Episode 12 Film 2013


Episode 12

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Hello and welcome to Film 2013. We're live and if you want to get in

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touch, the details are on the screen now. Coming up on tonight's show:

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Practically perfect in every way - Emma Thompson and Tom Hanks are

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Saving Mr Banks. Mary Poppins, never ever just Mary.

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There will be blood - Julianne Moore and Chloe Moretz star in the remake

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of Carrie. The other kids think I'm weird. I want to be normal. If I

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concentrate hard enough, I can make things move.

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And the young and the beautiful - Francois Ozon brings us Jeune et

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Jolie. Danny is here and we're joined by

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guest critic, Peter Bradshaw. First up, Saving Mr Banks, which

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tells the story of the backstage battle for creative control between

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Walt Disney and Mary Poppins' author, PL Travers, during the

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adaptation of her novel to the big screen. Winds in the east, mist

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coming in, like something is brewing about to begin. Ladies and

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gentlemen, we are beginning our descent into Los Angeles. I was

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astonished to discover that the journey of Mary Poppins to the

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screen had been not only so long, but so fraught. Well, you can't

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imagine how excited I am to meet you. My name is Mrs Travers.

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She thought he was a money-making mogul. She was! She was, in fact. 20

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years ago, I made a promise that I would make your Mary Poppins fly off

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the pages of your books. I promised them. I know what he is going to do

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to her. She will be cavorting. You can't make the film unless you grant

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him the rights. # Root beer for everyone... #

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No, no, that is not a word! We made it up. Well, unmake it up.

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She enjoyed the feeling of having this very powerful man at her feet

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and yet she also rejected everything about him. Stop! Mary Poppins is not

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for sale. I want have her turned into one of your silly cartoons. You

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think Mary Poppins has come to save the children? Oh dear. It is about

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the two weeks that she was in Los Angeles and it brings up memories of

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her childhood in 1906 Australia. Mary Poppins and the Banks family,

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they are a family to me. I play Robert Goff Travers. It was a

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chapter that she closed. I think it was too painful for her. New job,

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new town, new life. Come on, my little ducklings. He encourages her

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skill and her talent and he is an alcoholic and she felt a form of

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abandonment. That is probably in her mind before she ended up meeting

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Disney. She has never really dealt with the truth and Walt Disney pulls

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that out of her throughout the course of the movie. It is not the

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children that she comes to save, it is their father. It is your father.

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You don't know what she means to me. I won't disappoint you. Don't you

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want to finish the story? I sobbed at the film. Watching that,

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I could go again! Danny? This is a big, broad, family kind of movie. It

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is made with this industrial ladle-full of sugar. You won't find

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a scene where Uncle Walt is there. For what it is, as a family movie,

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it works. Totally. You? I love Tom Hanks and Emma Thompson. I love

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their huge turns that they do, the massive acting face-off. I love it.

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It is like Chuck Norris and Bruce Lee! My goodness, when ever there is

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a cutback to the Australian scene, I thought it dies a death. It was very

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boring, that whole backstory was dull. Colin Farrell was awful in it.

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His voice is awful. Is that because the '60s, I loved it when they were

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in the room... Exactly. That was so good. In the lot, in the rehearsal

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room, I love it. This mini Disney movie they have created, which is

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suspect in all sorts of ways, it is fantastically inert and very

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unrewarding. As a Disney movie about Disney movies, it is revealing. Yes.

