:00:07. > :00:26.This programme contains strong language.
:00:27. > :00:33.Hello and welcome to the brand new series of Film 2013.
:00:34. > :00:37.We're live, and if you want to get in touch the details are on the
:00:38. > :00:41.screen now. Coming up on tonight's show.
:00:42. > :00:50.Taking giant leaps with Sandra Bullock and George Clooney in
:00:51. > :00:57.Gravity. I've got you. I've got you Driven to distraction - low-budget
:00:58. > :01:02.horror In Fear. . Why are they doing this to us? Is someone there?
:01:03. > :01:06.And movies, money and mayhem in documentary Seduced and Abandoned.
:01:07. > :01:10.You're making a documentary about trying to get financing? That's
:01:11. > :01:14.right. Plus Antonia Quirke meets Steve
:01:15. > :01:19.Coogan and I'm joined in the studio by Danny Leigh, as ever, and guest
:01:20. > :01:24.Robbie Colliln. Hello. Hello. This is a delight.
:01:25. > :01:26.First up is Alfonso Cuaron's blockbuster Gravity which finds
:01:27. > :01:31.George Clooney and Sandra Bullock cast adrift in space. Beautiful,
:01:32. > :01:45.don't you think? What? The sunrise. Terrific. The
:01:46. > :01:49.story is a human story. It's about adversity and how humans react to
:01:50. > :01:54.it. You can go one of two ways and you're presented two characters who
:01:55. > :01:58.have very different viewpoints on life and savour life or don't savour
:01:59. > :02:02.life and they're put in these very adverse situation after a very
:02:03. > :02:09.tragic mishap, and you just see what happens when tragedy strikes.
:02:10. > :02:13.Astronaut is all structured - off structure. Must detach. You must
:02:14. > :02:18.detach. If you don't, that arm is going to carry you too far. Listen
:02:19. > :02:23.to my voice. You need to focus. Only seconds we'll be able to drag you.
:02:24. > :02:31.You need to detach. I can't see you anymore. Do it now. Ahh! Outer space
:02:32. > :02:35.is nothing but a metaphor of inner space. You have a character who is
:02:36. > :02:38.drifting into the void, but that could be a character in London, you
:02:39. > :02:44.know? It's a character who lives in her own bubble. It's a character
:02:45. > :02:48.that is the victim of colonial urges and because of that is drifting
:02:49. > :02:53.further and further away from human communication and interaction, so
:02:54. > :02:57.that is something that is very relatable.
:02:58. > :03:01.Please copy. When you encounter tragedy or
:03:02. > :03:05.adversity, humans just instinctively go in and want to be lost and be
:03:06. > :03:08.away from human beings when in fact the thing that's probably going to
:03:09. > :03:13.save you is in fact the very opposite. I've got you. I've got
:03:14. > :03:17.you. We work on this film for
:03:18. > :03:23.four-and-a-half years, and we could not start shooting until a couple of
:03:24. > :03:28.years ago because of the technology we have to invent. Explorer, do you
:03:29. > :03:32.copy? The actual set was the weirdest
:03:33. > :03:38.place. It didn't look like a movie set. It was just - the Director of
:03:39. > :03:43.Photography referred to it as Sandra Bullock performing inside an iPod,
:03:44. > :03:51.you know? It was just an actor surrounded by LED lights and robots
:03:52. > :03:55.and strange rigs. Houston, this is mission specialist Ryan Stone. I am
:03:56. > :04:01.off structure and drifting. Do you copy? I was thinking, this is what
:04:02. > :04:04.solitary confinement for a prisoner feels like. I can complain all I
:04:05. > :04:08.want to make it feel like I suffered, but it was actually
:04:09. > :04:11.perfect because had I been on a set where everything was curby and
:04:12. > :04:15.comfortable and warm and they brought you tea and waited for you
:04:16. > :04:18.and you weren't in pain, it just wouldn't have felt appropriate, so
:04:19. > :04:23.all the challenges of making this film were perfectly placed so, you
:04:24. > :04:28.know, you're a part of something amazing.
