Episode 9 Film 2013

Episode 9

Film reviews. Claudia Winkleman and Danny Leigh return with a new series to review box office record-breaker Gravity and movie industry documentary Seduced and Abandoned.

Similar Content

Browse content similar to Episode 9. Check below for episodes and series from the same categories and more!



This programme contains strong language.


Hello and welcome to the brand new series of Film 2013.


We're live, and if you want to get in touch the details are on the


screen now. Coming up on tonight's show.


Taking giant leaps with Sandra Bullock and George Clooney in


Gravity. I've got you. I've got you Driven to distraction - low-budget


horror In Fear. . Why are they doing this to us? Is someone there?


And movies, money and mayhem in documentary Seduced and Abandoned.


You're making a documentary about trying to get financing? That's


right. Plus Antonia Quirke meets Steve


Coogan and I'm joined in the studio by Danny Leigh, as ever, and guest


Robbie Colliln. Hello. Hello. This is a delight.


First up is Alfonso Cuaron's blockbuster Gravity which finds


George Clooney and Sandra Bullock cast adrift in space. Beautiful,


don't you think? What? The sunrise. Terrific. The


story is a human story. It's about adversity and how humans react to


it. You can go one of two ways and you're presented two characters who


have very different viewpoints on life and savour life or don't savour


life and they're put in these very adverse situation after a very


tragic mishap, and you just see what happens when tragedy strikes.


Astronaut is all structured - off structure. Must detach. You must


detach. If you don't, that arm is going to carry you too far. Listen


to my voice. You need to focus. Only seconds we'll be able to drag you.


You need to detach. I can't see you anymore. Do it now. Ahh! Outer space


is nothing but a metaphor of inner space. You have a character who is


drifting into the void, but that could be a character in London, you


know? It's a character who lives in her own bubble. It's a character


that is the victim of colonial urges and because of that is drifting


further and further away from human communication and interaction, so


that is something that is very relatable.


Please copy. When you encounter tragedy or


adversity, humans just instinctively go in and want to be lost and be


away from human beings when in fact the thing that's probably going to


save you is in fact the very opposite. I've got you. I've got


you. We work on this film for


four-and-a-half years, and we could not start shooting until a couple of


years ago because of the technology we have to invent. Explorer, do you


copy? The actual set was the weirdest


place. It didn't look like a movie set. It was just - the Director of


Photography referred to it as Sandra Bullock performing inside an iPod,


you know? It was just an actor surrounded by LED lights and robots


and strange rigs. Houston, this is mission specialist Ryan Stone. I am


off structure and drifting. Do you copy? I was thinking, this is what


solitary confinement for a prisoner feels like. I can complain all I


want to make it feel like I suffered, but it was actually


perfect because had I been on a set where everything was curby and


comfortable and warm and they brought you tea and waited for you


and you weren't in pain, it just wouldn't have felt appropriate, so


all the challenges of making this film were perfectly placed so, you


know, you're a part of something amazing.


So for the last three days all I've received is texts from friends


going, look, just be honest. It can't be that good, can it? Is it


that good? It's better, isn't it? The thing is, it's funny, sometimes


you tell the truth about a movie and it just sounds like PR but the


problem about this is it really is extraordinary and sensational. For


my money it's the best movie to come out of Hollywood than my brain can


remember. It is a fantastic technical achievement. It's such a


fantastical movie. You see a lot of films and you're constantly being


told you're going to be on the edge of your seat with your jaw hanging


over. You never are within half an hour you're thing if you can make to


it the supermarket to get kitchen role. This really is. It's intense.


In cinema terms it's whole new box of tricks. You can experience this


on a new visceral level. If you think back to James Cameron's


Aliens, you have that fantastic space odyssey, but there is all of


this stuff with motherhood and things going on with Ripley, but in


a similar vain, Sandra Bullock's character in this film, a scientist


who has been sent up to work on the Hubble telescope, never been in


space before but she's also a recently bereaved mother, lost her


daughter in a senseless accident, so for her, she can retreat to space.


