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Hello and welcome to Film 2013 with me Claudia Winkleman. And me Danny | :00:26. | :00:29. | |
Leigh. We're live and if you want to get | :00:29. | :00:32. | |
in touch then please tweet or e- mail. The details are on the screen | :00:32. | :00:36. | |
now. On tonight's show: | :00:36. | :00:43. | |
It's A Good Day To Die Hard for Bruce Willis. | :00:43. | :00:46. | |
Coming to terms with the past in Laura. | :00:46. | :00:52. | |
And life begins for Paul Rudd and Leslie Mann in This Is 40. You get | :00:52. | :00:59. | |
so mad at me. I do want to kill you. Plus Keanu Reeves poses the | :00:59. | :01:02. | |
question, "is film dead" in documentary, Side By Side and | :01:02. | :01:06. | |
Catherine Bray is here with her Top 5 Sequels. First tonight, A Good | :01:06. | :01:10. | |
Day To Die Hard. It's the fifth instalment in the 25-year-old | :01:10. | :01:20. | |
:01:20. | :01:39. | ||
franchise and this time Bruce is Jack. Dad? It has to do with me and | :01:39. | :01:43. | |
the relationship I have with my son, Jack which has been a pretty | :01:43. | :01:47. | |
contentious relationship. I have kind of lost track of him so I | :01:47. | :01:53. | |
thought I would go to Moscow and try to find him and there was a | :01:53. | :01:56. | |
nuclear threat in this film. This is what you have been doing | :01:56. | :02:06. | |
:02:06. | :02:07. | ||
007, a playing field New Jersey. Relax, you're safe now. | :02:07. | :02:12. | |
Jack is actually deep cover, CIA, he is over there working for the | :02:12. | :02:15. | |
Government. It is an extraordinary circumstance they find themselves | :02:15. | :02:19. | |
in and certainly, no one else has either of their backs, you know, in | :02:19. | :02:29. | |
:02:29. | :02:30. | ||
Moscow so they have to band to go in order to stay alive. What is | :02:30. | :02:36. | |
this, a gun? I guess you thumped it before. | :02:36. | :02:41. | |
John McClane abroad. John McClane overseas. John McClane in a | :02:41. | :02:45. | |
different culture. That's what was really exciting because whatever | :02:45. | :02:49. | |
about him being a fly in the ointment, he has been a fly in | :02:49. | :02:53. | |
American ointment. It is really fun to take that idea and put it in a | :02:53. | :02:59. | |
global setting and just throw him right in there to a world-wide | :02:59. | :03:03. | |
geopolitical situation and see what John McClane does. | :03:03. | :03:13. | |
:03:13. | :03:16. | ||
This guy is bad news. Terrorism. Someone has got to stop him. | :03:16. | :03:24. | |
Knock, knock. They have replaced James Bond five times. They have | :03:24. | :03:29. | |
replaced Jason bOrn. No one will replace Bruce as John McClane. He | :03:29. | :03:39. | |
:03:39. | :03:45. | ||
You are not going to die today. This film comes with the big ticket | :03:45. | :03:55. | |
:03:55. | :04:06. | ||
items of big action sequences and It is a big rocking Die Hard movie. | :04:06. | :04:11. | |
You go looking for trouble, or does it always fin you? I used to ask | :04:11. | :04:17. | |
myself the same question! Well, I don't know who this Die | :04:17. | :04:23. | |
Hard is for. They have cleaned everything up that the famous line | :04:23. | :04:26. | |
is, "Mother." We will leave the rest to everyone's imagination. It | :04:26. | :04:31. | |
is safe for the average 12-year-old, but I don't think the average 12- | :04:31. | :04:35. | |
year-old will have any interest in seeing this film. It is in the look | :04:35. | :04:38. | |
of it, it is in the feel of it, you have got this father and son son | :04:38. | :04:42. | |
plot where the son is essentially an idiot and John McClane spends | :04:42. | :04:48. | |
his time complaining about the younger generation. You squint and | :04:48. | :04:52. | |
this could be a hotel with rocket launchers. I am confused. | :04:52. | :04:58. | |