:04:29. > :04:30.So for the last three days all I've received is texts from friends
:04:31. > :04:34.going, look, just be honest. It can't be that good, can it? Is it
:04:35. > :04:39.that good? It's better, isn't it? The thing is, it's funny, sometimes
:04:40. > :04:44.you tell the truth about a movie and it just sounds like PR but the
:04:45. > :04:49.problem about this is it really is extraordinary and sensational. For
:04:50. > :04:53.my money it's the best movie to come out of Hollywood than my brain can
:04:54. > :04:57.remember. It is a fantastic technical achievement. It's such a
:04:58. > :05:00.fantastical movie. You see a lot of films and you're constantly being
:05:01. > :05:05.told you're going to be on the edge of your seat with your jaw hanging
:05:06. > :05:10.over. You never are within half an hour you're thing if you can make to
:05:11. > :05:17.it the supermarket to get kitchen role. This really is. It's intense.
:05:18. > :05:22.In cinema terms it's whole new box of tricks. You can experience this
:05:23. > :05:27.on a new visceral level. If you think back to James Cameron's
:05:28. > :05:30.Aliens, you have that fantastic space odyssey, but there is all of
:05:31. > :05:34.this stuff with motherhood and things going on with Ripley, but in
:05:35. > :05:39.a similar vain, Sandra Bullock's character in this film, a scientist
:05:40. > :05:43.who has been sent up to work on the Hubble telescope, never been in
:05:44. > :05:48.space before but she's also a recently bereaved mother, lost her
:05:49. > :05:52.daughter in a senseless accident, so for her, she can retreat to space.
:05:53. > :05:56.Silence is comforting to her. But she realises over the course of the
:05:57. > :06:03.film you can't retreat into yourself. That force of gravity that
:06:04. > :06:06.draws you in is something that you have to team up with other human
:06:07. > :06:12.beings to survive. All of that's going on if you want to unpack it
:06:13. > :06:16.but if you just want to see George Clooney and Sandra Bullock flailing
:06:17. > :06:22.around in space... To watch it - sorry. I was going say you can't
:06:23. > :06:25.help but be affected. I had to leave and have a small cry. I am not
:06:26. > :06:29.embarrassed to say that. But it took you back to the best films you have
:06:30. > :06:34.ever seen. The beauty of this is for all the spectacular innovation and
:06:35. > :06:38.they are spectacular and innovative, there is actually beneath them a
:06:39. > :06:43.very human story going on. To talk about James Cameron again, my rob
:06:44. > :06:48.with him is you talk about a film like Avatar, that felt to me like a
:06:49. > :06:52.new-aged cult in a software demonstration. You could never get
:06:53. > :06:56.over the fact that this was James with his pointy stick telling you
:06:57. > :07:00.how much money had been spent. This is a human story with beautiful
:07:01. > :07:06.performances. The film belongs to Sandra Bullock in many ways. George
:07:07. > :07:12.Clooney clearly planned for the film by watching Toy Story over and over
:07:13. > :07:16.again and maybe an espresso advert but they're perfect for this film.
:07:17. > :07:21.Having these incredibly beautiful movie stars in this film brings home
:07:22. > :07:26.to you how cold space is even even movie stars seem tiny and
:07:27. > :07:30.vulnerable. This film is so successful not just because of the
:07:31. > :07:34.technology that makes things jump out at you but it's also to do with
:07:35. > :07:38.the technique with the camera. There is no horizon. There is no spirit
:07:39. > :07:41.level your eyes can snap to. No, no. You feel like you're there. The
:07:42. > :07:44.camera is kind of flailing around at some point then the camro holds and
:07:45. > :07:48.the objects are flying around. Because of that flexibility the
:07:49. > :07:51.setting affords them, you effectively become the camera.
:07:52. > :07:55.You're flying through the set along with the camera. It's the perfect
:07:56. > :07:59.movie for 3D because everything is floating and drifting. This is what
:08:00. > :08:04.it was made for, to be honest. Can we talk about her? We touched on
:08:05. > :08:07.her, but she is - there is a scene - I can only describe - she's in the
:08:08. > :08:11.foetal position. I was in the screening room and we all gasped.
