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.


Similar Content

Browse content similar to Episode 7. Check below for episodes and series from the same categories and more!

Transcript


LineFromTo

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

:00:26.:00:36.

up... Ray finds leads a galaxy of Starts

:00:37.:00:42.

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

:00:43.:00:45.

before! Glistening torsos are back in 300:

:00:46.:00:49.

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

:00:50.:00:54.

than live on our knees. Scarlett Johansson embodies an alien

:00:55.:00:59.

femme fatale in Under The Skin. Come to me.

:01:00.:01:05.

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

:01:06.:01:13.

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

:01:14.:01:18.

Budapest Hotel. There is some strong language.

:01:19.:01:23.

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

:01:24.:01:30.

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

:01:31.:01:36.

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

:01:37.:01:43.

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

:01:44.:01:46.

with the setting, it was one character.

:01:47.:01:50.

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

:01:51.:01:59.

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

:02:00.:02:03.

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

:02:04.:02:08.

him. This may be the last time we see

:02:09.:02:14.

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

:02:15.:02:22.

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

:02:23.:02:28.

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

:02:29.:02:32.

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

:02:33.:02:36.

completely wrong. I am physically riposte.

:02:37.:02:40.

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

:02:41.:02:51.

will and testament in. I bequeath the painting.

:02:52.:03:00.

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

:03:01.:03:05.

character realises the extent to which it has become bad.

:03:06.:03:21.

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

:03:22.:03:27.

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

:03:28.:03:38.

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

:03:39.:03:46.

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

:03:47.:03:50.

more of a sense of community than you often get.

:03:51.:03:55.

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

:03:56.:04:01.

ten bloodhounds ready in five minutes.

:04:02.:04:11.

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

:04:12.:04:16.

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

:04:17.:04:26.

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

:04:27.:04:30.

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

:04:31.:04:36.

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

:04:37.:04:46.

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

:04:47.:04:52.

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

:04:53.:04:58.

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

:04:59.:05:04.

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

:05:05.:05:09.

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

:05:10.:05:14.

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

:05:15.:05:20.

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

:05:21.:05:27.

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

:05:28.:05:31.

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

:05:32.:05:38.

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

:05:39.:05:48.

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

:05:49.:05:54.

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

:05:55.:06:03.

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

:06:04.:06:09.

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

:06:10.:06:18.

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

:06:19.:06:20.

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

:06:21.:06:25.

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

:06:26.:06:30.

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

:06:31.:06:34.

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

:06:35.:06:41.

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

:06:42.:06:46.

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

:06:47.:06:57.

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

:06:58.:07:10.

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

:07:11.:07:21.

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

:07:22.:07:26.

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

:07:27.:07:30.

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

:07:31.:07:35.

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

:07:36.:07:38.

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

:07:39.:07:46.

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

:07:47.:07:53.

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

:07:54.:07:59.

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

:08:00.:08:04.

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

:08:05.:08:13.

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

:08:14.:08:19.

film about war and what it does to people.

:08:20.:08:23.

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

:08:24.:08:31.

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

:08:32.:08:43.

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

:08:44.:08:53.

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

:08:54.:08:59.

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

:09:00.:09:10.

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

:09:11.:09:16.

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

:09:17.:09:24.

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

:09:25.:09:39.

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

:09:40.:09:43.

the water. Who is the architect of this

:09:44.:09:46.

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

:09:47.:09:58.

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

:09:59.:10:03.

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

:10:04.:10:17.

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

:10:18.:10:21.

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

:10:22.:10:28.

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

:10:29.:10:37.

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

:10:38.:10:48.

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

:10:49.:10:54.

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

:10:55.:11:01.

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

:11:02.:11:07.

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

:11:08.:11:11.

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

:11:12.:11:14.

biased! He is adorable in that interview! He

:11:15.:11:34.

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

:11:35.:11:39.

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

:11:40.:11:47.

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

:11:48.:11:54.

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

:11:55.:11:59.

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

:12:00.:12:04.

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

:12:05.:12:13.

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

:12:14.:12:17.

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

:12:18.:12:22.

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

:12:23.:12:29.

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

:12:30.:12:35.

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

:12:36.:12:46.

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

:12:47.:12:57.

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

:12:58.:13:04.

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

:13:05.:13:09.

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

:13:10.:13:14.

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

:13:15.:13:21.

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

:13:22.:13:27.

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

:13:28.:13:35.

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

:13:36.:13:38.

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

:13:39.:13:46.

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

:13:47.:13:51.