Silence is comforting to her. But she realises over the course of the


film you can't retreat into yourself. That force of gravity that


draws you in is something that you have to team up with other human


beings to survive. All of that's going on if you want to unpack it


but if you just want to see George Clooney and Sandra Bullock flailing


around in space... To watch it - sorry. I was going say you can't


help but be affected. I had to leave and have a small cry. I am not


embarrassed to say that. But it took you back to the best films you have


ever seen. The beauty of this is for all the spectacular innovation and


they are spectacular and innovative, there is actually beneath them a


very human story going on. To talk about James Cameron again, my rob


with him is you talk about a film like Avatar, that felt to me like a


new-aged cult in a software demonstration. You could never get


over the fact that this was James with his pointy stick telling you


how much money had been spent. This is a human story with beautiful


performances. The film belongs to Sandra Bullock in many ways. George


Clooney clearly planned for the film by watching Toy Story over and over


again and maybe an espresso advert but they're perfect for this film.


Having these incredibly beautiful movie stars in this film brings home


to you how cold space is even even movie stars seem tiny and


vulnerable. This film is so successful not just because of the


technology that makes things jump out at you but it's also to do with


the technique with the camera. There is no horizon. There is no spirit


level your eyes can snap to. No, no. You feel like you're there. The


camera is kind of flailing around at some point then the camro holds and


the objects are flying around. Because of that flexibility the


setting affords them, you effectively become the camera.


You're flying through the set along with the camera. It's the perfect


movie for 3D because everything is floating and drifting. This is what


it was made for, to be honest. Can we talk about her? We touched on


her, but she is - there is a scene - I can only describe - she's in the


foetal position. I was in the screening room and we all gasped.


She's mind-blowing, am I wrong? No, no. You're absolutely right. This is


for me the role of her career. It's obviously up against some pretty


stiff competition like Ms Congeniality. Don't knock it - bombs


and a tiara! The bereaved mother aspect of the story - there is that


incredible shot of her in the foetal position later on - I don't want to


explain why but there is this kind of birth allegory where a Pernice


comes out of a thing and it's very much in a kind of rebirth sense, and


she embraces that side of the character and all the detail is


there and all the - even the little cliched phrased - someone does say,


"I have a bad feeling about this mission." Someone else says, I have


you've got to be kidding me." And they're right. For all the cliches,


it's also a very unusual film. We think we know space and one of the


reasons we think that as movie goers is because of Alien and all the


films that ripped that off, but here there is no alien. It's just bad


luck. The whole film is based around the idea of there is nothing after


us. Sometimes we just get in the way. That is an incredible thing to


base a block muster movie around. You look at the special effects and


the 3D without coming out feeling like you have seen the future of


cinema but also you have seen the past and history of cinema. 18 sta,


the Loomier brothers, all of these thrill seekers fleeing in terror


because they thought the train was coming out of the screen, they


thought this is what cinema was supposed to be like. Cinema is


supposed to be. This it's supposed to be spectacular, physical.


To totally sum up, though, I just want to say down the barrel of the


lens, go see this in the cinema. Oh, yeah, on the big screen. In the


front. Run to the front. With amazing sound.


Next is is In Fear, a new British horror film from feature debut


director Jeremy Lovering. It's our two-week anniversary. We can't have


a two-week anniversary. For a special treat, I booked us a hotel.


It's kind of a throw-back to the '70s film psychological thrillers,


so the story is incredibly story. Map says we're supposed to go that


way. It's saying that way. Two people who hardly know each other,


known each other for two weeks - they go on a journey, and bad things


happen. How can we be back at this bit again? We're not lost. We're in


a maze. I love what Jeremy's done. It's dealing with the fear we all


have of the unknown, and when you're out of your comfort zone and you're


lost and also you're completely unaware of what's going on around


you or what's causing the things to happen around you, I think that's a


fear we can all relate to. I wanted to make it without giving


the actors a script. They had no idea what the story was. They didn't


know what their characters were going to end up doing or whether


they'd live or die. And that instant response was something I was always


after because it was very real and very fresh. Jeremy came to me very


early on and said, you do need one force in there to make sure you stay


on line otherwise people will be getting out of the car and running


away and you'll never see them again. For that reason, I had a


little bit more information on the plot, but not that much more


compared to them. We did three-and-a-half weeks of night


shoots in Cornwall in December. It was gruelling. The weather wasn't


kind, but perfect for the movie. Because they were improvising,


because they were making up how their characters were evolving and


feeling, the choices were very real. If they had -- they had no downtime


at all. They were constantly tense because they had no idea when I was


going to spring a trap on them or trick.


