:00:25. > :00:30.Hello and welcome to Film 2013. We're live and if you want to get in
:00:31. > :00:36.touch, the details are on the screen now. Coming up on tonight's show:
:00:37. > :00:43.Practically perfect in every way - Emma Thompson and Tom Hanks are
:00:44. > :00:47.Saving Mr Banks. Mary Poppins, never ever just Mary.
:00:48. > :00:51.There will be blood - Julianne Moore and Chloe Moretz star in the remake
:00:52. > :00:55.of Carrie. The other kids think I'm weird. I want to be normal. If I
:00:56. > :00:58.concentrate hard enough, I can make things move.
:00:59. > :01:07.And the young and the beautiful - Francois Ozon brings us Jeune et
:01:08. > :01:12.Jolie. Danny is here and we're joined by
:01:13. > :01:15.guest critic, Peter Bradshaw. First up, Saving Mr Banks, which
:01:16. > :01:18.tells the story of the backstage battle for creative control between
:01:19. > :01:21.Walt Disney and Mary Poppins' author, PL Travers, during the
:01:22. > :01:33.adaptation of her novel to the big screen. Winds in the east, mist
:01:34. > :01:37.coming in, like something is brewing about to begin. Ladies and
:01:38. > :01:43.gentlemen, we are beginning our descent into Los Angeles. I was
:01:44. > :01:48.astonished to discover that the journey of Mary Poppins to the
:01:49. > :01:55.screen had been not only so long, but so fraught. Well, you can't
:01:56. > :02:05.imagine how excited I am to meet you. My name is Mrs Travers.
:02:06. > :02:11.She thought he was a money-making mogul. She was! She was, in fact. 20
:02:12. > :02:15.years ago, I made a promise that I would make your Mary Poppins fly off
:02:16. > :02:23.the pages of your books. I promised them. I know what he is going to do
:02:24. > :02:32.to her. She will be cavorting. You can't make the film unless you grant
:02:33. > :02:45.him the rights. # Root beer for everyone... #
:02:46. > :02:51.No, no, that is not a word! We made it up. Well, unmake it up.
:02:52. > :02:56.She enjoyed the feeling of having this very powerful man at her feet
:02:57. > :03:01.and yet she also rejected everything about him. Stop! Mary Poppins is not
:03:02. > :03:08.for sale. I want have her turned into one of your silly cartoons. You
:03:09. > :03:13.think Mary Poppins has come to save the children? Oh dear. It is about
:03:14. > :03:22.the two weeks that she was in Los Angeles and it brings up memories of
:03:23. > :03:38.her childhood in 1906 Australia. Mary Poppins and the Banks family,
:03:39. > :03:42.they are a family to me. I play Robert Goff Travers. It was a
:03:43. > :03:48.chapter that she closed. I think it was too painful for her. New job,
:03:49. > :03:55.new town, new life. Come on, my little ducklings. He encourages her
:03:56. > :03:59.skill and her talent and he is an alcoholic and she felt a form of
:04:00. > :04:03.abandonment. That is probably in her mind before she ended up meeting
:04:04. > :04:07.Disney. She has never really dealt with the truth and Walt Disney pulls
:04:08. > :04:12.that out of her throughout the course of the movie. It is not the
:04:13. > :04:18.children that she comes to save, it is their father. It is your father.
:04:19. > :04:29.You don't know what she means to me. I won't disappoint you. Don't you
:04:30. > :04:36.want to finish the story? I sobbed at the film. Watching that,
:04:37. > :04:49.I could go again! Danny? This is a big, broad, family kind of movie. It
:04:50. > :04:59.is made with this industrial ladle-full of sugar. You won't find
:05:00. > :05:07.a scene where Uncle Walt is there. For what it is, as a family movie,
:05:08. > :05:12.it works. Totally. You? I love Tom Hanks and Emma Thompson. I love
:05:13. > :05:19.their huge turns that they do, the massive acting face-off. I love it.
:05:20. > :05:23.It is like Chuck Norris and Bruce Lee! My goodness, when ever there is
:05:24. > :05:28.a cutback to the Australian scene, I thought it dies a death. It was very
:05:29. > :05:35.boring, that whole backstory was dull. Colin Farrell was awful in it.
