:00:26. > :00:36.Hello, welcome. We are live, if you would like to get in touch. Coming
:00:37. > :00:42.up... Ray finds leads a galaxy of Starts
:00:43. > :00:45.in the grand Budapest Hotel. I have never been accused of that
:00:46. > :00:49.before! Glistening torsos are back in 300:
:00:50. > :00:54.Rise Of An Empire. We chose to die on our feet rather
:00:55. > :00:59.than live on our knees. Scarlett Johansson embodies an alien
:01:00. > :01:05.femme fatale in Under The Skin. Come to me.
:01:06. > :01:13.Plus, we look at some of the films coming your way soon. We are joined
:01:14. > :01:18.by Danny Leigh and Rob Conway. Ralph Fiennes plays Gustave H in The Grand
:01:19. > :01:23.Budapest Hotel. There is some strong language.
:01:24. > :01:30.The incident that followed were described to me exactly as I present
:01:31. > :01:36.them here, in an unexpected way. Who is this interesting old fellow? Make
:01:37. > :01:43.I invite you to dine with me tonight? It will be a pleasure to
:01:44. > :01:46.tell you my story. The first idea had nothing to do
:01:47. > :01:50.with the setting, it was one character.
:01:51. > :01:59.Many of the most distinguished guests came for him. I love you. She
:02:00. > :02:03.was dynamite in the sack. I have wanted to work with him for
:02:04. > :02:08.some years. I started thinking I would love to write the part for
:02:09. > :02:14.him. This may be the last time we see
:02:15. > :02:22.each other. I feel it. There is no reason for you to leave us. Police.
:02:23. > :02:28.Give me your hand. You have nothing to fear. You are always anxious
:02:29. > :02:32.before you travel, you have a more acute attack on this occasion
:02:33. > :02:36.but... What have you done to your fingernails? The colour is
:02:37. > :02:40.completely wrong. I am physically riposte.
:02:41. > :02:51.That is what it began with. You think I did it. This is her last
:02:52. > :03:00.will and testament in. I bequeath the painting.
:03:01. > :03:05.I am the lawyer, there is poison a foot, we come to a point where my
:03:06. > :03:21.character realises the extent to which it has become bad.
:03:22. > :03:27.I go to bed with all my friends! I am a henchman, I work for Adrian,
:03:28. > :03:38.who is trying to get what he thinks is his rightful part of the world.
:03:39. > :03:46.Getting the chance to work with actors that I love, it is fun. He
:03:47. > :03:50.creates the feeling of a repertory company, he brings people together,
:03:51. > :03:55.more of a sense of community than you often get.
:03:56. > :04:01.I want roadblocks in every junction 450 kilometres. I want 50 men and
:04:02. > :04:11.ten bloodhounds ready in five minutes.
:04:12. > :04:16.We are all staying in this hotel, we see characters coming and going,
:04:17. > :04:26.guests checking in and out. There is a whole parallel adventure of life.
:04:27. > :04:30.I was arrested and tortured at the Desert uprising. You know the drill,
:04:31. > :04:36.then. We have had a lot of tweets, all of
:04:37. > :04:46.the same elk, funny and resplendent, but somebody says, it
:04:47. > :04:52.is his funniest. Somebody says, a madcap romp. People are in love with
:04:53. > :04:58.this film. It is a Wes Anderson movie with all that that entails. It
:04:59. > :05:04.is a bit of a war movie and a bit of an historical epic, coated in the
:05:05. > :05:09.minutely detailed costumes and the unlikely facial hair, and the cakes
:05:10. > :05:14.and confectionery. He has always been a great property, putting on
:05:15. > :05:20.great shows, but there is a feeling behind this, it is sad and funny and
:05:21. > :05:27.feels true, it is a great movie about the past, about how we feel
:05:28. > :05:31.about the past, nostalgia. People could say it is just another Wes
:05:32. > :05:38.Anderson film, but it is a very good Wes Anderson film. It is of a piece
:05:39. > :05:48.with the rest of his work. He sets his films in close committees. All
:05:49. > :05:54.of these delicate places. In this film, this community opens up like a
:05:55. > :06:03.vintage paintbox, everything bit -- fits in. It is not just sat in the
:06:04. > :06:09.past, it is set in multiple pasts. It goes to the 80s, the 50s, the
:06:10. > :06:18.30s, and the aspect ratio changes, until we end up in the Academy
:06:19. > :06:20.ratio. It is him looking back at the history of film and bring the
:06:21. > :06:25.history of film and bringing it forward again. The central section
:06:26. > :06:30.is harking back to the European film-makers, who came to Hollywood
:06:31. > :06:34.in the 20s and 30s and brought a champagne sophistication to Los
:06:35. > :06:41.Angeles, and gave it to us back a movie form. Anderson is returning
:06:42. > :06:46.the compliment, almost a century on. It made me want a three tiered cake.
