:00:24. > :00:27.We're on Twitter so please get in touch.
:00:28. > :00:37.Spielberg and Hanks reunited with tense
:00:38. > :00:46.Is there any outcome here where I'm not either detained or shot?
:00:47. > :00:49.Head over heels - Cate Blanchett and Rooney Mara star as 50s lovers
:00:50. > :01:00.Johnny Depp and Benedict Cumberbatch star in violent crime drama
:01:01. > :01:11.Plus we'll take a look at Pixar's latest offering The Good Dinosaur.
:01:12. > :01:18.And joining us is the always animated, Tim Robey.
:01:19. > :01:24.First up is Steven Spielberg's Cold War drama, Bridge of Spies.
:01:25. > :01:27.In surprise casting, Tom Hanks stars opposite British
:01:28. > :01:36.stage actor Mark Rylance, caught up in an East-West spy swap.
:01:37. > :01:44.An American pilot was flying a spy mission over the Soviet Union,
:01:45. > :01:48.taking pictures of installations. He was supposed to be flying so high no
:01:49. > :01:55.Russian missile could shoot him down. Buff they had a missile and
:01:56. > :01:59.they shot him down. They took a praise -- him prisoner. He remained
:02:00. > :02:06.there for quite a long time. We've got a Soviet Spy. Years before, the
:02:07. > :02:11.United States, a Soviet Spy was arrested and defended in court all
:02:12. > :02:17.the way up to the Supreme Court by a lawyer that was assigned to the
:02:18. > :02:21.case, that's who I play. I'm an insurance lawyer. Have you
:02:22. > :02:25.represented many accused spies? This will be a first for the both of us.
:02:26. > :02:32.The United States had a spy. The Russian has a pilot. Can we exchange
:02:33. > :02:37.them somehow and by way of a lot of cloak-and-dagger. He was making
:02:38. > :02:42.photographs from 70,000 feet when he was shot from the sky. People in my
:02:43. > :02:47.country consider this an act of war. Tell me that you're not going to be
:02:48. > :02:53.in any dangerer in Give me something to hold on to. I don't even care if
:02:54. > :03:00.it is the truth. I'm doing this for us.
:03:01. > :03:02.I'd never seen anything like this before. It's not completely
:03:03. > :03:06.predictable. That's one of the reasons that I was attracted to
:03:07. > :03:11.this. I didn't want the outcome, the end. We know there's going to be
:03:12. > :03:14.some kind of two story lines that will converge. But how the
:03:15. > :03:19.procedural part of Bridge of Spies evolves with the defence of the
:03:20. > :03:27.accused Soviet Spy, that's where the mystery is. How did we do? In there?
:03:28. > :03:32.Not too good. Apparently you're not an American citizen. That's true.
:03:33. > :03:39.And according to your boss, you're not a Soviet Citizen either. Well,
:03:40. > :03:44.the boss isn't always right. But he's always the boss. Stephen with
:03:45. > :03:48.this film has particularly focussed on the people. It's a human story.
:03:49. > :03:52.That's what is fascinating about. It it's why a lot of us watch a lot of
:03:53. > :03:55.old films and enjoy them. There's more time for you to indulge
:03:56. > :04:02.everyone's fascination with human beings. He's a threat to all of us,
:04:03. > :04:08.a traitor. Cold War thrillers have been an interesting genre for human
:04:09. > :04:12.behaviour. There are issues resolving around lit secrets and
:04:13. > :04:19.intimacies. Do you never worry? Would it help? We all knew of Mark
:04:20. > :04:23.and understood that here was this brilliant talent and I found him to
:04:24. > :04:30.be very compelling character. It made me want to listen and wait for
:04:31. > :04:37.him to deliver whatever the next emotional beat was. Standing man.