:08:12. > :08:16.She's mind-blowing, am I wrong? No, no. You're absolutely right. This is
:08:17. > :08:20.for me the role of her career. It's obviously up against some pretty
:08:21. > :08:25.stiff competition like Ms Congeniality. Don't knock it - bombs
:08:26. > :08:29.and a tiara! The bereaved mother aspect of the story - there is that
:08:30. > :08:33.incredible shot of her in the foetal position later on - I don't want to
:08:34. > :08:36.explain why but there is this kind of birth allegory where a Pernice
:08:37. > :08:40.comes out of a thing and it's very much in a kind of rebirth sense, and
:08:41. > :08:45.she embraces that side of the character and all the detail is
:08:46. > :08:48.there and all the - even the little cliched phrased - someone does say,
:08:49. > :08:52."I have a bad feeling about this mission." Someone else says, I have
:08:53. > :08:58.you've got to be kidding me." And they're right. For all the cliches,
:08:59. > :09:02.it's also a very unusual film. We think we know space and one of the
:09:03. > :09:05.reasons we think that as movie goers is because of Alien and all the
:09:06. > :09:10.films that ripped that off, but here there is no alien. It's just bad
:09:11. > :09:14.luck. The whole film is based around the idea of there is nothing after
:09:15. > :09:19.us. Sometimes we just get in the way. That is an incredible thing to
:09:20. > :09:23.base a block muster movie around. You look at the special effects and
:09:24. > :09:28.the 3D without coming out feeling like you have seen the future of
:09:29. > :09:35.cinema but also you have seen the past and history of cinema. 18 sta,
:09:36. > :09:39.the Loomier brothers, all of these thrill seekers fleeing in terror
:09:40. > :09:43.because they thought the train was coming out of the screen, they
:09:44. > :09:47.thought this is what cinema was supposed to be like. Cinema is
:09:48. > :09:51.supposed to be. This it's supposed to be spectacular, physical.
:09:52. > :09:55.To totally sum up, though, I just want to say down the barrel of the
:09:56. > :09:59.lens, go see this in the cinema. Oh, yeah, on the big screen. In the
:10:00. > :10:08.front. Run to the front. With amazing sound.
:10:09. > :10:13.Next is is In Fear, a new British horror film from feature debut
:10:14. > :10:18.director Jeremy Lovering. It's our two-week anniversary. We can't have
:10:19. > :10:24.a two-week anniversary. For a special treat, I booked us a hotel.
:10:25. > :10:28.It's kind of a throw-back to the '70s film psychological thrillers,
:10:29. > :10:32.so the story is incredibly story. Map says we're supposed to go that
:10:33. > :10:35.way. It's saying that way. Two people who hardly know each other,
:10:36. > :10:40.known each other for two weeks - they go on a journey, and bad things
:10:41. > :10:45.happen. How can we be back at this bit again? We're not lost. We're in
:10:46. > :10:49.a maze. I love what Jeremy's done. It's dealing with the fear we all
:10:50. > :10:53.have of the unknown, and when you're out of your comfort zone and you're
:10:54. > :10:57.lost and also you're completely unaware of what's going on around
:10:58. > :11:00.you or what's causing the things to happen around you, I think that's a
:11:01. > :11:04.fear we can all relate to. I wanted to make it without giving
:11:05. > :11:07.the actors a script. They had no idea what the story was. They didn't
:11:08. > :11:13.know what their characters were going to end up doing or whether
:11:14. > :11:16.they'd live or die. And that instant response was something I was always
:11:17. > :11:21.after because it was very real and very fresh. Jeremy came to me very
:11:22. > :11:26.early on and said, you do need one force in there to make sure you stay
:11:27. > :11:29.on line otherwise people will be getting out of the car and running
:11:30. > :11:32.away and you'll never see them again. For that reason, I had a
:11:33. > :11:36.little bit more information on the plot, but not that much more
:11:37. > :11:40.compared to them. We did three-and-a-half weeks of night
:11:41. > :11:46.shoots in Cornwall in December. It was gruelling. The weather wasn't
:11:47. > :11:48.kind, but perfect for the movie. Because they were improvising,
:11:49. > :11:54.because they were making up how their characters were evolving and
:11:55. > :11:58.feeling, the choices were very real. If they had -- they had no downtime
:11:59. > :12:04.at all. They were constantly tense because they had no idea when I was
:12:05. > :12:12.going to spring a trap on them or trick.