:05:36. > :05:40.His voice is awful. Is that because the '60s, I loved it when they were
:05:41. > :05:45.in the room... Exactly. That was so good. In the lot, in the rehearsal
:05:46. > :05:54.room, I love it. This mini Disney movie they have created, which is
:05:55. > :05:59.suspect in all sorts of ways, it is fantastically inert and very
:06:00. > :06:08.unrewarding. As a Disney movie about Disney movies, it is revealing. Yes.
:06:09. > :06:13.PL Travers is a tyrant - so is Disney in this movie. He is a man
:06:14. > :06:16.who is determined to make the world feel better, whether they want to
:06:17. > :06:20.feel better or not. Actually, if you want the kind of dark strange
:06:21. > :06:24.undercurrents, you look at them and they are there because the Disney
:06:25. > :06:29.headquarters is this place where the writers exist in this weird,
:06:30. > :06:34.infantile paradise where they are force fed with jelly beans and
:06:35. > :06:39.trifle. I wanted to live there! Why don't we all do that? It would be
:06:40. > :06:43.much better if they had more of Walt Disney as a genius. He invented the
:06:44. > :06:50.theme park. He was this extraordinary man. If anything, what
:06:51. > :06:54.was great and undemanding about Tom Hanks' performance is he looks like
:06:55. > :06:58.Ronald Reagan with his presidential suite and it would be great to see
:06:59. > :07:06.him and Emma play Ronald Reagan and Margaret Thatcher - that would be
:07:07. > :07:11.fantastic. It is identifies the real drama and the real excitement
:07:12. > :07:17.happens a year before anyone shouts, "Action!" Yes. I think I will speak
:07:18. > :07:26.up for the script. The script, which is written by a British writer,
:07:27. > :07:30.called Kelly Marcel, is very good. I love Gravity. Gravity is not a film
:07:31. > :07:37.where anyone will say, "My favourite thing about Gravity is the script."
:07:38. > :07:41.Yes. It is easy to forget what high-quality script writing can
:07:42. > :07:48.achieve. It is very well carpented. I'm not sure how - it is not
:07:49. > :07:58.shallow, the film, but it is undemanding in a good way. There is
:07:59. > :08:03.a gunge tank of sentimentality... You don't get the gunge on your
:08:04. > :08:09.head! I hate happy people. I like Saving Mr Banks. OK. Yes, highly
:08:10. > :08:15.recommended. If you go, stay for the end of the credits. It is a joy.
:08:16. > :08:18.Next, Julianne Moore and Chloe Grace Moretz team up to give the classic
:08:19. > :08:28.Stephen King/Brian De Palma horror movie Carrie a modern makeover. I'll
:08:29. > :08:35.pick you up after school. What's wrong? The other kids think I'm
:08:36. > :08:41.weird. I want to be normal. Wipe that smile off your face. I have to
:08:42. > :08:45.be a normal person, before it is too late.
:08:46. > :08:52.It is a story about being an outcast and what that's like and then being
:08:53. > :08:56.given supernatural powers. If I concentrate hard enough, I can make
:08:57. > :09:00.things move. The role of Carrie is a very
:09:01. > :09:03.emotional role. It is the most vulnerable I have ever been as an
:09:04. > :09:08.actor. No, get off me!
:09:09. > :09:14.Margaret is trying to be the best parent and she doesn't know how to
:09:15. > :09:17.be. She is so paranoid and so terrified of what might happen to
:09:18. > :09:23.her daughter, she wants to keep her in the house, keep her safe, keep
:09:24. > :09:28.her a child. You pray for forgiveness. There is this
:09:29. > :09:36.heightened reality of the mother and daughter struggle that you have as a
:09:37. > :09:42.young adult. I wasn't sure why you might or might not remake this
:09:43. > :09:46.movie. I got a hold of the book and read it. I was captivated. I saw
:09:47. > :09:53.there was a chance to do it differently.
:09:54. > :10:00.Carrie White! Favourite movie. Bloodsport! LAUGHTER If you don't
:10:01. > :10:10.have a date already, maybe you want to go with me? Momm a, I have been
:10:11. > :10:24.asked to prom. They are all going to laugh at you. Stop it. Her powers
:10:25. > :10:34.come out in times of excess emotion. And you have Carrie going to the
:10:35. > :10:39.prom and we are all watching thinking, "Don't go to the prom."