They're mine. No, they're not. No, they're my clothes. There were a lot


of questions posed in it where I want people to go, what would I do


in that situation? SCREAMING


It's so bare and it's so raw when you're in a fearful situation, and


you see - you can see humanity at its most exposed. What? We killed


someone. Why are they doing this to us? You know, it's very simple -


you're glad you're alive when you're watching a horror film, and that


thrill of seeing it and the adrenaline reminds you of your love


of life. Just keep going. I'm going to just say this out


Laudrup. I saw this in the screening. There weren't many of us,


and I was so terrified, I thought I was either going to be sick or I


sort of had to do that humming to yourself, it's going to be fine. I


thought it was absolutely compelling and terrifying. I didn't find it


terrifying. I found it very stressful. Stressful is terrifying.


It's a film by a TV director, Jeremy Lovering, a very good TV director by


all accounts, and this is his first feature film and my goodness, if


he's not going to use every single trick in the book to make sure


you're watching a -- you know you're watching a feature film. It's all of


those techniquey aspects to horror, leaving those big spaces in the plot


where you know something is going to jump out. It was scary. Beyond the


technique there wasn't much going on. We have all seen these films


where people get lost and make bad decisions. That's all it is. No. For


me, there was nothing else under the bonnet. Oh, you're cruel. I think


there is trembly close-ups because actually this is a film about the


characters. It's an anti-slasher movie. It's not one of these films


where you have these interchangeable kind of kids who are wheeled on then


bumped off and taken away. You get to know these characters. I think


that's slightly unusual for a horror movie because they're these two


recognisable Indy kids - they're off to a festival to see Mumford and Son


- might be reason to have them killed.


LAUGHTER The film is less about what's going


on outside the car than inside the car. It reminds me of Dual a little


bit. You're seeing two characters kind of falling apart under the


pressure, God knows we've all done. I think that's the real strength of


the movie. I think the reason we don't get excited about what's


outside the car is ultimately it isn't that exciting. You mentioned


Jewel, a really good comparison. I would say other films about city


folk going to the countryside and not seng it exceptionally well, like


Eden Lake and the Wicker Man, with that, the Residents of Summer Isle,


they're incredibly colourful people and you come away being terrorised


of something terribly distinct to that particular film but in this,


you have this nebulous sense - If you're using the Wickerman as your


benchmark that is a little bit cruel. They tap into expertly what


is a universal fear of seemingly idyllic lanes, charming country


hotels, the country pub - the American Werewolf in London, we know


going into country pubs nothing good comes of them. That's a generally


universal fear - probably not for the landlords of country pubs, but


there is a reason for that - we all do - I get clammy at the sight of a


chicken shop and a cashpoint. Bad things await. The film turns the


screws very well. And beautifully acted. They did it very well. It was


interestingly put together this film. There was a story line and


improvised. You can tell it's improvised because when people get


scared, they just say their lines twice, "What's in there? What's in


there? Look out, look out!" In Fear is released in cinemas on


November 15th. Steve Coogan has written, produced and stars in


Philomena. Antonia went along to chat with him. They said you had


abandoned him as a baby. I did not abandon my child.


Congratulations on Philomena and on particularly your performance which


I think many people are going to see this movie and think this is the


best straight acting they've seen you do. Would you agree with them?




