:00:27. > :00:30.Hello and welcome to Film 2014. We live if you would like to get in
:00:31. > :00:38.touch. Coming up... Julianne Moore and Liam Neeson take
:00:39. > :00:45.a flight into the unknown in Non-Stop. He is hijacking this
:00:46. > :00:51.plane, I am 27. Wes Anderson talks about his career.
:00:52. > :00:55.I do something so different with each film.
:00:56. > :01:01.And we look ahead to Sunday's Oscars.
:01:02. > :01:11.We take a look at Godzilla, the new film from Gareth Edwards. We are
:01:12. > :01:16.joined right Danny and Camilla Long. First up, fast and your seat belt
:01:17. > :01:19.for Non-Stop. Liam Neeson plays an air marshal trying to keep control
:01:20. > :01:27.of a transatlantic flight. I hate flying. The crowds, the delays. I
:01:28. > :01:33.always kind of liked it. Six hours, nobody can get to you. Welcome
:01:34. > :01:37.aboard our service, New York to London. Do you fly much? All the
:01:38. > :02:08.time, actually. It is a brave film in lots of ways.
:02:09. > :02:13.97% of it is filmed on board an aeroplane. Somebody on this flight
:02:14. > :02:20.is threatening to kill somebody every 20 minutes unless $150 million
:02:21. > :02:23.is transferred to this a number. The written element that is like an
:02:24. > :02:30.old-fashioned whodunnit? It must be him, maybe it is her. We are midway
:02:31. > :02:31.across the Atlantic, how do you kill summary in a crowded plane and get
:02:32. > :02:47.away with it? -- kill somebody. You introduce this entire cast at
:02:48. > :02:51.the beginning. It is old-fashioned, it reminds me of films in the 70s
:02:52. > :02:55.when you had a large cast in one situation and you would wait to see
:02:56. > :03:04.who would survive. In the cockpit, now. You are going to come in, sit
:03:05. > :03:07.down and shut up. I am a big fan of disaster movies, where all the
:03:08. > :03:14.characters have to come together at the end to face an impossible
:03:15. > :03:21.situation. We shot the film over two months. Every day we were with the
:03:22. > :03:26.same extras who were playing the passengers, and the same set, it was
:03:27. > :03:31.a real challenge for the film-makers and the director of photography, it
:03:32. > :03:38.didn't just have one set, you have to make it interesting for an
:03:39. > :03:42.audience will stop --. I love the idea of putting the audience in the
:03:43. > :03:47.middle of the action. The audience should feel like a passenger on the
:03:48. > :03:55.plane. This is a setup, something else is going on. That's what these
:03:56. > :04:00.films are about, thrills and suspense and the unexpected, not
:04:01. > :04:04.knowing at all what will happen, not being able to anticipate it and
:04:05. > :04:11.being surprised and genuinely entertaining. A squad has you in
:04:12. > :04:15.their sights. We or any out of time, do you hear me? -- we are running
:04:16. > :04:27.out of time. I can't help but smile, I don't know
:04:28. > :04:31.if that was the aim. You would assume a bad guy on a plane would do
:04:32. > :04:36.a runner when you see Liam Neeson. He looks disturbed from the word
:04:37. > 9:57:40go. Clearly