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PL Travers is a tyrant - so is Disney in this movie. He is a man

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who is determined to make the world feel better, whether they want to

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feel better or not. Actually, if you want the kind of dark strange

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undercurrents, you look at them and they are there because the Disney

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headquarters is this place where the writers exist in this weird,

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infantile paradise where they are force fed with jelly beans and

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trifle. I wanted to live there! Why don't we all do that? It would be

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much better if they had more of Walt Disney as a genius. He invented the

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theme park. He was this extraordinary man. If anything, what

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was great and undemanding about Tom Hanks' performance is he looks like

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Ronald Reagan with his presidential suite and it would be great to see

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him and Emma play Ronald Reagan and Margaret Thatcher - that would be

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fantastic. It is identifies the real drama and the real excitement

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happens a year before anyone shouts, "Action!" Yes. I think I will speak

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up for the script. The script, which is written by a British writer,

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called Kelly Marcel, is very good. I love Gravity. Gravity is not a film

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where anyone will say, "My favourite thing about Gravity is the script."

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Yes. It is easy to forget what high-quality script writing can

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achieve. It is very well carpented. I'm not sure how - it is not

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shallow, the film, but it is undemanding in a good way. There is

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a gunge tank of sentimentality... You don't get the gunge on your

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head! I hate happy people. I like Saving Mr Banks. OK. Yes, highly

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recommended. If you go, stay for the end of the credits. It is a joy.

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Next, Julianne Moore and Chloe Grace Moretz team up to give the classic

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Stephen King/Brian De Palma horror movie Carrie a modern makeover. I'll

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pick you up after school. What's wrong? The other kids think I'm

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weird. I want to be normal. Wipe that smile off your face. I have to

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be a normal person, before it is too late.

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It is a story about being an outcast and what that's like and then being

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given supernatural powers. If I concentrate hard enough, I can make

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things move. The role of Carrie is a very

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emotional role. It is the most vulnerable I have ever been as an

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actor. No, get off me!

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Margaret is trying to be the best parent and she doesn't know how to

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be. She is so paranoid and so terrified of what might happen to

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her daughter, she wants to keep her in the house, keep her safe, keep

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her a child. You pray for forgiveness. There is this

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heightened reality of the mother and daughter struggle that you have as a

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young adult. I wasn't sure why you might or might not remake this

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movie. I got a hold of the book and read it. I was captivated. I saw

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there was a chance to do it differently.

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Carrie White! Favourite movie. Bloodsport! LAUGHTER If you don't

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have a date already, maybe you want to go with me? Momm a, I have been

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asked to prom. They are all going to laugh at you. Stop it. Her powers

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come out in times of excess emotion. And you have Carrie going to the

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prom and we are all watching thinking, "Don't go to the prom."

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She goes against her attackers and there is a phenomenal climax to the

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movie. Your King and Queen are... Carrie! Peter? Well, yes, it is like

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the first film, but not as good. That is the kind of - that is the

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twist they have put on it. Surprise! It's quite efficient. It is not a

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disaster. It is technically interesting. My problem is that

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Chloe Grace Moretz looks too tough, she looks like Miley Cyrus. She

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shouldn't be playing Carrie because she doesn't look delicate enough. I

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thought she was vulnerable. To mention the fact that there was the

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brilliant original. I think if you are a gang of 15 or 16-year-old

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girls, or boys, you would be fine with this, you won't have seen the

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original? That is true. It is interesting to watch the story

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again. I have always been interested in Carrie because it is unique in

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that it shows a woman doing the scary stuff, which is so unusual it

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almost means it doesn't qualify as a horror film at all. I know what you

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mean. I just think - I wonder if 15-year-olds, if you showed them the

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original, they might not have a nervous breakdown... I don't know. I

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think they would be baffled and confused and think it was terribly

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slow. Once you start... That is true. No, I don't think this is a

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film made for people of a certain age. I think it can't help but

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suffer by comparison with the original. It's not just the presence

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of Chloe Grace Moretz, it is the lack of Sissy Spacek. Sissy Spacek

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was Carrie. Yes. She had that other quality that meant she was an

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outcast at school and she had these incredibly destructive powers. Chloe

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Grace Moretz - it becomes a different film. For her to play an

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outcast, you are right, she might as well be playing Gandhi. To remake

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that Carrie with her is like remaking Jaws with a sea lion! It

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doesn't work. That I would watch! LAUGHTER Boom! I'll give you 100

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grand! It's something else, it deserves the adjectives which don't

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end up on posters, which is sturdy and respectable and that's what it

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is. It's a much more streamlined kind of modern teen horror movie.

