2:00:00 > 2:00:00SIGN ZONE: FILM 2014 FKA Q748F/01 HDS139608
3:29:20 > 3:29:27.
3:29:50 > 3:29:53Hello and welcome to Film 2014. We are live.
3:29:53 > 3:29:56If you would like to get in touch the details are on the screen now.
3:29:56 > 3:29:58Coming up on tonight's show.
3:30:01 > 3:30:03All-star action with Kevin Costner
3:30:03 > 3:30:06and Chris Pine in Jack Ryan: Shadow Recruit.
3:30:06 > 3:30:08There's a very real scenario here
3:30:08 > 3:30:10where we don't get out of this alive.
3:30:10 > 3:30:11For folks' sake -
3:30:11 > 3:30:14The Coen brothers get their groove on for Inside Llewyn Davis.
3:30:14 > 3:30:16Who wrote this?
3:30:16 > 3:30:18I did.
3:30:19 > 3:30:23And the gloves are off. De Niro and Stallone square up for Grudge Match.
3:30:23 > 3:30:26- Gutsy move, to go without a bra. - I took a dump on your porch.
3:30:26 > 3:30:28We are live, guys. We are live right now.
3:30:32 > 3:30:35Plus we'll take a look at Alex Gibney's documentary
3:30:35 > 3:30:37The Armstrong Lie. Danny, of course, is here,
3:30:37 > 3:30:41- and we are joined by guest critic Antonia Quirke.- Hello.- Hello.
3:30:41 > 3:30:43Hooray. First up, Kenneth Branagh directs Chris Pine
3:30:43 > 3:30:46and Keira Knightley in CIA action thriller Jack Ryan.
3:30:49 > 3:30:50Somebody tried to kill me!
3:30:52 > 3:30:54'You are breaking protocol.'
3:30:54 > 3:30:59- BRANAGH:- Jack Ryan, Shadow Recruit is about the origins of Jack Ryan.
3:30:59 > 3:31:03He is sought out by the CIA for his brilliant analytical mind.
3:31:03 > 3:31:05- 'Is he back?'- Yeah.
3:31:05 > 3:31:07'Time's up.'
3:31:08 > 3:31:11Kevin Costner comes to persuade him that he should be involved
3:31:11 > 3:31:12in financial intelligence,
3:31:12 > 3:31:16trying to find out where funding for terror groups come from.
3:31:16 > 3:31:19Talk me through your very scary scenario.
3:31:19 > 3:31:22Keep in mind I don't have your PhD.
3:31:22 > 3:31:26Jack discovers severe irregularities in a Russian company
3:31:26 > 3:31:29run by my good self. Viktor Cherevin.
3:31:29 > 3:31:33- Jack Ryan.- How was your flight?
3:31:33 > 3:31:36- Fine, thank you.- And the jet lag?
3:31:36 > 3:31:39- That first night can be brutal. - I survived.
3:31:39 > 3:31:40What can I do for you?
3:31:40 > 3:31:43- Routine audit.- So routine it couldn't be done from New York?
3:31:43 > 3:31:46Not when you're concealing accounts from us.
3:31:48 > 3:31:51You Americans like to think of yourselves as direct.
3:31:51 > 3:31:53I wonder if perhaps you're just rude.
3:31:55 > 3:31:57You Russians think of yourselves as poets
3:31:57 > 3:31:59but perhaps you're just touchy.
3:31:59 > 3:32:01Jack gets drawn into the field,
3:32:01 > 3:32:03as he always does do in Jack Ryan films,
3:32:03 > 3:32:06and all the mayhem starts from there.
3:32:06 > 3:32:09There is a coordinated plot for a terrorist attack.
3:32:09 > 3:32:12You're not just an analyst any more. You're operational now.
3:32:14 > 3:32:20I play Cathy, who is Jack's fiancee.
3:32:20 > 3:32:23She doesn't know that he's working in the CIA.
3:32:23 > 3:32:25You're not involving her.
3:32:25 > 3:32:27You involved me in this by not telling me!
3:32:27 > 3:32:28You've got to get her out of here.
3:32:28 > 3:32:30What will you tell Cherevin? That I'm homesick?
3:32:30 > 3:32:32These are dangerous people, Cathy. You cannot be here.
3:32:32 > 3:32:35- If you told me who you really were...- I took an oath!
3:32:35 > 3:32:37I took an oath.
3:32:37 > 3:32:40He's sort of the everyman, isn't he? I suspect that's...
3:32:40 > 3:32:42I mean, although you can't really be the everyman
3:32:42 > 3:32:43looking like Chris Pine,
3:32:43 > 3:32:47but I think that's sort of the idea of it.
3:32:47 > 3:32:50- Can we have a minute, please? - No, you can't.
3:32:50 > 3:32:53- I would like to talk to Jack alone. - This is geopolitics.
3:32:53 > 3:32:54It's not couples therapy.
3:32:55 > 3:32:58Thrillers really aren't done very often nowadays and I suspect
3:32:58 > 3:33:02actually it's because you have to be told by a really good storyteller.
3:33:02 > 3:33:05And I think that's where Ken Branagh comes in.
3:33:05 > 3:33:08Clearly coming from the world of Shakespeare where you deal with
3:33:08 > 3:33:09huge character arcs
3:33:09 > 3:33:12and huge plotlines, he's able to infuse, I think,
3:33:12 > 3:33:19a kind of traditional action thriller with very specific and human moments.
3:33:19 > 3:33:21Do I really have to remind you what's at stake here, Jack?
3:33:24 > 3:33:26There is a very real scenario here
3:33:26 > 3:33:28where we don't get out of this alive.
3:33:28 > 3:33:30You know, you sold this as an office job.
3:33:36 > 3:33:39- Danny.- Well, this is what's known as an origin story.
