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Hello. Welcome to film 2013 with me Claudia Winkleman. And Medan | 0:00:18 | 0:00:27 | |
anyLeigh. We are live. If -- And me, Danny Leigh. We are live. If you | 0:00:27 | 0:00:37 | |
0:00:37 | 0:00:38 | ||
want to get in touch, you can do so. Coming up: Les Miserables. | 0:00:38 | 0:00:43 | |
Ryan Gosling and Sean Penn go head- to-head in Gangster Squad. | 0:00:43 | 0:00:50 | |
You can't shoot me, you are a cop. Quentin Tarantino is unchained. | 0:00:50 | 0:00:59 | |
hope people say it is the best western of the 2 1st Century. | 0:00:59 | 0:01:04 | |
we have the very first look at Danny Boyle's new film. | 0:01:04 | 0:01:10 | |
First, Les Miserables. Today, it was announced it's been nominated | 0:01:10 | 0:01:20 | |
0:01:20 | 0:01:31 | ||
for nine BAFTAs. It follows an ex-convict and in his | 0:01:31 | 0:01:38 | |
quest for redemption, there's a constant power struggle between him | 0:01:38 | 0:01:45 | |
and the inspector as he runs away from the law. | 0:01:45 | 0:01:50 | |
# Stole a loaf of bread. # It surrounds three themes of hope, | 0:01:50 | 0:01:56 | |
love and redemption. Characters come in-and-out of that. My | 0:01:56 | 0:02:03 | |
character falls in love with the young student boy who is in love | 0:02:03 | 0:02:12 | |
with Cosette. I don't know what to say. It's a bit of a sort of | 0:02:12 | 0:02:17 | |
everything - somehow this film covers everything. There is an | 0:02:17 | 0:02:24 | |
action element. A romance element. And it is all within this form of a | 0:02:25 | 0:02:28 | |
musical. # On my own | 0:02:28 | 0:02:38 | |
0:02:38 | 0:02:48 | ||
I said to myself, "Don't get caught making the film if you can't find | 0:02:48 | 0:02:58 | |
0:02:58 | 0:03:01 | ||
the people to do it." Particularly tricky with Jean Valjean. | 0:03:01 | 0:03:07 | |
# Gave me hope when hope was gone # He gave me strength to turn it on. | 0:03:07 | 0:03:12 | |
What is key is that Tom took the bold decision to sing everything | 0:03:12 | 0:03:17 | |
live and every take is live. That had never been done before. It was | 0:03:17 | 0:03:24 | |
considered impossible technically and for singers. With play-back you | 0:03:24 | 0:03:28 | |
have to countdown, three, two, one and I have to sing. An actor can | 0:03:28 | 0:03:32 | |
sit and sit and when they are ready they can start. It is true there is | 0:03:32 | 0:03:37 | |
a child and the child is my daughter. The father abandoned us | 0:03:37 | 0:03:44 | |
leaving us flat. She lives with an innkeeper man and his wife. | 0:03:44 | 0:03:48 | |
I don't want to think about the alternative. I think it probably | 0:03:48 | 0:03:53 | |
would have been a bit dull. # At the end of the day | 0:03:53 | 0:03:56 | |
# She will probably be nothing but trouble. # | 0:03:56 | 0:04:02 | |
I think getting to sing it live allowed us to internalise it. I | 0:04:02 | 0:04:10 | |
think it added an element of danger to the film and made us all huddle | 0:04:10 | 0:04:13 | |
together and really become a committed cast. | 0:04:13 | 0:04:22 | |
# I had a dream my life would be # So different from this hell I'm | 0:04:23 | 0:04:32 | |
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Even listening to that, I wanted to cry! Shall I start? Please. Other | 0:04:50 | 0:04:55 | |
films pull you away by your ankles. We know what film Les Miserables is. | 0:04:55 | 0:04:59 | |
