Browse content similar to Episode 8. Check below for episodes and series from the same categories and more!
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Hello and welcome to the new series of Film 2015. | :00:25. | :00:28. | |
We'd like to hear from you, so please do tweet us or get | :00:29. | :00:31. | |
Sersha Ronan sets sail for America in period romance, "Brooklyn". | :00:32. | :00:46. | |
How would it be for you if I did go home? I would be afraid. Afraid I | :00:47. | :00:52. | |
wouldn't come back? Murder on the dancefloor | :00:53. | :00:56. | |
for Nicholas Hoult in And Oscar-winning screenwriter Aaron | :00:57. | :00:58. | |
Sorkin on the joys of writing. Most of the time I'm banging my head | :00:59. | :01:08. | |
against the wall because I can't think of what to write. | :01:09. | :01:11. | |
Plus "He Named Me Malala" - the life and times of the girl who was | :01:12. | :01:14. | |
With me, as ever, is the gorgeous Danny Leigh. | :01:15. | :01:18. | |
And completing the sofa line up for this first show is glorious | :01:19. | :01:21. | |
Thank you both so much. Danny, what's been your favourite film, if | :01:22. | :01:26. | |
this isn't too weird a question, since we've been off air? Mad Max | :01:27. | :01:34. | |
the Rewrite, and the Lobster. Not the Lobster and not Spectre. That's | :01:35. | :01:40. | |
clear. Mine would be Amy. I feel like we're offer. | :01:41. | :01:42. | |
First up, the big screen adaptation of Colm | :01:43. | :01:44. | |
Set in the 1950s, Sersha Ronan stars as a young woman | :01:45. | :01:47. | |
who leaves Ireland behind to start a new life in New York. | :01:48. | :01:54. | |
I'm away to America. My sister is there. I can't buy you a future, | :01:55. | :02:04. | |
can't buy you life you need. Will you come see me one day? Yes. | :02:05. | :02:10. | |
Passport, please. This way, next, please. It is set in the 1950s and | :02:11. | :02:18. | |
it is about this young woman calmed ailish who is sent to live in | :02:19. | :02:23. | |
Brooklyn New York. And really the goal is for her to have a better | :02:24. | :02:29. | |
life. Father Flood sponsored me, found you a job. I will thank you to | :02:30. | :02:37. | |
keep his name out of the conversation. We need Irish girls in | :02:38. | :02:43. | |
Brooklyn. I wish I could stop feeling like I'm an Irish girl in | :02:44. | :02:47. | |
Ireland. She goes through extreme homesickness and it weighs her down | :02:48. | :02:52. | |
for a long time. Gradually it is lifted off her a little bit and she | :02:53. | :03:01. | |
false in love. I'm ready. It is about which life she wants | :03:02. | :03:13. | |
ultimately. I felt it was the first time I had seen an el immigration | :03:14. | :03:16. | |
story in the Irish context told from the point of view of a young woman. | :03:17. | :03:22. | |
Dear Rose, thank you for your letter. I was happy to hear about | :03:23. | :03:26. | |
your golf tournament. You must have been really pleased. I still miss | :03:27. | :03:30. | |
you and mother and think about you every day. I think column in the | :03:31. | :03:37. | |
novel and then Nick in the screenplay captured that exact | :03:38. | :03:41. | |
emotional discombobulation that happens when somebody moves from | :03:42. | :03:44. | |
their homeland to another country. When we were making it, in the year | :03:45. | :03:49. | |
leading up to shooting the film, the she had been through that thing | :03:50. | :03:53. | |
herself and was confused by it. But she was lucky enough to have the | :03:54. | :04:00. | |
film to place all of that emotion on screen. Hello? Mammy? Everyone's | :04:01. | :04:09. | |
gone, I have nobody. How would it be for you if I did go home? I would be | :04:10. | :04:15. | |
afraid. Afraid that I wouldn't come back? Brooklyn has changed me. It is | :04:16. | :04:23. | |
still deeply affects me. It was tough and you were in quite a | :04:24. | :04:27. | |
vulnerable position because we were telling a story about your | :04:28. | :04:30. | |
relationship with home and you want to get that right. You have beaches | :04:31. | :04:40. | |
in Brooklyn. It's not the same. Ireland will always be in my heart | :04:41. | :04:44. | |
and I will take it with me wherever I go, but there's other places I | :04:45. | :04:48. | |
want to live, where I want to work. Home is home. | :04:49. | :04:54. | |
Danny, what did you think? It is such a simple thing you keep | :04:55. | :05:01. | |