3:33:39 > 3:33:42So we're following Jack Ryan from kind of apple-cheeked student
3:33:42 > 3:33:44through to the hardened spook, I guess.
3:33:44 > 3:33:47And we start off in London, and we know it's London because
3:33:47 > 3:33:50we see Big Ben and the London Eye and everyone calls each other mate,
3:33:50 > 3:33:52and we take a detour to New York where Jack briefly
3:33:52 > 3:33:55works on Wall Street as the kind of collie dog of Wall Street,
3:33:55 > 3:33:57and then finally we end up in Moscow,
3:33:57 > 3:33:59and that's where the real action starts.
3:33:59 > 3:34:01Because although this is a fresh start for Jack Ryan
3:34:01 > 3:34:04we've got a job lot of deeply old-fashioned villains.
3:34:04 > 3:34:07It's a lot of vodka-swilling Russians who have probably been
3:34:07 > 3:34:10in a crate in Pinewood since they filmed Octopussy.
3:34:10 > 3:34:12That's not really a criticism.
3:34:12 > 3:34:14I think Kenneth Branagh as a director
3:34:14 > 3:34:17is kind of at home with all that Carry On, Comrade thing,
3:34:17 > 3:34:19and what you end up with is something which I think is
3:34:19 > 3:34:23passably tense and frenetic, but also feels like
3:34:23 > 3:34:26the kind of movie that you can imagine yourself dozing off to
3:34:26 > 3:34:29in front of the TV after Christmas dinner in about 20 years' time.
3:34:29 > 3:34:30Yeah. What did you think?
3:34:30 > 3:34:34You know one thing this movie makes really clear yet again
3:34:34 > 3:34:38is that The Bourne Identity is the most influential movie
3:34:38 > 3:34:40of the last 15 years. The seminal movie.
3:34:40 > 3:34:44How many movies have we sat through, of this kind,
3:34:44 > 3:34:47that nod to that movie? Even down to the front of the title sequences
3:34:47 > 3:34:53and what have you. It's interesting that you mentioned Branagh
3:34:53 > 3:34:56and the '80s there, it does feel...
3:34:56 > 3:34:57I mean, this is a made-up story,
3:34:57 > 3:35:00this isn't from the Tom Clancy novels,
3:35:00 > 3:35:02but it still feels very situated in the '80s.
3:35:02 > 3:35:06Even that longing for Moscow and the Russians as the real enemy,
3:35:06 > 3:35:08what have you, it's all terribly '80s.
3:35:08 > 3:35:10But the main problem with Jack Ryan,
3:35:10 > 3:35:12and the problem that Clancy has always had,
3:35:12 > 3:35:16Keira Knightley mentioned in that clip earlier on, he's the everyman.
3:35:16 > 3:35:19The main problem with Jack Ryan all the way through Patriot Games
3:35:19 > 3:35:21and Clear And Present Danger and Hunt For Red October,
3:35:21 > 3:35:24and all the rest, he's just really boring.
3:35:24 > 3:35:26He's an incredibly boring guy.
3:35:26 > 3:35:29- He likes a calculator.- He's an analyst, he's a financial analyst!
3:35:29 > 3:35:33- You saw him there with his man bag. - That's so damning.- It really is.
3:35:33 > 3:35:36No-one's knickers on fire, not even Keira's.
3:35:36 > 3:35:39- And she's very good, it has to be said.- I think so too.
3:35:39 > 3:35:42Chris Pine is interesting casting cos he does look a little bit
3:35:42 > 3:35:44like a male blow-up doll, but at the same time,
3:35:44 > 3:35:47with his characters you always suspect there might be some kind of
3:35:47 > 3:35:50dark secret lurking somewhere, and you want that for Jack Ryan.
3:35:50 > 3:35:52You want him to have at least one vague bad habit.
3:35:52 > 3:35:54But he does have Keira instead.
3:35:54 > 3:35:57Keira is great. Most of the time, an actress doing this role,
3:35:57 > 3:35:58what would she be asked to do?
3:35:58 > 3:36:00She would run in high heels a little bit,
3:36:00 > 3:36:03her eyes would widen, she'd take her clothes off
3:36:03 > 3:36:06- and that would be that. - A Thursday.- Exactly.
3:36:06 > 3:36:08Keira does something a little different
3:36:08 > 3:36:10and there's something quite admirably deranged,
3:36:10 > 3:36:11a bit unhinged about her.
3:36:11 > 3:36:14She looks like she's going to leap across the table
3:36:14 > 3:36:16and take Chris Pine's head off with her jaws,
3:36:16 > 3:36:19like a Jelly Baby's head. I'm a big fan.
3:36:19 > 3:36:22That moment she's having dinner with Kenneth Branagh
3:36:22 > 3:36:24and they're sitting there talking about Russian poets,
3:36:24 > 3:36:26and it's actually quite a good scene.
3:36:26 > 3:36:29You can see they're reaching for the stars there, in that scene.
3:36:29 > 3:36:32I think it's quite interesting that here we have Branagh directing,
3:36:32 > 3:36:36and he casts himself as the evil hero, really, hasn't he?
3:36:36 > 3:36:40Right down to the Paul McCartney burgundy rinse that he's got
3:36:40 > 3:36:43- going on there.- I loved him in it. - He was actually pretty good.
3:36:43 > 3:36:46It was a problem that most of the time I was on his side.
3:36:46 > 3:36:48But the most interesting thing about the movie
3:36:48 > 3:36:50is here you have the strange career of Kenneth Branagh.
3:36:50 > 3:36:52You know, the guy who in the '80s was the kid
3:36:52 > 3:36:56in the Royal Shakespeare Company, wrote his own biography at 30,
3:36:56 > 3:36:59and now he's directing this schlock, via Thor.
