:00:24. > :00:30.Hello and welcome to Film 2013. We're live and if you want to get in
:00:31. > :00:34.touch the details are on the screen now.
:00:35. > :00:38.Coming up on tonight's show: Ridley Scott directs the A-list cast
:00:39. > :00:45.of The Counselor. You should be careful what you wish for. The
:00:46. > :00:54.shipment, it's gone! Jude Law and Richard E Grant star in
:00:55. > :00:57.crime-spree caper Dom Hemingway. And Joseph Gordon Levitt writes,
:00:58. > :01:06.directs and stars in rom-com gone wrong, Don Jon. Baby, what are you
:01:07. > :01:10.doing? I was just reading e-mails. No, you weren't!
:01:11. > :01:13.And we'll be reviewing Palme d'Or winner Blue Is The Warmest Color.
:01:14. > :01:18.I'm joined in the studio by Danny Leigh, as ever, and guest critic,
:01:19. > :01:22.Antonia Quirke. U thank you for coming in. -- thank you for coming
:01:23. > :01:26.in. First up is Ridley Scott and Cormac
:01:27. > :01:31.McCarthy's The Counselor. A dark tale of a lawyer who gets caught up
:01:32. > :01:37.in drug trafficking. It's a classic tragedy tale. There's also a love
:01:38. > :01:44.story in there. Will you? Yes, I will. I intend to love you until I
:01:45. > :01:52.die. Me first. It is a thriller at times. Counsellor... My back is
:01:53. > :02:02.against the wall. It is a complex drama. It is about the consequences
:02:03. > :02:08.of your own action. 65 kilos - -- 625 kilos - probably 20 million. My
:02:09. > :02:16.character is a nightclub business owner, the counsellor is my lawyer,
:02:17. > :02:21.but also I am the one who is helping him be in touch with something he
:02:22. > :02:27.shouldn't be in touch with. I know why I'm in it. Do you? Same as you,
:02:28. > :02:31.greed. No, you got in trouble. I tried to appeal to your greed two
:02:32. > :02:40.years ago. No deal. Now, it is too late. It is too late. What do you
:02:41. > :02:44.think I should do? I don't know. He's been seduced by the people
:02:45. > :02:49.around him. I am really worried. He wants a piece of it. That is
:02:50. > :02:58.unfortunately his unravelling. We have a problem. The shipment, it's
:02:59. > :03:09.gone! I had a call from my business partners. These people are out 20
:03:10. > :03:14.mill. Just you. They don't believe in coincidences. It is not a movie
:03:15. > :03:20.about a very normal plot. You have to make some work. That is one of
:03:21. > :03:26.the values of the movie itself. The writing is very powerful. He throws
:03:27. > :03:29.some jewels out there that are very powerful statements, about life
:03:30. > :03:42.itself. Do I remind you of someone else? Yes, you do. Someone you miss?
:03:43. > :03:47.Someone who is dead. I don't think I miss things. To miss something is to
:03:48. > :03:51.hope it will come back. It is not coming back. You don't think that is
:03:52. > :04:00.a bit cold? I think truth has no temperature. The movie is very dark.
:04:01. > :04:03.I know there is a responsibility that comes with making a movie about
:04:04. > :04:07.something like this because it is something that unfortunately is
:04:08. > :04:15.real. When the axe comes through the door, I'll already be gone. What do
:04:16. > :04:26.you think I should do? How bad is it? We are all done here. It has to
:04:27. > :04:29.hurt to watch it. If not, it is not dealing with the subject in a
:04:30. > :04:40.responsible way. The slaughter to come. It is probably beyond our
:04:41. > :04:47.imagining. If anyone is worried, Cameron Diaz was wearing a hood at
:04:48. > :04:51.lunch in that scene. The whole thing left me speechless. Shall I speak
:04:52. > :04:56.for you? Please. You think it is going to be star-studded. The real
:04:57. > :04:59.star is the script. The scriptwriter. It is possibly the
:05:00. > :05:06.world's finest living novelist. This thing that he's written, it is so
:05:07. > :05:15.extraordinary. You can't put an 80-year-old dude on the poster. This
:05:16. > :05:21.film is a Cormac audio book. It is engrossing. It is masterful. Maybe
:05:22. > :05:27.the only person on Earth who thinks that. Ridley Scott is watching right
:05:28. > :05:32.now going, "It's fine, I've made better." Maybe it is the visuals
:05:33. > :05:43.that are the problem. Should I have closed my eyes? Well, this is a
:05:44. > :05:49.famously a flop. None of the cast, crew, nobody wants to talk about it.
