:00:24. > :00:29.Hello, and welcome to Film 2013. We're live, and if you want to get
:00:30. > :00:34.in touch the details are on the screen now. Coming up on tonight's
:00:35. > :00:46.show. Baggins is back! Martin Freeman leads the cast of The Hobbit
:00:47. > :00:54.Part 2. Good. You will need it. Robert Redford is all at sea in All
:00:55. > :01:01.Is Lost. SOS call, over. And love hurts in Israeli drama Fill
:01:02. > :01:05.The Void. Plus, Sir Alan Parker talks about his classic film Angel
:01:06. > :01:08.Heart. And we take a look at the fully restored Cinema Paradiso.
:01:09. > :01:13.Danny is here, and we're joined by guest critic Catherine Bray. First
:01:14. > :01:16.up is The Hobbit: The Desolation of Smaug. In the second film in Peter
:01:17. > :01:28.Jackson's trilogy, Bilbo Baggins continues on his quest to reclaim
:01:29. > :01:37.the Dwarf Kingdom of Erebor. Where does your journey end? You seek that
:01:38. > :01:40.which would bestowdown the right to rule.
:01:41. > :01:45.The quest to reclaim a home land, and slay a dragon.
:01:46. > :01:49.The great thing with a middle movie, in a trilogy is after the first
:01:50. > :01:53.movie, you say, OK, everybody knows everything they need to know, we
:01:54. > :02:04.have two more, let us slam on the gas, and go for it.
:02:05. > :02:13.When we pick it up, they are still on their way to the Lonely Mountain,
:02:14. > :02:17.as they get fur into the journey, Bilbo's usefulness increases. You
:02:18. > :02:31.must trust me. He saves the company more than once. What do we do now?
:02:32. > :02:36.Hold your breath. Hold my breath? S the main characters in the stories
:02:37. > :02:41.develop and they literally don't end up being the same people at the end
:02:42. > :02:47.as they were at the beginning. I found something in the golden
:02:48. > :02:54.temple. The journey is one of self revelation. What did you find? My
:02:55. > :02:58.courage. Billow, he has developed a bit more of a backbone and he has
:02:59. > :03:04.developed a bit more confidence, you know. You are not the same hobbit as
:03:05. > :03:11.the one that left the shire. Playing the wide eyed thing, is great. But
:03:12. > :03:21.not after a while, you know, you want to, express something else.
:03:22. > :03:26.He has a bit of cockiness in his step, and tries his hand with a fire
:03:27. > :03:31.breathing monster the size of the Empire State Building and something
:03:32. > :03:39.of an atomic bomb. Yes. It happens. Was that an
:03:40. > :03:43.earthquake? That my lad was a dragon.
:03:44. > :03:53.Everything we kind of, it has been a long time devising and Benedict
:03:54. > :03:59.walked in and he knew. It was sensational, while it is my voice
:04:00. > :04:06.and my movement, it is such a huge leap on from that they they did
:04:07. > :04:12.impose. I sat there marvelling at it. Come now, don't be shy. Step
:04:13. > :04:16.into the light. It is not just about hobbits and it
:04:17. > :04:22.is not just about elves. Don't think I won't kill you dwarf. There is
:04:23. > :04:27.enough universal stuff in Tolkeins work, loyalty and love and bravery
:04:28. > :04:34.and trust. It is about us, it is about now.
:04:35. > :04:37.It is not our fight. It is our fight.
:04:38. > :04:41.I fieg find the second and third movies to be exciting, I know the
:04:42. > :04:45.gauntlet has been thrown down. Now we have to deliver.
:04:46. > :04:52.Dragon fire and ruin. That is what you will bring on us. He cannot see
:04:53. > :04:57.beyond his own desire. Danny. It has ban year since the
:04:58. > :05:01.first hobbit. You spend six month watching that film and six months
:05:02. > :05:07.regretting you have. This is a better hobbit. There is a lack for a
:05:08. > :05:12.start of half hour scenes of washing up. There is the hedgehog who was a
:05:13. > :05:17.low for me and you have an action romp. It is spectacular and I think,
:05:18. > :05:21.at last there is a sense of energy and momentum and the story getting
:05:22. > :05:27.somewhere. There is supposed to be a journey. Last time it felt like you
:05:28. > :05:31.were stuck on a hard should we are in a minibus with a tribute band.