It is a West End show executed on the scale of World War Two. Tom | 0:04:59 | 0:05:02 | |
Hooper is here. He is determined to do everything you could never do on | 0:05:02 | 0:05:06 | |
the stage. He is pulling you in until you are three feet away from | 0:05:06 | 0:05:16 | |
the actors. I think it's lavish and I think it is efficient. I imagine | 0:05:16 | 0:05:22 | |
you hated every second? It is so moving. I have to explain - I was | 0:05:22 | 0:05:30 | |
watching in a row of girls - we were holding - I could cry now! We | 0:05:30 | 0:05:34 | |
will all do this together. We were holding on for dear life. We were | 0:05:34 | 0:05:41 | |
sobbing. Anne Hathaway is so phenomenal. All of them - I love | 0:05:42 | 0:05:47 | |
Eddie Redmayne. I think it is - I cannot recommend it enough! I | 0:05:47 | 0:05:52 | |
thought it was brilliant. It will take you along. It is a | 0:05:52 | 0:05:56 | |
masterstroke having the actors sing live. Not sure it is the first film | 0:05:56 | 0:06:02 | |
to do that. It does mean everything is much more alive. Anne Hathaway, | 0:06:02 | 0:06:09 | |
this is the big - this is the Oscar moment when she turns up caked in | 0:06:09 | 0:06:14 | |
tears and snot and does I dreamed A Dream. Hugh Jackman was having the | 0:06:14 | 0:06:19 | |
time of his life. Russell Crowe was a bit clogged up. No! I liked him. | 0:06:19 | 0:06:25 | |
He is clogged. He is clogged! He is. The real star is Tom Hooper. It is | 0:06:25 | 0:06:35 | |
0:06:35 | 0:06:35 | ||
like he is always there just off camera, like a mad conductor. | 0:06:35 | 0:06:39 | |
all I would say is it is a train that you either decide to get on | 0:06:40 | 0:06:46 | |
and you have to decide fast. You can go, "This is a bit loud." Or, | 0:06:46 | 0:06:52 | |
like me and the girls, who gave it a standing ovation, we were alone. | 0:06:52 | 0:06:57 | |
There was nobody there. We weren't drunk. It was the morning! I need | 0:06:57 | 0:07:03 | |
to say that. I think - I was swept away. I thought the cast was | 0:07:03 | 0:07:07 | |
brilliant. I don't mind that it is loud. What I have - I don't have a | 0:07:07 | 0:07:13 | |
problem with it. People should be aware it is not just loud, it is | 0:07:13 | 0:07:17 | |
loud all the time. Is it an impressive achievement? | 0:07:17 | 0:07:23 | |
# He stole a loaf of bread! # Thanks for that(!) Are people going | 0:07:23 | 0:07:30 | |
to get what they want from it? Yes. I felt a little like I had been | 0:07:30 | 0:07:36 | |
rolled over by a tank. I love the idea of being rolled over by a | 0:07:36 | 0:07:41 | |
singing tank! You must go and see it. Gangster Squad, the story of | 0:07:41 | 0:07:49 | |
the LAPD's fight to keep the Mafia out of LA. It stars Josh Brolin, | 0:07:49 | 0:07:54 | |
Ryan Gosling and Sean Penn. I'm so sorry. It won't ever happen again. | 0:07:54 | 0:08:04 | |
0:08:04 | 0:08:08 | ||
You are talking to God! You might as well swear to me! It is Mickey | 0:08:08 | 0:08:13 | |
Cohen's town! It is about Los Angeles in 1949. A gangster had | 0:08:13 | 0:08:19 | |
taken over the illegal activity in the city and then the police chief | 0:08:19 | 0:08:27 | |
Bill Parker assembled a select group of cops which he called the | 0:08:27 | 0:08:32 | |
Gangster Squad. I have only one rule - leave these at home. We are | 0:08:32 | 0:08:37 | |
not solving a case here. We are going to war. It is a based on a | 0:08:37 | 0:08:46 | |