I would like that. Get Maggie stuff to do. I loved the Die Hard | :04:58. | :05:01. | |
franchise, I loved the first within and the third one. This one, I know | :05:01. | :05:06. | |
what you mean. There is a brilliant tweet and it is from Louis who said, | :05:06. | :05:11. | |
"I never thought I would hear John McClane say I'm suffering from | :05:11. | :05:17. | |
jetlag." There has been lots of films with old guys and they have | :05:17. | :05:23. | |
got them up and given them a spray can tan and gun. We had the last | :05:23. | :05:30. | |
one with Arnie and Sly Stallone and the only one that made me laugh was | :05:30. | :05:35. | |
Arnely. Let's not -- Arnie and let's not go there again.. You are | :05:35. | :05:45. | |
:05:45. | :05:49. | ||
so wrong about the Arnold Arnold Schwarzenegger movie. The action is | :05:49. | :05:53. | |
fine. The action is not the problem. It is everything that goes in on in | :05:53. | :05:57. | |
between. A Die Hard should be filled with great one liners and | :05:57. | :06:02. | |
you have got one great one liner and. This is an actor who used to | :06:02. | :06:07. | |
be famous for his smirk and now as he does throughout his career, he | :06:07. | :06:17. | |
:06:17. | :06:18. | ||
is somewhere between narked off and depressed. I loved Die Hard 2. I | :06:18. | :06:27. | |
will dual anyone who says this doesn't feel like a real Die Hard. | :06:27. | :06:32. | |
Here, the bad guys are from a pound shop! For future future reference | :06:32. | :06:36. | |
because they are making a sixth Die Hard, if you are going to be a | :06:36. | :06:41. | |
villain, you need more than chewing a carrot! | :06:41. | :06:46. | |
Good knows, I know that from personal experience. The action | :06:46. | :06:50. | |
scenes are well handled, but it done seem like the real deal to me. | :06:50. | :06:57. | |
Nick Nick Nick tweeted to say, "It is a good day to stop stop making | :06:57. | :07:03. | |
Die Hard films." Next, This Is 40. Judd Apatow | :07:03. | :07:06. | |
directs his wife Leslie Mann and Paul Rudd in this sort of sequel to | :07:06. | :07:11. | |
2007's, Knocked Up. Why does it 38 and not 40? Because your mum wants | :07:11. | :07:15. | |
to be 38. Let's not mention it again! | :07:15. | :07:19. | |
Your son is an animal. If he insults my daughter again, he will | :07:19. | :07:27. | |
be so sorry. You touched my nipple. This is about a family and it is | :07:28. | :07:34. | |
the week that the couple turn 40 and decide how they are going to | :07:35. | :07:40. | |
make their life work better. I play this character, Pete. We | :07:40. | :07:45. | |
have issues that we never quite addressed and I don't think we have | :07:45. | :07:48. | |
still addressed and there are new ones thrown in. | :07:48. | :07:52. | |
It is the fourth time you have gone to the bathroom today. Why is your | :07:52. | :07:56. | |
instinct to escape? Stop Stop treating me like a child. | :07:56. | :07:59. | |
They are in this little like transition in their lives and they | :07:59. | :08:03. | |
decide to try and make things better and the harder they try to | :08:03. | :08:07. | |
make things better, the more things seem to fall apart. | :08:07. | :08:11. | |
You need to get outside more and do some playing outside more. | :08:12. | :08:21. | |
Yeah, you could build a fort outside, yeah, build a a fort. | :08:21. | :08:28. | |
a fort outside and do what in the fort? It seems like ideas are | :08:28. | :08:32. | |
inspired by things that have happened in our marriage or with | :08:32. | :08:36. | |
our children, but it is fictional. It isn't, I don't watch the move | :08:36. | :08:45. | |
why and feel like, "That's my life." My life is much worse! | :08:45. | :08:50. | |
She never kills anything. She goes further. She will say, "I think | :08:50. | :08:55. | |
this scene would be funnier and more dramatic if I was topless." | :08:55. | :09:01. | |
