Episode 1 Film 2014

SIGN ZONE: FILM 2014 FKA Q748F/01 HDS139608

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Hello and welcome to Film 2014. We are live.

If you would like to get in touch the details are on the screen now.

Coming up on tonight's show.

All-star action with Kevin Costner

and Chris Pine in Jack Ryan: Shadow Recruit.

There's a very real scenario here

where we don't get out of this alive.

For folks' sake -

The Coen brothers get their groove on for Inside Llewyn Davis.

Who wrote this?

I did.

And the gloves are off. De Niro and Stallone square up for Grudge Match.

-Gutsy move, to go without a bra.

-I took a dump on your porch.

We are live, guys. We are live right now.

Plus we'll take a look at Alex Gibney's documentary

The Armstrong Lie. Danny, of course, is here,

-and we are joined by guest critic Antonia Quirke.

-Hello.

-Hello.

Hooray. First up, Kenneth Branagh directs Chris Pine

and Keira Knightley in CIA action thriller Jack Ryan.

Somebody tried to kill me!

'You are breaking protocol.'

-BRANAGH:

-Jack Ryan, Shadow Recruit is about the origins of Jack Ryan.

He is sought out by the CIA for his brilliant analytical mind.

-'Is he back?'

-Yeah.

'Time's up.'

Kevin Costner comes to persuade him that he should be involved

in financial intelligence,

trying to find out where funding for terror groups come from.

Talk me through your very scary scenario.

Keep in mind I don't have your PhD.

Jack discovers severe irregularities in a Russian company

run by my good self. Viktor Cherevin.

-Jack Ryan.

-How was your flight?

-Fine, thank you.

-And the jet lag?

-That first night can be brutal.

-I survived.

What can I do for you?

-Routine audit.

-So routine it couldn't be done from New York?

Not when you're concealing accounts from us.

You Americans like to think of yourselves as direct.

I wonder if perhaps you're just rude.

You Russians think of yourselves as poets

but perhaps you're just touchy.

Jack gets drawn into the field,

as he always does do in Jack Ryan films,

and all the mayhem starts from there.

There is a coordinated plot for a terrorist attack.

You're not just an analyst any more. You're operational now.

I play Cathy, who is Jack's fiancee.

She doesn't know that he's working in the CIA.

You're not involving her.

You involved me in this by not telling me!

You've got to get her out of here.

What will you tell Cherevin? That I'm homesick?

These are dangerous people, Cathy. You cannot be here.

-If you told me who you really were...

-I took an oath!

I took an oath.

He's sort of the everyman, isn't he? I suspect that's...

I mean, although you can't really be the everyman

looking like Chris Pine,

but I think that's sort of the idea of it.

-Can we have a minute, please?

-No, you can't.

-I would like to talk to Jack alone.

-This is geopolitics.

It's not couples therapy.

Thrillers really aren't done very often nowadays and I suspect

actually it's because you have to be told by a really good storyteller.

And I think that's where Ken Branagh comes in.

Clearly coming from the world of Shakespeare where you deal with

huge character arcs

and huge plotlines, he's able to infuse, I think,

a kind of traditional action thriller with very specific and human moments.

Do I really have to remind you what's at stake here, Jack?

There is a very real scenario here

where we don't get out of this alive.

You know, you sold this as an office job.

-Danny.

-Well, this is what's known as an origin story.

So we're following Jack Ryan from kind of apple-cheeked student

through to the hardened spook, I guess.

And we start off in London, and we know it's London because

we see Big Ben and the London Eye and everyone calls each other mate,

and we take a detour to New York where Jack briefly

works on Wall Street as the kind of collie dog of Wall Street,

and then finally we end up in Moscow,

and that's where the real action starts.

Because although this is a fresh start for Jack Ryan

we've got a job lot of deeply old-fashioned villains.

It's a lot of vodka-swilling Russians who have probably been

in a crate in Pinewood since they filmed Octopussy.

That's not really a criticism.

I think Kenneth Branagh as a director

is kind of at home with all that Carry On, Comrade thing,

and what you end up with is something which I think is

passably tense and frenetic, but also feels like

the kind of movie that you can imagine yourself dozing off to

in front of the TV after Christmas dinner in about 20 years' time.

Yeah. What did you think?

You know one thing this movie makes really clear yet again

is that The Bourne Identity is the most influential movie

of the last 15 years. The seminal movie.

How many movies have we sat through, of this kind,

that nod to that movie? Even down to the front of the title sequences

and what have you. It's interesting that you mentioned Branagh

and the '80s there, it does feel...

