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Hello and welcome to Film 2013, with me Claudia Winkleman. And me, | :00:30. | :00:33. | |
Danny Leigh. We are live. If you want to get in touch, tweet or | :00:34. | :00:41. | |
email. The details are on the screen right now. Tonight: Jamie | :00:41. | :00:46. | |
Foxx saddles up in Quentin Tarantino's Django Unchained. | :00:46. | :00:53. | |
Django. The "D" is silent. There is true life crime in The Wee Man. | :00:53. | :00:57. | |
John Hawkes and Helen Hunt get together in The Sessions. Is it | :00:57. | :01:03. | |
possible for me to know a woman in the biblical sense? Are we talking | :01:03. | :01:08. | |
about sexual enter course. Chris Hewitt is here with his Top Five | :01:08. | :01:17. | |
Shootouts. First it's Django Unchained by Quentin Tarantino. | :01:17. | :01:27. | |
Good cold evening, gentleman. I'm Dr King Schultz. What is your name? | :01:27. | :01:36. | |
Django. You're the one I'm looking for. No sale. Oh, very well. It's a | :01:36. | :01:44. | |
film about an exslave who become as bounty hunter. He has his freedom | :01:44. | :01:50. | |
he has this talent with the pistol and legality behind him he rescues | :01:50. | :01:55. | |
his wife who is still a slave. sold my wife. I don't know to who. | :01:56. | :02:02. | |
Will you help me to do that? I'll give you your freedom and take you | :02:02. | :02:09. | |
to rescue your wife. When are we going? I play a slave who become as | :02:09. | :02:14. | |
bounty hunter. She is my wife who gets separated from me in a brutal | :02:14. | :02:19. | |
way. When I meet my friend we go from plantation to plantation to | :02:19. | :02:23. | |
find her. You kill people and they give you a reward? Certain people, | :02:23. | :02:30. | |
yeah. Bad people? Ah! The Bader they are, the bigger the reward. | :02:30. | :02:35. | |
The film is this epic western cowboy western film, but it's in | :02:36. | :02:42. | |
the name of love. I like the way you die, boy. I have wanted to do a | :02:42. | :02:48. | |
western for a long time. I thought Pulp Fiction was a rock-and-roll | :02:48. | :02:54. | |
western. Now, it's time to do one for proper. Bull's-eye. I can only | :02:54. | :03:00. | |
think about five other westerns that have dealt with slavery as a | :03:00. | :03:04. | |
subject. It's an issue America are afraid to bring up, they are | :03:04. | :03:08. | |
embarrassed about it. I wanted to deal with. It We have a fight going | :03:08. | :03:14. | |
on. It's good fun. A lot of films touched on it that make you think | :03:14. | :03:18. | |
slavery was this thing where people sung songs in the fields and picked | :03:18. | :03:25. | |
cotton and they were OK. It wasn't. It was a horrible institution. | :03:25. | :03:35. | |
:03:35. | :03:38. | ||
said, you said you didn't know him? I don't. Yes, you do. Mr Stephen, I | :03:38. | :03:46. | |
don't. Why is you lying to me? Lying? Why is you crying? You're | :03:46. | :03:53. | |
scaring me. Why is I am scaring you? Because you're scaring... | :03:53. | :03:59. | |
Action! Coming from America, if you are going to do a movie about | :03:59. | :04:04. | |
slavery it will be a hot potato. That is good. People are having | :04:04. | :04:09. | |
real conversations about slavery, in a way that hasn't gone on for at | :04:09. | :04:13. | |
least 30 years. We had a great laeter in Quentin Tarantino. For | :04:13. | :04:18. | |
the most part, it's been fantastic -- leader. It takes pressure off | :04:18. | :04:22. | |
myself and Carrey. We are the African-American people in the | :04:22. | :04:30. | |
movie. It will be laid at our feet if it were to go awr e. It makes | :04:30. | :04:35. | |
you step back. It is nowhere near as horrible as the stuff that | :04:35. | :04:42. | |
happened. What is your name? Django. This would be a good time for, in | :04:42. | :04:49. | |
