Guest critic Antonia Quirke joins Claudia Winkleman and Danny Leigh on the sofa for previews of 1950s New York romance Brooklyn and murder movie Kill Your Friends.
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Hello and welcome to the new series of Film 2015.
We'd like to hear from you, so please do tweet us or get
Sersha Ronan sets sail for America in period romance, "Brooklyn".
How would it be for you if I did go home? I would be afraid. Afraid I
wouldn't come back? Murder on the dancefloor
for Nicholas Hoult in And Oscar-winning screenwriter Aaron
Sorkin on the joys of writing. Most of the time I'm banging my head
against the wall because I can't think of what to write.
Plus "He Named Me Malala" - the life and times of the girl who was
With me, as ever, is the gorgeous Danny Leigh.
And completing the sofa line up for this first show is glorious
Thank you both so much. Danny, what's been your favourite film, if
this isn't too weird a question, since we've been off air? Mad Max
the Rewrite, and the Lobster. Not the Lobster and not Spectre. That's
clear. Mine would be Amy. I feel like we're offer.
First up, the big screen adaptation of Colm
Set in the 1950s, Sersha Ronan stars as a young woman
who leaves Ireland behind to start a new life in New York.
I'm away to America. My sister is there. I can't buy you a future,
can't buy you life you need. Will you come see me one day? Yes.
Passport, please. This way, next, please. It is set in the 1950s and
it is about this young woman calmed ailish who is sent to live in
Brooklyn New York. And really the goal is for her to have a better
life. Father Flood sponsored me, found you a job. I will thank you to
keep his name out of the conversation. We need Irish girls in
Brooklyn. I wish I could stop feeling like I'm an Irish girl in
Ireland. She goes through extreme homesickness and it weighs her down
for a long time. Gradually it is lifted off her a little bit and she
false in love. I'm ready. It is about which life she wants
ultimately. I felt it was the first time I had seen an el immigration
story in the Irish context told from the point of view of a young woman.
Dear Rose, thank you for your letter. I was happy to hear about
your golf tournament. You must have been really pleased. I still miss
you and mother and think about you every day. I think column in the
novel and then Nick in the screenplay captured that exact
emotional discombobulation that happens when somebody moves from
their homeland to another country. When we were making it, in the year
leading up to shooting the film, the she had been through that thing
herself and was confused by it. But she was lucky enough to have the
film to place all of that emotion on screen. Hello? Mammy? Everyone's
gone, I have nobody. How would it be for you if I did go home? I would be
afraid. Afraid that I wouldn't come back? Brooklyn has changed me. It is
still deeply affects me. It was tough and you were in quite a
vulnerable position because we were telling a story about your
relationship with home and you want to get that right. You have beaches
in Brooklyn. It's not the same. Ireland will always be in my heart
and I will take it with me wherever I go, but there's other places I
want to live, where I want to work. Home is home.
Danny, what did you think? It is such a simple thing you keep
expecting something else to happen, like it will turn into a zombie
film, but none of that happened. It is so clean, so sweet, so pure
vanilla you think you must be about to either die of boredom or throw up
and you realise you've been sucked in and you are wrapped up in a love
triangle. You would have to be a person of a hard and small heart not
to become smitten with it. I don't know quite why I like it. Some films
you can analyse and dissect them and pin down what's so great about them.
There is something on going on with Brooklyn. It is the magic of cinema.
And didn't this film appear at Sundance and everybody went, there
was a huge fight. It sold for more money than any other film has done.
It is very moving and incredibly timely. This is a movie about
immigration. Immigration is the great public debate of our time.
There can't be a single person watching tonight who hasn't at some
point over the last few months thought about their relationship
with the idea of the emigre. Of course this isn't an issue film. It
is not about escaping conflict and it is set in the past. But the thing
about good cinema is that it is immediate. It feels condemn tri. I
think you saw in that VT before they were talking about homesickness. I
think it does that better than most filmsive have ever seen on that
subject. Homesickness. Really that's what it is. This terrible freight of
regret and longing. This idea of an uphill mountain you have to climb to
reinvent yourself. It aces that beautifully. There are lots of
things one feels about it but isn't this all about her? I can't think of
another actress who could do it without it being slightly sepia or
adorable or cosy. She, her face, the way she does it, she is almost, as
if this isn't too weird, quite cold. That's a good word, cold. I think
she would make a good serial killer can. She's been a great actress
waiting for the right film. Without this it would be icky. If you think
about an actress like Carey Mulligan and the people who made this film.
