afternoon thrillers, you know, to
:17:46. > :17:50.scare people, so it was this kind of great mixture of high-brow and
:17:50. > :17:56.low brow, so I think we capture that in the movie. Are you up to
:17:56. > :18:04.the task, Mr Poe? Four people are dead. The killer is taunting us.
:18:04. > :18:10.Emily! No matter how this ends, I will kill him.
:18:10. > :18:15.The reason I think he's iconic is he taps into this universal sense
:18:15. > :18:22.of doom or despair or - but also mixed with an intense imagination,
:18:22. > :18:27.so I think any actor would probably feel like they could play Poe or
:18:27. > :18:32.want to play Poe. They may not do a good job at it, but he's almost
:18:32. > :18:36.like a shadow figure. He's almost in your psyche. There is a part of
:18:36. > :18:42.you that's drawn to self- destruction and drawn to doing the
:18:42. > :18:47.wrong thing. Does any of this sound familiar to you, Mr Poe? But you're
:18:47. > :18:53.talking about my story, a work of fiction.
:18:53. > :18:57.I'm afraid I am not. Well, I think if you're going to
:18:57. > :19:02.serve as Poe, you at least have to have one of the scenes that has a
:19:02. > :19:06.decent amount of gore in it. His stories, if you read them, there's
:19:06. > :19:09.lots of gore, whether it's murders in the room or the Pit and the
:19:09. > :19:14.Pendulum. We went to Serbia, shooting at night in the winter.
:19:14. > :19:23.That helped put you in the mood. It was pretty nasty.
:19:23. > :19:28.Well, look, let's be honest - the reason this film exists is
:19:28. > :19:30.somewhere in Hollywood about three years ago someone went to see
:19:31. > :19:34.Sherlock Holmes then came in the next day and said, I know exactly
:19:34. > :19:38.with a we should do - that with Edgar Allan Poe. That's fine. I get
:19:38. > :19:41.that, and that should be a fun movie. The Raven is isn't funny.
:19:41. > :19:45.It's actually one of the most miserable experiences I have ever
:19:45. > :19:49.had in the cinema. One of the strength of Sherlock Holmes is this
:19:49. > :19:53.seedy-eyed Victorian London. What you have here is this CGI 19th
:19:53. > :19:58.century Baltimore which looks like the work experience kid did it up
:19:58. > :20:02.in his lunch time hour and ever so often the director comes on with
:20:02. > :20:06.his CGI bellows and constantly blows a bit of fog to make things
:20:06. > :20:10.work better. It doesn't whatsoever. With Sherlock Holmes, you have
:20:10. > :20:16.Sherlock host and Robert Downey Jr, this brilliant lunatic in this
:20:16. > :20:20.incredible film. What you have in The Raven is Poe pushed to the ma
:20:20. > :20:27.margins while they're trying to solve the world's most boring 19th
:20:28. > :20:30.century murder case. He skullenings around with his beard and his
:20:30. > :20:36.raccoon. This is a film which people think Edgar Allan Poe needs
:20:36. > :20:39.to be made more interesting, and the way you do that is to give him
:20:39. > :20:41.a raccoon. John Cusack is visibly depressed during this entire film.
:20:41. > :20:48.I can see why - because it's not acceptable.
:20:48. > :20:54.OK. Unacceptable - I hear. I have always quite liked Quincy. This is
:20:54. > :20:58.not dissimilar with a bit of Dallas, bait of Patricia Cornwall, a lot of
:20:58. > :21:03.heaving bosoms. I said after two minutes of Bel Ami to think, why
:21:03. > :21:06.aren't I watching Dangerous Liaisons at home with a toasted
:21:06. > :21:12.sandwich. You watch one minute of this and think, why aren't I
:21:12. > :21:16.watching Silence of the Lambs. message is who this is for. If you
:21:16. > :21:20.don't care about Edgar Allan Poe, what you have is a 19th century
:21:20. > :21:23.pseudo, bad CSI. If you care about Edgar Allan Poe, you want to see
:21:23. > :21:30.everyone involved in this film bricked up behind a wall. Let's
:21:30. > :21:35.move on. Let's never speak of it again. We will move on. Blue Velvet
:21:35. > :21:40.celebrates its anniversary this year. We take a look back at this
:21:40. > :21:44.classic. There is, as you can imagine, some strong language.
:21:44. > :21:48.# She wore blue velvet # A simple tale of young love in a
:21:48. > :21:54.small town - what could possibly go wrong with that? You'll find the
:21:54. > :22:01.answer in Blue Velvet, David Lynch's virtuoso story of a pair of
:22:01. > :22:05.fresh-faced sweethearts, a torch singer and a psycho with a gas mask.