:10:40. > :10:50.She goes against her attackers and there is a phenomenal climax to the
:10:51. > :10:56.movie. Your King and Queen are... Carrie! Peter? Well, yes, it is like
:10:57. > :11:05.the first film, but not as good. That is the kind of - that is the
:11:06. > :11:09.twist they have put on it. Surprise! It's quite efficient. It is not a
:11:10. > :11:16.disaster. It is technically interesting. My problem is that
:11:17. > :11:23.Chloe Grace Moretz looks too tough, she looks like Miley Cyrus. She
:11:24. > :11:27.shouldn't be playing Carrie because she doesn't look delicate enough. I
:11:28. > :11:32.thought she was vulnerable. To mention the fact that there was the
:11:33. > :11:37.brilliant original. I think if you are a gang of 15 or 16-year-old
:11:38. > :11:40.girls, or boys, you would be fine with this, you won't have seen the
:11:41. > :11:44.original? That is true. It is interesting to watch the story
:11:45. > :11:49.again. I have always been interested in Carrie because it is unique in
:11:50. > :11:54.that it shows a woman doing the scary stuff, which is so unusual it
:11:55. > :12:00.almost means it doesn't qualify as a horror film at all. I know what you
:12:01. > :12:06.mean. I just think - I wonder if 15-year-olds, if you showed them the
:12:07. > :12:10.original, they might not have a nervous breakdown... I don't know. I
:12:11. > :12:14.think they would be baffled and confused and think it was terribly
:12:15. > :12:21.slow. Once you start... That is true. No, I don't think this is a
:12:22. > :12:25.film made for people of a certain age. I think it can't help but
:12:26. > :12:30.suffer by comparison with the original. It's not just the presence
:12:31. > :12:38.of Chloe Grace Moretz, it is the lack of Sissy Spacek. Sissy Spacek
:12:39. > :12:47.was Carrie. Yes. She had that other quality that meant she was an
:12:48. > :12:50.outcast at school and she had these incredibly destructive powers. Chloe
:12:51. > :12:55.Grace Moretz - it becomes a different film. For her to play an
:12:56. > :12:59.outcast, you are right, she might as well be playing Gandhi. To remake
:13:00. > :13:04.that Carrie with her is like remaking Jaws with a sea lion! It
:13:05. > :13:14.doesn't work. That I would watch! LAUGHTER Boom! I'll give you 100
:13:15. > :13:18.grand! It's something else, it deserves the adjectives which don't
:13:19. > :13:23.end up on posters, which is sturdy and respectable and that's what it
:13:24. > :13:27.is. It's a much more streamlined kind of modern teen horror movie.
:13:28. > :13:33.That is the problem. It is ill at ease with its own modernity. What
:13:34. > :13:37.they thought is, if we are making a modern Carrie, Carrie has to be
:13:38. > :13:41.videoed by the bullies with their mobile phones and they have to be
:13:42. > :13:45.uploaded to the web. Then they lose interest in that storyline entirely.
:13:46. > :13:51.Think what's happened to this video. Has it gone viral? Is there a
:13:52. > :13:55.Japanese Ring-style horror thing? That's it, we have now modernised
:13:56. > :13:59.it, let's imitate the first one. There is quite a lot of which is
:14:00. > :14:04.botched about that as well. This film was much more about a girl and
:14:05. > :14:07.that is the impetus for the story. You have these weird moments like in
:14:08. > :14:14.the average high school where she goes, the library is well stocked
:14:15. > :14:21.with books and... Yes. She gets ten copies... There are these weird,
:14:22. > :14:31.nervous moments where you can - the videoing makes perfect sense. You
:14:32. > :14:35.are right, they lose interest. And what is interesting about the first
:14:36. > :14:39.film is that it predicts our modern world of cyberbullying, and that is
:14:40. > :14:44.all there in embryo form in the first movie, but for the second
:14:45. > :14:50.movie to somehow not notice it or half notice it and lose interest in
:14:51. > :14:54.it, is a shame. It has a funny relationship with the original. It
:14:55. > :14:59.isn't quite so reliant on the big set pieces. There are two scenes in
:15:00. > :15:08.particular with Carrie that we all particularly think of, and doesn't
:15:09. > :15:12.just ate those. When you think of that scene in Carrie, it is handled
:15:13. > :15:18.differently. There are brave decisions they have made, but I'm
:15:19. > :15:21.not sure... It was brave to leave intact what was good about the first
:15:22. > :15:26.film. We have to stop speaking, otherwise
:15:27. > :15:34.I will get into trouble. Nicolas Winding Refn is one of cinema's most
:15:35. > :15:38.unique talent. More recently, he has directed Only God Forgives, which
:15:39. > :15:47.divided audiences this summer. Danny went to meet him.