I mean, this is a made-up story,

this isn't from the Tom Clancy novels,

but it still feels very situated in the '80s.

Even that longing for Moscow and the Russians as the real enemy,

what have you, it's all terribly '80s.

But the main problem with Jack Ryan,

and the problem that Clancy has always had,

Keira Knightley mentioned in that clip earlier on, he's the everyman.

The main problem with Jack Ryan all the way through Patriot Games

and Clear And Present Danger and Hunt For Red October,

and all the rest, he's just really boring.

He's an incredibly boring guy.

-He likes a calculator.

-He's an analyst, he's a financial analyst!

-You saw him there with his man bag.

-That's so damning.

-It really is.

No-one's knickers on fire, not even Keira's.

-And she's very good, it has to be said.

-I think so too.

Chris Pine is interesting casting cos he does look a little bit

like a male blow-up doll, but at the same time,

with his characters you always suspect there might be some kind of

dark secret lurking somewhere, and you want that for Jack Ryan.

You want him to have at least one vague bad habit.

But he does have Keira instead.

Keira is great. Most of the time, an actress doing this role,

what would she be asked to do?

She would run in high heels a little bit,

her eyes would widen, she'd take her clothes off

-and that would be that.

-A Thursday.

-Exactly.

Keira does something a little different

and there's something quite admirably deranged,

a bit unhinged about her.

She looks like she's going to leap across the table

and take Chris Pine's head off with her jaws,

like a Jelly Baby's head. I'm a big fan.

That moment she's having dinner with Kenneth Branagh

and they're sitting there talking about Russian poets,

and it's actually quite a good scene.

You can see they're reaching for the stars there, in that scene.

I think it's quite interesting that here we have Branagh directing,

and he casts himself as the evil hero, really, hasn't he?

Right down to the Paul McCartney burgundy rinse that he's got

-going on there.

-I loved him in it.

-He was actually pretty good.

It was a problem that most of the time I was on his side.

But the most interesting thing about the movie

is here you have the strange career of Kenneth Branagh.

You know, the guy who in the '80s was the kid

in the Royal Shakespeare Company, wrote his own biography at 30,

and now he's directing this schlock, via Thor.

It is the most extraordinary career.

I think both with this and Thor, he's got a flair for this,

actually, and the fight scenes...

Most of this film is pretty ho-hum but the fight scenes

have a real kind of vim and a real sense of aggro.

Kenneth Branagh has a real knack for trashing a Moscow hotel bathroom.

Bidets flying left, right and centre,

toilet's gone out the window.

He loves that stuff and he's good at it.

In his performance, he's channelling...

he's having a whale of a time,

doing Viggo Mortensen in Eastern Promises.

Good luck to him.

You've got Kevin Costner popping up as this kind of strange,

voyeuristic, kind of imperious, like an American Eagle,

maybe dodgy, I don't know.

Also Mikhail Baryshnikov in a bit part.

-Would've preferred to see him as the baddie, though.

-OK.

Next, the new film from the Coen brothers, Inside Llewyn Davis,

which captures a week in the life of a folk singer in New York in 1961.

How you doin'? Llewyn Davis.

Oh! Hello!

I've heard your music.

And heard many nice things about you

from Jim and Jean and from others.

You have not heard one nice thing about me from Jean.

-CAREY MULLIGAN:

-It's sort of a week in the life of...a loser.

It's about, no matter how good you are, you can still struggle,

or never get anywhere. It's sort of about someone who...

stands in his own way, you know.

Someone who could have great success

but kind of limits himself by his own ideals.

That's why all the same shit is going to keep happening to you,

because you want it to.

-Is that why?

-Yes. And also because you're an ASSHOLE.

'It's about someone that both wants desperately to succeed and to fail,'

and is trying to find his authentic voice

in a scene that's clearly not wanting to hear it.

-If you do two "pa-pa"s...

-# Pa-pa, and I sweat when... # ? Really?

# Pa-pa, I sweat when they stuck me in the pressure suit

# Bubble helmet, Flash Gordon boots

THEY MUMBLE

# That's no place to be a hero... #

-Ah ah-ah-ah.

-OK.

The Coens, they're interested in

the guy that opened up for Dylan, not Dylan.

Who wrote this?

I did.

They don't seem to be interested in success stories. I think they feel

they've all been told. They're kind of...

They seem drawn to failures, and yeah,

the rags-to-rags story seems to be their speciality.