:05:32. > :05:35.The first has its fan, you look at the second film if two way, you can
:05:36. > :05:41.say it is better than the first hobbit or it is much less terrible.
:05:42. > :05:45.OK. There is that. Catherine? I mean I am totally with Danny on the whole
:05:46. > :05:50.Christmas fun spectacular take the kids, there is brilliant scenes with
:05:51. > :05:55.giant spiders and barrels and all this stuff going on. I am a big
:05:56. > :06:00.Tolkein nerd and I I think there will be a lot of people with me
:06:01. > :06:04.thinking this is Peter Jackson's film not Tolkein's whereas the Lord
:06:05. > :06:08.of the ring, which I love. I went to see the first one eight times and I
:06:09. > :06:12.wish I could say the same of this. It doesn't compare, I mean those
:06:13. > :06:15.films were epic and brilliant. This is just a kind of fun trip out for
:06:16. > :06:20.the kids. Can I tell you what I thought it
:06:21. > :06:25.was, and I never use this word. Tremendous. I do. It pop into my
:06:26. > :06:31.head. I am happy for you, I want to dry I didn't have that. I watched
:06:32. > :06:35.the first one and I had to go twice. The first time I had two naps. When
:06:36. > :06:38.I woke up from the second they were still washing up and they had broken
:06:39. > :06:45.into song. They were never leaving the shire. In this one they go down
:06:46. > :06:50.barrels. It like the love story, I mean... You like the love story. Did
:06:51. > :06:55.you not? It is terrible. Peter Jackson is best when he is
:06:56. > :07:01.tasteless, when he allows himself on this tasteless. There is some bad
:07:02. > :07:06.taste where you have arrows going through orbings heads, but I am with
:07:07. > :07:12.Catherine in terms of the romance, maybe a bit of sex, because it feels
:07:13. > :07:17.very adolescent. It feels like they are going to nip off to the park and
:07:18. > :07:25.give each other love bites. That is why I loved it. There is a bit of a
:07:26. > :07:31.double entendre, about what a dwarf has down his trousers, I don't think
:07:32. > :07:37.many of us read The Hobbit and thought it needs more knob gags. It
:07:38. > :07:42.is not Tolkein. I don't know it nearly as well as I do. I look at
:07:43. > :07:47.this as $200 million fan fiction. If you o are going to make something
:07:48. > :07:52.Tolkein would love, I am not sure you would make a movie with 50,000
:07:53. > :07:56.people slaving away. My understanding is it was about, you
:07:57. > :08:00.know, pining for pre-Industrial Revolution England. So what you
:08:01. > :08:04.would do for a proper adaptation is take 17 blokes out in the same
:08:05. > :08:09.minibus, take them to Stroud and stage something in a field. I am not
:08:10. > :08:13.against fan fiction. You loved the Lord of the Rings films. If you were
:08:14. > :08:18.going to write alert to Mr Jackson with here are my issues. Number one,
:08:19. > :08:26.what would the problem be? Was it the love story? Number one maybe the
:08:27. > :08:32.knob gag and the love triangle lean Legolas and an elf lady you have
:08:33. > :08:36.made up and one of the dwarves. OK, so we have this dragon who is one of
:08:37. > :08:40.the greatest villains in children's literature, he is supposed to be
:08:41. > :08:46.smart and in this he is kind of like one of nose bond villains who sits
:08:47. > :08:53.round making chatty threats and never killing anybody. Anot
:08:54. > :08:58.criticising Benedict couple batch. But he doesn't seem to be able to
:08:59. > :09:04.detect 13 dwarves clattering about where they shouldn't be. They are
:09:05. > :09:10.only little That is my problem. The orcs are inept and can't kill the
:09:11. > :09:16.dwarf who has the ginger beard, the dwarves are greedy, I would eat the
:09:17. > :09:21.gaver, the elves are kind of, I don't know, the awful Ocado delivery
:09:22. > :09:25.kind of people. But I am going to put my hand in the air for the set
:09:26. > :09:30.pieces. It is about the set piece, it is like raiders of the lost lath
:09:31. > :09:36.ark. That is what he is aiming for I think. You are supposed to come out
:09:37. > :09:43.and say I love the built when, you may love the bit where Gandalf meets
:09:44. > :09:48.the necromancer. I love Martin Freeman as well. He is gorgeous in
:09:49. > :09:54.this. I want more of him on his own, doing Bilbo stuff. It is called The
:09:55. > :09:58.Hobbit. Less titting about in the wood with random elves and more of
:09:59. > :10:03.Martin Freeman. But more titting about with the giant spider, they
:10:04. > :10:08.present a convincing case why every movie should have giant spiders in.