true story about this group of men who were able to overthrow Mickey | 0:08:46 | 0:08:56 | |
0:08:56 | 0:08:59 | ||
Cohen. Who is he? Ten bucks says this guy ain't even heeled. Come | 0:08:59 | 0:09:07 | |
over here and find out. Come on! There are a band of guys who are | 0:09:07 | 0:09:17 | |
0:09:17 | 0:09:21 | ||
willing to work outside the box and take them down in any way possible. | 0:09:21 | 0:09:27 | |
Please help me. Welcome to Los Angeles. I like anything that goes | 0:09:27 | 0:09:32 | |
back into a different era. It makes it more fun to explore. I like | 0:09:32 | 0:09:36 | |
doing a lot of research. The idea of doing a gangster movie was right | 0:09:36 | 0:09:45 | |
up my alley. You can't shoot me, you're a cop. Not any more! When I | 0:09:46 | 0:09:55 | |
0:09:56 | 0:09:56 | ||
was a kid, I was obsessed with Dick Tracy. I was a big fan of the genre. | 0:09:56 | 0:10:04 | |
We want to talk to her. We have a message. The lady doesn't want to | 0:10:04 | 0:10:14 | |
0:10:14 | 0:10:16 | ||
talk to you. I have seen all of the great gangster films - White Heat. | 0:10:16 | 0:10:26 | |
0:10:26 | 0:10:26 | ||
That was my window into it. There was a similarity in spirit. | 0:10:26 | 0:10:36 | |
0:10:36 | 0:10:37 | ||
will find out tomorrow! You will be begging for a bullet | 0:10:37 | 0:10:45 | |
before it's over! Begging for a bullet before it's | 0:10:45 | 0:10:50 | |
over. Thank you, Sean. What Gangster Squad wants to do, he | 0:10:50 | 0:11:00 | |
wants to do for '40s LA what Guy Ritchie's Sherlock Holmes did for | 0:11:00 | 0:11:05 | |
London. I think you have a lot of neon and blood and camera high | 0:11:05 | 0:11:10 | |
jinks. It adds up to the perfect camera movie for a 13-year-old. It | 0:11:10 | 0:11:14 | |
is a 15 certificate. They will have to sneak in. That will add to the | 0:11:14 | 0:11:18 | |
excitement. For anyone over 13, what it will feel like is that you | 0:11:18 | 0:11:26 | |
have bought a ticket for LA Confidential. You might prefer to | 0:11:26 | 0:11:31 | |
watch Bugsey Malone. I feel bad slagging it off. I really like the | 0:11:31 | 0:11:38 | |
cast. I like the story, MS Stone, Sean Penn - dreamy. For whatever | 0:11:38 | 0:11:43 | |
reason, I think the slow-motion, there is so much slow-motion, there | 0:11:43 | 0:11:52 | |
is slow-motion where I thought I should go and see a projectionist! | 0:11:52 | 0:11:56 | |
Why doesn't it click? Part of the problem is it is a cartoon. It is | 0:11:56 | 0:12:00 | |
meant to be a cartoon. The thing is, if you expect LA Confidential and | 0:12:00 | 0:12:06 | |
you get this, you will be disappointed. It's what it is to | 0:12:06 | 0:12:16 | |
0:12:16 | 0:12:19 | ||
its very core. Right down to MS Stone. -- Emma Stone. I don't have | 0:12:19 | 0:12:24 | |
a problem with her at all. I don't have a problem with Sean Penn. | 0:12:24 | 0:12:27 | |
Panto season doesn't have to end at Christmas! I don't have a problem | 0:12:27 | 0:12:32 | |
with that. I do have a problem with Ryan Gosling. We are all Ryan | 0:12:32 | 0:12:39 | |
Gosling fans. He needs to find another character to play. He can't | 0:12:39 | 0:12:49 | |
0:12:49 | 0:12:52 | ||
be this Indie Ken Doll for the rest of his life! LAUGHTER There is | 0:12:52 | 0:12:58 | |
nothing. They used to get captive pandas and fly them around the | 0:12:58 | 0:13:04 | |
world in the hope they would breed - that is what the film feels like. | 0:13:04 | 0:13:09 | |