# I had a man, strong and tall... #

Don't tell Jim.

Obviously.

# ..Like a cannon ball... #

Do you ever think about the future at all?

You mean like flying cars?

I was screaming to the gods to give me this role.

I wanted it more than anything.

Mel!

How you doin', kid?

I think they're just really no-nonsense.

They're just so good at telling a really great story.

It's an easy day, you wrap by four o'clock in the afternoon

and you feel like you've just been on holiday.

It seems to be so effortless,

and that's how it feels when you're working with them,

and when you watch the film.

Folk singer with a cat.

Ah!

Is that part of your act?

Every time you play a C major you puke a hairball?

Play me something from Inside Llewyn Davis.

OK.

Such a brilliant scene! All of it.

Antonia.

I love this movie. There's nothing I don't love about this movie.

It is THE movie. It is just so wonderful.

I mean, its tempo, it's so mellow,

it just rolls from scene to scene

in this incredibly beautiful kind of unfurling way,

and you know what's so amazing, is when you think the Coen brothers,

they hit the big time in their late 20s with Blood Simple

and it's just been pretty much success, success, success

all the way along since then.

And yet they still have hugged so close, clearly,

that feeling of being a failure. That feeling of being...

-You know, the wet socks...

-Almost being there...

-Never quite making it.

There's a fantastic scene where he's got wet socks in his shoes,

or where does he go to bed that night?

Can he stay with those people, but no, he's pushed it too much,

are they speaking to him? What will he do with this money?

Will he have this to pay for that, can he get that back?

That kind of on the edge, about to fall off of society,

they nail that.

And you know, you are sweating for his guy for most of the movie.

-It's incredible.

-That's what's extraordinary.

That you love him even though he might make poor decisions,

-and you want to go "Come on!"

-The thing about him is,

he isn't very likeable, but then if we want likeable

we've got friends for that.

And if he was likeable he might be in danger of becoming successful

and then it becomes a less interesting movie.

The performances are all fantastic, but I think there's such humanity

which comes through Llewyn.

At the end of the movie, you think, well, Llewyn Davis is a dick,

and aren't we all? That's the feeling you're left with.

It's strange with the Coen brothers, I think because they're so funny -

this is a very, very funny movie -

we forget what a pair of utter maestros they are as film-makers.

Inside Llewyn Davis, for the 105 minutes it's on screen,

you are nowhere else on Earth than 1961 in Greenwich Village,

and you don't want to be anywhere else. It looks gorgeous,

and it sounds phenomenal.

Not just to do with the music - the script is like music as well.

You have these fantastic lines being delivered perfectly

and you end up sitting there with a stupid grin on your face.

The script, on the page, is actually hardly anything at all.

It's incredibly tight.

It's all in how it looks, and you know it cost

something like the equivalent of £6.5 million to make.

That's incredibly cheap for a movie that looks this good.

The clarity of purpose in the image is absolutely fantastic,

and what it does brilliantly is you get this sense of the end of an era.

Like in Withnail And I, when he says they're selling hippie wigs

in Woolworths and this is it, it's all over.

Of course, this is a different decade they're talking about,

but you do get a sense that this is the end of the '50s,

and you always feel through the movie the war is still

breathing down the shoulders of these kids.

And you're round the corner. It's the '60s, and it's LSD and colour,

and Greenwich Village is about to burst into full life.

They're so great with period stuff as well, because the polite way

to say it is, they said "research is for sissies",

so they kind of make it up.

They take a few choice details and make up the rest as they go along,

and yet they kind of conjure up this sense of time and place.

The movie, it's interesting,

Coen Brothers movies always have a slightly different flavour.

And this is less overtly funny-funny than a lot of stuff.

It's less overtly funny-funny than The Big Lebowski, for instance.

The Coens movie it reminds me of personally is Barton Fink,

which has always been my favourite.

It's more soulful, don't you think? Incredibly soulful.

Don't you think Llewyn Davis is Barton Fink?

He could be, spiritually and practically, Barton Fink's kid.

And so, yeah, another generation,

he might have matured a little bit after that.

Shall we talk about Oscars?

Ridiculous, there has been no Academy heat,

which a lot of people have tweeted, saying that's absolutely bizarre.

What he's so brilliant at is, he turns it down.

It's exactly like you said.

If he was a bit more charming, you would think,

-"Oh, no, you do the right thing now."

-He'd have hit the big time.

He'd have hit the big time.

But don't you think the whole pitch of his performance is

the whole tone of the movie, and he's absolutely right?