:06:47. > :06:57.Was it not just to surface, and too much of a comedy? It had a real
:06:58. > :07:10.bottom to it. It is like a delicious private joke, my favourite is Harvey
:07:11. > :07:21.Keitel, he now appears as a grizzled person. Ralph Fiennes, this is the
:07:22. > :07:26.part he was born to play, a concierge with an uncertain
:07:27. > :07:30.sexuality, he is terrific. Wes Anderson film is being style and no
:07:31. > :07:35.substance misses the point, because the style is the substance,
:07:36. > :07:38.something gets disrupted and the rest of the film is about them
:07:39. > :07:46.trying to realign everything, we establish the cemetery. We were
:07:47. > :07:53.chatting, you said you could be distracted by the stitching in the
:07:54. > :07:59.hat. You see a certain shade of a beret. Something that pulls you out
:08:00. > :08:04.of the film. Although it is still insanely detailed, and there is
:08:05. > :08:13.something going on in every corner, you stay with the story. Rushmore
:08:14. > :08:19.was the last one that felt annoyed, in his way, and quite angry. It is a
:08:20. > :08:23.film about war and what it does to people.
:08:24. > :08:31.Next, Sullivan Stapleton leads the cast of 300: Rise Of An Empire, the
:08:32. > :08:43.sequel to 300. Sparta will fall. All of Greece will
:08:44. > :08:53.fall. And only stout wooden ships can save them. Wooden ships. And a
:08:54. > :08:59.tidal wave of heroes. It is not a prequel or a sequel, it
:09:00. > :09:10.is taking place at the same time as the first one. On 300, they zoomed
:09:11. > :09:16.in, the whole movie takes place in a very confined environment. This
:09:17. > :09:24.opens up. The Braves 300 are dead. Have I not
:09:25. > :09:39.given enough for your dream? A King, a husband. A friendship.
:09:40. > :09:43.The Spartans marched off, we are sailing out, and leaving Persia on
:09:44. > :09:46.the water. Who is the architect of this
:09:47. > :09:58.strategy? A little-known Athenian soldier, he gives the Persians a
:09:59. > :10:03.taste of Athenian shock combat. The commander of the Greek fleet
:10:04. > :10:17.tries to unite all of Greece to defend their freedom against the
:10:18. > :10:21.Persian forces, and my character. He has shown himself to be quite
:10:22. > :10:28.brilliant in battle. Which is more than I can say for any of you. Do
:10:29. > :10:37.you find my command unreasonable? Is it too much to ask for victory?
:10:38. > :10:48.My character really existed. She is the daddy. She is completely
:10:49. > :10:54.obsessed by vengeance. She wants to destroy every single Greek on the
:10:55. > :11:01.planet. She is dangerous, she is sexy, and she has a sword. It is
:11:02. > :11:07.really simple, do not mess with her. Brace yourselves!