It sends the whole thing off balance. I don't think it is unfun. | 0:13:09 | 0:13:17 | |
If you want an authentic portrayal of '40s LA, get a six-year-old to | 0:13:17 | 0:13:22 | |
draw you a picture of a man in a fedora. Your main advice is if you | 0:13:22 | 0:13:28 | |
are under age, sneak in, you will love it? Do it illegally! I'm all | 0:13:28 | 0:13:38 | |
0:13:38 | 0:13:47 | ||
right with that. Now time for this Welcome. We have to halt film | 0:13:47 | 0:13:52 | |
proceedings and say you have got engaged! I did. That's all I want | 0:13:52 | 0:13:57 | |
to talk about but we are not allowed! Let's talk about - this is | 0:13:57 | 0:14:07 | |
my favourite topic ever. You can talk about it for ages Scene | 0:14:07 | 0:14:14 | |
Stealers. Why have you chosen it? Anne Hathaway will win an Oscar for | 0:14:14 | 0:14:19 | |
doing so. This is one of cinema's great pleasures. It happens rarely. | 0:14:19 | 0:14:26 | |
When it does, it is incredible. Judi Dench, she was on air for | 0:14:26 | 0:14:31 | |
three minutes and walked away with the Oscar. What is five? It is a | 0:14:31 | 0:14:41 | |
0:14:41 | 0:14:42 | ||
classic example of a soon-to-be icon and stealing it. This is | 0:14:42 | 0:14:49 | |
Marilyn Monroe. Have a look. remember crossing you off my guest | 0:14:49 | 0:14:58 | |
list. What are you doing here? remember her? I do not. We have | 0:14:58 | 0:15:08 | |
0:15:08 | 0:15:09 | ||
never met. She is an actress. Eve. Good evening. I have no idea you | 0:15:09 | 0:15:15 | |
two knew each other. This must be our formal introduction. Until now, | 0:15:15 | 0:15:24 | |
we have only met in passing. She is such a breath of fresh air. | 0:15:24 | 0:15:29 | |
You see her and there she is. She is not in training. She is fully | 0:15:29 | 0:15:36 | |
formed. That whole persona is set. There she is. Extraordinary. Can | 0:15:36 | 0:15:41 | |
you imagine at the time to see that would have been amazing. How many | 0:15:41 | 0:15:46 | |
takes would it have took her? 43, I would imagine! What is four? Four, | 0:15:46 | 0:15:51 | |
well, there was a particular school of actor who particularly in the | 0:15:51 | 0:15:56 | |
1990s came in and they were very serious and many started out on the | 0:15:56 | 0:16:02 | |
stage and exploded into Hollywood. Yeah. Can you remember when they | 0:16:02 | 0:16:12 | |
0:16:12 | 0:16:16 | ||
did - who are these guys? I think the best of the lot is Philip | 0:16:16 | 0:16:19 | |
Seymour Hoffman. Here he plays this rather menacing character who is | 0:16:20 | 0:16:25 | |
only in a couple of scenes and walks away with the film. Here he | 0:16:25 | 0:16:35 | |
0:16:35 | 0:16:53 | ||
is. Oh, here he is. Ciao. Hey, finally. Think what her husband is | 0:16:53 | 0:16:56 | |
saying! This is the actor who raises the | 0:16:56 | 0:17:00 | |
standard of the movie to such a degree that you think it is one of | 0:17:00 | 0:17:10 | |
0:17:10 | 0:17:12 | ||
the best films ever made. I love it because of Philip Seymour Hoffman. | 0:17:13 | 0:17:20 | |
Thank you. You are both right! Sorry. Let's go to three. Three - | 0:17:20 | 0:17:24 | |
this is a movie close to my heart and a performance close to my heart. | 0:17:24 | 0:17:30 | |
I can remember being stunned by it when I saw it. This is the greatest | 0:17:30 | 0:17:40 | |
0:17:40 | 0:17:41 | ||
gangster movie of all time. This is Jodie Foster in Bugsy Malone. I | 0:17:41 | 0:17:45 | |
