Browse content similar to Episode 6. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Hello and welcome to Film 2014. We live if you would like to get in | :00:27. | :00:30. | |
touch. Coming up... Julianne Moore and Liam Neeson take | :00:31. | :00:38. | |
a flight into the unknown in Non-Stop. He is hijacking this | :00:39. | :00:45. | |
plane, I am 27. Wes Anderson talks about his career. | :00:46. | :00:51. | |
I do something so different with each film. | :00:52. | :00:55. | |
And we look ahead to Sunday's Oscars. | :00:56. | :01:01. | |
We take a look at Godzilla, the new film from Gareth Edwards. We are | :01:02. | :01:11. | |
joined right Danny and Camilla Long. First up, fast and your seat belt | :01:12. | :01:16. | |
for Non-Stop. Liam Neeson plays an air marshal trying to keep control | :01:17. | :01:19. | |
of a transatlantic flight. I hate flying. The crowds, the delays. I | :01:20. | :01:27. | |
always kind of liked it. Six hours, nobody can get to you. Welcome | :01:28. | :01:33. | |
aboard our service, New York to London. Do you fly much? All the | :01:34. | :01:37. | |
time, actually. It is a brave film in lots of ways. | :01:38. | :02:08. | |
97% of it is filmed on board an aeroplane. Somebody on this flight | :02:09. | :02:13. | |
is threatening to kill somebody every 20 minutes unless $150 million | :02:14. | :02:20. | |
is transferred to this a number. The written element that is like an | :02:21. | :02:23. | |
old-fashioned whodunnit? It must be him, maybe it is her. We are midway | :02:24. | :02:30. | |
across the Atlantic, how do you kill summary in a crowded plane and get | :02:31. | :02:31. | |
away with it? -- kill somebody. You introduce this entire cast at | :02:32. | :02:47. | |
the beginning. It is old-fashioned, it reminds me of films in the 70s | :02:48. | :02:51. | |
when you had a large cast in one situation and you would wait to see | :02:52. | :02:55. | |
who would survive. In the cockpit, now. You are going to come in, sit | :02:56. | :03:04. | |
down and shut up. I am a big fan of disaster movies, where all the | :03:05. | :03:07. | |
characters have to come together at the end to face an impossible | :03:08. | :03:14. | |
situation. We shot the film over two months. Every day we were with the | :03:15. | :03:21. | |
same extras who were playing the passengers, and the same set, it was | :03:22. | :03:26. | |
a real challenge for the film-makers and the director of photography, it | :03:27. | :03:31. | |
didn't just have one set, you have to make it interesting for an | :03:32. | :03:38. | |
audience will stop --. I love the idea of putting the audience in the | :03:39. | :03:42. | |
middle of the action. The audience should feel like a passenger on the | :03:43. | :03:47. | |
plane. This is a setup, something else is going on. That's what these | :03:48. | :03:55. | |
films are about, thrills and suspense and the unexpected, not | :03:56. | :04:00. | |
knowing at all what will happen, not being able to anticipate it and | :04:01. | :04:04. | |
being surprised and genuinely entertaining. A squad has you in | :04:05. | :04:11. | |
their sights. We or any out of time, do you hear me? -- we are running | :04:12. | :04:15. | |
out of time. I can't help but smile, I don't know | :04:16. | :04:27. | |
if that was the aim. You would assume a bad guy on a plane would do | :04:28. | :04:31. | |
a runner when you see Liam Neeson. He looks disturbed from the word | :04:32. | :04:36. | |
go. Clearly | :04:37. | 9:57:40 |