And I go, "Really?" And that's the way we're going to go with it. | :09:01. | :09:05. | |
Have you ever thought about killing me? Yeah. | :09:05. | :09:15. | |
:09:15. | :09:18. | ||
How would you do it? A wood chipper. Did you see Fargo? Yeah. | :09:18. | :09:21. | |
Feeling at ease with things is not such a bad deal. | :09:21. | :09:31. | |
:09:31. | :09:33. | ||
I can't afford to sit in my apartment. Getting hair on my chest | :09:34. | :09:38. | |
to start crawling up over my shoulders ready to attack my back | :09:38. | :09:44. | |
is not cool, but it is a small price to pay for knowledge! | :09:44. | :09:49. | |
Anyone want to get a massage. It is fun. | :09:49. | :09:55. | |
I'm turning 38. Well move on. Isn't it weird our birthday is the same | :09:55. | :10:02. | |
week and I am going to party? don't think it is weird at all | :10:02. | :10:04. | |
because I'm turning 38 and you are turning 40. | :10:04. | :10:14. | |
:10:14. | :10:16. | ||
It is almost like Outnumbered and it is that slapstick sketch show | :10:16. | :10:20. | |
about troubling orifice and it is this bleak drama about being | :10:21. | :10:25. | |
married with kids and being mid-led aged. Each of the films has its | :10:25. | :10:28. | |
moments and sometimes it is funny and sometimes moving. I have to say | :10:28. | :10:31. | |
what it adds up to is a big sprawling mess though. You look | :10:31. | :10:37. | |
even more unimpressed than me. Can you see it in my face? It is | :10:37. | :10:39. | |
two hours 13 minutes long and unless you have got that somewhere | :10:39. | :10:44. | |
for me, you know, I am getting old, unless you have got that, there is | :10:44. | :10:48. | |
a DeLorean coming, I have a problem with this film which is they are | :10:48. | :10:51. | |
all awful. I think they are supposed to be awful, but when | :10:51. | :10:59. | |
there is a scene about "how would you kill me me? "call me, I will do | :10:59. | :11:03. | |
it! The main problem I have are the details. They keep on talking about | :11:03. | :11:05. | |
this financial crisis while they are sitting in an eight bedroomed | :11:05. | :11:11. | |
house, I have got a feeling. One in a BMW, and the other one is in a | :11:11. | :11:17. | |
Lexus and they are going away for a mini-break and they have got a | :11:17. | :11:27. | |
Christmas tree that alFayed would think it is huge. She has a shop | :11:27. | :11:32. | |
that sells tie-dye scrunchies. Just work in the shop. They are just | :11:32. | :11:37. | |
annoying. I hear you. I hear you. I feel like I am being mean. | :11:37. | :11:45. | |
This should be called This is Judd Apatow. You have got Judd Apatow's | :11:45. | :11:50. | |
playing the kids, it is uncomfortably personal. It feels | :11:50. | :11:53. | |
like an acquaintance coming up to you at the party and you make small | :11:53. | :11:58. | |
talk and he shows you pictures of his wife and and kids and tells you | :11:58. | :12:03. | |
about his money worries and his sex life. I hear you as well about the | :12:03. | :12:08. | |
money problems. I mean, it is financial crisis, are large in this | :12:08. | :12:11. | |
film for a family that appear to own half of America and that | :12:11. | :12:15. | |
doesn't ring true and the other thing that doesn't ring true, | :12:15. | :12:18. | |
anyone who got kids, real kids, know that is the first thing they | :12:18. | :12:24. | |
do wherever you live, however much it costs, they destroy. Not only is | :12:24. | :12:31. | |
this house expensive, but it is spotless. I can only assume they | :12:31. | :12:36. | |
live in a cage well away from the house because that's not real. | :12:36. | :12:40. | |
Should you not keep kids in a cage? Because that's where mine are! | :12:40. | :12:44. | |
The relationship with the dads at the end moved me because that was | :12:44. | :12:54. | |
:12:54. | :13:07. | ||