I know this woman. She had a baby when she was a teenager and she's


kept it secret for 50 years. What you're talking about would be what


they call a human interest story. I don't do those. Why not? Do you


think I should do a human interest story? It was a passion project. I


am passionate about it. I wanted to make a film that was about something


serious, not just about something ephemeral, disposable, nonsensical


garbage which a lot of films are, and I wanted to do a film with some


substance, but I didn't want it to be over worthy or self-important. I


wanted it to be easy to watch. I wanted to ask you, would it be


possible for you not to use my real name, like Anne Boleyn? We're going


to have to use your real name. It's very interesting for glib, smug


intellectuals to wag their finger at the failure of organised religion. I


am probably one of those people, but what's important about the film is


no-one has a monopoly on wisdom and no-one has all the answers. Why


would God bestow upon us a sexual desire he then wants us to resist?


Thing is, I didn't even know I had a clitoris. I am going to launch


myself off this mountain. This is possibly the late Tony Martin...


Made some of your best work with Michael Wintbottom, with Cock and


Bull Story and The Trip and recently with The Look of Love. That's great.


Undulate. More snake-like movements. What have you learned from working


with him? He encouraged me to throw away the safety net and not be too


controlling about things and not being worried about it not being


funny, therefore, you discover more interesting, nuanced things. We just


need one film, Steve, and that'll prepare you. I have done ten. We


need the right film. We may be small, but our hearts are large -


met forically speaking. You've made over 35 movies, been extremely


prolific, extremely busy, and looking back at your career,


particularly at that point when you were making those high visibility


cameos like in The Guys or Tropic Thunder, did you enjoy that period


of your career? Going to America - to be honest, I sort of did this


experiment are I went to America and tried doing - because I was advised


to do it - a lot of these big Hollywood movies where I played part


number five, and yes, it's very unjoyable and I had great fun in


Tropic Thunder, spending three months in Hawaii just doing very


little, having fun, very talented big American movie stars. Let's go


and make the greatest war movie ever! Yeah! Yeah. But it didn't


really go anywhere. However much fun that is, I kind of


like a little more autonomy. I had to - like to be more in control of


what I'm doing. Why don't you and me go and get ourselves a nice double


espresso. Was it always in your mind to be the Hollywood leading man? Not


really, no, because I don't think I am very good at being characters who


are honest and have great integrity. Jeez, are you kidding me?


I'm never going to save the President. You know what I mean? You


think you'll always sort of be slightly curdled? Exactly. I just


think that's what I do well, and I think you have to play to your


strengths. Who said that? What's it like in there? Scary, stressful,


lots of shouting, a bit like being married again.


If I was just doing Allen, I would feel a bit saddled with him, but I


actually enjoy it. It makes me laugh when I watch it back. I kind of want


my cake and eat it, return to Allen every now and again and go off and


do these other things I find interesting and hopefully other


people do too. Allen! Come on. We're better than that. You have had an


absolutely brilliant three years. Do you feel it's really coming together


for you now? I am really happy career wise where I am at the moment


because what it's showing me is if you trust your instincts rather than


overthink what you ought to do, try to be honest. I've tried to just


pursue what I wanted to do with artistic integrity, things I believe


in. Once I started doing that, things started going rather well for


me, so I'm rather pleased. I met him. Where? At the White House. Do


you remember anything he said? Hello. Hello? Might have been


Next, Director James Toback and Alec Baldwin team up for Seduced And


Abandoned, a documentary about the world of cinema, and watch out for


some very strong language. Hi. What are you doing in town? We're


making a film. You're making a documentary about


trying to get financing? That's right, never enough money. We need


between 15 and, say, $18 million. Too much. 45 million. Your name will


be on the intreen as the producer of my next film. Are you ready to put


up 15 million? What? I have Alex in this next film. Alec Baldwin? He's a


TV actor. It's a political romantic adventure... Supposed to be comedy.


No, no. Great films with great directors,


that's the pinnacle. When Scorsese called me and told me - I can't tell


you what it meant for me. I can get the backing for pictures, but it has


to be their pictures What do you have to do to make movies you have


in your heart? If I make a movie, all I think of is what's the profit?