:22:05. > :22:10.It's a troubling film to take I think. It's a film that looks at
:22:10. > :22:13.the dark side of life. There is something troubling about David
:22:13. > :22:18.Lynch which puts the film a cut above. The film's setting was
:22:18. > :22:28.inspired by David Lynch's childhood town - out in the woods lies a
:22:28. > :22:32.strange discovery. Stumbled on by the innocent but
:22:32. > :22:37.curious Geoffrey Beaumont, it leads first to sweet-natured sandy
:22:37. > :22:44.Williams, but then to another world of crime, violence, voyeurism and
:22:44. > :22:49.perversion. Isabella Rossolini is brilliant,
:22:49. > :22:53.and from the start, she's just really interesting - all of the
:22:53. > :23:00.things she does in it seem completely uncliched, when she
:23:00. > :23:07.first opens the door and just looks terrified. Yes? What is it? Pest
:23:07. > :23:12.control. I got to do your apartment. Mmm. Awaiting Geoffrey is Dorothy
:23:12. > :23:16.Valuence, a nightclub singer with a secret life. To some extent he
:23:16. > :23:20.trespasses into the other world, if you like, and I think he quite
:23:21. > :23:24.enjoys it. Later, he returns, but this time
:23:24. > :23:34.uninvited, and from inside Dorothy's closet comes his first
:23:34. > :23:40.
:23:40. > :23:48.encounter with the infamous Frank Hello, baby. Shut up. It's daddy.
:23:48. > :23:58.Where's my bourbon? That's the joy of the film is Hopper. He tears off
:23:58. > :23:59.
:23:59. > :24:07.that gas mask and reveals this incredibly black heart. Baby wants
:24:07. > :24:12.to -- don't you look at me! Dennis Hopper was newly sober after years
:24:12. > :24:18.exiled in Hollywood reading Lynch's script. Calling the director, he
:24:18. > :24:22.demanded, "I have to play Frank. I am frank". But if Frank became one
:24:22. > :24:26.of the most unforgettable bad guys in cinema, the sickness was
:24:26. > :24:30.everywhere in Blue Velvet. It was like every strange perverse impulse
:24:30. > :24:36.that had been kept just out of sight in a Hitchcock movie had
:24:36. > :24:40.suddenly been allowed to come bubbling to the surface. Geoffrey
:24:40. > :24:45.is like Frank. He watched it and didn't intervene. Later Geoffrey
:24:45. > :24:50.hilts her like Frank does. There is that terrifying scene when he turns
:24:50. > :25:00.around and says, "You're like me." You're like me.
:25:00. > :25:00.
:25:00. > :25:06.I think the film's just great on each character containing
:25:06. > :25:12.competency - even Sandy, who is a virginal character, is also a
:25:12. > :25:17.voyeur, also listening into her father's conversations.
:25:17. > :25:23.For Lynch, Blue Velvet was an intensely personal film. McLachlan
:25:23. > :25:29.modelled his whole performance on his director. While the film was
:25:29. > :25:35.full of what would become significant David Lynch signatures
:25:35. > :25:45.- dark forces run amock. As a child, Lynch had seen a naked woman near
:25:45. > :25:47.
:25:47. > :25:51.Dorothy Vanence? For me what I found fascinating about the film is
:25:51. > :25:56.how much people come out of darkness into the light. It happens
:25:56. > :25:59.with Sandy. It happens with Dorothy. It happens with Geoffrey when he
:25:59. > :26:04.goes down to the family into the front room. You get this sense of
:26:04. > :26:14.darkness and light and people trying to move towards the light.
:26:14. > :26:14.
:26:14. > :26:19.He put his disease in me. "He put his disease in me" - wow. "He put
:26:19. > :26:24.his disease in me" she says again at the end just in case the mother
:26:24. > :26:30.and daughter didn't hear. He put his disease in me. To me, it's like
:26:30. > :26:34.memories of Lynch's childhood and his weird awakening and a kind of
:26:34. > :26:38.sexual awakening things that happens. It's the two sides of
:26:38. > :26:46.Lynch - I am assuming, sorry, David, if that's not true.
:26:46. > :26:51.# A candy-coloured cloud sandman # Tiptoes through my room every
:26:51. > :26:56.night # A sick wallow in sleaze, fumed one
:26:56. > :27:00.of several outraged critics, while walk-outs in screenings were common.