because I was in there half my Hello Catherine. What's your Top 5 | :13:07. | :13:15. | |
this week? We are doing Top 5 sequels. | :13:15. | :13:23. | |
Most people go, "Why would they do that again?" Sequels have a bad | :13:23. | :13:31. | |
rap? We don't have any of those fudged categories in here and they | :13:31. | :13:36. | |
are all sequels and some of the best films ever made have been | :13:36. | :13:43. | |
sequels. What's number 5? It is from George | :13:43. | :13:50. | |
Lucas. It is, of course, Star Wars: Episode V - The Empire Strikes Back. | :13:50. | :13:54. | |
OK, let's have a clip. I will never join you. | :13:54. | :14:00. | |
If you only new the power of the Darkside. Obi-Wan never told you | :14:00. | :14:07. | |
what happened to your father. told me enough. He told me you | :14:07. | :14:17. | |
killed him. No, I killed your father. Can I just say now... | :14:17. | :14:23. | |
People will be complaining. People will be complaining to say | :14:23. | :14:31. | |
that is a spoiler. I am sorry. On behalf of Chris Hewitt, he would be | :14:31. | :14:35. | |
livid that was so low down on the Top 5. I don't want to speak for | :14:35. | :14:41. | |
him. I am on board. It could be higher up. It is a brilliant, | :14:41. | :14:50. | |
brilliant film. Where did you go with number four? I have gone back | :14:50. | :15:00. | |
:15:00. | :15:01. | ||
to the classic universal 30s horror movies for 1935, the Bride Of | :15:01. | :15:11. | |
:15:11. | :15:33. | ||
Frankenstein. Friend. Friend. | :15:33. | :15:38. | |
SCREAMING Weren't you in love with her? | :15:38. | :15:42. | |
a crush. It is a good one for Valentine's Day. | :15:43. | :15:48. | |
What's your next one? Well, good old Boris Karloff. He used to | :15:48. | :15:56. | |
present a TV show called Thriller and the star of our next clip guest | :15:56. | :16:01. | |
starred on a couple of Boris Karloff thrillers. It is from the | :16:01. | :16:11. | |
:16:11. | :16:31. | ||
Star trek world, it is world. Buried alive. Buried alive. | :16:31. | :16:41. | |
:16:41. | :16:44. | ||
It is lovely. So it was William Shatner who was on Boris Karloff's | :16:44. | :16:47. | |
TV show. Another film that is better than the first film and we | :16:47. | :16:52. | |
can include it in our next sequels list. | :16:52. | :16:57. | |
They are going to go back in time and save JFK. | :16:57. | :17:07. | |
:17:07. | :17:10. | ||
What's the next one? The next film is is Godfather II. And this is a | :17:10. | :17:16. | |
brilliant clip. Anyone who watches this clip will | :17:16. | :17:25. | |
go, "why am I watching them? I want to watch Godfather II." Apologies. | :17:25. | :17:30. | |
There is a plane waiting for us to to take us to Miami in an hour. | :17:30. | :17:39. | |
Don't make a big thing about it. I know it was you. You broke my | :17:39. | :17:46. | |
heart. You broke my heart. It is fantastic. | :17:46. | :17:49. | |
Such a lovely moment. Brotherly affection. | :17:49. | :17:55. | |
All of that. We have had a lot of tweets for godfather II. We have | :17:55. | :18:05. | |
:18:05. | :18:09. | ||
had a lot of of tweets for Toy Story. Dawn Of The Dead. | :18:09. | :18:16. | |
I am afraid Zoom bees have been shut out. | :18:16. | :18:24. | |
Frankenstein is not a zoombie, he is a monster. | :18:24. | :18:28. | |
What is and I say this with a stern face, number one? There is a man | :18:28. | :18:32. | |
who I think, his name has to come up, a director, if you are talking | :18:32. | :18:35. | |
about sequels because he is the king of them. I am talking, of | :18:35. | :18:39. | |
course, about James Cameron, so the real mystery is which one of his | :18:39. | :18:44. | |
famous sequels have I gone for? I have gone with Aliens. | :18:44. | :18:54. | |
:18:54. | :18:55. | ||
Let's have a clip. I guess we're not going to be | :18:55. | :19:02. | |
leaving now, right? I'm sorry, Newt. You don't have to be sorry. It wean | :19:02. | :19:07. | |