He could have burlesqued a bit more.

He could have been even more charismatic,

he could have pushed it, but he doesn't,

and that's probably why he's been overlooked.

I think that's true.

-It is just the subtlety, the melancholy.

-It is a beautiful film.

It is absolutely note perfect. And the whole thing is, it is

a recognisably Coens world we're in, because it's got that sort of

deadpan slapstick, and that surrealism, and on one level,

this is a movie about Welsh rarebit and cats' scrotums,

but it also does have this total humanity and depth to it.

It's a great movie about being a parent, or maybe about just

being an adult, and it's also a great, great movie about trying

to make a living doing something halfway creative, and I think anyone

who has ever been in a terrible band or anyone who has ever contemplated

drama school or has an unpublished novel stashed away in their

sock drawer, or even a published one, has to watch this movie,

and there's so much going on in this, in the corner of your eyes.

Go and see it once, go and see it a second time,

-go and see it a third time.

-Then sixth and seventh.

Yeah, literally. Every night next week!

Next, Bobby and Sly team up as a pair of old bruisers

in boxing comedy Grudge Match.

Certain athletes are born enemies,

but the fiercest rivalry was between two fighters, Razor and Kid.

They fought only twice,

but the tie-breaking grudge match never happened.

Today I am announcing my retirement from professional boxing.

It's a story about second chances.

Not just second chances in two fighters' careers,

but second chances, more importantly,

in relationships that they left by the side of the road 30 years ago.

I can never spend more than three minutes with this bum

unless it was in the ring, beating the brains out of him.

He's got it backwards. He's punch-drunk.

I was smacking him around a little too much, a little too much.

Man, I can't...when's the fight?

Only we could pull this off because of what came before it,

otherwise, I don't know if the movie would even be made.

I got a company that wants the rematch. They'll pay you 100 grand.

I can't be in the same room as that guy. Not worth it.

The hell you mean it ain't worth it? I'm looking at your house!

30 years! Yes!

-HE BREATHES HEAVILY

-I got to get in shape.

He's had a lot of experience getting punched around and so,

it's easy for me. But he had...

I didn't realise, in the movies, that you had

as much contact as you did.

-Yeah.

-So it's good.

The script is just wonderful.

I laughed out loud a lot, and that doesn't happen to me very often.

I thought it was just tailor-made for these two guys.

-Forget it. I'm a dinosaur.

-You'll be fine one last time.

I'm your trainer, Mikey.

You can't be my trainer. Maybe I believe you ate my trainer.

-Time to train.

-What have I done?

-It's insane.

-Oh, yeah? Give me one reason.

-You're fat.

-You got weak knees. You're fat.

-Don't sugar-coat it. Be honest.

They're both legendary, and you stare into their faces

and see 1,000 roles they played.

But the amazing thing about both actors, I have to say, absolutely

was their ability to basically play ball with whatever I threw at them.

-Gutsy move, going without a bra.

-I took a dump on your porch.

You're alive, guys. You're alive right now.

Can I just say, I want you two to talk about the proper,

the arty films. I've got eight hours on Grudge Match,

which is, by the way, on a minus...

It's like on a minus on Rotten Tomatoes. People are disgusted.

Even my friends who are critics, I said, "Have you seen Grudge Match?

"I thought it was quite good fun."

They were like, "No, don't talk to me again."

Walked off in tears, deleted me from their SIM card. It's mag...

It's not magnificent. It's awful. But it's... Just see it.

I will go with you. I don't know if this is... Am I allowed to do this?

Are we on air? But the point is, it's funny. It's enjoyable.

There's something ridiculous about it.

It's Sly, it's Bobby, it's what's going to happen to us all. Danny.

I hate to interrupt you mid-flow.

Boxing movies mean a lot to me, so I feel I have actually seen

this film in my nightmares many times already.

Someone was always going to do this, put Rocky with Raging Bull.

-So it feels kind of inevitable.

-I just can't believe they said yes!

Well, De Niro needs the money.

Like a lot of nightmare scenarios, it's actually not so bad up close.

You could sit there during the trailers quite happily

and while away the time by listing all the jokes that you think

are going to happen, and they absolutely will.

You do get the arthritic training montage, you get the joke

about mobility scooters, you get the joke about erectile dysfunction.

-Amazing.

-But as I say, I have encountered worse

and more nightmarish things than Grudge Match in my life.

-Have you?

-Yes, a few.

-OK.

-Me too!