:11:08. > :11:11.They are epic battles. When you see the scale of it on the big screen,
:11:12. > :11:14.it is very impressive. It will be an epic movie. I am a little bit
:11:15. > :11:34.biased! He is adorable in that interview! He
:11:35. > :11:39.says, I hope it is all right! It is the most awful, tacky, shopping
:11:40. > :11:47.channel rubbish, but it is so much fun. It is fun in and of -- in a way
:11:48. > :11:54.that the original film was not. It came out in 2007, the one thing that
:11:55. > :11:59.caught on was the speed ramping, they go in credibly fast, and at the
:12:00. > :12:04.moment of impact, it will go into slow motion. You can say that every
:12:05. > :12:13.disgusting the tale of the blood flying everywhere. That makes a
:12:14. > :12:17.return. But the tone is different. This one is possibly even more camp
:12:18. > :12:22.than the first, but it knows it is. If it knows it, brilliant. Are they
:12:23. > :12:29.self aware? Completely. However waspish a critic can be, when the
:12:30. > :12:35.make-up of the first film sat down to write the sequel, this is the
:12:36. > :12:46.film that he set out to write. They have nailed it. I did not feel the
:12:47. > :12:57.first film was aimed at me. It is ludicrously watchable. There is such
:12:58. > :13:04.them to the beheadings and everything. Eva Green is the secret
:13:05. > :13:09.weapon, sitting there on the deck of the ship in a ball gown, poling and
:13:10. > :13:14.snarling, without her, the film would be in trouble, but with her,
:13:15. > :13:21.if you think you are going to like it, you probably will. This, she is
:13:22. > :13:27.the lightning rod that makes this work. She produces a crazy
:13:28. > :13:35.performance. The dialogue is extraordinary. I have written down a
:13:36. > :13:38.sentence, Wendy King is introduced, he has eyes that have the stink of
:13:39. > :13:46.destiny about them, which is spectacular. I had the same mind
:13:47. > :13:51.written down. But I just have another line written down. People
:13:52. > :13:58.remember the god king from the first film, and now we go into his
:13:59. > :14:03.origins. He falls into a hermit's bubble bath, he is suffused with an
:14:04. > :14:12.evil power, and comes out looking like a male stripper. Where does
:14:13. > :14:19.that come from? Basil and could not hope to get close to the level of
:14:20. > :14:26.campness of this film. My favourite thing is Lena doing the voiceover.
:14:27. > :14:34.The image of her in Hollywood weeping with laughter, "OK, I'll go
:14:35. > :14:38.again." I wonder if she is responsible for this being more
:14:39. > :14:43.enjoyable than the last one. People love Game of Thrones. How can we
:14:44. > :14:50.make it like that? A strong female character. I wonder if that is why
:14:51. > :14:55.they have moved Eva Green into the spotlight. A strong female character
:14:56. > :15:00.in a 300 film means she wires an iron bikini. There is a sex scene
:15:01. > :15:04.that is like a circus act. It is very weird. She tries to negotiate a
:15:05. > :15:09.peace treaty at the same time as having sex with a guy. It doesn't
:15:10. > :15:16.work out well but it is in 3D. You can see it in IMAX! I'm pleased(!)
:15:17. > :15:17.Now, Scarlett Johansson stars as a predatory seductress in Jonathan
:15:18. > :15:36.Glazer's Under The Skin. So you live alone? Yes. Do you think
:15:37. > :15:42.I'm pretty? Gorgeous. I have a place about 30 minutes away. I like the
:15:43. > :15:50.book very much and spent a bit of time, quite a lot of time in fact
:15:51. > :15:55.trying to adapt it which felt like a very fresh challenge for a
:15:56. > :16:05.film-maker, which was the idea of seeing the world or re-seeing the
:16:06. > :16:09.world through this alien lens, which Scarlett's character is that. I'm
:16:10. > :16:21.going to have to say she plays an alien, aren't I? The catch here
:16:22. > :16:27.really was to have the idea of - use the idea of Scarlett, a familiar
:16:28. > :16:34.Hollywood star, I suppose, an actress, a well-known actress, and
:16:35. > :16:39.put her in disguise. And shoot her as kind of covertly as possible,
:16:40. > :16:45.make her as undetectible as possible. Well, it was - a lot of it
:16:46. > :16:54.was filmed - the best way of explaining it was using surveillance
:16:55. > :16:58.cameras. So, a lot of it was random. The interaction she had with people