:27:00. > :27:04.If I was shocked by it, you're being pulled in so many ways and
:27:04. > :27:08.become that person who is watching, not helping, but kind of enjoying
:27:08. > :27:12.it, and that reflects quite badly on the viewer. It doesn't placate
:27:12. > :27:16.anyone. It doesn't pretend that life is sweet, and it doesn't
:27:16. > :27:20.really have any easy answers. you get the sense people are
:27:20. > :27:23.thinking things up in order to shock you, it's just tedious or
:27:23. > :27:26.depressing or kind of lonely feeling, but you kind of get the
:27:26. > :27:35.sense of this is authentic, and that's a quite terrifying thing to
:27:35. > :27:39.witness. # Blue velvet #
:27:39. > :27:44.But maybe the truly shocking thing is as well as being a detective
:27:44. > :27:50.story and a coming-of-age drama, Blue Velvet really is a film'll
:27:50. > :27:55.about love. Dennis Hopper called Frank one of the great male leads
:27:55. > :27:59.and the question one asks is deep down maybe he and Dorothy are meant
:27:59. > :28:07.for each other. What David Lynch is good at is not having clear-cut
:28:07. > :28:11.heroes and villains, that in a way Frank's love is completely all-
:28:11. > :28:14.consuming. Blue Velvet's influence saw its vision of the dark side of
:28:15. > :28:18.suburbia seep into countless movies and TV show, but maybe the biggest
:28:18. > :28:21.tribute you can pay it is, 25 areas on it's still a film it's
:28:21. > :28:26.impossible not to have an opinion about or still, just occasionally,
:28:26. > :28:36.to see in your dreams. # Blue velvet
:28:36. > :28:49.
:28:49. > :28:59.I just want to watch more of that - brilliant contributors! Anyway,
:28:59. > :29:01.
:29:01. > :29:08.next, Michael Winterbottom's Trishna.
:29:08. > :29:12.Eight or nine years ago I was doing a film called Colt 46, and when I
:29:12. > :29:16.was there it struck me the kind of things that were happening there in
:29:16. > :29:25.Indian society were quite similar to what was happening in the world
:29:25. > :29:32.of Tess in Hardee's novel. How is it going? Good. Have you
:29:32. > :29:35.tried listening to them? When we meet Jay, he's in a gap year with
:29:35. > :29:40.friends travelling around India, then we understand he's going to
:29:40. > :29:46.have to stay on and run a hotel for his father because his father has
:29:46. > :29:51.bought some hotels in Rajasthan. It's at one of these he meets her.
:29:51. > :29:55.You know how to whistle, don't you? You just put your lips together and
:29:55. > :30:00.blow did. He obviously loves India and travelling around with his
:30:00. > :30:03.mates, but now he's staying on in this busy, corporate role of
:30:03. > :30:07.running hotels, I think it becomes even more important for him to
:30:07. > :30:17.connect to something innocent, pure and authentic. I think the closest
:30:17. > :30:20.
:30:20. > :30:24.See? Easy. The kind of conservative social setting of rural Rajasthan
:30:24. > :30:31.means they can't have an open relationship. It is eggshells they
:30:31. > :30:36.have to walk on. It is tricky for them to spend time alone together.
:30:36. > :30:43.I can't stop thinking about you. That's why they try to escape that
:30:43. > :30:48.by going to Bombay. The character of Trishna in the film is passive.
:30:48. > :30:52.I don't want her to be passive just because she's a woman. It is part
:30:52. > :30:59.of her character, and it is one of the frustrations of her character.
:30:59. > :31:08.Why don't you want to be a dancer? Have you been telling tales on me.
:31:08. > :31:14.You don't like Trishna's dancing? That's how we like it.
:31:14. > :31:20.When you've got this extreme juxtaposition of modernity and
:31:20. > :31:27.traditional elements in society, you've got these massive class
:31:27. > :31:35.gulfs. Can you bring them? That's what Jay and Trishna are trying to
:31:35. > :31:39.do. Can they find common ground? Can they find a meaningful
:31:39. > :31:44.relationship? The Kama Sutra says there are three heroines that you
:31:44. > :31:52.can make love to: a maid, a single lady and a courtesan. Which one are
:31:52. > :31:56.you? I loved the idea of Tess of the D'Urbervilles shot and set in
:31:56. > :32:01.modern-day India. India is beautiful, the rough and the smooth.
:32:01. > :32:05.If soundtrack is fantastic. I think, I loved this film. The problem
:32:05. > :32:12.comes when the character of Jay has to encapsulate two people, the good
:32:12. > :32:17.and the bad if you like, Alec and Angel. It is his flip that for me
:32:17. > :32:22.is the thing which jarred. I feel pretty much the same. Michael
:32:22. > :32:28.Winterbottom is an unpredictable director. I don't think he's
:32:28. > :32:34.capable of making a boring film. As a movie about India Trishna is the
:32:34. > :32:38.best movie about India I've seen in a long time. To remake Tess of the
:32:38. > :32:41.D'Urbervilles and relocate it over there works beautifully. Not
:32:42. > :32:46.because he is very good at people's real lives and how harsh they can
:32:46. > :32:49.be, but because he is good at both. It feel as million miles from a
:32:49. > :32:54.tourist brochure. On that level it is great. I have the same problem
:32:54. > :32:58.with it, that if you know Tess of the D'Urbervilles at all, it is a
:32:58. > :33:03.classic love triangle. He's made a second big decision, to fold the
:33:03. > :33:07.two male characters into one. That puts a huge weight on the actors.