:05:50. > :05:58.I think the problem with this movie is the director. You are right, he
:05:59. > :06:05.is an incredible writer. Here he is, it is an original screenplay. Maybe
:06:06. > :06:14.it is useful to think about it like this. Imagine No Country For Old Men
:06:15. > :06:18.- imagine if that had been directed by Ridley Scott in this frame of
:06:19. > :06:23.mind that he appears to be in. He would have ended up a movie like The
:06:24. > :06:31.Counselor. He is the wrong director for this material. It needs someone
:06:32. > :06:35.with a lot more soul. It is about massive drug dealing and Ridley
:06:36. > :06:45.Scott is the perfect director. It is demRitsy and -- glitzy and
:06:46. > :06:49.tasteless. It is like Ashley Cole's cheese dream. Once you have too much
:06:50. > :06:57.money, the world goes mad! This is what happens. This movie is filled
:06:58. > :07:05.with cheetah in diamond-studded collars. It is a style section...
:07:06. > :07:09.They wish! What I would say is, didn't you get - I know it sounds
:07:10. > :07:14.weird - bored with all the characters? I was hoping they were
:07:15. > :07:17.all going to get blown up. Michael Fassbender's character, nothing
:07:18. > :07:22.makes sense. Isn't it great to be left guessing? I don't like
:07:23. > :07:27.guessing. I'm a woman! Can you please tell me how does Michael
:07:28. > :07:34.Fassbender, who is a legal aid lawyer, how does he afford to get
:07:35. > :07:39.involved in a 22 million dollar drugs heist? Maybe his grandmother
:07:40. > :07:49.died. What is so great is it is written as if Cormac has never seen
:07:50. > :07:59.the film before. Present company excepted, it is a flop. I feel
:08:00. > :08:05.uneasy about that. Cormac McCarthy is a magician. Most film critics
:08:06. > :08:10.couldn't write bum on a wall. Some of the lines are wonderful. The one
:08:11. > :08:18.that she says about truth has no temperature... That line you could
:08:19. > :08:24.imagine Barbara Stanwick. Cameron Diaz is terrific in this film. What
:08:25. > :08:28.is up with this woman? We don't know the backstory. I don't want a
:08:29. > :08:32.backstory. She gets the best lines. That is one of the reasons perhaps
:08:33. > :08:39.people have taken against this movie. Brad Pitt is brilliant?
:08:40. > :08:42.Javier Bardem is dressed like a deranged children's entertainer. It
:08:43. > :08:48.is like taking George Clooney and putting him upside-down in a skip!
:08:49. > :08:55.It is an insult to the actor. I love you for sticking up for it! Movie
:08:56. > :09:13.history - look, in reality, Friday night, if people hated Prometheus,
:09:14. > :09:20.they will hate this! OK. We will see.
:09:21. > :09:25.Next, actor Joseph Gordon Levitt writes, directs and stars in Don
:09:26. > :09:36.Jon. There are a few things I care about - my body, my ride, my family.