-Not many, though! I can tell I'm alone. I am alone.

Look, this is the most gentle boxing movie ever made,

and it's monstrously mawkish, but there is something

charming about it, and yes, the whole reason it was made was

for that geriatric training montage,

and it has this extraordinary point at which you just think

with De Niro, you think, please stop.

-Stop making movies. Please stop. What are you doing?

-He likes it!

It is just madness. And you remember what it was like when you were a kid

and you'd watch The Godfather on TV and think, "There's that guy.

"He knows something about acting that other actors don't,

"and the magic, and..." What has happened? Stop, stop, stop.

But even then, I still enjoyed the fight at the end.

There is one great gag here, which is putting these two

creaky old stars together, creaking together at last.

Kind of like Whatever Happened To Baby Jane? but with moobs.

There's a little snippet of De Niro training, I think, for Raging Bull.

It must have been, in the Gramercy gym in New York,

and you can't help feeling a bit melancholy

about what's happened to him since. I didn't think that's a problem.

At least he seems like he's having fun here, rather than paying off

-parking fines.

-They have Kim Basinger in it...

Kim Basinger looks great. She doesn't have a lot to do.

Alan Arkin doesn't look quite so good. He gets to do a sex dance.

The problem I have with the movie, I'll tell you one problem,

which is Rocky Balboa was a heavyweight,

Jake LaMotta was a middleweight.

Even now, Robert De Niro is a little bit older

and a lot smaller than Stallone, so by the time they actually get

to have a fight, it looks like Stallone's fighting Mr Burns.

I'm not sure that's quite what they were going for.

We're so used to those sort of superannuated,

sped-up boxing scenes, and here you have these two guys kind of...

SHE GRUNTS

..lumbering around for the last ten minutes of the movie.

I kind of liked that...

-I wanted to watch a proper boxing movie.

-By the end of it.

You are correct. Everything he says is correct.

I mean, don't go and see this film. I mean, see it if you're on a plane.

Why would you be on a plane? That's a ridiculous thing to say.

All I'm saying is, I quite enjoyed it.

If people said, "I've heard it's awful, shall I go and see it?"

I think people would have a laugh.

I just think it's like getting older.

You feel now and again, I regret that this is happening,

but it's better than the alternative.

It's happening. It's going to happen.

It's happening to all of us. We're going to be there.

Not boxing. That would be weird. I'll stop speaking.

Finally, director Alex Gibney looks at the rise and fall

of Lance Armstrong in documentary The Armstrong Lie.

I know what I did and didn't do,

so therefore I sleep at night. Um...

'And I'm one of the greatest riders of all time.

'If you look at the books and the records,

'you won seven tours in a period when everyone thought'

everybody was dirty.

If I win again, they're not going to... They can't say that.

They cannot.

The Armstrong Lie is a film about a lie.

It is really two films, in a way.

One film I started out to make,

which was an inspirational film, a comeback story.

I was going to follow Armstrong as he came out of retirement

to race the Tour de France one more time.

Lance, how are you feeling?

Nervous. But that's good.

'I almost finished that film. It was narrated by Matt Damon.

'And then all the granular detail began to come out

'about Lance Armstrong's doping.

'It meant almost reinvestigating my own film,'

going back and looking what I had shot over the course of a year

and seeing that it had a different meaning

than it had at the beginning.

'He had lied to me, straight to my face, all throughout 2009.'

UCI will ban Lance Armstrong from cycling.

'When the truth came out, I told him he owed me an explanation.'

After years and years of the most amazing denials...

-I can emphatically say I am not on drugs.

-I was angry.

I mean, nobody wants to feel like they've been used, and I felt like

I had been used to kind of burnish the stature of Lance Armstrong.

He was an immensely intimidating person.

You are not worth the chair that you're sitting on.

You crossed him, you were doomed.

There are people who have really been ruined.

I was shunned, banned from everybody,

and a lot of people wouldn't look at me, shake my hand.

That celebrity is what gave him such immense power.

-So you don't recall, just...?

-How many times do I have to say it?

I took the ride that a lot of other people did,

and by so doing, I not only understood more by the lie,

but also about the process of being a fan,

and how we all invest so much emotion and enthusiasm

in wanting to believe the beautiful lie more than the ugly truth.

The only person that can actually start to let people

understand what the true narrative is is me.

And you should know that better than anybody. Let's get to the...

The real nature and the real detail of this story...

..cos we haven't heard it yet, is the truth.

-The truth.

-The truth. Oh, you don't get the truth in this movie.