our relationship, you told me your "D" was silent and I could call you | :04:49. | :04:56. | |
Anne. I'd rather you didn't. Flagging it up. I am don't come at | :04:56. | :05:00. | |
this movie as Quentin Tarantino. She talented. A lot of what he has | :05:00. | :05:05. | |
done for 10 years could be filed under "self-pleasure. Django is | :05:05. | :05:09. | |
funny and brutal. It's recognisable. It couldn't be made by anyone else. | :05:09. | :05:15. | |
It is insanely entertaining. For those of us, like me, who have felt | :05:15. | :05:19. | |
iffy about Tarantino, going back to Jackie Brown this is welcoming back | :05:19. | :05:26. | |
an old friend. A talking old friend. On that note? On the subject of | :05:26. | :05:31. | |
fowl mouth, if you see this film you will stand up and you will want | :05:31. | :05:35. | |
to shout obscenities in a good way. Possibly punch the air. Will you | :05:35. | :05:40. | |
love. It you will feel invigorated. Can I read out some tweets, because | :05:40. | :05:45. | |
we said the thing, they have come in. Quentin Tarantino back to his | :05:45. | :05:52. | |
best. The Best Film maker of his generation from Nathan Polly. Ryan | :05:52. | :06:00. | |
says - Django is fun but massively overrated. Django being the least | :06:00. | :06:03. | |
interesting character. We will talk about the actors in a minute. | :06:03. | :06:06. | |
Before we move off the subject, I want to talk about Tarantino more. | :06:06. | :06:10. | |
I think, listen, no-one sprays blood across a screen like him. We | :06:10. | :06:14. | |
all know. That when he is on form there is so much more going on here. | :06:15. | :06:17. | |
Dialogue, the rhythm of the dialogue, you can nod your head to. | :06:18. | :06:23. | |
It you could dance to it. It's a thing of beauty. He is over rated | :06:23. | :06:28. | |
and he doesn't get enough credit if that makes sense. It makes absolute | :06:28. | :06:34. | |
sense. There are moments in this film that funny. He is wearing blue. | :06:34. | :06:40. | |
A moment when he says "say goodbye to Miss Laura." I will not say | :06:40. | :06:46. | |
anything else. When you see it, you will know what we mean. I have seen | :06:46. | :06:50. | |
it with someone who loved. It I watched it again. I think it's | :06:50. | :06:55. | |
worth bringing up with somebody who found the violence too much. It was | :06:55. | :06:58. | |
in the news a lot. Silly not to mention. There has been talk about | :06:58. | :07:03. | |
Tarantino and violence. By this stage of his career if you don't | :07:03. | :07:10. | |
like gun play you are better off having a Radox bath than watching a | :07:10. | :07:14. | |
Tarantino film. The violence is more interesting than the violence | :07:14. | :07:19. | |
he doesn't show than the violence he does show. There is a lot of | :07:19. | :07:23. | |
slap stick. You never doubt how seriously this movie takes slavery. | :07:23. | :07:28. | |
You don't have to be Spielberg to make a point. I want to say | :07:28. | :07:35. | |
something quick about the actors. Jamie Foxx and Christoph Waltz get | :07:35. | :07:38. | |
all the attention. I want to say something about Leonardo Di Caprio. | :07:38. | :07:42. | |
She a very smart move casting him here. The thing about Leonardo Di | :07:42. | :07:45. | |
Caprio, he has ruined any number of films in the last few years. | :07:45. | :07:50. | |
Whatever the role is, he looks like this over fed man baby. In fact, | :07:50. | :07:53. | |
here that is the character. That is exactly the character he is playing. | :07:53. | :08:02. | |
He is a perfect fit. Very, very smart move casting Leonardo Di | :08:02. | :08:07. | |
Caprio. Samuel L Jackson extraordinary? Yes. Next, Helen | :08:07. | :08:12. | |
Hunt and John Hawkes star in The Sessions, the true life story of | :08:12. | :08:16. | |