remember thinking she's not a kid, you are not a kid, and she is not a | 0:17:45 | 0:17:49 | |
kid. She is 14 and not much older than any of the children in the | 0:17:49 | 0:17:58 | |
cast. Let's have a look. I have always found you special. Careful. | 0:17:58 | 0:18:06 | |
You are racing my motor! Give a girl a break. Are you sure you got | 0:18:06 | 0:18:10 | |
the right fella? You are not like all those other saps. You have | 0:18:10 | 0:18:19 | |
lovely brown eyes. They will be black eyes if they catch us! | 0:18:19 | 0:18:26 | |
about smearing my lipstick? Come any closer, I will have to call my | 0:18:26 | 0:18:31 | |
lawyer! She is so sexy. What is next? There is also a category of | 0:18:31 | 0:18:38 | |
movie that is set up to be stolen by one performance. Think of | 0:18:38 | 0:18:48 | |
Apocalypse Now. And a couple of years ago there was the movie about | 0:18:48 | 0:18:53 | |
the financial crisis and Jeremy Irons plays the head of the bank | 0:18:53 | 0:18:58 | |
who has to work out how to save the bank from complete collapse and it | 0:18:58 | 0:19:02 | |
is the most complex, strange performance - is he a corrupted | 0:19:02 | 0:19:12 | |
man? We are never sure. He is so good. Have a look. Do you care to | 0:19:12 | 0:19:20 | |
know why I'm in this with you all? Why I earn the Big Buck's? I'm here | 0:19:20 | 0:19:28 | |
for one reason alone. I'm here to guess what the music might do a | 0:19:28 | 0:19:38 | |
0:19:38 | 0:19:40 | ||
year from now. That's it. Nothing more. I'm standing here tonight. | 0:19:40 | 0:19:48 | |
I'm afraid I don't hear a thing. good. He steals everything! He | 0:19:49 | 0:19:58 | |
steals the Lion King. Pink Panther 2. Quite! He does it with such ease. | 0:19:58 | 0:20:04 | |
Let's talk about the number one. This was a seismic moment in cinema. | 0:20:04 | 0:20:10 | |
You cannot take away Brad Pitt's appearance in Thelma and Louise. If | 0:20:10 | 0:20:19 | |
you have a look at him, his whole body, that is - this is the moment | 0:20:19 | 0:20:25 | |
that cinema changed. Everything - he did change things. Here he is. | 0:20:25 | 0:20:32 | |
OK. Ladies, gentlemen, let's see who wins - Simon says everybody | 0:20:32 | 0:20:35 | |
down on the floor. Nobody lose their head and nobody loses their | 0:20:35 | 0:20:39 | |
head. You, Sir, yeah, you do the honours. Take that cash and put it | 0:20:39 | 0:20:44 | |
in that bag right there. You have an amazing story to tell your | 0:20:44 | 0:20:54 | |
0:20:54 | 0:21:00 | ||
friends. Simple as that. Then I just slip on out. And yeah... | 0:21:00 | 0:21:07 | |
love how she is sitting there with her mouth open! Now he sells | 0:21:07 | 0:21:14 | |
perfume! Who was going to be in yours? To be honest, Christopher | 0:21:14 | 0:21:24 | |
0:21:24 | 0:21:26 | ||
Walken and no Dennis Hopper. He is such a show-off. Thank you very | 0:21:26 | 0:21:36 | |
much. My scene stealer Jabba The Hut. Danny went to meet Quentin | 0:21:36 | 0:21:40 | |
Tarantino ahead of Django Unchained's release. | 0:21:40 | 0:21:44 | |
It's been 21 years since Reservoir Dogs. What are your memories of | 0:21:44 | 0:21:49 | |
making that movie? I was nervous about every step of the process. | 0:21:49 | 0:21:53 | |
But then every step - then I went forward and everything worked out | 0:21:53 | 0:21:58 | |
OK. No, I was good at this. No, I was right all these years. So by | 0:21:58 | 0:22:08 | |