This movie made me really cross.

I mean, it pretends to be a sort of expose, where in actual fact,

you could leave the cinema believing that Armstrong...

you know. "Look, everyone was doing it. I mean, come on."

-"What was I going to do?"

-That is categorically not the case.

All the dopers were doping and all the non-dopers were not doping.

People left cycling because of the corruption and the doping.

People just sort of thought, I'm just not getting involved.

I can't handle it. So this whole idea that in actual fact, you know,

his arm was sort of twisted, and you do come away thinking that,

and that is wrong. Not only is Armstrong the bad guy and doped...

-It's not even the doping, it's the bullying.

-And not just bullying.

He categorically destroyed in the most Machiavellian ways,

people who had helped him, friends, colleagues, who had the temerity

to turn round and say, "I just don't believe you."

He took them to pieces. An incredible thing.

-He is a villain, and you don't really get that.

-I don't know.

I mean, I think all of that is in the film, and actually,

I think Alex Gibney... he was lied to his face,

as he mentions there, so it is interesting.

He set out to make this inspirational documentary,

and obviously, looks more and more ridiculous.

I think he gives Lance Armstrong enough rope,

because he allows him to present himself to the camera

very confidently, very charismatically,

and you get to see this charismatic monster,

and you get to understand why so many people were in thrall to him,

and I think, had he been more hostile and just monstered him

and reached for the hatchet and torn him apart, what?

I don't know, Lance Armstrong would have taken legal action.

He wouldn't have cooperated or given another interview.

So I think it is an interesting game that Alex Gibney's playing.

I take your point, but I don't know whether it is a game.

I just think he's chicken.

And I also think he's totally enthralled.

He's enthralled by him. I mean, so would I have been.

Because I went in with my quite strong ideas about...

we have all read those extraordinary pieces

and that extraordinary Sunday Times journalism.

You go in with an idea, and at the end, I thought, quite charming.

Bet he's fun to have dinner with.

Absolutely, and I'm sure he is, but also, I personally came out

more cynical than when I went in, actually, because you see how

the mechanics of it work. And all the lies are still out there.

As a portrait of a liar, I think this is...

It is excellent, but, it's this whole idea that he allows him

to sort of say, I was a scapegoat.

The one thing that is really clear about Lance Armstrong is,

he is furious. His back was literally against the wall

before he would say, "OK, OK."

And he is absolutely enraged that it came to that, and it lets him...

I suppose you're right in as much as it allows you to see...

you know the snake in The Jungle Book, with the eyes,

you are sitting there thinking, "Wow, he's working his evil magic,"

and he's sort of mythologising himself over and over again.

He is allowing...

and Gibney is giving him the airtime to do that,

and it is quite mesmeric to watch, but it did make me really cross.

I think actually, you're angry with Lance Armstrong,

and the more you see Armstrong, the more you see him as

this incredibly dapper, poised, wealthy kind of character,

and your anger rises. If he wasn't there, you'd be less angry.

We have ten seconds for Film Of The Week.

ANTONIA GASPS

Inside Llewyn Davis by a country mile.

Also, Buster Keaton's The General is being rereleased.

See that on the big screen if you haven't.

-I second in every way. Absolutely.

-Nobody for Grudge Match? Just me.

I'm kidding. Go and see Llewyn Davis.

But you know, if you want a laugh.

The Armstrong Lie will be in cinemas on January 31. That is all from us.

We'll be back next Wednesday night.

We'll play out tonight with a look at Terry Gilliam's new film

The Zero Theorem,

in which a computer hacker goes in search of the meaning of life.

It's in cinemas in March. Thank you very much for watching.

-Good night.

-Good night.

'We always wanted to feel different. Unique.

'Objective analysis, however,

'concluded that we are but one in many single worker bees.'

Everyone's getting rich, except you.

What seems to be the problem?

-We're dying.

-Who's we?

-Us. Ourselves.

-There's only one of you.

-So it would appear.

-Qohen? How's it hanging?

-It isn't hanging at all well.

I...Sorry.

A fear of death, fear of life, fear of open spaces, fear of people.

-We see nothing most of all.

-Are you trying to be difficult?

Been hand-picking talent to crunch it since before I was hired.

Nobody lasts. It's a guaranteed burn-out project.

Zero Theorem. All very hush-hush.

-'Good luck.'

-I give him two weeks.

'We always wanted to feel... a reason for being.

'The meaning of our life.'

'We connected. We can be together for real.

'Just come with me.'