Episode 7 Film 2014

Episode 7

Film reviews. Claudia Winkleman and Danny Leigh take a look at The Grand Budapest Hotel, Under the Skin and 300: Rise of an Empire. They also preview some of the big summer films.

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Hello, welcome. We are live, if you would like to get in touch. Coming


up... Ray finds leads a galaxy of Starts


in the grand Budapest Hotel. I have never been accused of that


before! Glistening torsos are back in 300:


Rise Of An Empire. We chose to die on our feet rather


than live on our knees. Scarlett Johansson embodies an alien


femme fatale in Under The Skin. Come to me.


Plus, we look at some of the films coming your way soon. We are joined


by Danny Leigh and Rob Conway. Ralph Fiennes plays Gustave H in The Grand


Budapest Hotel. There is some strong language.


The incident that followed were described to me exactly as I present


them here, in an unexpected way. Who is this interesting old fellow? Make


I invite you to dine with me tonight? It will be a pleasure to


tell you my story. The first idea had nothing to do


with the setting, it was one character.


Many of the most distinguished guests came for him. I love you. She


was dynamite in the sack. I have wanted to work with him for


some years. I started thinking I would love to write the part for


him. This may be the last time we see


each other. I feel it. There is no reason for you to leave us. Police.


Give me your hand. You have nothing to fear. You are always anxious


before you travel, you have a more acute attack on this occasion


but... What have you done to your fingernails? The colour is


completely wrong. I am physically riposte.


That is what it began with. You think I did it. This is her last


will and testament in. I bequeath the painting.


I am the lawyer, there is poison a foot, we come to a point where my


character realises the extent to which it has become bad.


I go to bed with all my friends! I am a henchman, I work for Adrian,


who is trying to get what he thinks is his rightful part of the world.


Getting the chance to work with actors that I love, it is fun. He


creates the feeling of a repertory company, he brings people together,


more of a sense of community than you often get.


I want roadblocks in every junction 450 kilometres. I want 50 men and


ten bloodhounds ready in five minutes.


We are all staying in this hotel, we see characters coming and going,


guests checking in and out. There is a whole parallel adventure of life.


I was arrested and tortured at the Desert uprising. You know the drill,


then. We have had a lot of tweets, all of


the same elk, funny and resplendent, but somebody says, it


is his funniest. Somebody says, a madcap romp. People are in love with


this film. It is a Wes Anderson movie with all that that entails. It


is a bit of a war movie and a bit of an historical epic, coated in the


minutely detailed costumes and the unlikely facial hair, and the cakes


and confectionery. He has always been a great property, putting on


great shows, but there is a feeling behind this, it is sad and funny and


feels true, it is a great movie about the past, about how we feel


about the past, nostalgia. People could say it is just another Wes


Anderson film, but it is a very good Wes Anderson film. It is of a piece


with the rest of his work. He sets his films in close committees. All


of these delicate places. In this film, this community opens up like a


vintage paintbox, everything bit -- fits in. It is not just sat in the


past, it is set in multiple pasts. It goes to the 80s, the 50s, the


30s, and the aspect ratio changes, until we end up in the Academy


ratio. It is him looking back at the history of film and bring the


history of film and bringing it forward again. The central section


is harking back to the European film-makers, who came to Hollywood


in the 20s and 30s and brought a champagne sophistication to Los


Angeles, and gave it to us back a movie form. Anderson is returning


the compliment, almost a century on. It made me want a three tiered cake.


Was it not just to surface, and too much of a comedy? It had a real


bottom to it. It is like a delicious private joke, my favourite is Harvey


Keitel, he now appears as a grizzled person. Ralph Fiennes, this is the


part he was born to play, a concierge with an uncertain


sexuality, he is terrific. Wes Anderson film is being style and no


substance misses the point, because the style is the substance,


something gets disrupted and the rest of the film is about them


trying to realign everything, we establish the cemetery. We were


chatting, you said you could be distracted by the stitching in the


hat. You see a certain shade of a beret. Something that pulls you out


of the film. Although it is still insanely detailed, and there is


something going on in every corner, you stay with the story. Rushmore


was the last one that felt annoyed, in his way, and quite angry. It is a


film about war and what it does to people.


Next, Sullivan Stapleton leads the cast of 300: Rise Of An Empire, the


sequel to 300. Sparta will fall. All of Greece will


fall. And only stout wooden ships can save them. Wooden ships. And a


tidal wave of heroes. It is not a prequel or a sequel, it


is taking place at the same time as the first one. On 300, they zoomed


in, the whole movie takes place in a very confined environment. This


opens up. The Braves 300 are dead. Have I not


given enough for your dream? A King, a husband. A friendship.