0:22:08 | 0:22:19 | ||
the time that I came to shoot, I # I got the feeling something ain't | 0:22:19 | 0:22:23 | |
right # I'm so scared in case I fall off | 0:22:23 | 0:22:27 | |
my chair... # I was calm. I wasn't worried about | 0:22:27 | 0:22:32 | |
being fired. That was always the thing in my head. Guys like me make | 0:22:32 | 0:22:38 | |
a movie - I will get there and they - I will work for a week and they | 0:22:38 | 0:22:43 | |
will fire me. That wasn't the case. I also remember showing up on the | 0:22:43 | 0:22:50 | |
first day, the thing that let me know that I was making a real movie | 0:22:50 | 0:22:54 | |
- and that is a home-made thing like I tried to do before - when I | 0:22:54 | 0:22:58 | |
got there that day and saw the trucks lined up on the road on the | 0:22:58 | 0:23:06 | |
set, I was thinking, "Wow, here it is. This is a real Hollywood movie. | 0:23:06 | 0:23:13 | |
There's the trucks." You want to shoot me? Go ahead. Take a shot. | 0:23:13 | 0:23:20 | |
didn't create the situation. I'm dealing with it. I'm acting like a | 0:23:20 | 0:23:23 | |
professional! People would talk about other | 0:23:23 | 0:23:33 | |
0:23:33 | 0:23:35 | ||
people's movies being Tarantino- esque. How weird was that for you? | 0:23:35 | 0:23:40 | |
A whole lot of movies came out that you could put in that box. I had | 0:23:40 | 0:23:47 | |
taken one of the oldest genres and that inspired people. They wanted | 0:23:47 | 0:23:52 | |
to go down that same road. Some were good. Some were not so good. I | 0:23:52 | 0:23:56 | |
took it as a big compliment. Pulp Fiction was very ambitious. You | 0:23:56 | 0:24:01 | |
talked about Reservoir Dogs. Were there any moments on Pulp Fiction | 0:24:01 | 0:24:05 | |
where you thought you had bitten off more than you can chew? If it | 0:24:05 | 0:24:10 | |
works on the page, I know I can make it work on the movie screen. | 0:24:10 | 0:24:16 | |
So that is why I sweated so much over getting the script right. | 0:24:16 | 0:24:20 | |
know what they call a quarter pounder with cheese? They don't | 0:24:20 | 0:24:28 | |
call it a quarter pounder with cheese? What do they call it? | 0:24:28 | 0:24:31 | |
Royale with cheese. One of the things you have been associated | 0:24:31 | 0:24:35 | |
with is taking actors who have fallen out of the spotlight and | 0:24:35 | 0:24:41 | |
putting them back in it. Which of the casting calls are you most | 0:24:41 | 0:24:46 | |
proud of? John Travolta in Pulp Fiction. I was the only one that | 0:24:47 | 0:24:55 | |
was on board for that. Nobody else was down with that idea. | 0:24:55 | 0:25:00 | |
# It was a teenage wedding # And the old folks wished them | 0:25:00 | 0:25:02 | |
well. # I think he was not only an | 0:25:02 | 0:25:06 | |
important part of the movie working, he was an important commercial | 0:25:06 | 0:25:09 | |
component to the movie working because there was something | 0:25:09 | 0:25:14 | |
glorious about that comeback. It reminded people how much they liked | 0:25:14 | 0:25:19 | |
him a long time ago and so there was a joy to that comeback that was | 0:25:19 | 0:25:25 | |
special. I think it helped push the movie over into being a bigger | 0:25:25 | 0:25:29 | |
success. However, the casting choice that I have done that I'm | 0:25:29 | 0:25:39 | |
0:25:39 | 0:25:43 | ||
easily the most proudest of, though, is Christoph Waltz in Inglourious | 0:25:43 | 0:25:48 | |