your fault -- it wasn't your fault. Game over, man. What are we going | :19:07. | :19:13. | |
to do? Maybe we could build a fire, and sing a couple of songs. | :19:13. | :19:16. | |
better get back because it will be dark soon and they mostly come at | :19:16. | :19:25. | |
That's weird. That's the only one of the five that isn't better than | :19:25. | :19:28. | |
the original. The bar is set so high by that | :19:28. | :19:33. | |
frans. Frans that franchise. It is a great film. | :19:33. | :19:41. | |
I am a fan of Aliens Four. He loves anything four. | :19:41. | :19:51. | |
:19:51. | :20:08. | ||
Next up is Cate Shortand's, Lore. Laura starts the film in a place of | :20:08. | :20:15. | |
surity. She is a national socialist. She is a Nazi child. Everything is | :20:16. | :20:20. | |
hierarchical and she is an absolutist so it is either us or | :20:20. | :20:28. | |
all the other people that don't matter. And then as the film or the | :20:28. | :20:37. | |
story is - as it pro propels them through Germany, she has this | :20:37. | :20:41. | |
struggle between her indoctrination and her sexuality and her emotions | :20:41. | :20:51. | |
:20:51. | :21:05. | ||
because she becomes attracted to And I really loved that about the | :21:05. | :21:09. | |
story that you have this kind of love story in the middle of all | :21:09. | :21:12. | |
this mayhem and that was one of the things that drew me to that story | :21:12. | :21:16. | |
because I love the idea of falling in love with the person that you | :21:16. | :21:26. | |
:21:26. | :21:35. | ||
have been told is disgusting. When I first read the book, it was | :21:35. | :21:39. | |
a new perspective on something I thought I knew and it was all the | :21:39. | :21:45. | |
details and the intimacy rather than it being a big historical | :21:45. | :21:55. | |
:21:55. | :22:05. | ||
point of view, it was about family The biggest struggle was the | :22:05. | :22:09. | |
material and looking at it from the perpetrators point of view or the | :22:09. | :22:14. | |
children of perpetrators and you know, everybody was so afraid that | :22:14. | :22:19. | |
we were going to make an apologist film and my husband's family are | :22:19. | :22:26. | |
German Jews and they lived in 1937 so that gave me immense courage | :22:26. | :22:30. | |
because they were with me every step of the way and believed in the | :22:30. | :22:40. | |
:22:40. | :23:00. | ||
Wal Lore begins at the point where the German down fall ends. You can | :23:00. | :23:04. | |
trust no one. There is all the special powers, the film is about | :23:05. | :23:09. | |
children and war. Lore is no exception. This family of kids go | :23:09. | :23:12. | |
out to find safety safety at the same time they are trying to | :23:12. | :23:16. | |
understand what their parents are responsible for. This film is a | :23:16. | :23:20. | |
hugely impressive piece of cinema. It will not leave your head for a | :23:20. | :23:21. | |
long time after the credits have rolled. | :23:21. | :23:24. | |
You are right. What I wanted to say even if people are watching just | :23:24. | :23:27. | |
that clip and it looks good, it is better than that. It is much better | :23:27. | :23:32. | |
than that. What is extraordinary is what the director said, it is | :23:32. | :23:35. | |
coming at it from a different point of view. We have seen films about | :23:35. | :23:40. | |
this period in history before. The acting is phenomenal and her slow | :23:40. | :23:46. | |
realisation that you can't stop watching it. | :23:46. | :23:50. | |
Saskia Rosendahl is perfectly cast here and she has this prettiness | :23:50. | :23:54. | |
and it is a great performance because she is a complex character | :23:54. | :23:57. | |
to play. All the kids performances are great and we shouldn't take | :23:57. | :24:07. | |
:24:07. | :24:11. | ||