They made An Education. That film launched Carey Mulligan's film.
Think of an actress like Mulligan, who is high impact, or Andrea Rose
borough, it is could that she is much more withdrawn and withheld.
What it makes you feel is optimistic for her career. There's resume for
development. Her bag of tricks is not all out yet and that's really
another great thing. She is so good at pensive silence. A lot of actors
can't do that, they look like they are under heavy sedation. And
shouldn't we mention Nick Hornby's script? It is not overladen, there
are proper moments of silence. Beautifully done. He's an
interesting screenwriter. When he is adapting even his own books he does
take the melodrama out of things. He's taken this moval and blurred a
few of the lines in an interest way. One of the interesting things it
does which I really love is seeing a society and culture in a way we have
been seen before. We've seen a lot of working class Ireland on film. We
haven't seen post war rural middle class aspirational Ireland, the
Ireland of golf clubs and four-course dinner at the golf club
with wine and coffee. It was exciting. And it works like a
thriller. I totally agree. The second half of the movie feels as
jangly as Mad Max, which I have mentioned twice. Double entry
book-keeping and walks along the beach. We love it, you must go.
Nicholas Hoult stars as a ruthlessly ambitious music industry exec who'll
As you might imagine, wannabe record executives use some
UN you are standing on wafer thin ice. Beneath your feet you can see
sharks circling. These are your colleagues, your friends. Lock off.
Welcome to the music industry. It is about an A and R manager, someone
who is ruthless and cut throat about trying to keep his job in a world
filled with people who aren't good at their jobs and don't realise what
going be a success, so are living in fear constantly. Only one thing in
fear constantly. Only one thing matters in this racket - big hit
records. They could develop. Like a facting tumour. This is based more
around how uncreative and diabolical the industry could be. A lot of
people I know that are in the industry see a lot of realities come
to life in this. How do you want to play this? You be the enthusiastic
music lover, bang on about indie B sides. I will do the industry thing
when it says tell us about the label. The mentality of the record
industry the film represents I would say is fairly accurate. So, what's
your favourite track? For me one of the biggest reasons I want to be
involved in this is that it is an authentic voice. John worked in the
music industry and it is talking about music in a very authentic way.
And the way that John writes dialogue has a special rhythm to it
that took a bit of writing. We'll interfere with the artistic process,
mix tracks without your permission and force you to appear on
children's programmes when you are ill in the morning. Antonia? I can't
think of a single good thing to say about this film. Oh, no! Sorry, I
have tried. I'm not going to pull any punches. This is a very faithful
adaptation of a sour screenplay of the sourest book you could possibly
imagine. Now, it is not a thrilling film. It is not radical, it is not
particularly genuinely angry and neither is it shocking. If you want
to see a radical shocking satire on the music industry, watch 24 Hour
Party People. The reason that movie stands up is because it is a satire
of something it loves. This doesn't work because it is a satire of
something it hates. If you are going to go and spent 10 quid in the
cinema are you going to spend it on something that's full of hate? I
think it is toxic. I really hated it. What about Nicholas Hoult? I
love him. There were some great movement, you didn't agree? Nicholas
Hoult was really great in Mad Max. I think we can put this to one side.
It is an uncanny time capsule of 1997. The problem was 1997 was
possibly the worst year in modern British history. You can't possibly
mean that. There was stuffed crusts in pizzas, Oasis. And you felt like
you were locked in a room with 100 people doing cocaine. You don't want
to be taken back there, Danny. I never did it anyway, so I sat there
miserably. That's the problem with the film, the people old enough to
appreciate why this is quite so funny and why the mention of a
menswear CD is inspired are going to be old enough to not to want to go
back to 1997 and to remember the looming elephant in the room,
American Psycho. Nicholas Hoult wanted to be involved in it is
because of the breaking of the fourth wall aspect, the looking to
camera, the speaking to camera. When he's walking down the plane, he's
talking to me. I felt it. It doesn't work. Even chaplain struggled with
that? The Great Dictator. It is hard to get right. When it does work,
like in American Psycho, it is not a brilliant film but a great
performance... Can I say, what did you think of this scene in Cannes
where Maurice is... The mullet and he's playing his song. You love that
scene. Did you not like that scene? No, there's nothing about the
film... Listen, I think there is stunny stuff here. John Niven is a
funny writer, there is funny lines. There's morbid entertainment value
in matching up the semi fictional bands on screen with their real-life
counterparts. Nicholas Hoult is funny and Cossack dances ashes the
gents That stuff works. You keep coming back to the same problem,
that '90s was a terrible time. It is so sour, full of loathing for
anything. The one thing I liked about it was the Lazies. They were a
good band. OK. You were on your own like that. You are saying it is
almost like you could doing alpicture of Alex James and it would
make the same point about the 1990s. Let's leave it behind. That's harsh,
he makes delicious cheese. Next, Oscar-winning writer of "The
Social Network", "The West Wing" and Since
his big screen debut 23 years ago, Sorkin has become Hollywood's "go
to" man for smart, witty screenplays Just don't ask him to talk
about himself. I'm a lot better on paper than I am
in person. What you do? I play the orchestra. My friends, my daughter,
my beer ads in Chile. What you protect me for? $1700 a week. I
wouldn't take a bullet for that. Did you order the code red? Your dam
right I did! The cliche about Hollywood writers
is that they start writing because they are uncomfortable in speaking.