I finished two godfather films, won a tonne of Oscars and I threw them


out the window, my mother went you shouldn't do that. Film is the most


important. You have to fight very, very, very hard to do what you want


because it always comes down to the money. I must tell you, I'm


optimistic. Well, here's the weird thing - that


makes it look much better than it is. There are sections of it that I


found charming, especially when they're talking to all of these


people, but when they're trying to sell their film it was tricky. What


do you think? I am not sure you could describe Seduced and Abandoned


as a good film. I think it's a highly entertainable film. He sets


out to Cann effects to make the worst sounding film on earth having


what they repeatedly call exploratory sex in wartime Iraq. I


think it ends up proving exactly the opposite case because the author


wants $5 million to make Alec Alec Baldwin's... Shouldn't have been


able to find that much money... It shows there is still a lot of fat in


the movie industry. Can I say, I think you're watching this film


wrong. You're watching it as a documentary, and in fairness it has


been presented as a documentary, but I think there's lot of mischief at


work here. I don't believe for a second James Toback wants to make a


film in which Alec Baldwin and Campbell have explor more reatory


sex because no-one would want to watch it. But what they're trying to


do is if he takes that terrible idea on the road, how much will people


try to avoid funding it or how much money will they throw at it? But


that's fake - it's nonsense. Why didn't he spend more than five


minutes coming up with the concept or where did he actually try to


raise money... The whole point of the film is to out-fake the fakery


of that whole side of the business, and the set-up at Cannes which is


really an astute move because that is where you have this corrupt side


of the business crashing up against the most beautiful cinematic art


form of the year. I think there is mischief going on because if James


Toback wasn't going through this movie convinced - James Toback is a


man - I have been in a small room with him. He's a man convinced of


his own greatness and if he wasn't, he wouldn't keep bringing in Francis


Ford Coppola and, Martin scoresy, say,sy and letting them speak


incredibly -- about their own experience, wouldn't keep cutting


back to Alec Alec Baldwin... Don't - don't... That's all the fake and


nonsense. Let's not review films on whether or not the director is a


nice Pernice. Down that road lies madness. Let's be clear, when


they're interviewing people it's fascinating. I can watch hours and


hours of these directors. It smells a bit smug. They have gone to


Cannes. They're like, hey, watch these guys. Smug - it's a


documentary about drumming up cash to make a film. Then it's not real.


Is it a comedy or a documentary? Both. It's a weird kind of hybrid.


What I really enjoyed about it is trying to puzzle out what parts of


the film are totally legitimate and what parts are less. There is a


wonderful part about Ryan Gosling in which he reminisces about interviews


gone back. I read an interview with jail scram where he said he spent


two hours interviewing Ryan Gosling in separate sessions. In the first


session he says he didn't get what the film was all about, thought they


were being totally straight with him. The second time he got it. We


have run out of time. What you're saying is it's more crafted... And


mischievous than Danny - I think it's much less. You see. I don't


need to ask you this - film of the week? Gravity. Gravity. But not all


wleex have a Gravity. Exactly, not all years will have a Gravity


perhaps. That's all from us. We'll be back at


the same time next week when we'll be reviewing Ridley Scott's The


Counsellor, Jude Law in Dom Hemingway, and Palme D'or winner


Blue Is The Warmest Colour. To play out tonight, here's a look ahead to


some of the films opening in the coming weeks and months. From all of


us, thanks so much for watching. Good night.


Stop. Mary Poppins is not for sale. I I won't have her turned into one


of your silly cartoons. Am I right! I have walked the long


walk to freedom. The other kids, they think I'm


weird. I want to be normal. If I concentrate hard enough, I can make


things move. Chins up. Smiles on. From now on, your job is to be a


distraction so people forget. I'd take 20 years just to have another


three days with you. It will not end here. With every victory, this evil


will grow. Hey!


Claudia Winkleman and Danny Leigh review Alfonso Cuarón's box office record-breaker Gravity which stars Sandra Bullock and George Clooney.

Plus, Alec Baldwin and director James Toback team up for documentary Seduced and Abandoned, which takes a wry look at the movie business and the complex world of film finance.

Download Subtitles