:04:38. > :04:42.Standing man. It's a lot of noise and there's a lot of talk and a lot
:04:43. > :04:45.of muse nick movies. Sometimes they're not nearly as powerful as
:04:46. > :04:53.the silence, just waiting to see what's going to happen. I'm not sure
:04:54. > :04:58.I want to pick that up. Tom as an actor is so fluid and natural. When
:04:59. > :05:03.you put it that way it's an honour to be asked. Writers do seven, eight
:05:04. > :05:09.drafts. Tom takes the line and doesn't change it. But he says it so
:05:10. > :05:12.conversationally. It feels like he's making up the words when he goes
:05:13. > :05:15.along. He doesn't change the dialogue, he says what is written
:05:16. > :05:18.for him. But he has a way of presenting it to us that feels like
:05:19. > :05:23.it's a friend talking to a lot of friends. Everyone deserves a
:05:24. > :05:27.defence. Every person matters. What do we deserve - do you know how
:05:28. > :05:33.people will look at us, the family a man trying to free a traitor? Don't
:05:34. > :05:38.go Boy Scout on me. Definitely stay away from the wall. Cross it and
:05:39. > :05:47.you'll be shot. A lot of people doesn't want this exchange to ever
:05:48. > :05:51.take place. We're so familiar with Spielberg for so long. You forget
:05:52. > :05:56.what a ninja master of a film maker he can be. The opening shot in
:05:57. > :05:59.Bridge of Spies is so perfect. There's a moment where Mark Rylance
:06:00. > :06:03.is a Russian spy, painting a self-portrait. He looks in the
:06:04. > :06:08.mirror back to the canvas. It's a perfect opening for a spy movie.
:06:09. > :06:12.Then three or four minute sequence where he's going about his business
:06:13. > :06:16.as a spy. No dialogue. All you hear is a ringing phone. He picks it up,
:06:17. > :06:20.doesn't say a word. Just gets on with his day. It's a spy movie that
:06:21. > :06:27.is in love with the idea of being a spy movie. You don't need to be such
:06:28. > :06:33.a strange herbert as me making notes to see this film is just impeccable.
:06:34. > :06:38.Wow, go on. I'm too scared to speak. Mad is what I was missing.
:06:39. > :06:42.Methodical. I like it. It's good. It's solid. It's Spielberg indulging
:06:43. > :06:48.his obsession with war again. All his films seem to be about war these
:06:49. > :06:53.days. He made five about the Second World War, War Horse and Lincoln. He
:06:54. > :06:57.was saying the American Civil War was kind of fought in the courtroom
:06:58. > :07:02.as much as on the battlefield. Here he's doing a similar thing, but
:07:03. > :07:05.saying the Cold War as a bunch of guys in coats shivering, standing in
:07:06. > :07:09.East Germany waiting for something to happen. That's more or less the
:07:10. > :07:12.ending of the film. It's perfect the image of that bridge at the end is
:07:13. > :07:16.beautiful and perfect. We do spend a lot of time waiting to get there.
:07:17. > :07:21.It's quite ponderous along the way. A whole lot of time. I had forgotten
:07:22. > :07:24.how brilliant that beginning was, there's a chase and there's Mark
:07:25. > :07:30.Rylance, magnificent, even when he doesn't speak. Hi just has to be
:07:31. > :07:34.there. Then there's what, eight hours, nine days... The Cold War
:07:35. > :07:38.itself was a bit longer. Talk about the film. I'm not sure I loved it as
:07:39. > :07:47.much as youment You clearly don't. No. It embraces the cliches of the
:07:48. > :07:51.spy movies. It's a movie that has no shame about having chase scenes
:07:52. > :07:54.through rain soaked streets and conversations with people who don't
:07:55. > :07:58.exist and the conversations never took place. It does all that stuff
:07:59. > :08:01.with aplomb. The look of cold scepticism on your face. I thought
:08:02. > :08:07.maybe I was watching a film just about a man who had a cold. We
:08:08. > :08:16.confuse the Cold War for that. Possibly I would like to be in that
:08:17. > :08:24.meeting, "Should I have a cold? I didn't dislike it. And Spielberg, I
:08:25. > :08:31.feel like I'm being unfaithful. Whatever you've done with Claudia,
:08:32. > :08:37.wow. I feel bad. But it's too, Mark Rylance is brilliant, Hanks is
:08:38. > :08:41.brilliant. Rylance nails it. He's magisterial in this part. It's like
:08:42. > :08:46.he's playing a poker game and hasn't told anyone else they're doing it
:08:47. > :08:54.and he's winning. He holds everything back. Cohen brothers is
:08:55. > :08:59.there with his lines. They've made this character an emblem of mystery.