3:36:59 > 3:37:01It is the most extraordinary career.
3:37:01 > 3:37:03I think both with this and Thor, he's got a flair for this,
3:37:03 > 3:37:05actually, and the fight scenes...
3:37:05 > 3:37:07Most of this film is pretty ho-hum but the fight scenes
3:37:07 > 3:37:10have a real kind of vim and a real sense of aggro.
3:37:10 > 3:37:13Kenneth Branagh has a real knack for trashing a Moscow hotel bathroom.
3:37:13 > 3:37:15Bidets flying left, right and centre,
3:37:15 > 3:37:17toilet's gone out the window.
3:37:17 > 3:37:18He loves that stuff and he's good at it.
3:37:18 > 3:37:20In his performance, he's channelling...
3:37:20 > 3:37:22he's having a whale of a time,
3:37:22 > 3:37:24doing Viggo Mortensen in Eastern Promises.
3:37:24 > 3:37:25Good luck to him.
3:37:25 > 3:37:28You've got Kevin Costner popping up as this kind of strange,
3:37:28 > 3:37:31voyeuristic, kind of imperious, like an American Eagle,
3:37:31 > 3:37:33maybe dodgy, I don't know.
3:37:33 > 3:37:36Also Mikhail Baryshnikov in a bit part.
3:37:36 > 3:37:39- Would've preferred to see him as the baddie, though.- OK.
3:37:39 > 3:37:42Next, the new film from the Coen brothers, Inside Llewyn Davis,
3:37:42 > 3:37:46which captures a week in the life of a folk singer in New York in 1961.
3:37:51 > 3:37:53How you doin'? Llewyn Davis.
3:37:53 > 3:37:54Oh! Hello!
3:37:54 > 3:37:55I've heard your music.
3:37:55 > 3:37:58And heard many nice things about you
3:37:58 > 3:38:00from Jim and Jean and from others.
3:38:00 > 3:38:03You have not heard one nice thing about me from Jean.
3:38:03 > 3:38:08- CAREY MULLIGAN:- It's sort of a week in the life of...a loser.
3:38:08 > 3:38:14It's about, no matter how good you are, you can still struggle,
3:38:14 > 3:38:18or never get anywhere. It's sort of about someone who...
3:38:18 > 3:38:20stands in his own way, you know.
3:38:20 > 3:38:22Someone who could have great success
3:38:22 > 3:38:25but kind of limits himself by his own ideals.
3:38:26 > 3:38:29That's why all the same shit is going to keep happening to you,
3:38:29 > 3:38:30because you want it to.
3:38:30 > 3:38:34- Is that why?- Yes. And also because you're an ASSHOLE.
3:38:35 > 3:38:39'It's about someone that both wants desperately to succeed and to fail,'
3:38:39 > 3:38:42and is trying to find his authentic voice
3:38:42 > 3:38:44in a scene that's clearly not wanting to hear it.
3:38:44 > 3:38:49- If you do two "pa-pa"s...- # Pa-pa, and I sweat when... # ? Really?
3:38:49 > 3:38:53# Pa-pa, I sweat when they stuck me in the pressure suit
3:38:53 > 3:38:56# Bubble helmet, Flash Gordon boots
3:38:56 > 3:38:58THEY MUMBLE
3:39:00 > 3:39:03# That's no place to be a hero... #
3:39:03 > 3:39:06- Ah ah-ah-ah.- OK.
3:39:06 > 3:39:08The Coens, they're interested in
3:39:08 > 3:39:10the guy that opened up for Dylan, not Dylan.
3:39:10 > 3:39:12Who wrote this?
3:39:13 > 3:39:14I did.
3:39:14 > 3:39:17They don't seem to be interested in success stories. I think they feel
3:39:17 > 3:39:20they've all been told. They're kind of...
3:39:20 > 3:39:23They seem drawn to failures, and yeah,
3:39:23 > 3:39:28the rags-to-rags story seems to be their speciality.
3:39:28 > 3:39:33# I had a man, strong and tall... #
3:39:33 > 3:39:35Don't tell Jim.
3:39:35 > 3:39:36Obviously.
3:39:36 > 3:39:38# ..Like a cannon ball... #
3:39:38 > 3:39:41Do you ever think about the future at all?
3:39:42 > 3:39:44You mean like flying cars?
3:39:45 > 3:39:47I was screaming to the gods to give me this role.
3:39:47 > 3:39:49I wanted it more than anything.
3:39:49 > 3:39:51Mel!
3:39:52 > 3:39:53How you doin', kid?
3:39:53 > 3:39:56I think they're just really no-nonsense.
3:39:56 > 3:39:58They're just so good at telling a really great story.
3:39:58 > 3:40:01It's an easy day, you wrap by four o'clock in the afternoon
3:40:01 > 3:40:04and you feel like you've just been on holiday.
3:40:04 > 3:40:05It seems to be so effortless,
3:40:05 > 3:40:07and that's how it feels when you're working with them,
3:40:07 > 3:40:08and when you watch the film.
3:40:08 > 3:40:10Folk singer with a cat.
3:40:12 > 3:40:13Ah!
3:40:13 > 3:40:16Is that part of your act?
3:40:16 > 3:40:19Every time you play a C major you puke a hairball?
3:40:24 > 3:40:27Play me something from Inside Llewyn Davis.
3:40:31 > 3:40:32OK.
3:40:34 > 3:40:36Such a brilliant scene! All of it.
3:40:36 > 3:40:38Antonia.
3:40:38 > 3:40:41I love this movie. There's nothing I don't love about this movie.
3:40:41 > 3:40:44It is THE movie. It is just so wonderful.