:15:48. > :15:52.Thank you for joining us today. When did you fall in love with film? I
:15:53. > :16:04.think it was the other way around. I think films fell in love with me.
:16:05. > :16:13.Only God Forgives was an insanely striking film visually. Had that
:16:14. > :16:18.always been your plan, to make a film that jumped out of the screen?
:16:19. > :16:23.I loved the process, the painting aspect of filming. I tried to
:16:24. > :16:27.capture authenticity when I was younger, and I realised that you
:16:28. > :16:32.can't. But I can make heightened reality, which is so much more fun.
:16:33. > :16:36.And I can't paint because I'm colour blind, so I had to find another
:16:37. > :16:50.mechanism, and the digital revolution has made that possible.
:16:51. > :16:59.I want to talk a little bit about your first film, Pusher. What are
:17:00. > :17:03.your memories of making it? The stories suggest that the set was a
:17:04. > :17:07.little wild times. When you make your first movie, you
:17:08. > :17:11.have to make it with a little bit of arrogance mixed with stupidity. I
:17:12. > :17:17.guess I wanted to capture authenticity. All of the drugs had
:17:18. > :17:20.to be real, and if they could shoot each other, that would also be
:17:21. > :17:25.great. But at least they had to fight for real. All the stupidity
:17:26. > :17:31.that you see when you are younger, you try to catch to that moment.
:17:32. > :17:37.Your career in a relatively short time has been something of a
:17:38. > :17:47.roller-coaster. There have been astonishing up is, and lows as well.
:17:48. > :17:55.I was very lucky to experience extreme failure early on. It failed
:17:56. > :18:07.miserably at the box office, and I ended up owing my bank $1 million.
:18:08. > :18:14.So I had no money, and Miss Marple called, and I said, yes, please. I
:18:15. > :18:22.didn't even read the script. I had never seen Miss Marple, or read an
:18:23. > :18:25.Agatha Christie book. I remember being in the studio outside of
:18:26. > :18:29.London, really depressed, doing a lot of soul-searching. That was when
:18:30. > :18:42.I decided I had to do something different. And I did Bronson. It was
:18:43. > :18:48.like going into therapy for me. Tell me about working with Tom Hardy on
:18:49. > :18:56.that. I didn't want him. My original idea was Jason states. But I do
:18:57. > :19:00.think that he is probably the greatest actor to come out of
:19:01. > :19:08.England since Michael O'Kane. Right, that's enough! You are very much
:19:09. > :19:16.associated with Ryan Gosling. Was it love at first sight for you? Yes, it
:19:17. > :19:27.was. Ryan and I met at his restaurant. I had gotten ill coming
:19:28. > :19:32.in, and they gave me all these American flu drugs, and they made me
:19:33. > :19:40.high as a kite. I had to ask him to take me home. He said, what? It was
:19:41. > :19:45.like a blind date gone wrong. We just wanted to get away from each
:19:46. > :19:50.other. So we get in the car, and we're sitting there in silence, and
:19:51. > :19:56.he turns on the radio, just to do anything, and it is soft rock.
:19:57. > :20:04.Because I am Sohaib I start to sing to this song, I can't fight this
:20:05. > :20:10.feeling any more. And then I start to cry. And I turned to him for the
:20:11. > :20:14.first time, and I looked at him, and he is a beautiful man, and he was
:20:15. > :20:24.lit very well with the light from the freeway. And I said, I got it!