:10:09. > :10:12.I am accept my converted. They are as good as anything in the Lord of
:10:13. > :10:18.the Rings. We have to move on otherwise I will get fired.
:10:19. > :10:21.Next, Director JC Chandor follows up Margin Call with All Is Lost. Robert
:10:22. > :10:24.Redford stars as a man stranded alone in the Indian Ocean, after his
:10:25. > :10:35.boat collides with a shipping container.
:10:36. > :10:44.All is lost is a film where you join the main character what we in script
:10:45. > :10:47.writing called the initiating incident. That normally happens
:10:48. > :11:06.quarter of the way through the film, but here it just begins with this
:11:07. > :11:09.accident. The next hour-and-a-half you are
:11:10. > :11:15.watching this guy deal with this series of events and hoping he can
:11:16. > :11:22.make it through. I like the challenge it gave me as
:11:23. > :11:30.an actor, to occupy a character alone, with just his own thinking
:11:31. > :11:35.and behaviour was all you could be with.
:11:36. > :11:40.. Like the fact there was no dialogue. Those are all reasons why
:11:41. > :11:44.it was exciting for me, because that doesn't exist much, there is not
:11:45. > :11:52.much opportunity like this in a film. Where it is such a pure
:11:53. > :12:03.cinematic Mr Eed for is a pretty -- Redford is
:12:04. > :12:09.a non-verbal storyteller, he is able to do complex emotional transition
:12:10. > :12:15.fear to performances veer rans or happiness to tragedy.
:12:16. > :12:20.The film feels exciting and is a thriller, kind of almost a horror
:12:21. > :12:30.movie in a way, as it is happens and feels tense and exciting. SOS call.
:12:31. > :12:38.Over. This is Virginia Gene. This is an
:12:39. > :12:45.SOS call. When you are shooting in water like that everything takes
:12:46. > :12:49.longer than it should. Since I did my own fiscal stuff, I think it
:12:50. > :12:54.speaks for itself. It was very challenging.
:12:55. > :12:58.And action. The fact you knew you were going to be wet for 12 hours,
:12:59. > :13:03.sort of every day for two-and-a-half months while it was kind of slowly
:13:04. > :13:09.happening, with a 75, 76-year-old man, doing it, it was a terrible
:13:10. > :13:15.concern, you know, I am glad we made it through.
:13:16. > :13:20.He could quit but he doesn't, he keeps moving, that because that the
:13:21. > :13:30.only thing he has left to do, is to keep moving.
:13:31. > :13:34.Help! Help! Catherine? I love this film. And I wasn't necessarily
:13:35. > :13:37.expecting to, you hear, OK, it is a film with no dialogue and it is
:13:38. > :13:43.going to be very sort of compelling and you think OK, is that is a bit
:13:44. > :13:47.of beard stroking way of saying I am board, but it is well made. It is
:13:48. > :13:51.properly edge of your seat stuff, is he going to survive. It is an
:13:52. > :13:55.incredible performance from Robert Redford, I was expecting also he
:13:56. > :13:59.might be a big show off performance but it is so subtle, you can see the
:14:00. > :14:07.cogs turning the whole time, you can see what he is thinking and what he
:14:08. > :14:17.is going to try and try to get out of yet. I'm not often left
:14:18. > :14:25.speechless but I was by this film. The comparison I would reach for.