that for granted. The star is the cinema to go cinema Tographer. | :24:11. | :24:15. | |
So the film is like like filled with horror and beauty right next | :24:15. | :24:19. | |
to each other and that's a real achievement to do that. Cate | :24:20. | :24:24. | |
Shortand the director hadn't made a film for for nine years and I only | :24:24. | :24:27. | |
hope it is not nine years before the next. | :24:27. | :24:33. | |
I agree. Lore is on limited nationwide release. | :24:33. | :24:36. | |
A documentary about the future of film in the digital age. | :24:36. | :24:46. | |
:24:46. | :24:48. | ||
Are you done with film? Don't hold me to it, Keanu, but I think I am. | :24:48. | :24:54. | |
We are going through a transition in cinema and the digital process. | :24:54. | :24:58. | |
I think without digital video, I don't I would have been making | :24:58. | :25:01. | |
movies. You have got to be a dude who operates machines to do this | :25:01. | :25:11. | |
job. There isn't yet a superior or an | :25:11. | :25:14. | |
equal image in technology to film, but we are being forced into | :25:14. | :25:21. | |
transition. You can't shoot 3D on film so film has been dead in high | :25:21. | :25:31. | |
:25:31. | :25:32. | ||
heart. I hate 3D. The whole 3D fen on nem is a marketing scheme. | :25:32. | :25:35. | |
thought I should call film on the phone and say I have met someone | :25:35. | :25:42. | |
because this is the future. How do you use to tell a story? It is up | :25:42. | :25:46. | |
to a film-maker. This film is glorious. It is a joy | :25:46. | :25:50. | |
and such a pleasure in hearing these great film-makers talking | :25:50. | :26:00. | |
:26:00. | :26:08. | ||
about film. You have David Lynch and Danny Boyle. | :26:08. | :26:14. | |
It sinks its teet into the gritty of movie making in -- it sinks its | :26:14. | :26:23. | |
teeth into the nitty-gritty and says maybe time didn't stop in 1973. | :26:23. | :26:26. | |
Maybe re-invention is as important as inhaven'ting things -- inventing | :26:26. | :26:33. | |
things. The history of about things dying and things being born. If it | :26:33. | :26:43. | |
it wasn't, we would be still watching shaky black and white | :26:43. | :26:48. | |
films of trains pulling into stations. | :26:48. | :26:52. | |
Keanu Reeves is cute. He is not over awed and B, it is not about | :26:52. | :26:58. | |
him. He must be tempted to say, "They did that with me in this | :26:58. | :27:01. | |
film." He is respectful of those he is interviewing. Most people | :27:01. | :27:05. | |
whether they are proper film buffs or whether they love cinema l come | :27:05. | :27:10. | |
into this film with an opinion and I swear to god, it might be flipped. | :27:10. | :27:12. | |
That's right. It is a fascinating watch. | :27:12. | :27:18. | |
There is more than directors going on here. You have editors and | :27:18. | :27:22. | |
people from across the film making spectrum. The one group of people | :27:22. | :27:29. | |
who aren't represented, there is not a single film critic there. | :27:29. | :27:33. | |
They don't know the imagination to know what's possible. | :27:33. | :27:38. | |
What's your film of the week? By Side and Lore. | :27:38. | :27:41. | |
We're back at the same time next week and we'll be reviewing Cloud | :27:41. | :27:44. | |
Atlas, Song For Marion and To The Wonder. Plus we preview the Oscars | :27:44. | :27:47. | |
ahead of next Sunday night's ceremony. Playing us out tonight, A | :27:47. | :27:52. | |
Place Beyond The Pines. It stars Ryan Gosling and is in cinemas in | :27:52. | :28:02. | |
:28:02. | :28:17. | ||
I am still his father. I can give him stuff. | :28:17. | :28:26. | |
I am here to search your house. What for? I am looking for the | :28:26. | :28:31. | |
money that you may have been given. This is your problem. This is our | :28:31. | :28:35. | |
problem. I'm bringing it to your attention because that's what I | :28:35. | :28:41. |