:09:00. > :09:04.There are amazing double acts. Rylance and Hanks are the double act
:09:05. > :09:08.on screen. There's a saying in boxing, styles make fights. And if
:09:09. > :09:11.films too. Rylance disappears. You don't see him. You just see a
:09:12. > :09:16.strange, tough, little question mark of a man on one side of the table.
:09:17. > :09:23.On the other, a great movie actor, Tom Hanks can't ever leave his Tom
:09:24. > :09:26.Hanksness behind. One actor disappears inside his character, one
:09:27. > :09:30.that is the great every man. That's fascinating to see. You have this
:09:31. > :09:34.other double act, the Spielberg connection with the Cohen brothers.
:09:35. > :09:42.They're vital to this. Spielberg likes his rousing scores and he
:09:43. > :09:46.likes his hymns to America. The Cohens come in and there's a twist
:09:47. > :09:53.of lemon, prick things a bit. It's great. I'll ask you this, answer
:09:54. > :09:58.truthfully, was it tense for you at any point? It lacks tension. It has
:09:59. > :10:02.wit but it lacks the momentum. I feel that Spielberg let himself down
:10:03. > :10:06.slightly. I still feel tense now just thinking about it.
:10:07. > :10:09.Director Todd Haynes work stands out from the Hollywood mainstream.
:10:10. > :10:12.In Far From Heaven he put the spotlight on married gay men
:10:13. > :10:21.Cate Blanchett and Rooney Mara are the star-crossed lovers.
:10:22. > :10:35.What's your name? Therese. And yours? Carol. It really is a classic
:10:36. > :10:42.love story. What makes a love story memorable on film, which of the
:10:43. > :11:00.lovers are we rooted with as viewers and why? Thank you. Merry Christmas.
:11:01. > :11:05.Merry Christmas. I like the hat. It has a timeless feel. It's about the
:11:06. > :11:12.volcanic, exciting, heart-stopping, painful feelings of falling in love
:11:13. > :11:21.deeply and truly. Would you like to come visit me this Sunday? Yes. An
:11:22. > :11:26.older woman w, a child, in a fairly loveless marriage. And a young shop
:11:27. > :11:33.girl who fall in love. Carol? I miss you.. So it's the fallout from that.
:11:34. > :11:39.Obviously in the 50s, such a love was not only frowned upon, it was
:11:40. > :11:47.illegal. This is really about the early 1950s. Obviously, this is a
:11:48. > :11:51.kind of love that would disturb or challenge the Status Quo at the time
:11:52. > :11:59.and does so for both women. It shouldn't be like this. I know.
:12:00. > :12:03.Carol is such a true love story. Were there love stories in the past
:12:04. > :12:09.that you drew from? When I thought of it first off and for people who
:12:10. > :12:21.know the film, I'm sure many British viewers would, was Brief Encounter.
:12:22. > :12:23.You know, it's the story of two very middle class, familiar subjects,
:12:24. > :12:30.each settled in their own marriages and how they find each other and
:12:31. > :12:35.have this infatuation, upsets the sort of order and reliability of
:12:36. > :12:39.their lives, even just the structure of it, the way this conversation
:12:40. > :12:42.between the two central characters gets interrupted at the beginning of
:12:43. > :12:47.the film. Laura, what a lovely surprise... You don't know who they
:12:48. > :12:52.are yet. You don't know whose story it is yet. These are the questions
:12:53. > :12:58.that interruption poses. We do something similar in the structure
:12:59. > :13:07.of Carol. Is that you? What do you know. We're so obsessed in 2015 with
:13:08. > :13:11.text, with what's said, but I'm often fascinated by whats not said.