expecting something else to happen, like it will turn into a zombie | :05:02. | :05:05. | |
film, but none of that happened. It is so clean, so sweet, so pure | :05:06. | :05:11. | |
vanilla you think you must be about to either die of boredom or throw up | :05:12. | :05:16. | |
and you realise you've been sucked in and you are wrapped up in a love | :05:17. | :05:21. | |
triangle. You would have to be a person of a hard and small heart not | :05:22. | :05:27. | |
to become smitten with it. I don't know quite why I like it. Some films | :05:28. | :05:31. | |
you can analyse and dissect them and pin down what's so great about them. | :05:32. | :05:35. | |
There is something on going on with Brooklyn. It is the magic of cinema. | :05:36. | :05:42. | |
And didn't this film appear at Sundance and everybody went, there | :05:43. | :05:46. | |
was a huge fight. It sold for more money than any other film has done. | :05:47. | :05:49. | |
It is very moving and incredibly timely. This is a movie about | :05:50. | :05:54. | |
immigration. Immigration is the great public debate of our time. | :05:55. | :05:58. | |
There can't be a single person watching tonight who hasn't at some | :05:59. | :06:01. | |
point over the last few months thought about their relationship | :06:02. | :06:04. | |
with the idea of the emigre. Of course this isn't an issue film. It | :06:05. | :06:09. | |
is not about escaping conflict and it is set in the past. But the thing | :06:10. | :06:13. | |
about good cinema is that it is immediate. It feels condemn tri. I | :06:14. | :06:20. | |
think you saw in that VT before they were talking about homesickness. I | :06:21. | :06:23. | |
think it does that better than most filmsive have ever seen on that | :06:24. | :06:28. | |
subject. Homesickness. Really that's what it is. This terrible freight of | :06:29. | :06:35. | |
regret and longing. This idea of an uphill mountain you have to climb to | :06:36. | :06:40. | |
reinvent yourself. It aces that beautifully. There are lots of | :06:41. | :06:44. | |
things one feels about it but isn't this all about her? I can't think of | :06:45. | :06:49. | |
another actress who could do it without it being slightly sepia or | :06:50. | :06:55. | |
adorable or cosy. She, her face, the way she does it, she is almost, as | :06:56. | :07:02. | |
if this isn't too weird, quite cold. That's a good word, cold. I think | :07:03. | :07:06. | |
she would make a good serial killer can. She's been a great actress | :07:07. | :07:11. | |
waiting for the right film. Without this it would be icky. If you think | :07:12. | :07:16. | |
about an actress like Carey Mulligan and the people who made this film. | :07:17. | :07:23. | |
They made An Education. That film launched Carey Mulligan's film. | :07:24. | :07:29. | |
Think of an actress like Mulligan, who is high impact, or Andrea Rose | :07:30. | :07:36. | |
borough, it is could that she is much more withdrawn and withheld. | :07:37. | :07:44. | |
What it makes you feel is optimistic for her career. There's resume for | :07:45. | :07:48. | |
development. Her bag of tricks is not all out yet and that's really | :07:49. | :07:54. | |
another great thing. She is so good at pensive silence. A lot of actors | :07:55. | :07:59. | |
can't do that, they look like they are under heavy sedation. And | :08:00. | :08:03. | |
shouldn't we mention Nick Hornby's script? It is not overladen, there | :08:04. | :08:08. | |
are proper moments of silence. Beautifully done. He's an | :08:09. | :08:12. | |
interesting screenwriter. When he is adapting even his own books he does | :08:13. | :08:16. | |
take the melodrama out of things. He's taken this moval and blurred a | :08:17. | :08:21. | |
few of the lines in an interest way. One of the interesting things it | :08:22. | :08:27. | |
does which I really love is seeing a society and culture in a way we have | :08:28. | :08:31. | |
been seen before. We've seen a lot of working class Ireland on film. We | :08:32. | :08:38. | |
haven't seen post war rural middle class aspirational Ireland, the | :08:39. | :08:43. | |
Ireland of golf clubs and four-course dinner at the golf club | :08:44. | :08:47. | |
with wine and coffee. It was exciting. And it works like a | :08:48. | :08:52. | |
thriller. I totally agree. The second half of the movie feels as | :08:53. | :09:01. | |
jangly as Mad Max, which I have mentioned twice. Double entry | :09:02. | :09:05. | |