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That is the problem. It is ill at ease with its own modernity. What

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they thought is, if we are making a modern Carrie, Carrie has to be

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videoed by the bullies with their mobile phones and they have to be

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uploaded to the web. Then they lose interest in that storyline entirely.

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Think what's happened to this video. Has it gone viral? Is there a

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Japanese Ring-style horror thing? That's it, we have now modernised

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it, let's imitate the first one. There is quite a lot of which is

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botched about that as well. This film was much more about a girl and

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that is the impetus for the story. You have these weird moments like in

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the average high school where she goes, the library is well stocked

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with books and... Yes. She gets ten copies... There are these weird,

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nervous moments where you can - the videoing makes perfect sense. You

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are right, they lose interest. And what is interesting about the first

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film is that it predicts our modern world of cyberbullying, and that is

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all there in embryo form in the first movie, but for the second

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movie to somehow not notice it or half notice it and lose interest in

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it, is a shame. It has a funny relationship with the original. It

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isn't quite so reliant on the big set pieces. There are two scenes in

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particular with Carrie that we all particularly think of, and doesn't

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just ate those. When you think of that scene in Carrie, it is handled

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differently. There are brave decisions they have made, but I'm

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not sure... It was brave to leave intact what was good about the first

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film. We have to stop speaking, otherwise

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I will get into trouble. Nicolas Winding Refn is one of cinema's most

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unique talent. More recently, he has directed Only God Forgives, which

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divided audiences this summer. Danny went to meet him.

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Thank you for joining us today. When did you fall in love with film? I

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think it was the other way around. I think films fell in love with me.

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Only God Forgives was an insanely striking film visually. Had that

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always been your plan, to make a film that jumped out of the screen?

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I loved the process, the painting aspect of filming. I tried to

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capture authenticity when I was younger, and I realised that you

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can't. But I can make heightened reality, which is so much more fun.

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And I can't paint because I'm colour blind, so I had to find another

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mechanism, and the digital revolution has made that possible.

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I want to talk a little bit about your first film, Pusher. What are

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your memories of making it? The stories suggest that the set was a

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little wild times. When you make your first movie, you

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have to make it with a little bit of arrogance mixed with stupidity. I

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guess I wanted to capture authenticity. All of the drugs had

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to be real, and if they could shoot each other, that would also be

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great. But at least they had to fight for real. All the stupidity

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that you see when you are younger, you try to catch to that moment.

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Your career in a relatively short time has been something of a

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roller-coaster. There have been astonishing up is, and lows as well.

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I was very lucky to experience extreme failure early on. It failed

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miserably at the box office, and I ended up owing my bank $1 million.

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So I had no money, and Miss Marple called, and I said, yes, please. I

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didn't even read the script. I had never seen Miss Marple, or read an

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Agatha Christie book. I remember being in the studio outside of

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London, really depressed, doing a lot of soul-searching. That was when

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I decided I had to do something different. And I did Bronson. It was

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like going into therapy for me. Tell me about working with Tom Hardy on

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that. I didn't want him. My original idea was Jason states. But I do

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think that he is probably the greatest actor to come out of

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England since Michael O'Kane. Right, that's enough! You are very much

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associated with Ryan Gosling. Was it love at first sight for you? Yes, it

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was. Ryan and I met at his restaurant. I had gotten ill coming

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in, and they gave me all these American flu drugs, and they made me

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high as a kite. I had to ask him to take me home. He said, what? It was

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like a blind date gone wrong. We just wanted to get away from each

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other. So we get in the car, and we're sitting there in silence, and

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he turns on the radio, just to do anything, and it is soft rock.