:12:13. > :12:15.They're mine. No, they're not. No, they're my clothes. There were a lot
:12:16. > :12:22.of questions posed in it where I want people to go, what would I do
:12:23. > :12:24.in that situation? SCREAMING
:12:25. > :12:29.It's so bare and it's so raw when you're in a fearful situation, and
:12:30. > :12:33.you see - you can see humanity at its most exposed. What? We killed
:12:34. > :12:38.someone. Why are they doing this to us? You know, it's very simple -
:12:39. > :12:43.you're glad you're alive when you're watching a horror film, and that
:12:44. > :12:49.thrill of seeing it and the adrenaline reminds you of your love
:12:50. > :12:52.of life. Just keep going. I'm going to just say this out
:12:53. > :12:57.Laudrup. I saw this in the screening. There weren't many of us,
:12:58. > :13:00.and I was so terrified, I thought I was either going to be sick or I
:13:01. > :13:04.sort of had to do that humming to yourself, it's going to be fine. I
:13:05. > :13:08.thought it was absolutely compelling and terrifying. I didn't find it
:13:09. > :13:13.terrifying. I found it very stressful. Stressful is terrifying.
:13:14. > :13:16.It's a film by a TV director, Jeremy Lovering, a very good TV director by
:13:17. > :13:20.all accounts, and this is his first feature film and my goodness, if
:13:21. > :13:24.he's not going to use every single trick in the book to make sure
:13:25. > :13:29.you're watching a -- you know you're watching a feature film. It's all of
:13:30. > :13:36.those techniquey aspects to horror, leaving those big spaces in the plot
:13:37. > :13:40.where you know something is going to jump out. It was scary. Beyond the
:13:41. > :13:45.technique there wasn't much going on. We have all seen these films
:13:46. > :13:49.where people get lost and make bad decisions. That's all it is. No. For
:13:50. > :13:53.me, there was nothing else under the bonnet. Oh, you're cruel. I think
:13:54. > :13:56.there is trembly close-ups because actually this is a film about the
:13:57. > :14:00.characters. It's an anti-slasher movie. It's not one of these films
:14:01. > :14:04.where you have these interchangeable kind of kids who are wheeled on then
:14:05. > :14:08.bumped off and taken away. You get to know these characters. I think
:14:09. > :14:13.that's slightly unusual for a horror movie because they're these two
:14:14. > :14:18.recognisable Indy kids - they're off to a festival to see Mumford and Son
:14:19. > :14:20.- might be reason to have them killed.
:14:21. > :14:23.LAUGHTER The film is less about what's going
:14:24. > :14:27.on outside the car than inside the car. It reminds me of Dual a little
:14:28. > :14:31.bit. You're seeing two characters kind of falling apart under the
:14:32. > :14:35.pressure, God knows we've all done. I think that's the real strength of
:14:36. > :14:38.the movie. I think the reason we don't get excited about what's
:14:39. > :14:42.outside the car is ultimately it isn't that exciting. You mentioned
:14:43. > :14:46.Jewel, a really good comparison. I would say other films about city
:14:47. > :14:52.folk going to the countryside and not seng it exceptionally well, like
:14:53. > :14:57.Eden Lake and the Wicker Man, with that, the Residents of Summer Isle,
:14:58. > :15:02.they're incredibly colourful people and you come away being terrorised
:15:03. > :15:07.of something terribly distinct to that particular film but in this,
:15:08. > :15:11.you have this nebulous sense - If you're using the Wickerman as your
:15:12. > :15:18.benchmark that is a little bit cruel. They tap into expertly what
:15:19. > :15:23.is a universal fear of seemingly idyllic lanes, charming country
:15:24. > :15:27.hotels, the country pub - the American Werewolf in London, we know
:15:28. > :15:30.going into country pubs nothing good comes of them. That's a generally
:15:31. > :15:35.universal fear - probably not for the landlords of country pubs, but
:15:36. > :15:42.there is a reason for that - we all do - I get clammy at the sight of a
:15:43. > :15:47.chicken shop and a cashpoint. Bad things await. The film turns the
:15:48. > :15:51.screws very well. And beautifully acted. They did it very well. It was
:15:52. > :15:58.interestingly put together this film. There was a story line and
:15:59. > :16:03.improvised. You can tell it's improvised because when people get
:16:04. > :16:09.scared, they just say their lines twice, "What's in there? What's in
:16:10. > :16:12.there? Look out, look out!" In Fear is released in cinemas on
:16:13. > :16:15.November 15th. Steve Coogan has written, produced and stars in
:16:16. > :16:19.Philomena. Antonia went along to chat with him. They said you had
:16:20. > :16:26.abandoned him as a baby. I did not abandon my child.