:09:37. > :09:41.My church. My boys. My girls. It is a story about how people treat each
:09:42. > :09:50.other more like things than people. And how the media can contribute to
:09:51. > :09:54.that. You have a boyfriend and a girlfriend. That's played by me and
:09:55. > :10:00.Scarlett. He watches too much pornography and she watches too many
:10:01. > :10:04.romantic Hollywood movies. I love movies like that. They have both
:10:05. > :10:09.developed these unrealistic expectations of what love and sex
:10:10. > :10:13.are spolzed to be. Why did you say yes to me? You will have to wait to
:10:14. > :10:20.find out. I have time. You are cute. I like you. I do think it is a
:10:21. > :10:27.romantic movie. It's certainly funny. But in many ways it does go
:10:28. > :10:32.against the rules of your standard rom-com, that's for sure. Baby, what
:10:33. > :10:36.are you doing? I was reading e-mails. You weren't. I don't think
:10:37. > :10:48.there is anything inherently wrong with pornography or a romantic
:10:49. > :10:51.movie. The problem is if we start expecting our real lives to be the
:10:52. > :10:55.same as what we see on a screen. Real life is not the same as what
:10:56. > :11:02.you see on a screen. How do you watch that? How do you watch the
:11:03. > :11:11.stupid movies you watch? They give awards for movies. They give awards
:11:12. > :11:16.for porn, too! If you talk about a PT Anderson movie, or a Woody Allen
:11:17. > :11:19.movie, some people love them and some people just don't get it. I
:11:20. > :11:24.think if you are going to do something bold and provocative and
:11:25. > :11:34.try to start a conversation, you will end up alienating some people
:11:35. > :11:38.and no offence meant. # It's just a
:11:39. > :11:44.# Good vibration. # Nothing to see here. Antonia? This
:11:45. > :11:49.movie is no good. I admire him for trying to make a film about this
:11:50. > :11:54.subject. I was in New Jersey where this movie is set, in fact. Every
:11:55. > :11:58.magazine, every radio station, this is the topic they are discussing,
:11:59. > :12:04.this tidal wave of porn. It was dropped on our heads. Then, two
:12:05. > :12:12.minutes later, there will be an ad for Viagara. Why are you looking at
:12:13. > :12:16.me? What is it doing to us? It's riddled with cliche and what have
:12:17. > :12:19.you. As he says himself, such a sweet boy, I'm trying to start a
:12:20. > :12:23.conversation. That is what he is doing and I admire him for it. You
:12:24. > :12:27.like the fact that it exists? I like the fact it exists. I don't want to
:12:28. > :12:31.see it again. Right. Is that enough? It is never good when the best part
:12:32. > :12:37.of the movie is the ten-second clip from a fake film. It is interesting,
:12:38. > :12:43.it is nice that he is trying to convey a positive message. It seems
:12:44. > :12:46.so sheltered and grannyish. It is as if he's only discovered the internet
:12:47. > :12:55.and people are doing rude things out there. He gets annoyed when he turns
:12:56. > :13:03.it on. Where is he looking for the porn from? He must have been trying
:13:04. > :13:08.to get this thing off the ground five years ago. I still think he is
:13:09. > :13:13.on the money. People weren't talking about this. It all seems motivated
:13:14. > :13:17.by this idea that he's discovered, Joseph Gordon-Levitt, who is a very
:13:18. > :13:21.talented boy, who has discovered one or two men might be using internet
:13:22. > :13:27.pornography. I have terrible news for him! At least it has something
:13:28. > :13:39.to say. It is about something. It is like a terrible advert for
:13:40. > :13:50.masturbation. As a director, he comes out as a good actor. He seems
:13:51. > :13:57.terrible here because he is playing this character. I don't think
:13:58. > :14:05.Scarlett Johansson... Don't you think she is great in it? My problem
:14:06. > :14:09.is it is so repetitive. He goes back to the same porn site. There are too
:14:10. > :14:14.many - the sister who is on her phone endlessly. I get it, after the
:14:15. > :14:18.eighth time! On the 15th time, there's got to be something else.
:14:19. > :14:22.That is his big idea. Sure, he will go on and make fantastic movies.