3:40:44 > 3:40:47I mean, its tempo, it's so mellow,
3:40:47 > 3:40:50it just rolls from scene to scene
3:40:50 > 3:40:53in this incredibly beautiful kind of unfurling way,
3:40:53 > 3:40:56and you know what's so amazing, is when you think the Coen brothers,
3:40:56 > 3:40:59they hit the big time in their late 20s with Blood Simple
3:40:59 > 3:41:02and it's just been pretty much success, success, success
3:41:02 > 3:41:04all the way along since then.
3:41:04 > 3:41:07And yet they still have hugged so close, clearly,
3:41:07 > 3:41:11that feeling of being a failure. That feeling of being...
3:41:11 > 3:41:15- You know, the wet socks...- Almost being there...- Never quite making it.
3:41:15 > 3:41:18There's a fantastic scene where he's got wet socks in his shoes,
3:41:18 > 3:41:20or where does he go to bed that night?
3:41:20 > 3:41:23Can he stay with those people, but no, he's pushed it too much,
3:41:23 > 3:41:25are they speaking to him? What will he do with this money?
3:41:25 > 3:41:28Will he have this to pay for that, can he get that back?
3:41:28 > 3:41:31That kind of on the edge, about to fall off of society,
3:41:31 > 3:41:33they nail that.
3:41:33 > 3:41:37And you know, you are sweating for his guy for most of the movie.
3:41:37 > 3:41:39- It's incredible. - That's what's extraordinary.
3:41:39 > 3:41:42That you love him even though he might make poor decisions,
3:41:42 > 3:41:44- and you want to go "Come on!" - The thing about him is,
3:41:44 > 3:41:47he isn't very likeable, but then if we want likeable
3:41:47 > 3:41:48we've got friends for that.
3:41:48 > 3:41:51And if he was likeable he might be in danger of becoming successful
3:41:51 > 3:41:54and then it becomes a less interesting movie.
3:41:54 > 3:41:57The performances are all fantastic, but I think there's such humanity
3:41:57 > 3:41:59which comes through Llewyn.
3:41:59 > 3:42:02At the end of the movie, you think, well, Llewyn Davis is a dick,
3:42:02 > 3:42:04and aren't we all? That's the feeling you're left with.
3:42:04 > 3:42:08It's strange with the Coen brothers, I think because they're so funny -
3:42:08 > 3:42:10this is a very, very funny movie -
3:42:10 > 3:42:14we forget what a pair of utter maestros they are as film-makers.
3:42:14 > 3:42:18Inside Llewyn Davis, for the 105 minutes it's on screen,
3:42:18 > 3:42:21you are nowhere else on Earth than 1961 in Greenwich Village,
3:42:21 > 3:42:24and you don't want to be anywhere else. It looks gorgeous,
3:42:24 > 3:42:25and it sounds phenomenal.
3:42:25 > 3:42:29Not just to do with the music - the script is like music as well.
3:42:29 > 3:42:32You have these fantastic lines being delivered perfectly
3:42:32 > 3:42:35and you end up sitting there with a stupid grin on your face.
3:42:35 > 3:42:37The script, on the page, is actually hardly anything at all.
3:42:37 > 3:42:39It's incredibly tight.
3:42:39 > 3:42:41It's all in how it looks, and you know it cost
3:42:41 > 3:42:44something like the equivalent of £6.5 million to make.
3:42:44 > 3:42:47That's incredibly cheap for a movie that looks this good.
3:42:47 > 3:42:52The clarity of purpose in the image is absolutely fantastic,
3:42:52 > 3:42:56and what it does brilliantly is you get this sense of the end of an era.
3:42:56 > 3:42:59Like in Withnail And I, when he says they're selling hippie wigs
3:42:59 > 3:43:01in Woolworths and this is it, it's all over.
3:43:01 > 3:43:04Of course, this is a different decade they're talking about,
3:43:04 > 3:43:07but you do get a sense that this is the end of the '50s,
3:43:07 > 3:43:09and you always feel through the movie the war is still
3:43:09 > 3:43:11breathing down the shoulders of these kids.
3:43:11 > 3:43:14And you're round the corner. It's the '60s, and it's LSD and colour,
3:43:14 > 3:43:17and Greenwich Village is about to burst into full life.
3:43:17 > 3:43:20They're so great with period stuff as well, because the polite way
3:43:20 > 3:43:23to say it is, they said "research is for sissies",
3:43:23 > 3:43:24so they kind of make it up.
3:43:24 > 3:43:27They take a few choice details and make up the rest as they go along,
3:43:27 > 3:43:30and yet they kind of conjure up this sense of time and place.
3:43:30 > 3:43:31The movie, it's interesting,
3:43:31 > 3:43:34Coen Brothers movies always have a slightly different flavour.
3:43:34 > 3:43:37And this is less overtly funny-funny than a lot of stuff.
3:43:37 > 3:43:40It's less overtly funny-funny than The Big Lebowski, for instance.
3:43:40 > 3:43:43The Coens movie it reminds me of personally is Barton Fink,
3:43:43 > 3:43:44which has always been my favourite.
3:43:44 > 3:43:47It's more soulful, don't you think? Incredibly soulful.
3:43:47 > 3:43:49Don't you think Llewyn Davis is Barton Fink?
3:43:49 > 3:43:52He could be, spiritually and practically, Barton Fink's kid.
3:43:52 > 3:43:53And so, yeah, another generation,
3:43:53 > 3:43:55he might have matured a little bit after that.
3:43:55 > 3:43:57Shall we talk about Oscars?
3:43:57 > 3:44:00Ridiculous, there has been no Academy heat,
3:44:00 > 3:44:04which a lot of people have tweeted, saying that's absolutely bizarre.
3:44:04 > 3:44:07What he's so brilliant at is, he turns it down.
3:44:07 > 3:44:08It's exactly like you said.