:16:27. > :16:28.Congratulations on Philomena and on particularly your performance which
:16:29. > :16:31.I think many people are going to see this movie and think this is the
:16:32. > :16:36.best straight acting they've seen you do. Would you agree with them?
:16:37. > :16:40.Yes. LAUGHTER
:16:41. > :16:44.I know this woman. She had a baby when she was a teenager and she's
:16:45. > :16:47.kept it secret for 50 years. What you're talking about would be what
:16:48. > :16:51.they call a human interest story. I don't do those. Why not? Do you
:16:52. > :16:56.think I should do a human interest story? It was a passion project. I
:16:57. > :17:02.am passionate about it. I wanted to make a film that was about something
:17:03. > :17:06.serious, not just about something ephemeral, disposable, nonsensical
:17:07. > :17:11.garbage which a lot of films are, and I wanted to do a film with some
:17:12. > :17:17.substance, but I didn't want it to be over worthy or self-important. I
:17:18. > :17:22.wanted it to be easy to watch. I wanted to ask you, would it be
:17:23. > :17:26.possible for you not to use my real name, like Anne Boleyn? We're going
:17:27. > :17:31.to have to use your real name. It's very interesting for glib, smug
:17:32. > :17:35.intellectuals to wag their finger at the failure of organised religion. I
:17:36. > :17:39.am probably one of those people, but what's important about the film is
:17:40. > :17:45.no-one has a monopoly on wisdom and no-one has all the answers. Why
:17:46. > :17:51.would God bestow upon us a sexual desire he then wants us to resist?
:17:52. > :17:55.Thing is, I didn't even know I had a clitoris. I am going to launch
:17:56. > :18:04.myself off this mountain. This is possibly the late Tony Martin...
:18:05. > :18:08.Made some of your best work with Michael Wintbottom, with Cock and
:18:09. > :18:15.Bull Story and The Trip and recently with The Look of Love. That's great.
:18:16. > :18:19.Undulate. More snake-like movements. What have you learned from working
:18:20. > :18:23.with him? He encouraged me to throw away the safety net and not be too
:18:24. > :18:28.controlling about things and not being worried about it not being
:18:29. > :18:33.funny, therefore, you discover more interesting, nuanced things. We just
:18:34. > :18:38.need one film, Steve, and that'll prepare you. I have done ten. We
:18:39. > :18:43.need the right film. We may be small, but our hearts are large -
:18:44. > :18:47.met forically speaking. You've made over 35 movies, been extremely
:18:48. > :18:51.prolific, extremely busy, and looking back at your career,
:18:52. > :18:56.particularly at that point when you were making those high visibility
:18:57. > :18:59.cameos like in The Guys or Tropic Thunder, did you enjoy that period
:19:00. > :19:04.of your career? Going to America - to be honest, I sort of did this
:19:05. > :19:08.experiment are I went to America and tried doing - because I was advised
:19:09. > :19:12.to do it - a lot of these big Hollywood movies where I played part
:19:13. > :19:16.number five, and yes, it's very unjoyable and I had great fun in
:19:17. > :19:21.Tropic Thunder, spending three months in Hawaii just doing very
:19:22. > :19:25.little, having fun, very talented big American movie stars. Let's go
:19:26. > :19:32.and make the greatest war movie ever! Yeah! Yeah. But it didn't
:19:33. > :19:37.really go anywhere. However much fun that is, I kind of
:19:38. > :19:41.like a little more autonomy. I had to - like to be more in control of
:19:42. > :19:46.what I'm doing. Why don't you and me go and get ourselves a nice double
:19:47. > :19:52.espresso. Was it always in your mind to be the Hollywood leading man? Not
:19:53. > :19:57.really, no, because I don't think I am very good at being characters who
:19:58. > :20:02.are honest and have great integrity. Jeez, are you kidding me?