:14:23. > :14:30.This is a film school film that somebody has given him $25 million
:14:31. > :14:35.to make. Julianne Moore, I breathe a sigh - I thought that's brilliant.
:14:36. > :14:40.It changed the film. What is her character? She is a pair of clogs...
:14:41. > :14:48.No, no, she is much more than that in the film. I think the movie does
:14:49. > :14:52.have this lovely bit of sadness running through it. He does get
:14:53. > :14:56.involved with Julianne Moore, it is so obvious that that is what is
:14:57. > :15:01.going to happen. She's a widow and is in a bad way. You know, he's had
:15:02. > :15:05.a break-up. So you kind of get a sense that people are drawn to each
:15:06. > :15:11.other for all sorts of reasons. They know the relationship isn't going to
:15:12. > :15:15.last. They are clinging... Yes. I kind of bought that. I do get where
:15:16. > :15:19.you are coming from. It is so judgmental. He has a real problem
:15:20. > :15:24.with hair gel. So a character has a huge transformation because he stops
:15:25. > :15:29.wearing hair gel. We have all been through those moments. Thank you.
:15:30. > :15:45.Next, Jude Law and Richard E Grant buddy up in London crime romp Dom
:15:46. > :15:52.Hemingway. Mr Fontaine, you only use a gun to hold up a place, but no
:15:53. > :15:57.hunting. Dom Hemingway has just come out of prison and I have been his
:15:58. > :16:03.mentor and best buddy outside. They go on a crime revenge spree and
:16:04. > :16:15.everything that can go wrong does go wrong with hilarious consequences.
:16:16. > :16:20.Dad? You have to be kidding me. Dom is a petty criminal. He is a car
:16:21. > :16:26.crash of a man, really. He's trying to project something that he's not.
:16:27. > :16:29.And really the film is about getting beneath all those layers and seeing
:16:30. > :16:35.the shambles that he really is and what he really wants.
:16:36. > :16:41.Jesus Christ. You have to get control of yourself! I didn't bring
:16:42. > :16:44.the right shoes. Even with 30 pounds gained in weight, Jude Law makes
:16:45. > :16:50.people weak at the knees, which I saw in real life on a daily basis.
:16:51. > :16:53.It was obvious I had to let everything go because Dom had
:16:54. > :16:59.spiritually and physically to a point, so it was taking my face and
:17:00. > :17:06.maybe adding four or five unforgettable fights to it and years
:17:07. > :17:10.of booze - I didn't have to try too hard!
:17:11. > :17:16.I have a glorious tale to be passed down from generation to generation.
:17:17. > :17:22.Jude is playing somebody who is so out of control, but in order to play
:17:23. > :17:27.that part, he had to be so disciplined. He has huge long
:17:28. > :17:31.speeches that he had to keep repeating and we worried that his
:17:32. > :17:34.voice would give up because he had to shout so much. It was a big
:17:35. > :17:42.challenge for him. I'm stating what I'm stating. Stop stating what you
:17:43. > :17:46.are stating. State it again and I'll knock your teeth out! Can I state
:17:47. > :17:50.that I don't want you to be rude about it. Continue. That is quite a
:17:51. > :17:58.challenge. All of us grow up wanting to be something. I grew up wanting
:17:59. > :18:01.to be Mr T. This film wants to be Sexy Beast. It kind of almost gets
:18:02. > :18:07.there. There are moments when you think it is like a Pot Noodle and
:18:08. > :18:11.Haribo version of Sexy Beast. There is something to be said for any film
:18:12. > :18:25.that starts with an endless monologue of Jude Law. I'm going to
:18:26. > :18:37.say "penis" - it does set itself a high standard. OK. Antonia? In its
:18:38. > :18:46.dreams is it Sexy Beast! In its dreams it's Pipbter. -- Pinter. It
:18:47. > :18:51.ends up like that nice barman in Minder, you know. That is about as
:18:52. > :18:55.hard and dangerous as it gets. It is an extremely wet film and it has
:18:56. > :19:00.this incredible crisis of confidence about 40 minutes in. It is quite