Mark O'Brien, a polio sufferer paralysed from the neck down, who | :08:16. | :08:26. | |
:08:26. | :08:34. | ||
sets out to lose his virginity aged Oh. Shit. I had not heard this | :08:34. | :08:40. | |
story told before. You know, a guy who was spent most of his life in | :08:40. | :08:44. | |
an iron lung. All of a sudden he wanted to lose his virginity. | :08:44. | :08:50. | |
possible for me to know a woman in the biblical sense? Are we talking | :08:50. | :08:56. | |
about sexual enter course? My penis speaks to me, Father. When I read | :08:56. | :09:01. | |
the script. I thought, this is a new story. A world I have never | :09:01. | :09:06. | |
seen before. You go, this is like this movie but they are on Mars. I | :09:06. | :09:11. | |
have not seen this story before or met this woman before. So. Your | :09:11. | :09:19. | |
money is on the desk over there. Yes, it is. Thank you. That was the | :09:19. | :09:24. | |
wrong way to start of. It really was. Shall we start again? Please. | :09:24. | :09:29. | |
You start. Although the aim is for us to have sex. I'm not a | :09:29. | :09:34. | |
prostitute. You don't have to pay me up front. I have nothing against | :09:34. | :09:39. | |
prostitutes. There is a difference. We can talk about that later. | :09:39. | :09:43. | |
sorry. The concept of a sex surrogate. What is this role, a | :09:43. | :09:49. | |
woman who has sex for money, it's not prostitution? It weighs | :09:49. | :09:54. | |
irresistable. I understand you are able to have an erection. Yes, but | :09:54. | :09:58. | |
not by choice. The First question I had for the director, who had also | :09:58. | :10:05. | |
written the script was, why not a disabled actor, Ben is disabled | :10:05. | :10:10. | |
himself, a polio survivor. He had met with actors with disability and | :10:10. | :10:16. | |
actors without disability trying to find his character. He hadn't found | :10:16. | :10:20. | |
the right actor, he felt. I'm glad he thought I could do. It I'm glad | :10:20. | :10:24. | |
I decided to do. It God wasn't actually denying my sexuality, he | :10:24. | :10:30. | |
was just pointing out to me how useless it was. It's amazing to me | :10:30. | :10:37. | |
how often God is brought into the sex act. I understand, even among | :10:37. | :10:42. | |
non-believers the most common expression of sexual ecstasy is "oh, | :10:43. | :10:46. | |
God." To find the humour in this film was hugely important to me. | :10:47. | :10:53. | |
The fact that the audiencience is laughing so loud they can't hear | :10:53. | :10:57. | |
the neck line means when I come in they are more open and engaged and | :10:57. | :11:02. | |
vulnerable. I said to my boyfriend at the premier in LA, before I come | :11:02. | :11:09. | |
in and get naked, "it's very quiet in here all of a sudden." You will | :11:09. | :11:13. | |
listen to signals from your body. That way you will be able to have | :11:13. | :11:16. | |
control. One of the unique things about the movie, often when two | :11:16. | :11:20. | |
people come together in a movie or in real-life, they are really | :11:20. | :11:23. | |
looking out for themselves. Whereas, in this case, they come together | :11:24. | :11:29. | |
for one of them. They come together for him. I think, it works best as | :11:29. | :11:36. | |
a relationship movie. It's kind of like, a hidden love story, really. | :11:36. | :11:41. | |
I was ready to often comfort to the furlong. I would love to hear it. | :11:41. | :11:45. | |
Love is a journey. I like it already. That's it. That is all I | :11:45. | :11:49. | |
have got. What do you think? terms of award season,th Sessions | :11:49. | :11:53. | |
hasn't been invited to the party. I think that is a shame. The reasons | :11:53. | :11:57. | |
it has been ignored are exactly the reasons it should be embraced. | :11:57. | :12:02. | |