:13:12. > :13:17.I really should run. Are you sure? Of course. Of course, subtext, it's
:13:18. > :13:25.fantastic stuff to play with as an actor. Because it means that you can
:13:26. > :13:28.create characters or -- who are enigmatic and mysterious which draws
:13:29. > :13:35.in an audience. You two have a wonderful night. Every sign, every
:13:36. > :13:42.little gesture is subject to interpretation. Does this woman love
:13:43. > :13:46.me back? What is this love even comprise itself of since there's no
:13:47. > :13:54.real social, cultural example TV that she knows of. Make sure the
:13:55. > :13:59.loaf's on his way. Back in a flash. Throughout your career, you've been
:14:00. > :14:03.closely associated with Julie Ann Moore, and now Cate Blanchett. Can
:14:04. > :14:07.you imagine putting the two of them together in a film. My God, it would
:14:08. > :14:17.explode. I've been so lucky. I've worked with such amazing women and
:14:18. > :14:32.certainly Julie-Ann Moore I was associated with early on.er Frank?
:14:33. > :14:37.It called for a different kind of acting outside the language of
:14:38. > :14:44.naturalism. Something very, very specific, in this case, based on and
:14:45. > :14:45.inspired by the Mella drama, the high Mella drama era of Hollywood
:14:46. > :15:00.film making in the late 50s. More recently I've had two
:15:01. > :15:05.extraordinary experiences with Cate Blanchett. I doubt very much I would
:15:06. > :15:10.have gone with lunch with him. You are always the most beautiful woman
:15:11. > :15:14.in a room. I love Todd, he has the hunger of a student film-maker, able
:15:15. > :15:17.to work on a shoestring and passionate, but the visual landscape
:15:18. > :15:22.he creates, if you see Far From Heaven it is this jewel-like Douglas
:15:23. > :15:27.Sirk homage, and you think OK, that's what we are going to do in
:15:28. > :15:30.Carol and then he presents an entirely different palate working
:15:31. > :15:33.with a whole load of visuals from female photographers in the 50s
:15:34. > :15:41.unlike a very different take on the same aesthetic will stop he is
:15:42. > :15:47.endlessly creative. I admit, I am drawn to the frame that various
:15:48. > :15:55.moments in the past provide the present. And action!
:15:56. > :15:59.In a way it sort of gives the viewer this sort of slight distinction
:16:00. > :16:05.between where we are now and what we are looking at, to kind of draw some
:16:06. > :16:09.of their own conclusions about the contemporary moments, and also how
:16:10. > :16:20.far we may or may not have travelled from that moment in the past. I want
:16:21. > :16:23.it and I will not deny it. You may have got the impression I
:16:24. > :16:26.slightly like this film, I've been banging on about it since me and
:16:27. > :16:31.I've reached the point where every time I mention it I feel like a
:16:32. > :16:34.parody of myself, one day I will shut up but everybody must see it,
:16:35. > :16:39.it is wonderful. We're lucky to have it now, it's the only featured Todd
:16:40. > :16:44.Haynes has made this decade, he's chosen the right time with this
:16:45. > :16:47.cast. He's been trying to make this film for 20 years since the
:16:48. > :16:51.screenwriter drafted it in the 90s and it never came good and we
:16:52. > :16:54.finally have it and with his Erick Thohir will control and hand all
:16:55. > :17:03.over it. He's just the master of this stuff. -- directorial. The way
:17:04. > :17:06.it breaks with sadness all the way through, every scene with these
:17:07. > :17:09.women when we are willing it to happen and hoping it will and we
:17:10. > :17:13.know the problems they are facing and the obstacles between them. It
:17:14. > :17:21.is glorious and heartbreaking and great and everyone needs to see it.