:20:03. > :20:07.I'm never going to save the President. You know what I mean? You
:20:08. > :20:11.think you'll always sort of be slightly curdled? Exactly. I just
:20:12. > :20:16.think that's what I do well, and I think you have to play to your
:20:17. > :20:20.strengths. Who said that? What's it like in there? Scary, stressful,
:20:21. > :20:25.lots of shouting, a bit like being married again.
:20:26. > :20:30.If I was just doing Allen, I would feel a bit saddled with him, but I
:20:31. > :20:36.actually enjoy it. It makes me laugh when I watch it back. I kind of want
:20:37. > :20:41.my cake and eat it, return to Allen every now and again and go off and
:20:42. > :20:45.do these other things I find interesting and hopefully other
:20:46. > :20:48.people do too. Allen! Come on. We're better than that. You have had an
:20:49. > :20:52.absolutely brilliant three years. Do you feel it's really coming together
:20:53. > :20:56.for you now? I am really happy career wise where I am at the moment
:20:57. > :21:01.because what it's showing me is if you trust your instincts rather than
:21:02. > :21:06.overthink what you ought to do, try to be honest. I've tried to just
:21:07. > :21:09.pursue what I wanted to do with artistic integrity, things I believe
:21:10. > :21:14.in. Once I started doing that, things started going rather well for
:21:15. > :21:17.me, so I'm rather pleased. I met him. Where? At the White House. Do
:21:18. > :21:26.you remember anything he said? Hello. Hello? Might have been
:21:27. > :21:29.Next, Director James Toback and Alec Baldwin team up for Seduced And
:21:30. > :21:35.Abandoned, a documentary about the world of cinema, and watch out for
:21:36. > :21:41.some very strong language. Hi. What are you doing in town? We're
:21:42. > :21:45.making a film. You're making a documentary about
:21:46. > :21:51.trying to get financing? That's right, never enough money. We need
:21:52. > :21:57.between 15 and, say, $18 million. Too much. 45 million. Your name will
:21:58. > :22:03.be on the intreen as the producer of my next film. Are you ready to put
:22:04. > :22:09.up 15 million? What? I have Alex in this next film. Alec Baldwin? He's a
:22:10. > :22:13.TV actor. It's a political romantic adventure... Supposed to be comedy.
:22:14. > :22:33.No, no. Great films with great directors,
:22:34. > :22:37.that's the pinnacle. When Scorsese called me and told me - I can't tell
:22:38. > :22:42.you what it meant for me. I can get the backing for pictures, but it has
:22:43. > :22:46.to be their pictures What do you have to do to make movies you have
:22:47. > :22:53.in your heart? If I make a movie, all I think of is what's the profit?
:22:54. > :23:00.I finished two godfather films, won a tonne of Oscars and I threw them
:23:01. > :23:10.out the window, my mother went you shouldn't do that. Film is the most
:23:11. > :23:15.important. You have to fight very, very, very hard to do what you want
:23:16. > :23:20.because it always comes down to the money. I must tell you, I'm
:23:21. > :23:24.optimistic. Well, here's the weird thing - that
:23:25. > :23:28.makes it look much better than it is. There are sections of it that I
:23:29. > :23:32.found charming, especially when they're talking to all of these
:23:33. > :23:35.people, but when they're trying to sell their film it was tricky. What
:23:36. > :23:43.do you think? I am not sure you could describe Seduced and Abandoned
:23:44. > :23:52.as a good film. I think it's a highly entertainable film. He sets
:23:53. > :23:57.out to Cann effects to make the worst sounding film on earth having
:23:58. > :24:01.what they repeatedly call exploratory sex in wartime Iraq. I
:24:02. > :24:07.think it ends up proving exactly the opposite case because the author
:24:08. > :24:09.wants $5 million to make Alec Alec Baldwin's... Shouldn't have been
:24:10. > :24:13.able to find that much money... It shows there is still a lot of fat in
:24:14. > :24:16.the movie industry. Can I say, I think you're watching this film
:24:17. > :24:20.wrong. You're watching it as a documentary, and in fairness it has
:24:21. > :24:25.been presented as a documentary, but I think there's lot of mischief at