:16:59. > :17:02.that didn't know they were being filmed, but there are also scenes
:17:03. > :17:07.that were very carefully scripted. It felt like what we were trying to
:17:08. > :17:10.achieve, what we were trying to do was tell a story from her point of
:17:11. > :17:18.view and, in doing so, you are committed to that language, you have
:17:19. > :17:22.to create a visual vocabulary. That feels like it's - which allows you
:17:23. > :17:33.to see the world through her eyes and witness things, or re-see
:17:34. > :17:38.things, see us as alien. Come to me. It is important not to shy away from
:17:39. > :17:42.anything. You can't be coy about it. There's nudity in the film, but
:17:43. > :17:50.there is a democracy of nudity in the film. It is not only her. It is
:17:51. > :17:56.about the body as a craft, you know, it's about anatomy. When was the
:17:57. > :18:05.last time you touched someone? I think it is a romantic tragedy more
:18:06. > :18:09.than it is a horror film. I hope an audience will experience something
:18:10. > :18:24.very fresh, you know, and feel like they are seeing something they
:18:25. > :18:33.haven't seen before. Jonathan Glazer took ten years to make Under the
:18:34. > :18:37.Skin. It is an extraordinary and flawless film. What he is trying to
:18:38. > :18:41.do is take us and put us behind the eyes of this alien among us and it
:18:42. > :18:47.works. It is unsettling and terrifying as a result. It is not a
:18:48. > :18:52.horror film, but it is as cold and nightmarish as any horror movie. It
:18:53. > :18:56.is also gorgeous and seductive. I think this is the kind of film that
:18:57. > :19:02.the future will judge us by. People will look back at this as being such
:19:03. > :19:10.an important film. People went to see Vertigo in 1958. I hope people
:19:11. > :19:14.will go and see Under the Skin. His background as a film-maker is in
:19:15. > :19:20.advertising. He can pick up on styles, as he has done for different
:19:21. > :19:32.brands of beer. He is borrowing from French New Wave and copying them.
:19:33. > :19:35.Under the Skin stands apart from everything. It doesn't feel like any
:19:36. > :19:43.other experience. I have tried to think of other things. It feels like
:19:44. > :19:52.a blend between T Man Who Fell To Earth and Beadle's About! What was
:19:53. > :19:57.so interesting, the music made us all go, "We have never heard
:19:58. > :20:02.anything like that before." It all works. You have the hidden camera
:20:03. > :20:07.footage, which is like real life in the real Glasgow going on and
:20:08. > :20:11.Scarlett Johansson is outside Celtic Park, all that is happening. Then
:20:12. > :20:16.you have these mind-bending scenes of the alien world. Then you have
:20:17. > :20:26.Scarlett Johansson, this glamorous movie goddess, none of that makes
:20:27. > :20:30.sense, but Jonathan Glazer is so fearless. The way that he cuts this
:20:31. > :20:34.film together. Again, you are there. You are the alien. It is that
:20:35. > :20:42.alignment with the viewer's perspective with the outsider's
:20:43. > :20:46.perspective. He is the - you see the faces and see what they are doing,
:20:47. > :20:51.fiddling with cigarette lighters and shopping. You start to puzzle - who
:20:52. > :20:57.are these creatures? They look strange and different. Then when you
:20:58. > :21:01.leave - I would recommend seeing Under the Skin and then come out and
:21:02. > :21:08.look at the people walking past you and you feel this incredible sense
:21:09. > :21:11.of disconnect from them. It is true. We are not - what I love about this
:21:12. > :21:19.movie, we are not supposed to make this kind of film because it is so
:21:20. > :21:24.wild. In a sense, it is a very British movie about Primark and
:21:25. > :21:35.mobility scooters. You have Scarlett Johansson, who is like Monroe. It's
:21:36. > :21:38.this mix of the very real and the very ordinary with things that are
:21:39. > :21:42.beyond your imagination. I think that is why people will come out -
:21:43. > :21:46.lots of people will probably hate this film. Everyone will come out
:21:47. > :21:50.stumbling and staggering out of the cinema. This film will mean an awful
:21:51. > :21:56.lot. It reminds you what cinema can do and what cinema can be. I felt
:21:57. > :21:59.like I had been whacked in the head and came out - there are certain
:22:00. > :22:04.parts of it - there are memorable scenes I cannot get out of my head.
