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Hello and welcome to Film 2013 with me, Claudia Winkleman. And me, | :00:29. | :00:34. | |
Danny Leigh. If you want to get in touch then please tweet or e-mail. | :00:34. | :00:39. | |
The details are on the screen now. On tonight's show. | :00:39. | :00:42. | |
Directing Psycho. Anthony Hopkins is the Master of Suspense in | :00:42. | :00:50. | |
Hitchcock. More anger. | :00:50. | :00:56. | |
Love Hurts for Ralph Spall and Rose Byrne in I Give it a Year. | :00:56. | :00:59. | |
Something in our marriage does a lot click. | :00:59. | :01:04. | |
And Nicholas Hoult in Zom Com, Warm Bodies. | :01:04. | :01:07. | |
Plus there's Gael Garcia Bernal in No, and Chris Hewitt is here with | :01:07. | :01:13. | |
his Top 5 Bio-pics. First tonight, Anthony Hopkins stars as Alfred | :01:13. | :01:15. | |
Hitchcock and Helen Mirren as his wife, Alma Reville in Hitchcock, a | :01:15. | :01:23. | |
film that explores their marriage and the making of Psycho. | :01:24. | :01:33. | |
:01:34. | :01:36. | ||
Mr Hitchcock! Should you not quit while you are ahead? | :01:36. | :01:40. | |
It is about their relationship, if a marriage. About that | :01:40. | :01:44. | |
extraordinary moment when one of the most famous movies in film | :01:45. | :01:52. | |
history was made. I need something fresh and different. There is a | :01:52. | :01:58. | |
project out there waiting for you, I promise. The film is the untold | :01:58. | :02:05. | |
story of Hitchcock and his wife. It is sort of a love story about this | :02:05. | :02:09. | |
creative collaboration behind the scenes. It uses the making of the | :02:09. | :02:16. | |
film Psycho as the backdrop. Just think of the shock value, killing | :02:16. | :02:22. | |
off your leading lady halfway through. You are intrigued, are you | :02:22. | :02:32. | |
:02:32. | :02:34. | ||
not? Admit it. Admit it. Actually I think it is an huge mistake. You | :02:34. | :02:41. | |
should not wait to halfway through, do it after 30 minutes. | :02:41. | :02:48. | |
I'm not a huge film buff but I do know some things. I did not know | :02:48. | :02:54. | |
about the contribution made by Hitchcock's wife to all his movies. | :02:54. | :03:01. | |
She was a critical component to his creative process. She was involved | :03:01. | :03:07. | |
in the script, in casting and in editing. So it was about this | :03:07. | :03:13. | |
unique creative collaboration. was the life that a moment later | :03:13. | :03:19. | |
cut off her scream, and her head. Charming. Doris Day should do it as | :03:19. | :03:25. | |
a musical! You do not get movies made without | :03:25. | :03:32. | |
an obsessiveness and an ability not to let go of something. We see | :03:32. | :03:37. | |
Hitchcock like this in his movie. do solemnly promise that I will not | :03:37. | :03:43. | |
divulge the plot nor the many secrets of Psycho. | :03:43. | :03:50. | |
Directors also need a voyeuristic element which can be twisted or | :03:50. | :03:55. | |
perfectly healthy. He is always watching. There is | :03:55. | :04:05. | |
:04:05. | :04:05. | ||
darkness. The take on the shower scene. Hitchcock is pretty out of | :04:05. | :04:12. | |
control and crazy. He was immensely contradictory and enigmatic and | :04:12. | :04:17. | |
fascinating. That is why we're still talking about him. | :04:17. | :04:21. | |
He may not be easy to live with but you are more entertaining than any | :04:21. | :04:26. | |
of your plots. I do not know what Hitchcock did to | :04:26. | :04:31. | |
the makers of this film but they must be nursing a grudge. It is so | :04:31. | :04:37. | |
flaccid and flimsy and grubby. They are selling this as the untold | :04:37. | :04:44. | |