:14:26. > :14:32.Gravity. It is an old-fashioned story. All is lost has got the
:14:33. > :14:39.oldest trick in the movies, less is more. It is all about showing and
:14:40. > :14:44.not telling. Because you just have Robert Redford you think it is like
:14:45. > :14:50.a party piece. After a couple of minutes you forget that aspect of
:14:51. > :14:56.the movie even exists. You're just absorbed. And the last few minutes,
:14:57. > :15:03.it is one of the most indelible things I have ever seen. That is
:15:04. > :15:13.high praise. We should talk about the direct. -- director. It is tense
:15:14. > :15:27.to watch it. It is not stressful perhaps but it is tense. It is like
:15:28. > :15:36.watching gravity. I cannot wait to see what he does next. We have
:15:37. > :15:44.already had the out of space epic. It is just talking. We have two talk
:15:45. > :15:55.about Robert Redford. It is such a stunning performance. He has to
:15:56. > :16:02.carry every second of the movie. In a way it is almost a risk casting
:16:03. > :16:09.him. He has been so underplayed throughout his whole career. Ryan
:16:10. > :16:14.Gosling, younger viewers would think he invented staring into space. But
:16:15. > :16:22.this is genuinely a career defining performance. You could not imagine
:16:23. > :16:28.any other actor doing this. It is his movie. If he does not get
:16:29. > :16:35.nominated for an Oscar that would be criminal. A lovely role for an older
:16:36. > :16:41.actor as well. You would not often get the lead. It is a good season
:16:42. > :16:52.for it with Nebraska as well. Older guys exploring their mortality. He
:16:53. > :16:59.is a man of 77. There is a kind of gravity and wait that comes with
:17:00. > :17:05.that. You would not have that with someone younger. Gravity I think
:17:06. > :17:12.needed Sandra Bullock and George Clooney, for their familiarity which
:17:13. > :17:19.makes the movie stronger. And we have that history with Robert
:17:20. > :17:24.Redford, perfect casting. Please go and see it. All is Lost will be in
:17:25. > :17:28.cinemas on Boxing Day. Now Alan Parker relives the making of what
:17:29. > :17:31.remains a 1980s classic - his dark movie Angel Heart. The film caused a
:17:32. > :17:33.stir with the American censors before its release, due to an
:17:34. > :17:41.extended, graphic, blood-drenched sex scene which had to be cut in
:17:42. > :17:49.order to secure an R rating. I remember the dust cover, falling
:17:50. > :17:56.Angel was the title. And at the back it had raiment chanter meets the
:17:57. > :18:07.excesses. I thought, it sounds right up my street. To make it accurate
:18:08. > :18:15.for 1955 we repainted almost 50 different buildings along the
:18:16. > :18:22.street. People go and say it does not look like it does in the film.
:18:23. > :18:29.It is almost like a film set. I wrote most of it sitting in a corner
:18:30. > :18:37.cafes and bars. Then you go to look at locations and I would adapt the
:18:38. > :18:44.script almost to what I found. That whole descent into hell, it took on
:18:45. > :18:50.graphic imagery. I went to see Jack Nicholson first. He was interested
:18:51. > :19:00.but not interested enough! And at the same time I met with Robert De
:19:01. > :19:06.Niro. He was the hottest actor at that moment in time. He surprised us
:19:07. > :19:12.all by saying he did not want to play that role, he would like to
:19:13. > :19:23.play the part of the devil. Allow me to introduce my client, Louis
:19:24. > :19:32.Cyphre. The physicality is hugely important. He has long hair in the
:19:33. > :19:39.film. He wanted to have false nails. And they grow a millimetre
:19:40. > :19:44.every time you see him. That was his idea. And in the film they do
:19:45. > :19:50.imperceptibly get longer. But it was so important to him. The opposite to
:19:51. > :19:58.Mickey who did not really care too much! Between the two of them there
:19:59. > :20:04.is a wonderful electricity that you can see on screen. They wanted to
:20:05. > :20:14.score points of one another. Mickey was so determined to do better than
:20:15. > :20:20.the master. Robert De Niro at the end is almost cracking every bone in
:20:21. > :20:26.Mickey's body. Almost reminding him the actor that he is compared to the
:20:27. > :20:39.actor that Mickey might think he might be. No thank you. I have got a
:20:40. > :20:45.thing about chickens. I think Mickey loved being naughty. In one scene it
:20:46. > :20:52.is a horse race and he is watching these horses come towards him. He
:20:53. > :21:00.had written all these lines originally. He was looking at the
:21:01. > :21:07.polls because he had written them down there. Then we moved him so his
:21:08. > :21:14.lines were about two feet away and he could not even see them! When
:21:15. > :21:18.you're writing a scene, normally it is to people talking. But I try to
:21:19. > :21:26.give it layers, other things that the curve. I tend to put in animals.