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Because I am Sohaib I start to sing to this song, I can't fight this

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feeling any more. And then I start to cry. And I turned to him for the

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first time, and I looked at him, and he is a beautiful man, and he was

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lit very well with the light from the freeway. And I said, I got it!

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We are going to make a movie about a man who drives around in his car at

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night listening to pop music. And he thought for a second, and he said, I

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mean. Drive was on many levels romantic

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movie, but how tricky is it to marry Romance and some really hard-core

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violence? You just have to read Grimm, fairy tales. I said it had to

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be like that. So the ideal fairy tale, but also the metaphor. I want

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to ask you about your relationship with female characters, because you

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are someone who makes films for men about men, and yet you have this

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drive to make films about women. Tell me about that. I always set out

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to make films about women, and I always make them about violent men,

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and I have to break that chain. So what is next? That is a good

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question. It is important when you create that you do the opposite of

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what you did before, otherwise where is the fun?

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Now, Jeune et Jolie, an intimate study of a 17-year-old girl who

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becomes a prostitute. Literally the most beautiful

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creature, I think, on Earth. She is like a young Joanna Lumley, and I

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can't go higher than that, I think. It is impeccably made and

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beautifully composed, but as a film about the realities of being a

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teenage girl, I would rather go with Carrie, and as a film about having

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sex with men for money, I would go with pretty much anything else. The

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film doesn't have anything to say about any of those things. It is

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like one giant, ravishing, listless shrug. You are waiting for the

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teenager to come out and explain herself, but there is no reason.

:24:44.:24:48.

This is just an off form 50 old director. I'm not sure he is off

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form. I think this is well did well directed, but it is very ridiculous.

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It is pure David Hamilton soft-core. It could have been made in 1978. It

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is from that era. It sort of looks like it was made for middle-aged

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male perves. I think the people playing her ma'am and her stepdad,

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they are giving performances of real warmth and tenderness. I quite like

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the mystery in it. I think there is something interesting in the fact

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that the reasons why she becomes a prostitute left quite unexplained.

:25:44.:25:49.

He doesn't know. Or he just wanted to shoot her in her bra. There is an

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awful lot of Irving. -- perving. I watched it for the interiors, they

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are amazing. That is the sort of level to watch it on! We all know

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that prostitution is about vulnerable people being abused and

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assaulted, not about Vogue standard 17-year-old model is having a moment

:26:25.:26:27.

of sexual flowering in some luxury 5-star hotel room. It is ridiculous.

:26:28.:26:34.

But as long as you understand that it is ridiculous, you can see that

:26:35.:26:39.

it is exquisitely made, but shallow. It is an exquisitely made Hoddle,

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but that doesn't mean it has no depth to it. It does. What is your

:26:44.:26:50.

pick of the week? Unexpectedly, Saving Mr Banks. Yes, I have to go

:26:51.:26:58.

with Disney. It is a joy. That is all from us. We are back next week

:26:59.:27:04.

on Tuesday at 11.35, when we review Kill Your Darlings, the remake of

:27:05.:27:12.

old boy, Nebraska and home front. Thank you very much for watching.

:27:13.:27:14.

Good night. You have tested positive for HIV.

:27:15.:27:40.

Have you any we estimate you have 30 days left. There isn't anything out

:27:41.:27:45.

there can kill me in 30 days. There is stuff in Mexico that you can't

:27:46.:27:53.

get in the United States. Importing illegal drugs for sale is a very

:27:54.:27:59.

serious offence. They are not illegal. They are merely unapproved.

:28:00.:28:05.

I have been looking for you. You are treating these people? They are

:28:06.:28:09.

treating themselves. I'm not selling drugs. I'm selling membership.

:28:10.:28:14.

Welcome to the Dallas Buyers Club. Why are we here? A nice restaurant,

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a beautiful woman. It is where I feel human again. You look great.

:28:28.:28:36.

You are nothing more than a common drug dealer. People are dying.

:28:37.:28:39.

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