book-keeping and walks along the beach. We love it, you must go. | :09:06. | :09:08. | |
Nicholas Hoult stars as a ruthlessly ambitious music industry exec who'll | :09:09. | :09:12. | |
As you might imagine, wannabe record executives use some | :09:13. | :09:16. | |
UN you are standing on wafer thin ice. Beneath your feet you can see | :09:17. | :09:30. | |
sharks circling. These are your colleagues, your friends. Lock off. | :09:31. | :09:43. | |
Welcome to the music industry. It is about an A and R manager, someone | :09:44. | :09:48. | |
who is ruthless and cut throat about trying to keep his job in a world | :09:49. | :09:52. | |
filled with people who aren't good at their jobs and don't realise what | :09:53. | :09:56. | |
going be a success, so are living in fear constantly. Only one thing in | :09:57. | :10:01. | |
fear constantly. Only one thing matters in this racket - big hit | :10:02. | :10:11. | |
records. They could develop. Like a facting tumour. This is based more | :10:12. | :10:19. | |
around how uncreative and diabolical the industry could be. A lot of | :10:20. | :10:23. | |
people I know that are in the industry see a lot of realities come | :10:24. | :10:28. | |
to life in this. How do you want to play this? You be the enthusiastic | :10:29. | :10:35. | |
music lover, bang on about indie B sides. I will do the industry thing | :10:36. | :10:40. | |
when it says tell us about the label. The mentality of the record | :10:41. | :10:45. | |
industry the film represents I would say is fairly accurate. So, what's | :10:46. | :10:53. | |
your favourite track? For me one of the biggest reasons I want to be | :10:54. | :10:57. | |
involved in this is that it is an authentic voice. John worked in the | :10:58. | :11:00. | |
music industry and it is talking about music in a very authentic way. | :11:01. | :11:05. | |
And the way that John writes dialogue has a special rhythm to it | :11:06. | :11:20. | |
that took a bit of writing. We'll interfere with the artistic process, | :11:21. | :11:25. | |
mix tracks without your permission and force you to appear on | :11:26. | :11:33. | |
children's programmes when you are ill in the morning. Antonia? I can't | :11:34. | :11:39. | |
think of a single good thing to say about this film. Oh, no! Sorry, I | :11:40. | :11:44. | |
have tried. I'm not going to pull any punches. This is a very faithful | :11:45. | :11:51. | |
adaptation of a sour screenplay of the sourest book you could possibly | :11:52. | :11:54. | |
imagine. Now, it is not a thrilling film. It is not radical, it is not | :11:55. | :12:00. | |
particularly genuinely angry and neither is it shocking. If you want | :12:01. | :12:05. | |
to see a radical shocking satire on the music industry, watch 24 Hour | :12:06. | :12:09. | |
Party People. The reason that movie stands up is because it is a satire | :12:10. | :12:14. | |
of something it loves. This doesn't work because it is a satire of | :12:15. | :12:18. | |
something it hates. If you are going to go and spent 10 quid in the | :12:19. | :12:22. | |
cinema are you going to spend it on something that's full of hate? I | :12:23. | :12:27. | |
think it is toxic. I really hated it. What about Nicholas Hoult? I | :12:28. | :12:33. | |
love him. There were some great movement, you didn't agree? Nicholas | :12:34. | :12:38. | |
Hoult was really great in Mad Max. I think we can put this to one side. | :12:39. | :12:44. | |
It is an uncanny time capsule of 1997. The problem was 1997 was | :12:45. | :12:49. | |
possibly the worst year in modern British history. You can't possibly | :12:50. | :12:57. | |
mean that. There was stuffed crusts in pizzas, Oasis. And you felt like | :12:58. | :13:01. | |
you were locked in a room with 100 people doing cocaine. You don't want | :13:02. | :13:05. | |
to be taken back there, Danny. I never did it anyway, so I sat there | :13:06. | :13:09. | |
miserably. That's the problem with the film, the people old enough to | :13:10. | :13:12. | |
appreciate why this is quite so funny and why the mention of a | :13:13. | :13:18. | |
menswear CD is inspired are going to be old enough to not to want to go | :13:19. | :13:26. | |
back to 1997 and to remember the looming elephant in the room, | :13:27. | :13:33. | |
American Psycho. Nicholas Hoult wanted to be involved in it is | :13:34. | :13:36. | |
because of the breaking of the fourth wall aspect, the looking to | :13:37. | :13:40. | |