3:44:08 > 3:44:10If he was a bit more charming, you would think,
3:44:10 > 3:44:14- "Oh, no, you do the right thing now."- He'd have hit the big time.
3:44:14 > 3:44:15He'd have hit the big time.
3:44:15 > 3:44:17But don't you think the whole pitch of his performance is
3:44:17 > 3:44:20the whole tone of the movie, and he's absolutely right?
3:44:20 > 3:44:22He could have burlesqued a bit more.
3:44:22 > 3:44:24He could have been even more charismatic,
3:44:24 > 3:44:26he could have pushed it, but he doesn't,
3:44:26 > 3:44:28and that's probably why he's been overlooked.
3:44:28 > 3:44:29I think that's true.
3:44:29 > 3:44:33- It is just the subtlety, the melancholy.- It is a beautiful film.
3:44:33 > 3:44:35It is absolutely note perfect. And the whole thing is, it is
3:44:35 > 3:44:38a recognisably Coens world we're in, because it's got that sort of
3:44:38 > 3:44:41deadpan slapstick, and that surrealism, and on one level,
3:44:41 > 3:44:44this is a movie about Welsh rarebit and cats' scrotums,
3:44:44 > 3:44:47but it also does have this total humanity and depth to it.
3:44:47 > 3:44:51It's a great movie about being a parent, or maybe about just
3:44:51 > 3:44:54being an adult, and it's also a great, great movie about trying
3:44:54 > 3:44:57to make a living doing something halfway creative, and I think anyone
3:44:57 > 3:45:00who has ever been in a terrible band or anyone who has ever contemplated
3:45:00 > 3:45:03drama school or has an unpublished novel stashed away in their
3:45:03 > 3:45:06sock drawer, or even a published one, has to watch this movie,
3:45:06 > 3:45:09and there's so much going on in this, in the corner of your eyes.
3:45:09 > 3:45:11Go and see it once, go and see it a second time,
3:45:11 > 3:45:13- go and see it a third time. - Then sixth and seventh.
3:45:13 > 3:45:15Yeah, literally. Every night next week!
3:45:15 > 3:45:18Next, Bobby and Sly team up as a pair of old bruisers
3:45:18 > 3:45:20in boxing comedy Grudge Match.
3:45:22 > 3:45:24Certain athletes are born enemies,
3:45:24 > 3:45:28but the fiercest rivalry was between two fighters, Razor and Kid.
3:45:28 > 3:45:29They fought only twice,
3:45:29 > 3:45:31but the tie-breaking grudge match never happened.
3:45:31 > 3:45:34Today I am announcing my retirement from professional boxing.
3:45:34 > 3:45:36It's a story about second chances.
3:45:36 > 3:45:39Not just second chances in two fighters' careers,
3:45:39 > 3:45:41but second chances, more importantly,
3:45:41 > 3:45:46in relationships that they left by the side of the road 30 years ago.
3:45:46 > 3:45:49I can never spend more than three minutes with this bum
3:45:49 > 3:45:51unless it was in the ring, beating the brains out of him.
3:45:51 > 3:45:53He's got it backwards. He's punch-drunk.
3:45:53 > 3:45:56I was smacking him around a little too much, a little too much.
3:45:56 > 3:45:58Man, I can't...when's the fight?
3:45:58 > 3:46:01Only we could pull this off because of what came before it,
3:46:01 > 3:46:04otherwise, I don't know if the movie would even be made.
3:46:04 > 3:46:07I got a company that wants the rematch. They'll pay you 100 grand.
3:46:07 > 3:46:10I can't be in the same room as that guy. Not worth it.
3:46:10 > 3:46:13The hell you mean it ain't worth it? I'm looking at your house!
3:46:13 > 3:46:1630 years! Yes!
3:46:16 > 3:46:19- HE BREATHES HEAVILY - I got to get in shape.
3:46:19 > 3:46:22He's had a lot of experience getting punched around and so,
3:46:22 > 3:46:26it's easy for me. But he had...
3:46:26 > 3:46:29I didn't realise, in the movies, that you had
3:46:29 > 3:46:31as much contact as you did.
3:46:31 > 3:46:33- Yeah.- So it's good.
3:46:33 > 3:46:37The script is just wonderful.
3:46:37 > 3:46:41I laughed out loud a lot, and that doesn't happen to me very often.
3:46:41 > 3:46:47I thought it was just tailor-made for these two guys.
3:46:47 > 3:46:50- Forget it. I'm a dinosaur. - You'll be fine one last time.
3:46:50 > 3:46:52I'm your trainer, Mikey.
3:46:52 > 3:46:54You can't be my trainer. Maybe I believe you ate my trainer.
3:46:56 > 3:46:58- Time to train.- What have I done?
3:46:58 > 3:47:00- It's insane.- Oh, yeah? Give me one reason.- You're fat.
3:47:00 > 3:47:04- You got weak knees. You're fat. - Don't sugar-coat it. Be honest.
3:47:04 > 3:47:06They're both legendary, and you stare into their faces
3:47:06 > 3:47:08and see 1,000 roles they played.
3:47:08 > 3:47:11But the amazing thing about both actors, I have to say, absolutely
3:47:11 > 3:47:18was their ability to basically play ball with whatever I threw at them.
3:47:18 > 3:47:21- Gutsy move, going without a bra. - I took a dump on your porch.
3:47:21 > 3:47:24You're alive, guys. You're alive right now.
3:47:25 > 3:47:28Can I just say, I want you two to talk about the proper,
3:47:28 > 3:47:32the arty films. I've got eight hours on Grudge Match,
3:47:32 > 3:47:33which is, by the way, on a minus...
3:47:33 > 3:47:36It's like on a minus on Rotten Tomatoes. People are disgusted.