:17:22. > :17:25.It is so beautiful, isn't it? It's a phenomenal time machine and
:17:26. > :17:28.as the credits roll, you think 2015, because you were so immersed in the
:17:29. > :17:33.50s and it's interesting how he did that, the production design, the
:17:34. > :17:38.brand of cigarettes, the hair design. And the costumes! It is
:17:39. > :17:42.perverse to talk about this film and not get too Cate Blanchett and
:17:43. > :17:47.Rooney Mara. It's about the extras as well, one of the weather films
:17:48. > :17:50.comes to life, in a period drama you will often have a solitary extra
:17:51. > :17:54.standing in the corner wondering whether they have the role of the
:17:55. > :17:58.corpse in the CSI and they are done up and it feels incredibly stilted
:17:59. > :18:02.and artificial. You know that just out of shot there is a man in a
:18:03. > :18:05.fleece and people with walkie-talkies and having Starbucks.
:18:06. > :18:10.Todd Haynes, I guarantee he will have gone to the extras, 25 to 30
:18:11. > :18:13.people in the scene, everyone will have something the character is
:18:14. > :18:18.doing, even if it is a nonspeaking part. They are on a mission. They
:18:19. > :18:22.will go to see the dentist, pick up dinner, they will be going to have
:18:23. > :18:25.an affair. That means that when Rooney Mara and Cate Blanchett come
:18:26. > :18:29.out onto the street in New York it feels alive and real and almost like
:18:30. > :18:33.documentary. He has got that from the photographs as they were saying,
:18:34. > :18:36.from the era, from the paintings from people like Edward Hopper, tiny
:18:37. > :18:42.figures in the background that would pop up in those paintings. Cate
:18:43. > :18:45.Blanchett and Rooney Mara, how different they look and their
:18:46. > :18:47.energies together, how the older woman is pretending not to be
:18:48. > :18:51.vulnerable and it seems to be in charge but she is not because her
:18:52. > :18:55.life is falling apart and Cate Blanchett manages to do those two
:18:56. > :18:59.layers, she is kind of controlled and flirty, and kind of seems to be
:19:00. > :19:03.the queen of her domain, but actually underneath it she is
:19:04. > :19:06.absolutely distraught. Meanwhile, Rooney Mara plays her role as
:19:07. > :19:11.someone who has not discovered herself yet, waiting to be brought
:19:12. > :19:16.out of herself forced up she is extraordinary. I've never liked
:19:17. > :19:21.Rooney Mara as much as this. She threw herself into it emotionally
:19:22. > :19:26.the best and I think she is great. Anyone who appreciates in a film
:19:27. > :19:28.what it is to have perfect colours balancing each other and come
:19:29. > :19:33.plummeting each other in every frame I think will get a lot out of this,
:19:34. > :19:38.it is a film to go back to again and again. The layers, I know this
:19:39. > :19:43.sounds hilarious, but the cutlery, the wallpaper, the drapes, her
:19:44. > :19:51.skirt, what they eat. Now I only ever want spinach and poached eggs
:19:52. > :19:56.and a Martini, it sounds odd but watch the film. It is the dynamic,
:19:57. > :20:01.Cate Blanchett looks at home in the 50s, as an actress, this golden age
:20:02. > :20:14.of Hollywood, it makes sense for her to be in the 50s. You could imagine
:20:15. > :20:22.Oscars awards and Cate Blanchett would be alongside those actors from
:20:23. > :20:25.the 50s. It is like gonzo from the Muppets, there is a line in the
:20:26. > :20:30.script that may have been taken from the book. She says what a strange
:20:31. > :20:34.girl you are, flung out from the space. One of the beta full line is
:20:35. > :20:40.that the screenwriter realised he has to have in the screenplay. It is
:20:41. > :20:43.very economical, very pared down. Cate Blanchett says everything is
:20:44. > :20:49.obsessed by text, it is what they say. It is a love story, so,
:20:50. > :20:53.located. Not just about finding each other and being happy, it has so
:20:54. > :20:57.many layers. And the chemistry, you don't have a film this good by
:20:58. > :21:02.having one good performance, not even two, it has to be three or
:21:03. > :21:07.more. As soon as their eyes cross across the department store you are
:21:08. > :21:11.aware something is going on. There is not a sexless couple. It is a
:21:12. > :21:15.real love story with heartbreak and sex and all the points in between.
