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.


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Transcript


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This programme contains strong language.

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

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

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screen now. Coming up on tonight's show.

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Taking giant leaps with Sandra Bullock and George Clooney in

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

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

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

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

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right. Plus Antonia Quirke meets Steve

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

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

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First up is Alfonso Cuaron's blockbuster Gravity which finds

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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further and further away from human communication and interaction, so

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that is something that is very relatable.

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Please copy. When you encounter tragedy or

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

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

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

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you. We work on this film for

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

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

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copy? The actual set was the weirdest

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

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

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

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

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

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

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

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

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

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

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

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know, you're a part of something amazing.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Having these incredibly beautiful movie stars in this film brings home

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

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

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

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

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

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

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the objects are flying around. Because of that flexibility the

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setting affords them, you effectively become the camera.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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front. Run to the front. With amazing sound.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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because they were making up how their characters were evolving and

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

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

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going to spring a trap on them or trick.

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

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

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in that situation? SCREAMING

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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- might be reason to have them killed.

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LAUGHTER The film is less about what's going

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

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

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

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

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

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

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

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

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

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

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

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

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is a universal fear of seemingly idyllic lanes, charming country

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

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

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

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

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

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

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

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

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

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

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

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

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

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Congratulations on Philomena and on particularly your performance which

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

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

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Yes. LAUGHTER

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

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

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

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

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

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serious, not just about something ephemeral, disposable, nonsensical

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

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

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

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

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

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

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

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

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

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

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

:17:56.:18:04.

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

:18:05.:18:08.

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

:18:09.:18:15.

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

:18:16.:18:19.

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

:18:20.:18:23.

controlling about things and not being worried about it not being

:18:24.:18:28.

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

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

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

:18:39.:18:43.

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

:18:44.:18:47.

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

:18:48.:18:51.

particularly at that point when you were making those high visibility

:18:52.:18:56.

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

:18:57.:18:59.

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

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

:19:05.:19:08.

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

:19:09.:19:12.

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

:19:13.:19:16.

Tropic Thunder, spending three months in Hawaii just doing very

:19:17.:19:21.

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

:19:22.:19:25.

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

:19:26.:19:32.

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

:19:33.:19:37.

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

:19:38.:19:41.

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

:19:42.:19:46.

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

:19:47.:19:52.

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

:19:53.:19:57.

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

:19:58.:20:02.

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

:20:03.:20:07.

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

:20:08.:20:11.

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

:20:12.:20:16.

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

:20:17.:20:20.

lots of shouting, a bit like being married again.

:20:21.:20:25.

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

:20:26.:20:30.

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

:20:31.:20:36.

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

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do these other things I find interesting and hopefully other

:20:42.:20:45.

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

:20:46.:20:48.

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

:20:49.:20:52.

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

:20:53.:20:56.

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

:20:57.:21:01.

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

:21:02.:21:06.

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

:21:07.:21:09.

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

:21:10.:21:14.

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

:21:15.:21:17.

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

:21:18.:21:26.

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

:21:27.:21:29.

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

:21:30.:21:35.

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

:21:36.:21:41.

making a film. You're making a documentary about

:21:42.:21:45.

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

:21:46.:21:51.

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

:21:52.:21:57.

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

:21:58.:22:03.

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

:22:04.:22:09.

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

:22:10.:22:13.

No, no. Great films with great directors,

:22:14.:22:33.

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

:22:34.:22:37.

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

:22:38.:22:42.

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

:22:43.:22:46.

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

:22:47.:22:53.

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

:22:54.:23:00.

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

:23:01.:23:10.

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

:23:11.:23:15.

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

:23:16.:23:20.

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

:23:21.:23:24.

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

:23:25.:23:28.

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

:23:29.:23:32.

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

:23:33.:23:35.

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

:23:36.:23:43.

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

:23:44.:23:52.

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

:23:53.:23:57.

what they repeatedly call exploratory sex in wartime Iraq. I

:23:58.:24:01.

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

:24:02.:24:07.

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

:24:08.:24:09.

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

:24:10.:24:13.

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

:24:14.:24:16.

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

:24:17.:24:20.

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

:24:21.:24:25.

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

:24:26.:24:29.

film in which Alec Baldwin and Campbell have explor more reatory

:24:30.:24:33.

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

:24:34.:24:38.

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

:24:39.:24:42.

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

:24:43.:24:47.

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

:24:48.:24:50.

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

:24:51.:24:54.

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

:24:55.:25:00.

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

:25:01.:25:04.

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

:25:05.:25:08.

of the business crashing up against the most beautiful cinematic art

:25:09.:25:13.

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

:25:14.:25:17.

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

:25:18.:25:21.

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

:25:22.:25:25.

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

:25:26.:25:30.

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

:25:31.:25:38.

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

:25:39.:25:45.

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

:25:46.:25:51.

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

:25:52.:25:55.

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

:25:56.:25:58.

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

:25:59.:26:03.

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

:26:04.:26:07.

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

:26:08.:26:10.

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

:26:11.:26:15.

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

:26:16.:26:20.

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

:26:21.:26:24.

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

:26:25.:26:30.

wonderful part about Ryan Gosling in which he reminisces about interviews

:26:31.:26:34.

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

:26:35.:26:39.

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

:26:40.:26:43.

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

:26:44.:26:46.

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

:26:47.:26:51.

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

:26:52.:26:56.

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

:26:57.:27:00.

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

:27:01.:27:05.

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

:27:06.:27:09.

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

:27:10.:27:17.

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

:27:18.:27:20.

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

:27:21.:27:23.

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

:27:24.:27:27.

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

:27:28.:27:30.

us, thanks so much for watching. Good night.

:27:31.:27:54.

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

:27:55.:28:01.

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

:28:02.:28:07.

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

:28:08.:28:21.

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

:28:22.:28:23.

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

:28:24.:28:39.

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

:28:40.:28:45.

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

:28:46.:28:49.

will grow. Hey!

:28:50.:28:56.

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.


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