3:47:36 > 3:47:39Even my friends who are critics, I said, "Have you seen Grudge Match?
3:47:39 > 3:47:41"I thought it was quite good fun."
3:47:41 > 3:47:43They were like, "No, don't talk to me again."
3:47:43 > 3:47:46Walked off in tears, deleted me from their SIM card. It's mag...
3:47:46 > 3:47:50It's not magnificent. It's awful. But it's... Just see it.
3:47:50 > 3:47:53I will go with you. I don't know if this is... Am I allowed to do this?
3:47:53 > 3:47:57Are we on air? But the point is, it's funny. It's enjoyable.
3:47:57 > 3:47:59There's something ridiculous about it.
3:47:59 > 3:48:02It's Sly, it's Bobby, it's what's going to happen to us all. Danny.
3:48:02 > 3:48:04I hate to interrupt you mid-flow.
3:48:04 > 3:48:07Boxing movies mean a lot to me, so I feel I have actually seen
3:48:07 > 3:48:10this film in my nightmares many times already.
3:48:10 > 3:48:13Someone was always going to do this, put Rocky with Raging Bull.
3:48:13 > 3:48:16- So it feels kind of inevitable. - I just can't believe they said yes!
3:48:16 > 3:48:19Well, De Niro needs the money.
3:48:19 > 3:48:22Like a lot of nightmare scenarios, it's actually not so bad up close.
3:48:22 > 3:48:25You could sit there during the trailers quite happily
3:48:25 > 3:48:27and while away the time by listing all the jokes that you think
3:48:27 > 3:48:29are going to happen, and they absolutely will.
3:48:29 > 3:48:32You do get the arthritic training montage, you get the joke
3:48:32 > 3:48:35about mobility scooters, you get the joke about erectile dysfunction.
3:48:35 > 3:48:38- Amazing.- But as I say, I have encountered worse
3:48:38 > 3:48:41and more nightmarish things than Grudge Match in my life.
3:48:41 > 3:48:43- Have you?- Yes, a few.
3:48:43 > 3:48:46- OK.- Me too!- Not many, though! I can tell I'm alone. I am alone.
3:48:46 > 3:48:50Look, this is the most gentle boxing movie ever made,
3:48:50 > 3:48:52and it's monstrously mawkish, but there is something
3:48:52 > 3:48:56charming about it, and yes, the whole reason it was made was
3:48:56 > 3:48:59for that geriatric training montage,
3:48:59 > 3:49:03and it has this extraordinary point at which you just think
3:49:03 > 3:49:05with De Niro, you think, please stop.
3:49:05 > 3:49:08- Stop making movies. Please stop. What are you doing?- He likes it!
3:49:08 > 3:49:12It is just madness. And you remember what it was like when you were a kid
3:49:12 > 3:49:15and you'd watch The Godfather on TV and think, "There's that guy.
3:49:15 > 3:49:18"He knows something about acting that other actors don't,
3:49:18 > 3:49:20"and the magic, and..." What has happened? Stop, stop, stop.
3:49:20 > 3:49:24But even then, I still enjoyed the fight at the end.
3:49:24 > 3:49:27There is one great gag here, which is putting these two
3:49:27 > 3:49:29creaky old stars together, creaking together at last.
3:49:29 > 3:49:32Kind of like Whatever Happened To Baby Jane? but with moobs.
3:49:32 > 3:49:36There's a little snippet of De Niro training, I think, for Raging Bull.
3:49:36 > 3:49:38It must have been, in the Gramercy gym in New York,
3:49:38 > 3:49:40and you can't help feeling a bit melancholy
3:49:40 > 3:49:43about what's happened to him since. I didn't think that's a problem.
3:49:43 > 3:49:46At least he seems like he's having fun here, rather than paying off
3:49:46 > 3:49:48- parking fines. - They have Kim Basinger in it...
3:49:48 > 3:49:50Kim Basinger looks great. She doesn't have a lot to do.
3:49:50 > 3:49:53Alan Arkin doesn't look quite so good. He gets to do a sex dance.
3:49:53 > 3:49:56The problem I have with the movie, I'll tell you one problem,
3:49:56 > 3:49:59which is Rocky Balboa was a heavyweight,
3:49:59 > 3:50:00Jake LaMotta was a middleweight.
3:50:00 > 3:50:03Even now, Robert De Niro is a little bit older
3:50:03 > 3:50:05and a lot smaller than Stallone, so by the time they actually get
3:50:05 > 3:50:08to have a fight, it looks like Stallone's fighting Mr Burns.
3:50:08 > 3:50:10I'm not sure that's quite what they were going for.
3:50:10 > 3:50:12We're so used to those sort of superannuated,
3:50:12 > 3:50:16sped-up boxing scenes, and here you have these two guys kind of...
3:50:16 > 3:50:17SHE GRUNTS
3:50:17 > 3:50:19..lumbering around for the last ten minutes of the movie.
3:50:19 > 3:50:21I kind of liked that...
3:50:21 > 3:50:23- I wanted to watch a proper boxing movie.- By the end of it.
3:50:23 > 3:50:26You are correct. Everything he says is correct.
3:50:26 > 3:50:29I mean, don't go and see this film. I mean, see it if you're on a plane.
3:50:29 > 3:50:32Why would you be on a plane? That's a ridiculous thing to say.
3:50:32 > 3:50:34All I'm saying is, I quite enjoyed it.
3:50:34 > 3:50:37If people said, "I've heard it's awful, shall I go and see it?"
3:50:37 > 3:50:39I think people would have a laugh.
3:50:39 > 3:50:41I just think it's like getting older.
3:50:41 > 3:50:43You feel now and again, I regret that this is happening,
3:50:43 > 3:50:45but it's better than the alternative.
3:50:45 > 3:50:47It's happening. It's going to happen.