Was that true with you? I would much, much rather do this interview
by e-mail them the way we are doing it right now. I am not as polished
as the characters I write or as smart as they are all witty. That is
something that happens when I am in a room by myself and have time. And
I'm doing the thing I am most comfortable at. But that quality
also helps me identify with the ball like Steve Jobs and Mark Zarco Berg.
You are going to be a very successful computer person. You will
go through life thinking that girls don't like you, and I want you to
know from the bottom of my heart but that won't be true.
Mark Zarco Zuckerberg invented something that he needed. Are you
OK? We are ranking girls. Other students? This is in such a good
idea. I need the algorithm. That cliche about writers is true for me
and has helped me identify with some people I have written. Aaron Sorkin
burst onto the Hollywood scene in 1992 with his debut screenplay a few
good men. You want answers? I want the truth! You can't handle the
truth! I don't write things that are meant to be read. I write things
that are meant to be performed. So my job isn't over once the script is
done. And is that important to you as a writer, do you have a
relationship with the director? Some directors would think, once I have
the script, I am done with the writer. I wouldn't want to work with
that director. Everyone is waiting for the man. It is an abstract. In
his new film, Steve Jobs, Aaron Sorkin collaborates with Danny
Boyle, and a new set of actors face the challenge of 180 pages of his
language, a daunting chance. I remember flicking the pages and
going, there were no stage directions, it was just people
talking, and it was like a plate, a very long play. And that is
overwhelming and intimidating, and your instinct as an actor is I
absolutely can't do this. But all I had to do was take a breath and
think about poor Michael Fassbender who is on every single page. I can't
even pick the script up, it is so... Don't panic! And I am proof
after three years of Newsroom, you will survive this. Ask me again. Ask
me your idiot question again. What makes America the greatest country
in the world? You do. When I find an actor who I really like we think
fits particularly well with the style I like to write in, I try to
keep that actor in my pocket, work with them as many times as I can. I
tried to work with actors and actresses from the West Wing cast as
often as I can. It is like getting back together with your old band. I
am on the way to see the president. Flamingo is on her way. What did you
call me? Tell me about your writing routine. The cliche is someone
sitting there at 2am. I do have much of a routine because most of the
time I am banging my head against the wall because I'm stuck. I can't
think of what to write. You don't just let the genius come and start
doing it. But that senior have described, that is how writers are
always portrayed. Surely when someone is making the Aaron Sorkin
film, that is going to be the way it will be written. I hope that film is
never made! But whoever writes it is going to need to condense that year
of banging my head against the wall and lying on the couch and watching
ESPN and ordering another pizza and driving around in my car. They are
not going to be interested in any of that. They will have me look at
something over there, that teapot, teapot, I'm inspired!
Teapot and Aaron Sorkin, I would watch. Do you love him? I have been
blinded by his teeth for the last week! We will be reviewing Steve
Jobs on next week's show. Next is a documentary
about the life of Malala Yousafzai, the 18-year-old shot by the Taliban
simply for speaking up. There is a moment when you have to
choose whether to be silent or to stand up. Tonight Malala remains in
intensive care. She was shot in the Headford daring to suggest that
girls should to school. A documentary about Malala Yousafzai.