Unstayed and under played. It tell as movie story without leaving your | :12:02. | :12:07. | |
heart strings feeling like they have been molested. It has a really | :12:07. | :12:11. | |
great refreshing attitude towards sex. In big Hollywood blockbusters | :12:11. | :12:17. | |
they try to pretend sex doesn't exist. People in Christopher Nolan | :12:17. | :12:24. | |
films I don't think have gentals. Here, John Hawks' character is | :12:25. | :12:28. | |
learning a new language from Helen Hunt's character. Sex is fun and | :12:28. | :12:33. | |
healthy. The movie industry spends a lot of its time catering for | :12:33. | :12:38. | |
virgins and over grown virgins. It's nice to have a movie which is | :12:38. | :12:45. | |
a truly adult film in the best sense. Absolutely adult. | :12:45. | :12:49. | |
Performances brilliant. It is funny. What do you think of the | :12:49. | :12:53. | |
performances? Helen Hunt has an Oscar nod. It's well and good the | :12:53. | :12:56. | |
film having this sense of being matter-of-fact about sex. She has | :12:57. | :13:01. | |
to embody. That she has to play this part. She spends half the film | :13:01. | :13:06. | |
in the altogether. Very brave. Fine, fine performance. There are two | :13:06. | :13:10. | |
fine performances going on. It's a film about two people. John Hawkes, | :13:10. | :13:13. | |
who I think is superb here. Because of the nature of the character he | :13:13. | :13:18. | |
is playing, he can only ability act with his eyes and voice. Have you a | :13:18. | :13:24. | |
physical performance. To me, this is impressive as Tom Cruise on top | :13:24. | :13:28. | |
of a hotel in Mission Impossible 4. There is a real beauty to this. I | :13:28. | :13:33. | |
think, I don't know, what do you great being under stated and under | :13:33. | :13:38. | |
played? That is what John Hawkes is here. You sit at the back in the | :13:38. | :13:44. | |
Oscars unnominated while Bradley Cooper is nominated as Best Actor | :13:44. | :13:54. | |
:13:54. | :13:56. | ||
for doing Silverlinings play. That is a travesty. Bradley, well done. | :13:56. | :14:01. | |
Now the Oscars, do you have gripes. Are you OK? How do you feel about, | :14:01. | :14:07. | |
I'm scared to ask, Best Director? That is a real problem. The | :14:07. | :14:11. | |
omissions are more interesting than what has been included. Best | :14:11. | :14:14. | |
Director is fascinating. You can reel off a list that haven't been | :14:14. | :14:18. | |
named, Tarantino not being named. Paul Thomas Anderson hasn't been | :14:18. | :14:25. | |
nominated for The Master. It is not up for Best Film. Not among the | :14:25. | :14:33. | |
best ten films this year, that is crazy. Ben Affleck with Argo. | :14:33. | :14:41. | |
won at the Globes. Another one, Zero Dark 30. We will talk about it | :14:41. | :14:48. | |
next week. Anyone who watched the live stream of the nominations that | :14:48. | :14:55. | |
Catherine Bigglow, people were clapping. Every time Zero Dark 30 | :14:55. | :15:00. | |
was mentioned there was a silence. Interesting stuff going on in play | :15:00. | :15:10. | |
:15:10. | :15:11. | ||
I don't even dare say I liked it again for fear you will get... | :15:11. | :15:17. | |
Please don't. Please don't. Listen... Also, Tom Hooper got | :15:17. | :15:21. | |
nominated but Les Mis... We have just named five directors - it's | :15:21. | :15:27. | |
the alternative Best Directer list, an interesting thing. I am pleased | :15:27. | :15:32. | |
the Southern World got nominated. It has picked up several | :15:32. | :15:35. | |
nominations. I can't help but thinking this is just the academy | :15:35. | :15:42. | |
proving they have seen a foreign and an indie film this year. And | :15:42. | :15:52. | |
:15:52. | :15:57. | ||
Moonrise Kingdom. That's enough for Hello, and welcome, Chris, into Top | :15:57. | :16:04. | |