The Spartans marched off, we are sailing out, and leaving Persia on


the water. Who is the architect of this


strategy? A little-known Athenian soldier, he gives the Persians a


taste of Athenian shock combat. The commander of the Greek fleet


tries to unite all of Greece to defend their freedom against the


Persian forces, and my character. He has shown himself to be quite


brilliant in battle. Which is more than I can say for any of you. Do


you find my command unreasonable? Is it too much to ask for victory?


My character really existed. She is the daddy. She is completely


obsessed by vengeance. She wants to destroy every single Greek on the


planet. She is dangerous, she is sexy, and she has a sword. It is


really simple, do not mess with her. Brace yourselves!


They are epic battles. When you see the scale of it on the big screen,


it is very impressive. It will be an epic movie. I am a little bit


biased! He is adorable in that interview! He


says, I hope it is all right! It is the most awful, tacky, shopping


channel rubbish, but it is so much fun. It is fun in and of -- in a way


that the original film was not. It came out in 2007, the one thing that


caught on was the speed ramping, they go in credibly fast, and at the


moment of impact, it will go into slow motion. You can say that every


disgusting the tale of the blood flying everywhere. That makes a


return. But the tone is different. This one is possibly even more camp


than the first, but it knows it is. If it knows it, brilliant. Are they


self aware? Completely. However waspish a critic can be, when the


make-up of the first film sat down to write the sequel, this is the


film that he set out to write. They have nailed it. I did not feel the


first film was aimed at me. It is ludicrously watchable. There is such


them to the beheadings and everything. Eva Green is the secret


weapon, sitting there on the deck of the ship in a ball gown, poling and


snarling, without her, the film would be in trouble, but with her,


if you think you are going to like it, you probably will. This, she is


the lightning rod that makes this work. She produces a crazy


performance. The dialogue is extraordinary. I have written down a


sentence, Wendy King is introduced, he has eyes that have the stink of


destiny about them, which is spectacular. I had the same mind


written down. But I just have another line written down. People


remember the god king from the first film, and now we go into his


origins. He falls into a hermit's bubble bath, he is suffused with an


evil power, and comes out looking like a male stripper. Where does


that come from? Basil and could not hope to get close to the level of


campness of this film. My favourite thing is Lena doing the voiceover.


The image of her in Hollywood weeping with laughter, "OK, I'll go


again." I wonder if she is responsible for this being more


enjoyable than the last one. People love Game of Thrones. How can we


make it like that? A strong female character. I wonder if that is why


they have moved Eva Green into the spotlight. A strong female character


in a 300 film means she wires an iron bikini. There is a sex scene


that is like a circus act. It is very weird. She tries to negotiate a


peace treaty at the same time as having sex with a guy. It doesn't


work out well but it is in 3D. You can see it in IMAX! I'm pleased(!)


Now, Scarlett Johansson stars as a predatory seductress in Jonathan


Glazer's Under The Skin. So you live alone? Yes. Do you think


I'm pretty? Gorgeous. I have a place about 30 minutes away. I like the


book very much and spent a bit of time, quite a lot of time in fact


trying to adapt it which felt like a very fresh challenge for a


film-maker, which was the idea of seeing the world or re-seeing the


world through this alien lens, which Scarlett's character is that. I'm


going to have to say she plays an alien, aren't I? The catch here


really was to have the idea of - use the idea of Scarlett, a familiar


Hollywood star, I suppose, an actress, a well-known actress, and


put her in disguise. And shoot her as kind of covertly as possible,


make her as undetectible as possible. Well, it was - a lot of it


was filmed - the best way of explaining it was using surveillance


cameras. So, a lot of it was random. The interaction she had with people


that didn't know they were being filmed, but there are also scenes


that were very carefully scripted. It felt like what we were trying to


achieve, what we were trying to do was tell a story from her point of


view and, in doing so, you are committed to that language, you have


to create a visual vocabulary. That feels like it's - which allows you


to see the world through her eyes and witness things, or re-see


things, see us as alien. Come to me. It is important not to shy away from


anything. You can't be coy about it. There's nudity in the film, but


there is a democracy of nudity in the film. It is not only her. It is


about the body as a craft, you know, it's about anatomy. When was the


last time you touched someone? I think it is a romantic tragedy more


than it is a horror film. I hope an audience will experience something


very fresh, you know, and feel like they are seeing something they


haven't seen before. Jonathan Glazer took ten years to make Under the


Skin. It is an extraordinary and flawless film. What he is trying to


do is take us and put us behind the eyes of this alien among us and it


works. It is unsettling and terrifying as a result. It is not a


horror film, but it is as cold and nightmarish as any horror movie. It


is also gorgeous and seductive. I think this is the kind of film that


the future will judge us by. People will look back at this as being such


an important film. People went to see Vertigo in 1958. I hope people


will go and see Under the Skin. His background as a film-maker is in


advertising. He can pick up on styles, as he has done for different


brands of beer. He is borrowing from French New Wave and copying them.