3:50:47 > 3:50:49It's happening to all of us. We're going to be there.
3:50:49 > 3:50:51Not boxing. That would be weird. I'll stop speaking.
3:50:51 > 3:50:54Finally, director Alex Gibney looks at the rise and fall
3:50:54 > 3:50:57of Lance Armstrong in documentary The Armstrong Lie.
3:50:58 > 3:51:00I know what I did and didn't do,
3:51:00 > 3:51:03so therefore I sleep at night. Um...
3:51:03 > 3:51:07'And I'm one of the greatest riders of all time.
3:51:07 > 3:51:09'If you look at the books and the records,
3:51:09 > 3:51:11'you won seven tours in a period when everyone thought'
3:51:11 > 3:51:13everybody was dirty.
3:51:14 > 3:51:17If I win again, they're not going to... They can't say that.
3:51:17 > 3:51:18They cannot.
3:51:18 > 3:51:22The Armstrong Lie is a film about a lie.
3:51:22 > 3:51:25It is really two films, in a way.
3:51:25 > 3:51:26One film I started out to make,
3:51:26 > 3:51:29which was an inspirational film, a comeback story.
3:51:29 > 3:51:33I was going to follow Armstrong as he came out of retirement
3:51:33 > 3:51:35to race the Tour de France one more time.
3:51:35 > 3:51:36Lance, how are you feeling?
3:51:36 > 3:51:38Nervous. But that's good.
3:51:38 > 3:51:41'I almost finished that film. It was narrated by Matt Damon.
3:51:41 > 3:51:45'And then all the granular detail began to come out
3:51:45 > 3:51:47'about Lance Armstrong's doping.
3:51:47 > 3:51:50'It meant almost reinvestigating my own film,'
3:51:50 > 3:51:53going back and looking what I had shot over the course of a year
3:51:53 > 3:51:55and seeing that it had a different meaning
3:51:55 > 3:51:57than it had at the beginning.
3:51:59 > 3:52:03'He had lied to me, straight to my face, all throughout 2009.'
3:52:03 > 3:52:05UCI will ban Lance Armstrong from cycling.
3:52:05 > 3:52:08'When the truth came out, I told him he owed me an explanation.'
3:52:08 > 3:52:11After years and years of the most amazing denials...
3:52:11 > 3:52:14- I can emphatically say I am not on drugs.- I was angry.
3:52:14 > 3:52:16I mean, nobody wants to feel like they've been used, and I felt like
3:52:16 > 3:52:20I had been used to kind of burnish the stature of Lance Armstrong.
3:52:20 > 3:52:23He was an immensely intimidating person.
3:52:23 > 3:52:26You are not worth the chair that you're sitting on.
3:52:26 > 3:52:27You crossed him, you were doomed.
3:52:27 > 3:52:29There are people who have really been ruined.
3:52:29 > 3:52:31I was shunned, banned from everybody,
3:52:31 > 3:52:34and a lot of people wouldn't look at me, shake my hand.
3:52:34 > 3:52:37That celebrity is what gave him such immense power.
3:52:37 > 3:52:39- So you don't recall, just...? - How many times do I have to say it?
3:52:39 > 3:52:42I took the ride that a lot of other people did,
3:52:42 > 3:52:45and by so doing, I not only understood more by the lie,
3:52:45 > 3:52:49but also about the process of being a fan,
3:52:49 > 3:52:55and how we all invest so much emotion and enthusiasm
3:52:55 > 3:53:00in wanting to believe the beautiful lie more than the ugly truth.
3:53:00 > 3:53:05The only person that can actually start to let people
3:53:05 > 3:53:08understand what the true narrative is is me.
3:53:08 > 3:53:13And you should know that better than anybody. Let's get to the...
3:53:13 > 3:53:15The real nature and the real detail of this story...
3:53:17 > 3:53:21..cos we haven't heard it yet, is the truth.
3:53:22 > 3:53:26- The truth.- The truth. Oh, you don't get the truth in this movie.
3:53:26 > 3:53:27This movie made me really cross.
3:53:27 > 3:53:31I mean, it pretends to be a sort of expose, where in actual fact,
3:53:31 > 3:53:34you could leave the cinema believing that Armstrong...
3:53:34 > 3:53:37you know. "Look, everyone was doing it. I mean, come on."
3:53:37 > 3:53:41- "What was I going to do?" - That is categorically not the case.
3:53:41 > 3:53:45All the dopers were doping and all the non-dopers were not doping.
3:53:45 > 3:53:48People left cycling because of the corruption and the doping.
3:53:48 > 3:53:51People just sort of thought, I'm just not getting involved.
3:53:51 > 3:53:54I can't handle it. So this whole idea that in actual fact, you know,
3:53:54 > 3:53:57his arm was sort of twisted, and you do come away thinking that,
3:53:57 > 3:54:00and that is wrong. Not only is Armstrong the bad guy and doped...
3:54:00 > 3:54:05- It's not even the doping, it's the bullying.- And not just bullying.
3:54:05 > 3:54:08He categorically destroyed in the most Machiavellian ways,
3:54:08 > 3:54:13people who had helped him, friends, colleagues, who had the temerity
3:54:13 > 3:54:16to turn round and say, "I just don't believe you."
3:54:16 > 3:54:20He took them to pieces. An incredible thing.
3:54:20 > 3:54:23- He is a villain, and you don't really get that.- I don't know.
3:54:23 > 3:54:25I mean, I think all of that is in the film, and actually,
3:54:25 > 3:54:28I think Alex Gibney... he was lied to his face,
3:54:28 > 3:54:31as he mentions there, so it is interesting.
3:54:31 > 3:54:33He set out to make this inspirational documentary,
3:54:33 > 3:54:35and obviously, looks more and more ridiculous.