:21:16. > :21:17.Next, Black Mass, starring an almost unrecognisable Johnny Depp
:21:18. > :21:27.as Boston gangster Whitey Bulger. I need to know everything you know
:21:28. > :21:35.about your former boss and now fugitive James "Whitey" Bulger. In
:21:36. > :21:42.the beginning Jimmy was a small-town player. He's a very smart,
:21:43. > :21:48.disciplined man. Black Mass tells the story of two brothers in the
:21:49. > :21:52.city of Boston in the 1970s and 80s, one is the most notorious criminal
:21:53. > :21:58.in the city's history, played by Johnny Depp. Look at his face! His
:21:59. > :22:01.brother is the most powerful politician in the city played by
:22:02. > :22:05.Benedict Cumberbatch. Joel Edgerton's character is one of the
:22:06. > :22:09.heads of the FBI who brings Johnny Depp in as an FBI informant. I can
:22:10. > :22:17.help you, Jimmy command you can help me. He gives him a Licence to Kill.
:22:18. > :22:21.The idea they are from the same womb, these two political polar
:22:22. > :22:30.opposites came into being, it is fascinating and Shakespearean. It is
:22:31. > :22:36.some great drama. God help us. Why has nobody nailed "Whitey" Bulger?
:22:37. > :22:41.He seems to be involved in every crime and the bureau says he is
:22:42. > :22:48.clean. What has Bulger done? What has he done? Everything. I want to
:22:49. > :22:55.see a man who is extremely cold, calculating and violent, who could
:22:56. > :22:58.be humourless with his mum, tender with his girlfriend. The biggest
:22:59. > :23:06.challenge is because it is a true story there are so many victims in
:23:07. > :23:15.the victim's family. It is still very fresh so my aim was not to
:23:16. > :23:16.trivialise or glamorise the events. It was done in an unflinching
:23:17. > :23:27.manner. Johnny is probably one of the most
:23:28. > :23:31.famous people in the world so we had to make him look as much as "Whitey"
:23:32. > :23:36.Bulger as possible. Johnny has dark brown, almost black eyes and
:23:37. > :23:39.Whitey's eyes were big and blue and extremely piercing, so piercing that
:23:40. > :23:41.people would have a difficult time maintaining eye contact with him.
:23:42. > :23:52.You're welcome. I think when the film is good, and
:23:53. > :23:56.it is sometimes very good, it lives up to its title, it is essentially a
:23:57. > :23:59.horror movie and when it is at its best Johnny Depp makes your skin
:24:00. > :24:05.crawl in a way he has not done before. He's playing a character
:24:06. > :24:08.somewhere like every psycho in a pub who threatened to blast somebody
:24:09. > :24:11.over a spilled point, there is something authentically queasy about
:24:12. > :24:16.him, certain points when you can smell him, the cheap cologne and bad
:24:17. > :24:20.breath, the sense of rotten in him. In those moments the film works
:24:21. > :24:25.brilliantly. There are other times where I would not say it goes as far
:24:26. > :24:29.as glamorising violence, as the director said, but it wants to
:24:30. > :24:33.introduce you to this exciting young director called Martin Scorsese,
:24:34. > :24:37.those moments I feel I have seen those films and I don't necessarily
:24:38. > :24:41.need to see another version of them, no matter how wonderful Johnny
:24:42. > :24:45.Depp's contact lenses are. I absolutely loved it and didn't think
:24:46. > :24:48.I would. Often these things are about expectations, I thought it was
:24:49. > :24:52.going to be so bad. There are some parts that are excessively violent,
:24:53. > :24:57.but he is terrifying. Family times have you seen somebody when you
:24:58. > :25:02.think, oh no! Who you never want to cross paths with? I resist the kind
:25:03. > :25:10.of film this looks like sometimes, the gangland biopic, about a dude
:25:11. > :25:13.who killed lots of people and has the FHM reader lad appeal which I
:25:14. > :25:16.don't like but this film fails on that and does not have truck with