:19:01. > :19:05.entertaining up till that point. Suddenly, it collapses and it has
:19:06. > :19:10.this sub-plot with the daughter. I found that very moving. It is
:19:11. > :19:14.interesting, isn't it, about villains and they seem to come in
:19:15. > :19:17.two types, the type that never says anything, the man with no name and
:19:18. > :19:21.the type that never shuts up, which is the kind of character we have
:19:22. > :19:30.here. It is a really difficult thing to keep up, that hyper articulate
:19:31. > :19:39.battering ram, lines like, "In my head, it's a disco in Manila full of
:19:40. > :19:44.transvestites suckling pigs." I'm a bit more charitable with it. There
:19:45. > :19:52.is enough ridiculous absurdity that you roll with it. Jude Law is from
:19:53. > :19:57.London, so I couldn't work out his action. Then there are moments when
:19:58. > :20:01.the film pauses. It does droop very badly after 40 minutes and Antonia
:20:02. > :20:06.is right. It turns into this weird, there is no-one kind like granddad
:20:07. > :20:12.type of thing. You have to give Jude Law lots of credit for the
:20:13. > :20:18.performance. You rate Law? I rate Law in it and Richard E Grant. He is
:20:19. > :20:24.interesting casting. What is quite funny is if you go into disreputable
:20:25. > :20:34.pubs in West London, you will see characters who look like Richard E
:20:35. > :20:39.Grant with fake hands. The thing about Law, you don't buy him as a
:20:40. > :20:44.killer, you don't buy him as a guy that is going to bite somebody's ear
:20:45. > :20:51.off. It is not that Jude Law can't be sinister. Think of him in The
:20:52. > :20:57.Talented Mr Ripley? Yes. He can do sinister. He can do that. Just
:20:58. > :21:04.not... I liked him in this. He was loyal. He was loyal to his boss so
:21:05. > :21:10.he stayed inside and he came out and he wanted his due. Can he go back
:21:11. > :21:14.inside? Next, is French love story Blue Is
:21:15. > :21:32.The Warmest Color and there is some very strong language.
:21:33. > :21:41.It's a common story, a meeting, a crush between these two girls. It is
:21:42. > :22:02.like a passion story. Everything involving that.
:22:03. > :22:08.You start from a script, but before the shoot, Abdellatif Kechiche told
:22:09. > :23:28.us we can improvise a lot. I could watch her for weeks - I
:23:29. > :23:34.could watch them both - but especially the young girl, Adele.
:23:35. > :23:39.Antonia? This is what the movie is about. It is about fixing a camera
:23:40. > :23:44.on a human being of tremendous wattage and allowing them to walk,
:23:45. > :23:52.talk, move, eat spaghetti, fall asleep. This is some of our greatest
:23:53. > :23:56.movies. Look at Goddard. Isn't she amazing? This is what the movie
:23:57. > :24:00.does. The movie - I can honestly say when I came out of this film, I
:24:01. > :24:05.wasn't sure where it was set - Paris? Who cares. All that matters
:24:06. > :24:09.is this incredible way in which it seemed to demonstrate perfectly what
:24:10. > :24:13.it feels like to be in love, the first flush of love, that utter
:24:14. > :24:18.concentration, the camera trying to puzzle her face out, the way it does
:24:19. > :24:21.that. There you are, three hours later, as you said, he could have
:24:22. > :24:25.carried on filming for another four hours and we would have sat there
:24:26. > :24:31.for another week. It is exceptional. One of the tell-tale moments in the
:24:32. > :24:37.film is there is a party scene and they have a movie screen up and the
:24:38. > :24:44.old silent movie icon, Louise Brooks is there. This is almost like a
:24:45. > :24:48.silent movie. It's a panoramic story which is told on the faces of the
:24:49. > :24:52.actresses and sometimes that is a tiny little glance and sometimes it
:24:53. > :24:56.is this huge explosion of emotion. It is all there. It is strange. We
:24:57. > :25:00.are going to end up talking about the sex scenes, but it is so funny.