:20:25. > :20:29.We are going to make a movie about a man who drives around in his car at
:20:30. > :20:31.night listening to pop music. And he thought for a second, and he said, I
:20:32. > :20:47.mean. Drive was on many levels romantic
:20:48. > :20:58.movie, but how tricky is it to marry Romance and some really hard-core
:20:59. > :21:05.violence? You just have to read Grimm, fairy tales. I said it had to
:21:06. > :21:15.be like that. So the ideal fairy tale, but also the metaphor. I want
:21:16. > :21:20.to ask you about your relationship with female characters, because you
:21:21. > :21:24.are someone who makes films for men about men, and yet you have this
:21:25. > :21:31.drive to make films about women. Tell me about that. I always set out
:21:32. > :21:36.to make films about women, and I always make them about violent men,
:21:37. > :21:45.and I have to break that chain. So what is next? That is a good
:21:46. > :21:48.question. It is important when you create that you do the opposite of
:21:49. > :21:52.what you did before, otherwise where is the fun?
:21:53. > :21:53.Now, Jeune et Jolie, an intimate study of a 17-year-old girl who
:21:54. > :24:07.becomes a prostitute. Literally the most beautiful
:24:08. > :24:13.creature, I think, on Earth. She is like a young Joanna Lumley, and I
:24:14. > :24:17.can't go higher than that, I think. It is impeccably made and
:24:18. > :24:20.beautifully composed, but as a film about the realities of being a
:24:21. > :24:27.teenage girl, I would rather go with Carrie, and as a film about having
:24:28. > :24:31.sex with men for money, I would go with pretty much anything else. The
:24:32. > :24:36.film doesn't have anything to say about any of those things. It is
:24:37. > :24:43.like one giant, ravishing, listless shrug. You are waiting for the
:24:44. > :24:48.teenager to come out and explain herself, but there is no reason.
:24:49. > :24:57.This is just an off form 50 old director. I'm not sure he is off
:24:58. > :25:03.form. I think this is well did well directed, but it is very ridiculous.
:25:04. > :25:15.It is pure David Hamilton soft-core. It could have been made in 1978. It
:25:16. > :25:22.is from that era. It sort of looks like it was made for middle-aged
:25:23. > :25:28.male perves. I think the people playing her ma'am and her stepdad,
:25:29. > :25:39.they are giving performances of real warmth and tenderness. I quite like
:25:40. > :25:43.the mystery in it. I think there is something interesting in the fact
:25:44. > :25:49.that the reasons why she becomes a prostitute left quite unexplained.
:25:50. > :26:08.He doesn't know. Or he just wanted to shoot her in her bra. There is an
:26:09. > :26:14.awful lot of Irving. -- perving. I watched it for the interiors, they
:26:15. > :26:20.are amazing. That is the sort of level to watch it on! We all know
:26:21. > :26:24.that prostitution is about vulnerable people being abused and
:26:25. > :26:27.assaulted, not about Vogue standard 17-year-old model is having a moment
:26:28. > :26:34.of sexual flowering in some luxury 5-star hotel room. It is ridiculous.
:26:35. > :26:39.But as long as you understand that it is ridiculous, you can see that
:26:40. > :26:43.it is exquisitely made, but shallow. It is an exquisitely made Hoddle,
:26:44. > :26:50.but that doesn't mean it has no depth to it. It does. What is your
:26:51. > :26:58.pick of the week? Unexpectedly, Saving Mr Banks. Yes, I have to go
:26:59. > :27:04.with Disney. It is a joy. That is all from us. We are back next week
:27:05. > :27:12.on Tuesday at 11.35, when we review Kill Your Darlings, the remake of
:27:13. > :27:14.old boy, Nebraska and home front. Thank you very much for watching.
:27:15. > :27:40.Good night. You have tested positive for HIV.
:27:41. > :27:45.Have you any we estimate you have 30 days left. There isn't anything out
:27:46. > :27:53.there can kill me in 30 days. There is stuff in Mexico that you can't
:27:54. > :27:59.get in the United States. Importing illegal drugs for sale is a very
:28:00. > :28:05.serious offence. They are not illegal. They are merely unapproved.
:28:06. > :28:09.I have been looking for you. You are treating these people? They are
:28:10. > :28:14.treating themselves. I'm not selling drugs. I'm selling membership.
:28:15. > :28:27.Welcome to the Dallas Buyers Club. Why are we here? A nice restaurant,
:28:28. > :28:36.a beautiful woman. It is where I feel human again. You look great.
:28:37. > :28:39.You are nothing more than a common drug dealer. People are dying.