camera, the speaking to camera. When he's walking down the plane, he's | :13:41. | :13:45. | |
talking to me. I felt it. It doesn't work. Even chaplain struggled with | :13:46. | :13:50. | |
that? The Great Dictator. It is hard to get right. When it does work, | :13:51. | :13:57. | |
like in American Psycho, it is not a brilliant film but a great | :13:58. | :14:01. | |
performance... Can I say, what did you think of this scene in Cannes | :14:02. | :14:11. | |
where Maurice is... The mullet and he's playing his song. You love that | :14:12. | :14:19. | |
scene. Did you not like that scene? No, there's nothing about the | :14:20. | :14:24. | |
film... Listen, I think there is stunny stuff here. John Niven is a | :14:25. | :14:31. | |
funny writer, there is funny lines. There's morbid entertainment value | :14:32. | :14:34. | |
in matching up the semi fictional bands on screen with their real-life | :14:35. | :14:40. | |
counterparts. Nicholas Hoult is funny and Cossack dances ashes the | :14:41. | :14:44. | |
gents That stuff works. You keep coming back to the same problem, | :14:45. | :14:49. | |
that '90s was a terrible time. It is so sour, full of loathing for | :14:50. | :14:53. | |
anything. The one thing I liked about it was the Lazies. They were a | :14:54. | :14:58. | |
good band. OK. You were on your own like that. You are saying it is | :14:59. | :15:02. | |
almost like you could doing alpicture of Alex James and it would | :15:03. | :15:07. | |
make the same point about the 1990s. Let's leave it behind. That's harsh, | :15:08. | :15:11. | |
he makes delicious cheese. Next, Oscar-winning writer of "The | :15:12. | :15:16. | |
Social Network", "The West Wing" and Since | :15:17. | :15:18. | |
his big screen debut 23 years ago, Sorkin has become Hollywood's "go | :15:19. | :15:22. | |
to" man for smart, witty screenplays Just don't ask him to talk | :15:23. | :15:25. | |
about himself. I'm a lot better on paper than I am | :15:26. | :15:37. | |
in person. What you do? I play the orchestra. My friends, my daughter, | :15:38. | :15:46. | |
my beer ads in Chile. What you protect me for? $1700 a week. I | :15:47. | :15:53. | |
wouldn't take a bullet for that. Did you order the code red? Your dam | :15:54. | :16:01. | |
right I did! The cliche about Hollywood writers | :16:02. | :16:03. | |
is that they start writing because they are uncomfortable in speaking. | :16:04. | :16:09. | |
Was that true with you? I would much, much rather do this interview | :16:10. | :16:13. | |
by e-mail them the way we are doing it right now. I am not as polished | :16:14. | :16:18. | |
as the characters I write or as smart as they are all witty. That is | :16:19. | :16:23. | |
something that happens when I am in a room by myself and have time. And | :16:24. | :16:28. | |
I'm doing the thing I am most comfortable at. But that quality | :16:29. | :16:33. | |
also helps me identify with the ball like Steve Jobs and Mark Zarco Berg. | :16:34. | :16:40. | |
You are going to be a very successful computer person. You will | :16:41. | :16:45. | |
go through life thinking that girls don't like you, and I want you to | :16:46. | :16:49. | |
know from the bottom of my heart but that won't be true. | :16:50. | :17:06. | |
Mark Zarco Zuckerberg invented something that he needed. Are you | :17:07. | :17:13. | |
OK? We are ranking girls. Other students? This is in such a good | :17:14. | :17:20. | |
idea. I need the algorithm. That cliche about writers is true for me | :17:21. | :17:23. | |
and has helped me identify with some people I have written. Aaron Sorkin | :17:24. | :17:28. | |
burst onto the Hollywood scene in 1992 with his debut screenplay a few | :17:29. | :17:37. | |
good men. You want answers? I want the truth! You can't handle the | :17:38. | :17:44. | |
truth! I don't write things that are meant to be read. I write things | :17:45. | :17:48. | |
that are meant to be performed. So my job isn't over once the script is | :17:49. | :17:53. | |
done. And is that important to you as a writer, do you have a | :17:54. | :17:56. | |
relationship with the director? Some directors would think, once I have | :17:57. | :17:59. | |
the script, I am done with the writer. I wouldn't want to work with | :18:00. | :18:04. | |
that director. Everyone is waiting for the man. It is an abstract. In | :18:05. | :18:14. | |
his new film, Steve Jobs, Aaron Sorkin collaborates with Danny | :18:15. | :18:20. | |