Under the Skin stands apart from everything. It doesn't feel like any


other experience. I have tried to think of other things. It feels like


a blend between T Man Who Fell To Earth and Beadle's About! What was


so interesting, the music made us all go, "We have never heard


anything like that before." It all works. You have the hidden camera


footage, which is like real life in the real Glasgow going on and


Scarlett Johansson is outside Celtic Park, all that is happening. Then


you have these mind-bending scenes of the alien world. Then you have


Scarlett Johansson, this glamorous movie goddess, none of that makes


sense, but Jonathan Glazer is so fearless. The way that he cuts this


film together. Again, you are there. You are the alien. It is that


alignment with the viewer's perspective with the outsider's


perspective. He is the - you see the faces and see what they are doing,


fiddling with cigarette lighters and shopping. You start to puzzle - who


are these creatures? They look strange and different. Then when you


leave - I would recommend seeing Under the Skin and then come out and


look at the people walking past you and you feel this incredible sense


of disconnect from them. It is true. We are not - what I love about this


movie, we are not supposed to make this kind of film because it is so


wild. In a sense, it is a very British movie about Primark and


mobility scooters. You have Scarlett Johansson, who is like Monroe. It's


this mix of the very real and the very ordinary with things that are


beyond your imagination. I think that is why people will come out -


lots of people will probably hate this film. Everyone will come out


stumbling and staggering out of the cinema. This film will mean an awful


lot. It reminds you what cinema can do and what cinema can be. I felt


like I had been whacked in the head and came out - there are certain


parts of it - there are memorable scenes I cannot get out of my head.


Did that happen to you? There is one particular scene - we shouldn't go


into detail - but it is one of the most haunting images I have ever


seen. There is this one particular shot and a cut that will destroy


you. Floods of tears. Interestingly, it is an incredibly divisive film.


People tend to act very stupid at film festivals when they don't like


a film. At the end of the film, some people were on their feet and


booing. As you looked around, there were certain people like me - and


Danny - who were looking totally blown away. If it connects with you,


you can feel its fingers wrapping around your spine as you watch it.


It is like nothing else. OK. And Under The Skin will be in


cinemas from Friday 14th March. Finally tonight, we're going to take


a look ahead at some of the films due for release in the coming weeks


and months. I'd take 20 more years to have


another three days with you. There isn't anything for you here.


You stand-alone and defy me? I'm not alone. You'll be afraid.


I don't want your suffering. I don't want your future.


I know who you are. If you want to survive, follow me.


It's not easy being me. Look like you are giving the orders now,


captain. They will continue to whisper your


name, the Princess Grace. You have been searching for one


thing your whole life and she's down there.


Frankly, none of us have ever faced a situation quite like this one


before. I'm not a soldier. Of course you're not, you're a weapon. That is


a big old Easter and summer! So what are you most excited about?


What should we look out for? For me, it's Godzilla. It looks like they


have gone to the basics. The monster design is like the old Japanese


films. You can watch them and you can think this is talking about


terrorism. But you get to see a monster destroying a city as well.


Also, Grace of Monaco, that looks like Diana 2 Armed and Fabulous. Go?


The clip which was there was Calvary. Amazing Irish movie


starring Brendan Gleeson as a priest who may or may not have a week to


live. It's shocking and smart and it is funny as hell. OK. That is out in


April. That's all from us. We'll be back in


the autumn. We're going to play out with Let It


Go from Frozen, which won Best Animated Feature and Best Song at


Sunday's Oscars, and has just passed the $1 billion mark at the worldwide


box office. We will all be singing it. Thank you so much for watching.


# Let it go, let it go # Can't hold it back any more


# Let it go, let it go # That perfect girl is gone


# Here I stand, in the light of day # Let the storm rage on


# Let it go, let it go # Turn away and slam the door


# I don't care what they're going to say


# Let the storm rage on # The cold never bothered me anyway


# It's funny how some distance # Makes everything seem small


# And the fears that once controlled me, can't get to me at all


# It's time to see what I can do # To test the limits and break


through # No right, no wrong, no rules for


me # I'm free


# Let it go, let it go # I am one with the wind and sky


# Let it go, let it go # You'll never see me cry


Film 2014 hosts Claudia Winkleman and Danny Leigh return for the last episode in the current series. Under consideration this week is The Grand Budapest Hotel, the much-anticipated new film from writer-director Wes Anderson. Plus reviews of Jonathan Glazer's sci-fi thriller Under the Skin, starring Scarlett Johansson; and the sequel to 300, 300: Rise of an Empire. Claudia and Danny also take a look ahead to some of the big films due for release over the summer.

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