:24:26. > :24:29.work here. I don't believe for a second James Toback wants to make a
:24:30. > :24:33.film in which Alec Baldwin and Campbell have explor more reatory
:24:34. > :24:38.sex because no-one would want to watch it. But what they're trying to
:24:39. > :24:42.do is if he takes that terrible idea on the road, how much will people
:24:43. > :24:47.try to avoid funding it or how much money will they throw at it? But
:24:48. > :24:50.that's fake - it's nonsense. Why didn't he spend more than five
:24:51. > :24:54.minutes coming up with the concept or where did he actually try to
:24:55. > :25:00.raise money... The whole point of the film is to out-fake the fakery
:25:01. > :25:04.of that whole side of the business, and the set-up at Cannes which is
:25:05. > :25:08.really an astute move because that is where you have this corrupt side
:25:09. > :25:13.of the business crashing up against the most beautiful cinematic art
:25:14. > :25:17.form of the year. I think there is mischief going on because if James
:25:18. > :25:21.Toback wasn't going through this movie convinced - James Toback is a
:25:22. > :25:25.man - I have been in a small room with him. He's a man convinced of
:25:26. > :25:30.his own greatness and if he wasn't, he wouldn't keep bringing in Francis
:25:31. > :25:38.Ford Coppola and, Martin scoresy, say,sy and letting them speak
:25:39. > :25:45.incredibly -- about their own experience, wouldn't keep cutting
:25:46. > :25:51.back to Alec Alec Baldwin... Don't - don't... That's all the fake and
:25:52. > :25:55.nonsense. Let's not review films on whether or not the director is a
:25:56. > :25:58.nice Pernice. Down that road lies madness. Let's be clear, when
:25:59. > :26:03.they're interviewing people it's fascinating. I can watch hours and
:26:04. > :26:07.hours of these directors. It smells a bit smug. They have gone to
:26:08. > :26:10.Cannes. They're like, hey, watch these guys. Smug - it's a
:26:11. > :26:15.documentary about drumming up cash to make a film. Then it's not real.
:26:16. > :26:20.Is it a comedy or a documentary? Both. It's a weird kind of hybrid.
:26:21. > :26:24.What I really enjoyed about it is trying to puzzle out what parts of
:26:25. > :26:30.the film are totally legitimate and what parts are less. There is a
:26:31. > :26:34.wonderful part about Ryan Gosling in which he reminisces about interviews
:26:35. > :26:39.gone back. I read an interview with jail scram where he said he spent
:26:40. > :26:43.two hours interviewing Ryan Gosling in separate sessions. In the first
:26:44. > :26:46.session he says he didn't get what the film was all about, thought they
:26:47. > :26:51.were being totally straight with him. The second time he got it. We
:26:52. > :26:56.have run out of time. What you're saying is it's more crafted... And
:26:57. > :27:00.mischievous than Danny - I think it's much less. You see. I don't
:27:01. > :27:05.need to ask you this - film of the week? Gravity. Gravity. But not all
:27:06. > :27:09.wleex have a Gravity. Exactly, not all years will have a Gravity
:27:10. > :27:17.perhaps. That's all from us. We'll be back at
:27:18. > :27:20.the same time next week when we'll be reviewing Ridley Scott's The
:27:21. > :27:23.Counsellor, Jude Law in Dom Hemingway, and Palme D'or winner
:27:24. > :27:27.Blue Is The Warmest Colour. To play out tonight, here's a look ahead to
:27:28. > :27:30.some of the films opening in the coming weeks and months. From all of
:27:31. > :27:54.us, thanks so much for watching. Good night.
:27:55. > :28:01.Stop. Mary Poppins is not for sale. I I won't have her turned into one
:28:02. > :28:07.of your silly cartoons. Am I right! I have walked the long
:28:08. > :28:21.walk to freedom. The other kids, they think I'm
:28:22. > :28:23.weird. I want to be normal. If I concentrate hard enough, I can make
:28:24. > :28:39.things move. Chins up. Smiles on. From now on, your job is to be a
:28:40. > :28:45.distraction so people forget. I'd take 20 years just to have another
:28:46. > :28:49.three days with you. It will not end here. With every victory, this evil
:28:50. > :28:56.will grow. Hey!