Boyle, and a new set of actors face the challenge of 180 pages of his | :18:21. | :18:26. | |
language, a daunting chance. I remember flicking the pages and | :18:27. | :18:29. | |
going, there were no stage directions, it was just people | :18:30. | :18:34. | |
talking, and it was like a plate, a very long play. And that is | :18:35. | :18:39. | |
overwhelming and intimidating, and your instinct as an actor is I | :18:40. | :18:44. | |
absolutely can't do this. But all I had to do was take a breath and | :18:45. | :18:48. | |
think about poor Michael Fassbender who is on every single page. I can't | :18:49. | :18:55. | |
even pick the script up, it is so... Don't panic! And I am proof | :18:56. | :19:02. | |
after three years of Newsroom, you will survive this. Ask me again. Ask | :19:03. | :19:12. | |
me your idiot question again. What makes America the greatest country | :19:13. | :19:23. | |
in the world? You do. When I find an actor who I really like we think | :19:24. | :19:27. | |
fits particularly well with the style I like to write in, I try to | :19:28. | :19:32. | |
keep that actor in my pocket, work with them as many times as I can. I | :19:33. | :19:36. | |
tried to work with actors and actresses from the West Wing cast as | :19:37. | :19:41. | |
often as I can. It is like getting back together with your old band. I | :19:42. | :19:45. | |
am on the way to see the president. Flamingo is on her way. What did you | :19:46. | :19:52. | |
call me? Tell me about your writing routine. The cliche is someone | :19:53. | :19:58. | |
sitting there at 2am. I do have much of a routine because most of the | :19:59. | :20:02. | |
time I am banging my head against the wall because I'm stuck. I can't | :20:03. | :20:08. | |
think of what to write. You don't just let the genius come and start | :20:09. | :20:15. | |
doing it. But that senior have described, that is how writers are | :20:16. | :20:23. | |
always portrayed. Surely when someone is making the Aaron Sorkin | :20:24. | :20:29. | |
film, that is going to be the way it will be written. I hope that film is | :20:30. | :20:33. | |
never made! But whoever writes it is going to need to condense that year | :20:34. | :20:37. | |
of banging my head against the wall and lying on the couch and watching | :20:38. | :20:43. | |
ESPN and ordering another pizza and driving around in my car. They are | :20:44. | :20:47. | |
not going to be interested in any of that. They will have me look at | :20:48. | :20:55. | |
something over there, that teapot, teapot, I'm inspired! | :20:56. | :21:03. | |
Teapot and Aaron Sorkin, I would watch. Do you love him? I have been | :21:04. | :21:12. | |
blinded by his teeth for the last week! We will be reviewing Steve | :21:13. | :21:14. | |
Jobs on next week's show. Next is a documentary | :21:15. | :21:18. | |
about the life of Malala Yousafzai, the 18-year-old shot by the Taliban | :21:19. | :21:20. | |
simply for speaking up. There is a moment when you have to | :21:21. | :21:25. | |
choose whether to be silent or to stand up. Tonight Malala remains in | :21:26. | :21:35. | |
intensive care. She was shot in the Headford daring to suggest that | :21:36. | :21:40. | |
girls should to school. A documentary about Malala Yousafzai. | :21:41. | :21:44. | |
Some people have heard about her father being shot on her school bus | :21:45. | :21:47. | |
or winning the Nobel Peace Prize. They thought that the bullet would | :21:48. | :21:53. | |
silence us. But it is really a story of this amazing girl and her father, | :21:54. | :21:58. | |
and how they went from this very small-town and become the people who | :21:59. | :22:03. | |
have captured our imagination. Me and my wife, we cried all night. My | :22:04. | :22:07. | |
doctors told me she would survive, but she may not be the same as she | :22:08. | :22:12. | |
was. When that happens to you, the small things go away, and she has a | :22:13. | :22:16. | |
very simple, strong focus about how she wants to live her life. I'm | :22:17. | :22:21. | |
still 17. I'm still a teenager. Who would you have been if you were | :22:22. | :22:27. | |
still an ordinary girl? I am still an ordinary girl with an ordinary | :22:28. | :22:34. | |
mother and father. When I arrived in Birmingham and rang the doorbell of | :22:35. | :22:37. | |
their home, I didn't know who I was going to meet. And I don't think | :22:38. | :22:42. | |
they knew who I was. Here is this guy with odd hair from LA. And so it | :22:43. | :22:48. | |