story. Half of it is not true and almost all his tedious. It is that | :04:44. | :04:48. | |
which Hitchcock with the spinning in his grave about. It is fine to | :04:48. | :04:54. | |
make it up but make it interesting. Hitchcock was the genius and Psycho | :04:54. | :05:01. | |
was a masterpiece. This is at dull film about a slightly creepy middle | :05:01. | :05:06. | |
aged couple having Marrel full problems. I watched this film on my | :05:06. | :05:11. | |
own and I stood up and looked it at the end. I'm going into Twitter | :05:11. | :05:18. | |
world and many people agree with you. One says it is painting by | :05:18. | :05:24. | |
numbers as a biopic. Another one says it is disappointing week | :05:25. | :05:30. | |
average that says little about the man that has not been seen before. | :05:30. | :05:37. | |
Helen Mirren was good. I liked it more than you did. 5 o'clock on a | :05:37. | :05:47. | |
:05:47. | :05:47. | ||
Sunday, eating biscuits by myself. The shame is that this is such a | :05:47. | :05:52. | |
fascinating story and should be a fascinating film. Psycho was a film | :05:52. | :05:58. | |
that turned all the rules on its head. But this is not about his | :05:58. | :06:06. | |
wife, this is about the cramped up missing link. Constantly on the | :06:06. | :06:12. | |
verge of having an affair which never happened. Where is Hitchcock? | :06:13. | :06:18. | |
And spent the entire film wondering where he was. I just kept seeing | :06:18. | :06:24. | |
this random fat man, that is not Hitchcock. Is it because you have | :06:24. | :06:29. | |
so much information, because you come to it, for the rest of us will | :06:29. | :06:37. | |
a bit about Hitchcock, is it because you know too much? I do not | :06:37. | :06:42. | |
think it is. I just want something interesting. By all means take | :06:42. | :06:47. | |
liberties but makes something that grabs you. Not something this | :06:47. | :06:52. | |
insipid. Once you get past the make-up and the fat suit, which is | :06:52. | :06:59. | |
quite an achievement, what is left of Hitchcock? Had deep Sims can | :06:59. | :07:06. | |
says it is a formidable duo. A fitting home Irish. As a portrait | :07:06. | :07:12. | |
of Hitchcock is less openly Sandra's that others. But in a way | :07:12. | :07:19. | |
just as insulting because it shows him as an E D E who was making a | :07:19. | :07:27. | |
violent film because he himself had these repressed violent urges. We | :07:27. | :07:33. | |
heard the director talking about the creative processes. But fruit | :07:33. | :07:43. | |
:07:43. | :07:45. | ||
has a better understanding of the creative process than that. Helen | :07:45. | :07:48. | |
Mirren is nominated for the Best Actress BAFTA and you can see if | :07:48. | :07:51. | |
she wins, and who the other winners are this Sunday on BBC One from 9pm. | :07:51. | :07:54. | |
Next, I Give It A Year, written and directed by Dan Mazer, the writer | :07:54. | :08:02. | |
of Borat and Bruno. It is only seven months and some of you think | :08:02. | :08:08. | |
we're crazy for getting married. Yes, I Give It A Year. It examines | :08:09. | :08:14. | |
the first year of a marriage. Where in a bit of a dysfunctional | :08:14. | :08:19. | |
relationship immediately. You're watching a film where you want a | :08:19. | :08:25. | |
couple ultimately not to be together. Whereas normally you root | :08:25. | :08:30. | |
for the two protagonists to get together. But here it you want them | :08:30. | :08:36. | |
to be a part. There is something in our marriage that has not quite | :08:36. | :08:44. | |
clicked. You think there could be someone | :08:44. | :08:49. | |
better looking's other terrible sexual problems? I wanted to make a | :08:49. | :08:54. | |