:25:01. > :25:06.The sex scenes aren't that relevant in a funny kind of way. The real
:25:07. > :25:10.excitement in Blue Is The Warmest Color all happens from the neck up.
:25:11. > :25:25.There's been all kinds of controversies because the actresses
:25:26. > :25:31.won't talk about it. Martin Sheen barely survived Apocalypse Now. This
:25:32. > :25:36.is the movies. Of course, both of these actresses have said very
:25:37. > :25:41.publicly that they felt exploited that the whole experience was a
:25:42. > :25:46.nightmare, the director was exploitative. It is a strange that
:25:47. > :25:50.they didn't look unhappy when they were walking the red carpet at
:25:51. > :25:55.Cannes. Nevertheless, these things... It can sometimes come
:25:56. > :26:00.late? It can. They are probably right. It is super-exploitative in
:26:01. > :26:05.as much as these girls are perfect. These are perfect bodies. If he was
:26:06. > :26:09.going to be really brave, let's two ordinary-looking people. It is about
:26:10. > :26:15.young love and young bodies are always magnificent. You have these
:26:16. > :26:18.romances and the role of sex, when you get together with someone, that
:26:19. > :26:23.is when sex is amazing and that is glossed over in romances. I do think
:26:24. > :26:31.the sex scenes are a bit of a problem. The film's weakness is it
:26:32. > :26:35.all feels a bit self-conscious and a bit pompous. These are pompous sex
:26:36. > :26:39.scenes and I don't know, I almost found it is a strange thing to say
:26:40. > :26:44.sitting here on live TV with two women, after the first five or six
:26:45. > :26:49.minutes of watching the beautiful actresses having sex with each
:26:50. > :26:58.other, I found my mind wandering to the Cannes Festival. That shouldn't
:26:59. > :27:03.be what happened. It does make you uncomfortable. It is seven minutes
:27:04. > :27:14.of a three-hour film. You are right that the grandstanding makes you
:27:15. > :27:19.uncomfortable. It is Levined by the naturalness -- leavened by the
:27:20. > :27:22.naturalness. Lea Seydoux is the girl with the blue hair. Adele
:27:23. > :27:27.Exarchopoulos is exceptional. Didn't you think it was interesting how
:27:28. > :27:32.this is an actress who doesn't wear any make-up in the movie and it
:27:33. > :27:37.physically slides off her face in front of you without a snot or a
:27:38. > :27:43.tear. It does. Very quickly, film of the week? Antonia should go first.
:27:44. > :27:47.Blue Is The Warmest Color. Are you going to go The Counselor? I might
:27:48. > :27:57.just. And Blue Is The Warmest Color will
:27:58. > :28:01.be in cinemas on 22nd November. That's all from us. We'll be back at
:28:02. > :28:05.the same time next week. We're going to leave you tonight with a look at
:28:06. > :28:08.Jack Ryan: Shadow Recruit, which will be in cinemas in January - and
:28:09. > :28:17.it's a bit violent. Goodnight. Somebody tried to kill me.
:28:18. > :28:34.Jack? Jack? Was work OK? Yeah. You sold this as an office job. Sit
:28:35. > :28:40.down. Talk me through your scary scenario. It is going to be a wipe
:28:41. > :28:46.out. We will never see it coming. You are not just an analyst anymore.
:28:47. > :28:54.You are operational now. You think this is game, Jack? They won't bring
:28:55. > :28:58.us to our knees without firing a shot. There is a real scenario here
:28:59. > :29:03.where we don't get out of this alive. We have been compromised. If
:29:04. > :29:06.you find the truth, will you believe it?