:22:05. > :22:08.Did that happen to you? There is one particular scene - we shouldn't go
:22:09. > :22:13.into detail - but it is one of the most haunting images I have ever
:22:14. > :22:18.seen. There is this one particular shot and a cut that will destroy
:22:19. > :22:25.you. Floods of tears. Interestingly, it is an incredibly divisive film.
:22:26. > :22:30.People tend to act very stupid at film festivals when they don't like
:22:31. > :22:33.a film. At the end of the film, some people were on their feet and
:22:34. > :22:38.booing. As you looked around, there were certain people like me - and
:22:39. > :22:43.Danny - who were looking totally blown away. If it connects with you,
:22:44. > :22:47.you can feel its fingers wrapping around your spine as you watch it.
:22:48. > :22:50.It is like nothing else. OK. And Under The Skin will be in
:22:51. > :22:54.cinemas from Friday 14th March. Finally tonight, we're going to take
:22:55. > :22:56.a look ahead at some of the films due for release in the coming weeks
:22:57. > :23:08.and months. I'd take 20 more years to have
:23:09. > :23:52.another three days with you. There isn't anything for you here.
:23:53. > :23:59.You stand-alone and defy me? I'm not alone. You'll be afraid.
:24:00. > :24:20.I don't want your suffering. I don't want your future.
:24:21. > :24:37.I know who you are. If you want to survive, follow me.
:24:38. > :25:22.It's not easy being me. Look like you are giving the orders now,
:25:23. > :25:30.captain. They will continue to whisper your
:25:31. > :25:45.name, the Princess Grace. You have been searching for one
:25:46. > :25:55.thing your whole life and she's down there.
:25:56. > :26:08.Frankly, none of us have ever faced a situation quite like this one
:26:09. > :26:19.before. I'm not a soldier. Of course you're not, you're a weapon. That is
:26:20. > :26:26.a big old Easter and summer! So what are you most excited about?
:26:27. > :26:31.What should we look out for? For me, it's Godzilla. It looks like they
:26:32. > :26:38.have gone to the basics. The monster design is like the old Japanese
:26:39. > :26:42.films. You can watch them and you can think this is talking about
:26:43. > :26:47.terrorism. But you get to see a monster destroying a city as well.
:26:48. > :26:59.Also, Grace of Monaco, that looks like Diana 2 Armed and Fabulous. Go?
:27:00. > :27:04.The clip which was there was Calvary. Amazing Irish movie
:27:05. > :27:08.starring Brendan Gleeson as a priest who may or may not have a week to
:27:09. > :27:13.live. It's shocking and smart and it is funny as hell. OK. That is out in
:27:14. > :27:17.April. That's all from us. We'll be back in
:27:18. > :27:21.the autumn. We're going to play out with Let It
:27:22. > :27:24.Go from Frozen, which won Best Animated Feature and Best Song at
:27:25. > :27:29.Sunday's Oscars, and has just passed the $1 billion mark at the worldwide
:27:30. > :27:47.box office. We will all be singing it. Thank you so much for watching.
:27:48. > :28:07.# Let it go, let it go # Can't hold it back any more
:28:08. > :28:13.# Let it go, let it go # That perfect girl is gone
:28:14. > :28:25.# Here I stand, in the light of day # Let the storm rage on
:28:26. > :28:29.# Let it go, let it go # Turn away and slam the door
:28:30. > :28:32.# I don't care what they're going to say
:28:33. > :28:36.# Let the storm rage on # The cold never bothered me anyway
:28:37. > :28:45.# It's funny how some distance # Makes everything seem small
:28:46. > :28:50.# And the fears that once controlled me, can't get to me at all
:28:51. > :28:52.# It's time to see what I can do # To test the limits and break
:28:53. > :28:55.through # No right, no wrong, no rules for
:28:56. > :28:58.me # I'm free
:28:59. > :29:03.# Let it go, let it go # I am one with the wind and sky
:29:04. > :29:06.# Let it go, let it go # You'll never see me cry