Basterds. There was a serious danger that maybe I wrote a | 0:25:48 | 0:25:55 | |
character that was unplayable and when Christoph Waltz walked in and | 0:25:55 | 0:26:02 | |
just did the reading, I knew I had found him. If one were to determine | 0:26:02 | 0:26:06 | |
what attributes the German people share with the beast... That would | 0:26:06 | 0:26:11 | |
be the cunning and predatory instinct of the hawk. If one were | 0:26:11 | 0:26:17 | |
to determine the attributes what the Jews share with the beast... | 0:26:17 | 0:26:21 | |
Some directors come to each film individually. You have talked about | 0:26:21 | 0:26:25 | |
having a body of work. That is very important to you. Do you still feel | 0:26:25 | 0:26:29 | |
that now? Has that changed? most paramount importance is my | 0:26:30 | 0:26:39 | |
body of work. And to be judged by that body of work. One real bad | 0:26:39 | 0:26:45 | |
movie lessens the light of three good ones. It is keeping that | 0:26:45 | 0:26:50 | |
standard up and keeping my name, a name you can count on. You can rely | 0:26:50 | 0:26:54 | |
on my movies to be good. You don't have to cherry-pick them. If you | 0:26:54 | 0:27:04 | |
0:27:04 | 0:27:12 | ||
have trusted me so far, you can Touch your guns, you die. How are | 0:27:12 | 0:27:14 | |
you hoping Django Unchained is scene within your body of work? | 0:27:14 | 0:27:22 | |
hope it is right there towards the top. Frankly, 20 years from now, I | 0:27:22 | 0:27:26 | |
hope people say it is the best western of the 21st Century. We | 0:27:26 | 0:27:35 | |
will see. What is your name? Django. The real test is not the Friday it | 0:27:36 | 0:27:40 | |
opens, the real test is down the line, how is the film thought of | 0:27:40 | 0:27:46 | |
ten years from now? How is it thought of after I'm dead. What is | 0:27:46 | 0:27:52 | |
next? You have spoken about retiring at 60. How are you feeling | 0:27:52 | 0:27:59 | |
now? Well, 60 is still ten years away! It is the idea that I'm the | 0:27:59 | 0:28:07 | |
kind of artist, showman that likes the idea of leaving you wanting a | 0:28:07 | 0:28:14 | |
bit more. OK, enough of this dude! Brilliant. We will be reviewing | 0:28:14 | 0:28:20 | |
Django Unchained next week. You can see more of that interview on the | 0:28:20 | 0:28:25 | |
film 2013 website. Next What Richard Did. | 0:28:25 | 0:28:35 | |
0:28:35 | 0:28:36 | ||
The guards were here. What did they say? Were you there? Are you | 0:28:36 | 0:28:46 | |
0:28:46 | 0:29:09 | ||
telling me nobody remembers Movies tend to rely on heroes and | 0:29:09 | 0:29:14 | |
villain. What Richard Did turns all that on its head. Richard is a | 0:29:14 | 0:29:17 | |
natural hero. He's a young man with a glorious future. Then a mistake | 0:29:17 | 0:29:22 | |
is made. This is a film about mistakes and about guilt. I think | 0:29:22 | 0:29:26 | |
what is so fantastic about it is it lets you draw your own conclusions. | 0:29:26 | 0:29:29 | |
It is smart and subtle. It doesn't do your thinking for you. That is a | 0:29:29 | 0:29:33 | |
breath of fresh air. I don't know whether you know this. I like films | 0:29:34 | 0:29:39 | |
that do my thinking for me! LAUGHTER I like a big sign that | 0:29:39 | 0:29:42 | |
says "sob" or "laugh". I'm very obedient. | 0:29:42 | 0:29:50 | |
# I stole a loaf of bread. # That is my bag. However, this is a | 0:29:50 | 0:29:53 |