modern and contemporary comedy about romance as opposed to | :08:54. | :09:01. | |
something that felt hackneyed and traditional. That is almost a | :09:01. | :09:09. | |
pejorative term now, Rom Com. I sort you looking at it online the | :09:09. | :09:14. | |
other day. It is a hybrid of the previous work I have done and the | :09:14. | :09:19. | |
more romantic, emotional story. Bringing those together was | :09:19. | :09:23. | |
difficult. I naturally gravitated towards the more extremely | :09:23. | :09:33. | |
:09:33. | :09:36. | ||
outrageous. That is the hotel. And that, that | :09:36. | :09:41. | |
is a doggy style. It needs to be rooted in a logic. | :09:41. | :09:47. | |
That is the thing with all comedy. You get these obscene situations. | :09:47. | :09:56. | |
But they need some reality in them. You should just cut your losses now | :09:56. | :10:03. | |
before your life becomes a series of squabbles. It has taken scenes | :10:03. | :10:08. | |
from my own life. I infuriate my wife. That is the manifestation of | :10:09. | :10:18. | |
:10:19. | :10:23. | ||
hate and hate is funny. Here we go. Television. For words. First word. | :10:23. | :10:33. | |
:10:33. | :10:34. | ||
Hanging. Impotent. Stupid. The famine that. Annoying idiot. | :10:35. | :10:43. | |
Disappointment. Shane. Doctor, not the first thing you think when you | :10:43. | :10:50. | |
look at him. That is hilarious. I should just | :10:50. | :10:57. | |
say I have a personal connection to this film, my husband worked on it. | :10:57. | :11:02. | |
I am delighted to be in this situation again. It is | :11:02. | :11:12. | |
:11:12. | :11:14. | ||
substantially better than WE. But I think there is the identity crisis | :11:14. | :11:24. | |
:11:24. | :11:26. | ||
going on. It wants to be like love actually. But I prefer it when it | :11:26. | :11:32. | |
sticks two fingers up at the fluffy side of things. It works better as | :11:32. | :11:37. | |
bad taste sketch show about a doomed marriage filled with | :11:37. | :11:47. | |
terrible family Christmases. Then Tim Key comes on and is hilarious. | :11:47. | :11:52. | |
He steals whichever parts of the movie are left to be stolen. It is | :11:52. | :11:56. | |
a very fine cast with a lot of funny people. Sometimes doing funny | :11:56. | :12:05. | |
things. Good, we are done. It is hilarious. For the sake of my | :12:05. | :12:12. | |
conscience, my problem is that you have to care about the couple. Deep | :12:12. | :12:17. | |
down you want them to have a happy ending but I wanted to reach into | :12:17. | :12:27. | |
:12:27. | :12:29. | ||
the screen and kill them. Ralph spall is playing as likely arrested | :12:29. | :12:34. | |
but secretly full himself writer. That is basically myself and I | :12:34. | :12:43. | |
still hated it. There is a very good use of London scenery. And | :12:43. | :12:49. | |
some very funny moments. Watch out for the bullfrog and the monkey. | :12:49. | :12:56. | |
has spoken about that all day! Cannot get enough of it. Twitter | :12:56. | :13:06. | |
:13:06. | :13:16. | ||
again, and one saying it is a hit. Hello and welcome, Chris. | :13:16. | :13:26. | |
:13:26. | :13:35. | ||
What's your Top 5 this week? Because of Hitchcock it is Bio-pics. | :13:35. | :13:40. | |
Normally you come in and say top five, perfect. But they have been | :13:40. | :13:50. | |
:13:50. | :13:54. | ||
some omissions. We have all kinds of things here. We can all jump in. | :13:54. | :14:03. | |
Was it easy for you? It was tough. Psycho is up my street. But for me | :14:03. | :14:08. | |
it is a bit like homework, a bit like a history lesson that keeps | :14:08. | :14:14. | |
going on and on. I think we were both scarred by Gandhi. Not what he | :14:14. | :14:24. | |