:25:17. > :25:19.it. It has gone more in the horror direction and instead of trying to
:25:20. > :25:23.tell us what the real "Whitey" Bulger was like, which is not
:25:24. > :25:29.interesting, it decides he's not really human, at least 50% snake,
:25:30. > :25:36.he's like this weird creature. Folder mort. He does not grow or
:25:37. > :25:39.evolve as a biopic would normally have him do. Johnny Depp is still
:25:40. > :25:42.doing essentially a 1 note performance but it's a brilliant
:25:43. > :25:46.note all stopped it is not this brilliant new career direction he's
:25:47. > :25:51.gone in when he's going to show real acting again, he's doing sort of the
:25:52. > :25:55.great stunt performance, but the thing that keeps the film inflow
:25:56. > :26:01.beyond him is the fact everyone else around him is good. Except Benedict
:26:02. > :26:08.Cumberbatch. The Boston accident is not great. He's only in two seems.
:26:09. > :26:13.It is interesting casting, because Johnny Depp even fits this role. Men
:26:14. > :26:16.who are made of sausage meat in sweaty dry nylon. Because of the
:26:17. > :26:19.kind of character he's playing, the one good man in Boston, it makes
:26:20. > :26:23.sense to have this fine boned English man. I don't think is meant
:26:24. > :26:27.to be that good, he's trying to be that caught in the middle. Joel
:26:28. > :26:32.Edgerton is very good. Joel Edgerton is extraordinary. He almost has as
:26:33. > :26:36.much green time as Johnny Depp and he goes on a journey with his
:26:37. > :26:42.character, he has to sell himself out he becomes a ridiculous parody a
:26:43. > :26:47.strutting peacock that the FBI think is a laughing stock. He's very funny
:26:48. > :26:50.and squirmy and a bit stupid. He plays the character bit dim and all
:26:51. > :26:57.of these things work. And also what I love is the change is slow. There
:26:58. > :27:01.is the scene with his wife, where she goes, you are walking
:27:02. > :27:04.differently. You can see it happen. The female roles in this kind of
:27:05. > :27:07.film can often be real windowdressing. But both Dakota
:27:08. > :27:12.Johnson and Julianne Nicholson who plays his wife both put up some
:27:13. > :27:21.fight, they have really good scenes and even Temple, who is jail bait,
:27:22. > :27:24.does it well. Peter Sarsgaard, on the film is threatening to come in
:27:25. > :27:29.to a low zone, you wonder how much cocoa has been done. I just wish
:27:30. > :27:32.there was less latex and he looks like Mars attacks at times and that
:27:33. > :27:37.is not what they were going for. Next is The Good Dinosaur,
:27:38. > :27:40.Pixar's latest. Arlo, a young dinosaur, sets out to
:27:41. > :27:46.find his lost family with the help of cave boy toddler, Spot.
:27:47. > :28:01.Family. Yes, that's your family. It's about a young boy becoming a
:28:02. > :28:03.man, it's a survival story where Arlo is going through these
:28:04. > :28:09.tribulations but being helped out by this friend, Spot, and achieves
:28:10. > :28:14.things he never thought possible. In our story we flipped the concept of
:28:15. > :28:19.the boy and the dog where the boy is the dinosaur and the dog is a little
:28:20. > :28:26.human boy. Come here, Spot! You are the cutest thing. Spot steals the
:28:27. > :28:30.movie in some ways. He's this little animal but you do see humanity in
:28:31. > :28:37.the character. Jack Reacher protected you. Why? -- that
:28:38. > :28:43.creature. Visually trying to find the boy inside Arlo in terms of how
:28:44. > :28:46.to do it would be difficult. If you threw them out in the nature we
:28:47. > :28:51.created you would say you are an animal, eat the leaves and drink the
:28:52. > :28:56.water but we pushed elements you can empathise with, he's still that kind
:28:57. > :29:01.of growing kid. Hey, you are a great kid. His knees are not bully and his
:29:02. > :29:05.eyes are bigger and when he is thrust out there who feels like a
:29:06. > :29:14.stranger out there wondering if he can survive.