:33:07. > :33:11.The big decision about moving to India works like a charm. The
:33:11. > :33:18.exemption about folding the two characters feels a little bit like
:33:18. > :33:24.A-level course work but on a lavish scale. It is too much work to put
:33:24. > :33:28.on an actor like Riz Ahmed, who is such a gifted boy.? Four Lions he
:33:28. > :33:33.was someone who was intensely likeable and capable of bad things.
:33:33. > :33:37.But this is a jump too far. Trishna is a great film but I'm going for
:33:37. > :33:47.John Carter. How about you? Blue Velvet. Now it's time for
:33:47. > :33:54.
:33:54. > :34:00.Director's Cut. This week Andrew I always loved this concept of some
:34:00. > :34:07.old-fashioned music opening the movie against the stars. I was
:34:07. > :34:13.literally scrolling through and I hit -- through iTunes and I hit on
:34:13. > :34:17.Put On Your Sunday Clothes. The more I investigated the lyrics I
:34:17. > :34:21.realised the kismet of it. It is about two guys that have never gone
:34:21. > :34:26.outside of their small town and they want to know what it is like
:34:26. > :34:34.to truly live life for one day and kiss a girl. That's parallel to
:34:34. > :34:44.what this little guy wants and he doesn't even know it.
:34:44. > :34:46.
:34:46. > :34:51.# A moment to be loved # I always pictured this little lost
:34:51. > :34:57.janitor wandering amongst the detritus and the debris of who used
:34:57. > :35:02.to occupy the place and not really knowing that history. I could not
:35:02. > :35:06.drop the appeal of this character that I didn't really know yet. I
:35:06. > :35:11.hadn't really met it and yet I already really cared for it. He
:35:11. > :35:18.really is the ultimate sound designer. He literally explored for
:35:18. > :35:24.months. I would come in and it was sort of
:35:24. > :35:34.like an audio test. I would just go, that feels like
:35:34. > :35:37.
:35:37. > :35:42.Wall-E. That feels like EVE. One of my most favourite sounds will
:35:42. > :35:48.always be just the voice he discovered for EVE. It is this
:35:48. > :35:58.weird alchemy of a human voice plus him plus sound effects and music
:35:58. > :36:15.
:36:15. > :36:19.For a long time I had this singular eye kind of idea. But then I
:36:19. > :36:24.thought it was too limiting. Like I needed a character that could carry
:36:25. > :36:30.not a short but a whole movie, that would have a range of emosts and
:36:30. > :36:35.issues. So I was at a baseball game and somebody lent me their
:36:35. > :36:39.binoculars. I turned it around and made it go sad, mad and happy. I
:36:39. > :36:43.thought, "Oh, my God, I did this all the time as a kid" and I
:36:43. > :36:49.realise there had is the extra level of subtlety that I needed to
:36:49. > :36:55.carry a whole movie. What happened was that we had made
:36:55. > :37:00.a wrong turn right at the end of the second act, when they ended up
:37:00. > :37:06.in this trash compactor area. I had made EVE be potentially destroyed.
:37:06. > :37:11.He had to do everything he could to repair her. I had gotten it
:37:11. > :37:18.kpwhreetly flipped. It was one of those -- completely flipped. It was
:37:18. > :37:25.one of the those last-minute things where the story told us.
:37:25. > :37:30.Wall-E? Come on. Wall-E spent all this time out of just being this
:37:30. > :37:34.honest thing and has planted a seed in everything else and now it is
:37:35. > :37:39.time for him to be disabled and for everyone to rise to the occasion
:37:39. > :37:45.based on how he's touched them. That suddenly made a huge
:37:45. > :37:55.difference on the whole movie. That's part of the thrill and the
:37:55. > :37:59.
:37:59. > :38:09.scaryness of making movies. Evil? Why? You are not!
:38:09. > :38:23.
:38:23. > :38:26.# And that is all that love's about That's all for tonight. In next
:38:26. > :38:29.week's show we'll be reviewing Contraband, We Bought A Zoo, 21
:38:29. > :38:32.Jump Street, and Once Upon A Time In Anatolia. Playing us out tonight,
:38:32. > :38:42.Neighbourhood Watch. It's in cinemas this August. Thank you and
:38:42. > :38:42.
:38:42. > :39:25.Apology for the loss of subtitles for 43 seconds