did? Not the man himself. Let us start with number five. It is a | :14:24. | :14:32. | |
personal choice. It got me into a love of film. And remember sitting | :14:32. | :14:36. | |
up into the small hours of the morning watching it over and over. | :14:36. | :14:42. | |
It is James Cagney. If you think he was always a gangster, this will | :14:42. | :14:50. | |
disabuse you of that. He can't sing and dance. -- she can. Of course, | :14:50. | :15:00. | |
:15:00. | :15:25. | ||
# She is my Yankee doodle joy. I am a yankee doodle boy. Number four? | :15:25. | :15:31. | |
This is Social Network, the biopic of Mark Zuckerberg, but her life | :15:31. | :15:40. | |
could also be commodities the biopic of a phenomenon, Facebook. | :15:40. | :15:48. | |
You have 42 days to study our system and get out ahead. Used old | :15:48. | :15:54. | |
our whole idea! You really do not need a forensics team to get to the | :15:54. | :15:59. | |
bottom of this. If you guys were the inventors of Facebook... That | :15:59. | :16:08. | |
just makes me think, why are we not watching that together? Why does he | :16:08. | :16:18. | |
do that thing? Just to disabuse people. Just because he can. Nobody | :16:18. | :16:24. | |
is going to say to him... This next one changed at the last minute. | :16:24. | :16:29. | |
my original number three was really embarrassing, and then I woke up in | :16:29. | :16:34. | |
a cold sweat - I cannot have that! You are not going to say what it | :16:34. | :16:43. | |
was. I will not say. This is an amazing film, Schindler's List, | :16:43. | :16:48. | |
obviously about a broader canvas, but also about one man's | :16:48. | :16:52. | |
conscientious awakening. Oskar Schindler, this salesman who | :16:52. | :17:00. | |
becomes a selfless saviour. It is absolutely magnificent. If you want, | :17:00. | :17:10. | |
:17:10. | :17:11. | ||
you could run the company for me. Let me understand - they put up all | :17:11. | :17:18. | |
the money, I do all the work. would make sure the company is in | :17:18. | :17:22. | |
business, I would see that it has a certain panache. That is what I am | :17:22. | :17:27. | |
good at - not the work, the presentation. I promise you, I am | :17:27. | :17:30. | |
not going to reveal what your original number three was, I would | :17:30. | :17:34. | |
just like to say that your original number three would not have | :17:34. | :17:39. | |
approved of your new number three. Nor of any of this! If you can | :17:39. | :17:44. | |
guess the original number three, we wheels and Jukic. What is number | :17:44. | :17:54. | |
two? If I had not put this in my list, I would have been killed. It | :17:54. | :17:59. | |
is Lawrence of Arabia, by David Lean. Nearly four hours long, | :17:59. | :18:08. | |
beautifully shot, beautifully directed. It can fall into kissing | :18:08. | :18:12. | |
the bottom of the person they are betraying, the biopic, but this one | :18:12. | :18:18. | |
does not do that. In fact, TE Lawrence is quite unlike a ball at | :18:18. | :18:28. | |
:18:28. | :18:29. | ||
times in this. -- unlikeable. It is only flesh-and-blood. You're a | :18:29. | :18:39. | |
:18:39. | :18:53. | ||
It damn well hurts! Certainly, it does. Well, what is the trick? | :18:53. | :19:03. | |
:19:03. | :19:03. | ||
the trick, William, is not minding that it hurts. And the first choice | :19:03. | :19:08. | |
for you... Look at what you have done. Rules are there to be broken. | :19:08. | :19:17. | |
That would be the motto of this film, Martin Scorsese's Goodfellas. | :19:17. | :19:21. | |
Robert De Niro, Joe Pesci, fantastic cast. But Martin | :19:21. | :19:27. | |
Scorsese's direction, for me, has never been better. Let's have a | :19:27. | :19:37. | |