:29:15. > :29:26.Wow. LAUGHTER
:29:27. > :29:30.I loved Jurassic World but at the same time we were trying to do
:29:31. > :29:35.something different. A lot of dinosaur movies, the ending is
:29:36. > :29:42.always being attacked by a monster or a carnival and we were pushing
:29:43. > :29:53.for something emotional. -- carnivore. What?
:29:54. > :30:01.I'll let you guys start. Yes, well, I mean Pixar, two films of the year,
:30:02. > :30:04.unusual. Inside Out was the A side, clever, conceit, funny. This is
:30:05. > :30:09.definitely not that. It's something else. It's sort of... Depressing?
:30:10. > :30:14.I'll go with that. You really hate it. It's like a vegan, pacifist,
:30:15. > :30:17.hippie love-in. It's not that. Because I'd like to see that. I like
:30:18. > :30:20.those things about it. The other thing I thought about it was that
:30:21. > :30:26.you don't get much plot. You don't get plot. No. He's doing the same
:30:27. > :30:31.thing. So he keeps doing the same thing. If there is a plot, you go he
:30:32. > :30:41.doesn't like that, then he does it again. It's an odyssey. It's not!
:30:42. > :30:45.You get an add lessent dinosaur tripping and looking into the sky.
:30:46. > :30:52.That sounds fantastic. Which film due see. He didn't just feed me
:30:53. > :30:58.something weird before it. There were bits that you love about it.
:30:59. > :31:03.Because he's so young and sweet and will attract small people,
:31:04. > :31:12.five-year-olds, then it's a very sad film. I don't really understand.
:31:13. > :31:16.He's a dufus. I like a dufus but he's uncredibly unlucky and it's
:31:17. > :31:21.repetitive. I don't think it's depressing. My ten-year-old son saw
:31:22. > :31:29.it and found it depressing. It's the amount of peril here. For modern
:31:30. > :31:33.Pixar, there are super communities who could take over humanity.
:31:34. > :31:39.There's are hyperrealistic breaths of wind through the feeds. I liked
:31:40. > :31:43.the fields. Yeahs it's not -- yeah it's not - The baddies aren't scary
:31:44. > :31:49.enough, but it's just sad. There is peril. It reminds me of Incredible
:31:50. > :31:54.Journey and kids find that really hard to deal with. I've seen kids
:31:55. > :31:58.burst into tears and wailing. It's a bit with this. Real kids might find
:31:59. > :32:02.it, three and four-year-olds attracted by the cute face. They'll
:32:03. > :32:06.not understand. Film of the week. Carol. Carol of Spies. Carol.
:32:07. > :32:11.Playing us out tonight is David Lean classic, Dr Zhivago,
:32:12. > :32:16.Now it's being re-released in cinemas nationwide,
:32:17. > :32:20.part of the British Film Institute's Love Season.
:32:21. > :32:29.Thanks for watching. Sorry to the dinosaur. Night-night.
:32:30. > :32:40.Get in. Come. How many? All of us. Not
:32:41. > :32:45.enough room. There's got to be room. It's all right I have to bring our
:32:46. > :32:57.sledge. This train can't wait. There are important people on it. You
:32:58. > :32:59.start, I'll catch you up. We'll see you.
:33:00. > :33:54.Hurry! For the sad old earth
:33:55. > :34:13.must borrow its mirth,