3:54:35 > 3:54:39I think he gives Lance Armstrong enough rope,
3:54:39 > 3:54:41because he allows him to present himself to the camera
3:54:41 > 3:54:43very confidently, very charismatically,
3:54:43 > 3:54:46and you get to see this charismatic monster,
3:54:46 > 3:54:49and you get to understand why so many people were in thrall to him,
3:54:49 > 3:54:53and I think, had he been more hostile and just monstered him
3:54:53 > 3:54:55and reached for the hatchet and torn him apart, what?
3:54:55 > 3:54:58I don't know, Lance Armstrong would have taken legal action.
3:54:58 > 3:55:01He wouldn't have cooperated or given another interview.
3:55:01 > 3:55:05So I think it is an interesting game that Alex Gibney's playing.
3:55:05 > 3:55:08I take your point, but I don't know whether it is a game.
3:55:08 > 3:55:09I just think he's chicken.
3:55:09 > 3:55:12And I also think he's totally enthralled.
3:55:12 > 3:55:15He's enthralled by him. I mean, so would I have been.
3:55:15 > 3:55:18Because I went in with my quite strong ideas about...
3:55:18 > 3:55:21we have all read those extraordinary pieces
3:55:21 > 3:55:23and that extraordinary Sunday Times journalism.
3:55:23 > 3:55:26You go in with an idea, and at the end, I thought, quite charming.
3:55:26 > 3:55:27Bet he's fun to have dinner with.
3:55:27 > 3:55:30Absolutely, and I'm sure he is, but also, I personally came out
3:55:30 > 3:55:34more cynical than when I went in, actually, because you see how
3:55:34 > 3:55:37the mechanics of it work. And all the lies are still out there.
3:55:37 > 3:55:39As a portrait of a liar, I think this is...
3:55:39 > 3:55:43It is excellent, but, it's this whole idea that he allows him
3:55:43 > 3:55:45to sort of say, I was a scapegoat.
3:55:45 > 3:55:48The one thing that is really clear about Lance Armstrong is,
3:55:48 > 3:55:50he is furious. His back was literally against the wall
3:55:50 > 3:55:53before he would say, "OK, OK."
3:55:53 > 3:55:58And he is absolutely enraged that it came to that, and it lets him...
3:55:58 > 3:56:01I suppose you're right in as much as it allows you to see...
3:56:01 > 3:56:05you know the snake in The Jungle Book, with the eyes,
3:56:05 > 3:56:08you are sitting there thinking, "Wow, he's working his evil magic,"
3:56:08 > 3:56:11and he's sort of mythologising himself over and over again.
3:56:11 > 3:56:12He is allowing...
3:56:12 > 3:56:15and Gibney is giving him the airtime to do that,
3:56:15 > 3:56:18and it is quite mesmeric to watch, but it did make me really cross.
3:56:18 > 3:56:21I think actually, you're angry with Lance Armstrong,
3:56:21 > 3:56:24and the more you see Armstrong, the more you see him as
3:56:24 > 3:56:27this incredibly dapper, poised, wealthy kind of character,
3:56:27 > 3:56:30and your anger rises. If he wasn't there, you'd be less angry.
3:56:30 > 3:56:31We have ten seconds for Film Of The Week.
3:56:31 > 3:56:33ANTONIA GASPS
3:56:33 > 3:56:35Inside Llewyn Davis by a country mile.
3:56:35 > 3:56:38Also, Buster Keaton's The General is being rereleased.
3:56:38 > 3:56:40See that on the big screen if you haven't.
3:56:40 > 3:56:44- I second in every way. Absolutely. - Nobody for Grudge Match? Just me.
3:56:44 > 3:56:46I'm kidding. Go and see Llewyn Davis.
3:56:46 > 3:56:48But you know, if you want a laugh.
3:56:48 > 3:56:51The Armstrong Lie will be in cinemas on January 31. That is all from us.
3:56:51 > 3:56:53We'll be back next Wednesday night.
3:56:53 > 3:56:56We'll play out tonight with a look at Terry Gilliam's new film
3:56:56 > 3:56:58The Zero Theorem,
3:56:58 > 3:57:01in which a computer hacker goes in search of the meaning of life.
3:57:01 > 3:57:04It's in cinemas in March. Thank you very much for watching.
3:57:04 > 3:57:06- Good night.- Good night.
3:57:09 > 3:57:13'We always wanted to feel different. Unique.
3:57:13 > 3:57:15'Objective analysis, however,
3:57:15 > 3:57:19'concluded that we are but one in many single worker bees.'
3:57:22 > 3:57:25Everyone's getting rich, except you.
3:57:25 > 3:57:27What seems to be the problem?
3:57:27 > 3:57:30- We're dying.- Who's we? - Us. Ourselves.
3:57:30 > 3:57:32- There's only one of you. - So it would appear.
3:57:33 > 3:57:36- Qohen? How's it hanging? - It isn't hanging at all well.
3:57:36 > 3:57:38I...Sorry.
3:57:39 > 3:57:42A fear of death, fear of life, fear of open spaces, fear of people.
3:57:42 > 3:57:45- We see nothing most of all. - Are you trying to be difficult?
3:57:47 > 3:57:50Been hand-picking talent to crunch it since before I was hired.
3:57:50 > 3:57:52Nobody lasts. It's a guaranteed burn-out project.
3:57:52 > 3:57:54Zero Theorem. All very hush-hush.
3:57:57 > 3:57:58- 'Good luck.'- I give him two weeks.
3:58:11 > 3:58:17'We always wanted to feel... a reason for being.
3:58:17 > 3:58:18'The meaning of our life.'
3:58:25 > 3:58:29'We connected. We can be together for real.
3:58:30 > 3:58:32'Just come with me.'