Five world. How are you? I am gl. How you? You have top five | :16:04. | :16:08. | |
Shootouts? I have. Because of Django? Because of Django and | :16:09. | :16:12. | |
because we're going to shoot each other. Hopefully not - definitely | :16:12. | :16:17. | |
not. Can I converse with you about Shootouts? You can. Many your head, | :16:17. | :16:22. | |
is that a mass of people because I just want it to be defined by you. | :16:22. | :16:27. | |
Yes. We're differing on this. slightly differ on this because I | :16:27. | :16:30. | |
would have thought Shootouts was two people. That's a due. Then | :16:30. | :16:34. | |
there is a gunfight which is a couple of people. I would say it is | :16:34. | :16:38. | |
usually a lot of people. Listening to you, I think you're right. You | :16:38. | :16:42. | |
think a shoot-out is two people with guns. Listen, we could do this | :16:42. | :16:48. | |
all night. If I am shooting at you and you shooting at me it's a | :16:48. | :16:52. | |
shoot-out. People shooting anywhere... Out of a bush? Anywhere, | :16:52. | :16:56. | |
out of a nightclub. Immediately, when you got the phone call, did | :16:56. | :17:00. | |
you go, that's easy? I am doing that with my eyes closed? I knew my | :17:00. | :17:04. | |
number one. I knew any number two, then the rest with my eyes closed. | :17:05. | :17:11. | |
I love John Wu movies. I am wearing the T-shirt but Die Hard didn't | :17:11. | :17:15. | |
make it. It was very, very tough. There is a disgruntlement about the | :17:15. | :17:21. | |
absence of John Wu on twit. They're livid. Let's start with number five. | :17:21. | :17:24. | |
When I think of shoot-outs I think of bank robberies and westerns, so | :17:24. | :17:27. | |
I went for a western for number five. There is another one in there | :17:27. | :17:32. | |
later on, but I wanted something that felt realistic, a realistic | :17:32. | :17:36. | |
shoot-out. If we were shooting at each other we'd be missing because | :17:36. | :17:40. | |
we'd be nervous. You would be missing! You'd be hitting me in the | :17:40. | :17:45. | |
face obvious by but I went for Kevin Costner's Open Range which | :17:45. | :17:50. | |
has a fantastic climactic shoot-out where bullets blow people apart and | :17:50. | :17:53. | |
they did realistic physics but also people missing. OK. Let's have a | :17:53. | :17:57. | |
clip. Looks like you're losing your Army, | :17:57. | :18:07. | |
:18:07. | :18:32. | ||
Snoop couldn't hit a barn door. No. Number four totally - anybody does | :18:32. | :18:35. | |
a cartwheel in slow motion wins. think you're going to give it away | :18:35. | :18:39. | |
with this one. This is my style over substance choice. I was going | :18:39. | :18:47. | |
to go for a John Wu film but decided I had to go for The Matrix | :18:47. | :18:50. | |
for the noughties in many ways but Keanu Reeves looks very, very cool. | :18:50. | :19:00. | |
:19:00. | :19:02. | ||
You say cool. I always think, what a coat. Let's have a look. | :19:02. | :19:12. | |
:19:12. | :19:30. | ||
Don't you think that looks dated, though? I look at that and go, God, | :19:30. | :19:34. | |
1999 - that looks so... But every film that came after copied it. It | :19:34. | :19:37. | |
still looks pretty fresh. Yes, that lobby scene - I remember seeing it | :19:38. | :19:41. | |
for the first time and I remember seeing it a million times. "We're | :19:41. | :19:47. | |
going to need guns, lots of guns." What's next? A western. This one I | :19:47. | :19:51. | |
think influenced pretty much every major action film-maker for the | :19:51. | :19:56. | |
last 30, 40 years including my beloved John Wu. It is the ultimate | :19:56. | :20:02. | |
blaze of glory, the ultimate electric shoot-out. It's the end of | :20:02. | :20:12. | |
:20:12. | :20:38. | ||
Wild Bunch. You know with The Wild Bunch, they | :20:38. | :20:45. | |