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

:13:52.:13:58.

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

:13:59.:14:03.

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

:14:04.:14:12.

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

:14:13.:14:19.

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

:14:20.:14:26.

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

:14:27.:14:34.

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

:14:35.:14:38.

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

:14:39.:14:43.

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

:14:44.:14:50.

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

:14:51.:14:55.

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

:14:56.:15:00.

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

:15:01.:15:04.

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

:15:05.:15:09.

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

:15:10.:15:16.

Now, Scarlett Johansson stars as a predatory seductress in Jonathan

:15:17.:15:17.

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

:15:18.:15:36.

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

:15:37.:15:42.

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

:15:43.:15:50.

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

:15:51.:15:55.

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

:15:56.:16:05.

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

:16:06.:16:09.

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

:16:10.:16:21.

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

:16:22.:16:27.

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

:16:28.:16:34.

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

:16:35.:16:39.

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

:16:40.:16:45.

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

:16:46.:16:54.

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

:16:55.:16:58.

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

:16:59.:17:02.

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

:17:03.:17:07.

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

:17:08.:17:10.

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

:17:11.:17:18.

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

:17:19.:17:22.

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

:17:23.:17:33.

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

:17:34.:17:38.

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

:17:39.:17:42.

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

:17:43.:17:50.

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

:17:51.:17:56.

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

:17:57.:18:05.

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

:18:06.:18:09.

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

:18:10.:18:24.

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

:18:25.:18:33.

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

:18:34.:18:37.

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

:18:38.:18:41.

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

:18:42.:18:47.

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

:18:48.:18:52.

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

:18:53.:18:56.

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

:18:57.:19:02.

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

:19:03.:19:10.

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

:19:11.:19:14.

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

:19:15.:19:20.

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

:19:21.:19:32.

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

:19:33.:19:35.

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

:19:36.:19:43.

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

:19:44.:19:52.

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

:19:53.:19:57.

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

:19:58.:20:02.

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

:20:03.:20:07.

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

:20:08.:20:11.

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

:20:12.:20:16.

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

:20:17.:20:26.

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

:20:27.:20:30.

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

:20:31.:20:34.

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

:20:35.:20:42.

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

:20:43.:20:46.

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

:20:47.:20:51.

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

:20:52.:20:57.

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

:20:58.:21:01.

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

:21:02.:21:08.

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

:21:09.:21:11.

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

:21:12.:21:19.

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

:21:20.:21:24.

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

:21:25.:21:35.

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

:21:36.:21:38.

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

:21:39.:21:42.

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

:21:43.:21:46.

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

:21:47.:21:50.

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

:21:51.:21:56.

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

:21:57.:21:59.

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

:22:00.:22:04.

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

:22:05.:22:08.

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

:22:09.:22:13.

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

:22:14.:22:18.

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

:22:19.:22:25.

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

:22:26.:22:30.

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

:22:31.:22:33.

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

:22:34.:22:38.

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

:22:39.:22:43.

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

:22:44.:22:47.

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

:22:48.:22:50.

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

:22:51.:22:54.

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

:22:55.:22:56.

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

:22:57.:23:08.

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

:23:09.:23:52.

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

:23:53.:23:59.

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

:24:00.:24:20.

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

:24:21.:24:37.

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

:24:38.:25:22.

captain. They will continue to whisper your

:25:23.:25:30.

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

:25:31.:25:45.

thing your whole life and she's down there.

:25:46.:25:55.

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

:25:56.:26:08.

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

:26:09.:26:19.

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

:26:20.:26:26.

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

:26:27.:26:31.

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

:26:32.:26:38.

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

:26:39.:26:42.

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

:26:43.:26:47.

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

:26:48.:26:59.

The clip which was there was Calvary. Amazing Irish movie

:27:00.:27:04.

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

:27:05.:27:08.

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

:27:09.:27:13.

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

:27:14.:27:17.

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

:27:18.:27:21.

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

:27:22.:27:24.

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

:27:25.:27:29.

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

:27:30.:27:47.

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

:27:48.:28:07.

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

:28:08.:28:13.

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

:28:14.:28:25.

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

:28:26.:28:29.

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

:28:30.:28:32.

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

:28:33.:28:36.

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

:28:37.:28:45.

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

:28:46.:28:50.

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

:28:51.:28:52.

through # No right, no wrong, no rules for

:28:53.:28:55.

me # I'm free

:28:56.:28:58.

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

:28:59.:29:03.

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

:29:04.:29:06.

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.


Download Subtitles

SRT

ASS