Some people have heard about her father being shot on her school bus
or winning the Nobel Peace Prize. They thought that the bullet would
silence us. But it is really a story of this amazing girl and her father,
and how they went from this very small-town and become the people who
have captured our imagination. Me and my wife, we cried all night. My
doctors told me she would survive, but she may not be the same as she
was. When that happens to you, the small things go away, and she has a
very simple, strong focus about how she wants to live her life. I'm
still 17. I'm still a teenager. Who would you have been if you were
still an ordinary girl? I am still an ordinary girl with an ordinary
mother and father. When I arrived in Birmingham and rang the doorbell of
their home, I didn't know who I was going to meet. And I don't think
they knew who I was. Here is this guy with odd hair from LA. And so it
could have gone awfully wrong. This is the laziest one. Look at the
first impression! What is beautiful about this family is Malala doesn't
live in fear. And she is not a bitter person. It doesn't matter for
me if the left side of my face isn't working, or if I cannot blink this I
properly. I have been with her in the White House, and she walks up to
President Obama and asks him about drum strikes in Pakistan. A lot of
grown men would be afraid to ask the President about that. She is not
afraid. And then she is at home opening her laptop when looking at
pictures of Brad Pitt and Roger Federer.
Will you ever ask a boy out on a date?
So she has this double life where she is a forceful advocate for
girls, but also just a teenager. I am those 66 million girls deprived
in education, and I am not a lone voice. I am many. Our voices are our
most powerful weapon. She really is a world leader, and she has the
stuff it takes to be that person. I see her being an advocate for a long
time. I chose this life, and now I must continue it.
Danny? I don't know what we're supposed to be. Malala herself is
this awesome super-heroine, and the screen lights up when she is there.
They showed the Taliban having greyed out the face of a model on a
billboard, and you see her face, and you realise, this is why she is so
magnetic and will change the world, is changing the world. The film is a
trench, and I don't think it has any of her charisma, and it almost as
her a disservice. The makers also made an Inconvenient Truth. It is
boring. No, no, no! I want every 13-year-old to see it. It isn't
boring. She will take over the world. I hope C does -- she does,
but I also want to see her playing snap with her brothers. It is a
great film, but I have a couple of problems with it. The music is up
swelling the entire time, you don't need to be told how to feel or to be
moved, the film does this too much. And it does slightly do a disservice
in that it short-changes her a little. We see her giving lots of
speeches in African schools, speeches at the UN and all sorts of
impressive things, but what it doesn't do, it puts it into a small
montage embedded two thirds of the way into the movie, the speeches
that got her shot in the first place. She wasn't giving a generic
speech about gender and education. She is naming names. She is saying
this Taliban leader, this guy, how come he is still walking the
streets? And she is very young at this point, and these people are
looking down on her as she is speaking, and she talks about
speaking with flames, and she is electric, she is like Joan of Arc.
Why don't we see more of that? I would have loved to see that full
speech. I would just like and are half of that. Or they should have
given her the camera. She is electrifying, she is galvanising.
And the film isn't. You can come away from the film thinking that the
greatest achievement of her life was meeting Bono. I do think you do get
that, and what makes her extraordinary is seeing the
ordinary. I love her telling her dad that she doesn't like her team made
like that. Or that she had a crush on Roger Federer. And she makes
those speeches about, I am you, I am everybody, and I find it even more
moving. What is brilliant about this film is that it shows you the
tremendous chasm, the difference between great oratory and
speech-making. All totalitarian regimes, Hitler, Stalin, Chairman
Mao, any religious bigot you could care to mention, they all love
speeches, they never stop talking, they drill you into submission. Then
you hear someone like Malala or even her father who was also a great
oratory, and you hear the difference between oratory and rhetoric. And it
is there in this film. Film of the week, quickly? Brooklyn. Malala.
Well, that's it for another week, how fabulous to be back!
Look at his face! Looking especially lovely today, sweetheart. Don't
sweetheart me. I'm dying, possibly. We've all got to go sometime. Smells
like you already have all stop I'm going to call you lily. The fact is,
I believe I am a woman. I believe it, too. Life is a sacred creation.
It's alive! We all have one enemy. Tonight, turn
your weapons to the capital. Welcome to the 76 hundred games. I am
talking about the security of your country. You could prevent a full
thermonuclear exchange with the saviour union. We gave each other
the most breathtaking of gifts. Don't ever think that the world owes
you anything, because it doesn't. My name's joy, by the way. We are
home. The Osgood Box can wipe out
Film 2015 returns for its Christmas run with regular hosts Claudia Winkleman and Danny Leigh, as guest critic Antonia Quirke joins them on the sofa.
Kicking off the new series are previews of 1950s New York romance Brooklyn and murder movie Kill Your Friends, and an interview with Aaron Sorkin, writer of the much-anticipated biopic Steve Jobs.