had six cameras going at six different speeds, six different | :20:45. | :20:49. | |
frameworks, six different cameras at the same time - that was the | :20:49. | :20:53. | |
only way he could get that sense of time. There would have been no The | :20:53. | :20:58. | |
Matrix without The Wild Bunch. Half of cinema would have been taken out. | :20:58. | :21:03. | |
He didn't shoot in FPS, did he? What's your next choice? I had to | :21:03. | :21:13. | |
:21:13. | :21:15. | ||
go for a comedy. I love the movies of Jim Zucker and David Zucker, a | :21:15. | :21:23. | |
World War II film called Top Secret!. It plays on all the | :21:23. | :21:27. | |
cliches and conventions of a shoot- out, and it's just hilarious. | :21:27. | :21:37. | |
:21:37. | :21:58. | ||
My favourite thing about that - we have watched it all day - I can't | :21:58. | :22:01. | |
imagine how many times you have seen that - still like a four-year- | :22:01. | :22:05. | |
old giggling. Not even the best joke. There are better jokes in | :22:05. | :22:09. | |
that sequence. Are there? There is an amazing joke with a machine gun | :22:09. | :22:14. | |
you have to see to believe. You have to. Very good. So number one - | :22:14. | :22:18. | |
I am hoping it's going to be what Twitter want you to choose as | :22:18. | :22:23. | |
number one... Yes. Otherwise there is going to be a ruckus. | :22:23. | :22:27. | |
disqualified John Wu, so... They did want this one at number one. | :22:27. | :22:31. | |
You may have noticed a young Val Kilmer in Top Secret! That was his | :22:31. | :22:34. | |
first movie. I have gone for another Val Kilmer movie for number | :22:34. | :22:39. | |
one. It is an amazing shoot-out in Heat where the characters are | :22:39. | :22:44. | |
trying to get away from Al Pacino and his Army of cops, and they use | :22:44. | :22:46. | |
incredible military tactics to get away. It's fantastic. OK. Here's | :22:46. | :22:56. | |
:22:56. | :23:34. | ||
It's a fine choice. Nice wig on Val as well. Is that a wig? I am saying | :23:34. | :23:38. | |
it is. I am not taking anything away from Heat. One comes from | :23:38. | :23:45. | |
Twitter. I feel strongly about it myself, the Third Man - I don't see | :23:45. | :23:49. | |
how you can do this without mentioning that movie. It's not a | :23:49. | :23:53. | |
shoot-out. My God that cinema. need at least a dozen people for a | :23:53. | :24:02. | |
party. Scarface - you could do this on the top five movie - Scarface. | :24:02. | :24:08. | |
How can you leave that out? considered my Blaze of Glory moment | :24:08. | :24:12. | |
but The Wild Bunch pipped it in the end. Everybody has a favourite. | :24:12. | :24:19. | |
nightclub scene in Scarface where Octavio - you know, he's the | :24:19. | :24:25. | |
cocaine weevil - he gets caught up in the shoot-out. You're an amazing | :24:25. | :24:32. | |
man, but... Number six - I am looking for two words, Star Wars. | :24:32. | :24:42. | |
:24:42. | :24:48. | ||
don't know. We're out of time. Next week with Catherine Bray. Now a | :24:48. | :24:58. | |
clip from Wee Man. It's time you took the ladder. I chose to be a | :24:58. | :25:02. | |
gangster. The Commonwealth always despised | :25:02. | :25:08. | |
him. You leave Ferris to me. I have grand plans on him. Someone has put | :25:08. | :25:14. | |
a price on his head. This has to stop if we're going to have a | :25:14. | :25:17. | |
future. You know who he was. You knew what you signed up for. I want | :25:18. | :25:22. | |
you to pass on a message. I am scared, so scared. It's gone too | :25:22. | :25:31. | |
far. It's taken over your life. It's possessed your soul. If you | :25:31. | :25:37. | |
want a moment, you can have it. it begins. We don't have a lot of | :25:37. | :25:41. | |
time, so I am going to ask you, is it worth seeing? If you like | :25:41. | :25:47. | |