:21:27. > :21:32.In one scene he is running through a stable with horses. The first time
:21:33. > :21:41.it was incredibly impressive. When you have done it 20 times, the
:21:42. > :21:46.stuntman is then wafer thin! And you wonder why you ever wrote that. No
:21:47. > :21:52.animal was ever harmed in the making of the film! Only people! The scene
:21:53. > :22:02.that I love is the lovemaking scene when it is raining. It is hard to do
:22:03. > :22:10.any kind of sex scene. The bearer -- I remember saying, I am there to
:22:11. > :22:16.help you. But it turned out that Isabel Bonnie was much more
:22:17. > :22:22.confident. There is a piece of music that goes with the scene which is a
:22:23. > :22:30.beautiful soul number. I played that very loud which I found to be
:22:31. > :22:35.helpful. It is one of the most powerful scenes I have ever filmed
:22:36. > :22:41.and I am proud of that. I think you can look back on your work and of
:22:42. > :22:47.course you improve on everything that you have done. But looking at
:22:48. > :22:53.Angel heart, it has affected a lot of people. Depending on which
:22:54. > :22:59.country I go to, it is the one film which people particularly in Europe
:23:00. > :23:03.have liked. And I am still proud of it.
:23:04. > :23:11.Thank you so much for chatting to us. Next up, Fill The Void - a film
:23:12. > :23:13.from Israel which is set amongst its ultra-orthodox Jewish community.
:23:14. > :23:15.When her sister dies, an 18-year-old girl is strongly encouraged to marry
:23:16. > :24:35.her widowed brother-in-law. You expect Fill The Void to be a
:24:36. > :24:43.slightly different movie. You have this 18-year-old girl in this movie.
:24:44. > :24:53.In coming-of-age movies that character would rebel and run away.
:24:54. > :24:57.But the director is from the Hasidic Jewish community herself. So making
:24:58. > :25:03.a film about her religion. It is not propaganda, not an Expose but
:25:04. > :25:16.something in between. It is one that I would recommend to Mel Gibson!
:25:17. > :25:19.Technically it is a very accomplished film. She has coaxed
:25:20. > :25:25.incredible performances from her actors. I would like to see her next
:25:26. > :25:31.thing being something not necessarily about Orthodox Judaism.
:25:32. > :25:36.I think she is so within that world it would be nice to see her talent
:25:37. > :25:43.brought to bear on something outside of that. It was incredibly
:25:44. > :25:53.claustrophobic to watch. You felt, just run. It was that horrible sense
:25:54. > :25:59.of being in this character's very enclosed worlds. It is like a Jane
:26:00. > :26:06.Austen character. Living in this rigid society. Not as funny as Jane
:26:07. > :26:14.Austen! It is all about tradition. This ancient tradition yet at the
:26:15. > :26:21.same time shot in this European contemporary setting. The
:26:22. > :26:26.director's background is fascinating. In the Hasidic
:26:27. > :26:33.community you cannot have men and women in the same frame together. So
:26:34. > :26:49.that is interesting. Jane Austen is a decent comparison. Birth,
:26:50. > :26:54.weddings, death. So a romantic comedy is the next thing that she
:26:55. > :27:01.should do! Your favourite? All Is Lost by a long margin. It is a
:27:02. > :27:08.future classic. I wish it was the Hobbit but it is always lost. I
:27:09. > :27:17.would say All Is Lost. But for the barrel ride, the Hobbit. That's all
:27:18. > :27:20.from us. We'll be back next week on Tuesday at 11:15pm when we review
:27:21. > :27:23.Anchorman two and Ben Stiller in The Secret Life of Walter Mitty. To
:27:24. > :27:26.celebrate its 25th anniversary, Cinema Paradiso has been beautifully
:27:27. > :27:35.restored and is back in cinemas this weekend. Thank you very much for
:27:36. > :27:41.watching. Here's a glimpse. Good night.