:19:37. | :19:53. | ||
How are you? Good. How are you doing? I gave them $20 each. Over | :19:53. | :20:03. | |
:20:03. | :20:05. | ||
there. Excellent. What do you do? am in construction. There has been | :20:05. | :20:12. | |
a lot of action on Twitter, but I had to pick just one film, and that | :20:12. | :20:18. | |
has been mentioned a lot - Raging Bull. Yes, when it comes to boxing | :20:18. | :20:25. | |
movies, I think I would go for being more of a rocky IV person. | :20:25. | :20:31. | |
am just speaking - Chris, you are brilliant! Next, to the Oscar- | :20:31. | :20:41. | |
:20:41. | :20:53. | ||
nominated Chilean film which charts In 1988, due to international and | :20:53. | :20:59. | |
national pressure, Pinochet - I assume everybody knows who he was - | :20:59. | :21:05. | |
had to legitimise his power in Chile through a referendum. This is | :21:05. | :21:10. | |
the story behind the publicity campaign which accompanied the | :21:10. | :21:20. | |
:21:20. | :21:24. | ||
movement of No, basically, the opposition against Pinochet. It was | :21:24. | :21:32. | |
very important to us in the campaign to show the common Chilean | :21:32. | :21:40. | |
people that there are famous people who are supporting the No position. | :21:40. | :21:47. | |
Superman, Richard Dreyfuss, and others as well. Remember, the | :21:47. | :21:52. | |
future of your country is in your hands. The pair in a Chile over | :21:52. | :22:02. | |
:22:02. | :22:02. | ||
these young -- long years has been the pain of all of us. The egg and | :22:02. | :22:08. | |
emotional journey throughout the story is based on their anecdotes | :22:08. | :22:15. | |
and their experiences. During the campaign, it is a very strong | :22:15. | :22:24. | |
moment, because your brain is exploding, your heart is bumping, | :22:24. | :22:33. | |
everything is very excited. I think it was also a very good opportunity | :22:33. | :22:38. | |
to do a homage not only to them, the real protagonists of the | :22:38. | :22:42. | |
campaign, but also to the millions of exiles from Latin America that | :22:42. | :22:52. | |
:22:52. | :23:05. | ||
shaped the world in the last It is interesting home -- | :23:05. | :23:09. | |
interesting, a little bit like Lincoln, this film is a smart | :23:09. | :23:13. | |
operator, because there is not a single second which is stodgy all | :23:13. | :23:19. | |
wordy. It is a bit like a thriller, but very funny in places. One very | :23:19. | :23:28. | |
obvious comparison would be Mad Men, because they are both about | :23:28. | :23:33. | |
advertising, and why we buy what we buy. Except in Chile, what they are | :23:33. | :23:39. | |
buying is democracy. I loved where they used proper footage. The way | :23:39. | :23:45. | |
it was shot, it was slightly murky. The was a total masterstroke. It | :23:46. | :23:50. | |
was like absolute bottom of the barrel, fuzzy video tape, like they | :23:50. | :23:56. | |
used to do TV news within the 1980s. You're right, you feel you are | :23:56. | :24:02. | |
right there in Chile in 1988. I suppose it is a similar approach to | :24:02. | :24:12. | |
:24:12. | :24:12. | ||
the makers of the The Artist. It draws you in much more. Gael Garcia | :24:12. | :24:17. | |
Bernal is fantastic, but it is also a great character to play. He is | :24:17. | :24:26. | |
not a soul this con man, but also, he is not a starry-eyed idealist. - | :24:26. | :24:36. | |
:24:36. | :24:37. | ||
- soulless. I would also like to mention Alfredo, he has got this | :24:37. | :24:42. | |
fantastic phase, perfect for the part. For me, No is highly | :24:42. | :24:52. | |
:24:52. | :25:00. | ||
recommended. Finally tonight, a zombie movie. This is may best | :25:00. | :25:10. | |