Scottish gangster films - I don't know if you're in the mood - it's | :25:47. | :25:51. | |
aiming for I am Bruce Scorsese. It has some swagger to it and fine | :25:51. | :25:55. | |
performances. The director also directed Love, Honour and Obey, | :25:55. | :25:58. | |
which is one of the worst films I have ever seen. He has been in | :25:58. | :26:01. | |
prison for the last 30 years because of that. Martin Compston is | :26:01. | :26:04. | |
very, very good. Next, Chained, a dark and disturbing horror film | :26:04. | :26:06. | |
from director Jennifer Chambers Lynch. If you scare easily, close | :26:06. | :26:14. | |
your eyes now. Hey, hon. It's us. We're in a cab. | :26:14. | :26:19. | |
We're on our way home. Love you. Excuse me. That was our exit. | :26:19. | :26:25. | |
Mum? I've got a child back here, and you're beginning to scare the | :26:25. | :26:29. | |
bejesus out of me. Chained is in my opinion a story about how monsters | :26:29. | :26:36. | |
are really made, and it's the tale of a serial killer who drives a | :26:36. | :26:42. | |
taxicab who picks up a fare, a mother and her son, and takes them | :26:42. | :26:52. | |
:26:52. | :27:02. | ||
home instead of to their required Mom! Stay in the car. And he ends | :27:02. | :27:06. | |
up killing the mom and keeping the boy for ten years, and it's the | :27:06. | :27:10. | |
story of that experience. Mom! wanted to explore the dynamic | :27:10. | :27:16. | |
between the man and the boy and try and figure out exactly why this man | :27:16. | :27:20. | |
was doing what he was doing and maybe create a dialogue about child | :27:20. | :27:28. | |
abuse and why humans do bad things. I didn't ask for you, but since | :27:28. | :27:36. | |
you're here, I'm going to make the most of it. You will have one job. | :27:36. | :27:43. | |
You do what I say. SCREAMING | :27:43. | :27:53. | |
Jonny Evans -- Evan Burd is an incredible actor. Yes, he's a child. | :27:53. | :28:00. | |
If he wanted to change something, he had the room to do that. I don't | :28:00. | :28:04. | |
think somebody needs to be tortured in order to look like they're being | :28:04. | :28:08. | |
tortured. It is for some people a very tough watch, but I think it's | :28:08. | :28:18. | |
:28:18. | :28:32. | ||
You will serve me for the rest of What's your name? I'm Rabbit. | :28:32. | :28:40. | |
long have you been here? Since I We have run out of time. Should | :28:40. | :28:45. | |
people buy a ticket to this? It's claustrophobic and evocative. For | :28:45. | :28:50. | |
horror fan, absolutely. For non- horror fans it's undermined by | :28:50. | :28:55. | |
having a plot twist which even a dog would find implausible and not | :28:55. | :29:00. | |
even a clever dog. Agreed. It's released on February 1. Your film | :29:00. | :29:06. | |
of the week? Django Unchained. But it can't get into cinemas because | :29:06. | :29:11. | |
of that terrible singing, Django Unchained is great. Go and see | :29:11. | :29:13. | |
Sessions too. That's all for tonight. Next week | :29:14. | :29:16. | |
we're back at the later time of 11.50pm, and we'll be reviewing | :29:17. | :29:20. | |
Lincoln and Zero Dark Thirty. Plus, I sit down to chat with Steve | :29:20. | :29:23. | |
Spielberg. Playing us out tonight the new trailer for A Good Day To | :29:23. | :29:26. | |
Die Hard. It stars Bruce Willis and is in cinema's February. Thank you | :29:26. | :29:36. | |
:29:36. | :29:40. | ||
and goodnight. Jack? Dad? This is what you have been doing, 007, a | :29:40. | :29:50. | |
:29:50. | :29:52. | ||
playing field in New Jersey. Relax. You're safe now. Save my ass. | :29:52. | :30:01. | |
guy's bad news - terrorism, weapons grade European Union -- uranium, | :30:01. | :30:09. | |
nukes. Someone's got to stop him. That a boy. Knock, knock. Whoa! | :30:09. | :30:19. | |
:30:19. | :30:23. |