:25:10. | :25:10. | ||
friend. It is told from the character of Marney -- from the | :25:10. | :25:17. | |
point of view of my character. He is a zombie. He meets Julie, and | :25:17. | :25:20. | |
instantly, thinks she is the bee's knees. Then he captures her, and | :25:21. | :25:25. | |
rather than eating her, he decides to protect her and keep her safe, | :25:25. | :25:35. | |
:25:35. | :25:39. | ||
and they form an unlikely friendship. And then, through our | :25:39. | :25:46. | |
love, it moves on to the zombie community, and I breathe life back | :25:46. | :25:53. | |
into him, and he does the same to me. We have a balcony scene. | :25:53. | :25:58. | |
obviously likes her instantly, but he cannot talk, he cannot express | :25:58. | :26:03. | |
himself. He is dead. And she is terrified that he is going to kill | :26:03. | :26:13. | |
:26:13. | :26:20. | ||
I accept that I did not have to learn my lines, and I got to watch | :26:20. | :26:24. | |
to Reyes at acting, which was very enjoyable. But then he would still | :26:24. | :26:31. | |
forgets his lines sometimes, four lines in one scene! Why did you | :26:31. | :26:41. | |
:26:41. | :26:46. | ||
save me? Safe - keep you safe. have met people who have seen the | :26:46. | :26:51. | |
film who say that they feel that way around girls sometimes, they do | :26:51. | :26:54. | |
not know how to express themselves. People can feel connected to this | :26:54. | :27:04. | |
:27:04. | :27:06. | ||
material for so many reasons. changing everything. Properly great. | :27:06. | :27:10. | |
My memory of being a 17-year-old boy is that there was an awful lot | :27:10. | :27:18. | |
of grunting and shuffling... I can only imagine. Not un zombie-like | :27:18. | :27:27. | |
behaviour. This film tweaks a little bit of that kind of thing. | :27:27. | :27:31. | |
Zombie. Were purists might be a bit annoyed, but I thought it way it | :27:31. | :27:41. | |
:27:41. | :27:44. | ||
tackled that was quite likeable. think it is cute but also quite | :27:44. | :27:53. | |
cool. And I think the soundtrack is a knockout. And they are both | :27:53. | :27:59. | |
brilliant in it. I should mention the Twilight connection, because | :27:59. | :28:03. | |
this is made by the same people. For me, that is the biggest passion | :28:03. | :28:08. | |
killer imaginable. Some of the has just tweeted in, Warm Bodies just | :28:08. | :28:15. | |
seems like a version of Twilight. But then again, she is almost eerie | :28:16. | :28:20. | |
like a blond Christian Stewart. But for me, this is everything that | :28:20. | :28:25. | |
Twilight is not. This has genuine warmth and wit. It is not banging | :28:25. | :28:30. | |
you over the head with that pompous stuff that Twilight was famous for. | :28:30. | :28:34. | |
And of course, there is John Claudia Winkelman. I am slightly | :28:34. | :28:40. | |
this up by the fact that in the post- zombie era, John Claudia | :28:40. | :28:45. | |
Winkelman will be there. Film of the week? What is your film of the | :28:46. | :28:55. | |
:28:56. | :28:57. | ||
That's all for tonight. We're back at the same time next week - 11.05 | :28:57. | :29:01. | |
- and we'll be reviewing A Good Day To Die Hard, This Is 40 and Lore. | :29:01. | :29:03. | |
Playing us out tonight, Ocscar- nominated Wreck It Ralph, a 3D | :29:04. | :29:06. | |
animation from Walt Disney. stars John C Riley and Sarah | :29:06. | :29:13. | |
Silverman and is in cinemas from Friday. Thank you and good night. | :29:13. | :29:20. | |
The he abandoned his game! Trains for all destinations now boarding. | :29:20. | :29:30. | |
:29:30. | :29:35. | ||
Everything changes now. Stand by. Get out of this game! You are game | :29:35. | :29:45. |