could have gone awfully wrong. This is the laziest one. Look at the | :22:49. | :22:53. | |
first impression! What is beautiful about this family is Malala doesn't | :22:54. | :22:58. | |
live in fear. And she is not a bitter person. It doesn't matter for | :22:59. | :23:04. | |
me if the left side of my face isn't working, or if I cannot blink this I | :23:05. | :23:09. | |
properly. I have been with her in the White House, and she walks up to | :23:10. | :23:14. | |
President Obama and asks him about drum strikes in Pakistan. A lot of | :23:15. | :23:19. | |
grown men would be afraid to ask the President about that. She is not | :23:20. | :23:24. | |
afraid. And then she is at home opening her laptop when looking at | :23:25. | :23:27. | |
pictures of Brad Pitt and Roger Federer. | :23:28. | :23:30. | |
Will you ever ask a boy out on a date? | :23:31. | :23:33. | |
So she has this double life where she is a forceful advocate for | :23:34. | :23:40. | |
girls, but also just a teenager. I am those 66 million girls deprived | :23:41. | :23:47. | |
in education, and I am not a lone voice. I am many. Our voices are our | :23:48. | :23:53. | |
most powerful weapon. She really is a world leader, and she has the | :23:54. | :23:56. | |
stuff it takes to be that person. I see her being an advocate for a long | :23:57. | :24:01. | |
time. I chose this life, and now I must continue it. | :24:02. | :24:05. | |
Danny? I don't know what we're supposed to be. Malala herself is | :24:06. | :24:12. | |
this awesome super-heroine, and the screen lights up when she is there. | :24:13. | :24:18. | |
They showed the Taliban having greyed out the face of a model on a | :24:19. | :24:21. | |
billboard, and you see her face, and you realise, this is why she is so | :24:22. | :24:25. | |
magnetic and will change the world, is changing the world. The film is a | :24:26. | :24:31. | |
trench, and I don't think it has any of her charisma, and it almost as | :24:32. | :24:42. | |
her a disservice. The makers also made an Inconvenient Truth. It is | :24:43. | :24:52. | |
boring. No, no, no! I want every 13-year-old to see it. It isn't | :24:53. | :24:56. | |
boring. She will take over the world. I hope C does -- she does, | :24:57. | :25:03. | |
but I also want to see her playing snap with her brothers. It is a | :25:04. | :25:08. | |
great film, but I have a couple of problems with it. The music is up | :25:09. | :25:12. | |
swelling the entire time, you don't need to be told how to feel or to be | :25:13. | :25:18. | |
moved, the film does this too much. And it does slightly do a disservice | :25:19. | :25:21. | |
in that it short-changes her a little. We see her giving lots of | :25:22. | :25:27. | |
speeches in African schools, speeches at the UN and all sorts of | :25:28. | :25:31. | |
impressive things, but what it doesn't do, it puts it into a small | :25:32. | :25:37. | |
montage embedded two thirds of the way into the movie, the speeches | :25:38. | :25:40. | |
that got her shot in the first place. She wasn't giving a generic | :25:41. | :25:47. | |
speech about gender and education. She is naming names. She is saying | :25:48. | :25:51. | |
this Taliban leader, this guy, how come he is still walking the | :25:52. | :25:55. | |
streets? And she is very young at this point, and these people are | :25:56. | :25:58. | |
looking down on her as she is speaking, and she talks about | :25:59. | :26:03. | |
speaking with flames, and she is electric, she is like Joan of Arc. | :26:04. | :26:07. | |
Why don't we see more of that? I would have loved to see that full | :26:08. | :26:10. | |
speech. I would just like and are half of that. Or they should have | :26:11. | :26:16. | |
given her the camera. She is electrifying, she is galvanising. | :26:17. | :26:20. | |
And the film isn't. You can come away from the film thinking that the | :26:21. | :26:23. | |
greatest achievement of her life was meeting Bono. I do think you do get | :26:24. | :26:30. | |
that, and what makes her extraordinary is seeing the | :26:31. | :26:33. | |
ordinary. I love her telling her dad that she doesn't like her team made | :26:34. | :26:37. | |
like that. Or that she had a crush on Roger Federer. And she makes | :26:38. | :26:44. | |
those speeches about, I am you, I am everybody, and I find it even more | :26:45. | :26:49. | |
moving. What is brilliant about this film is that it shows you the | :26:50. | :26:54. | |
tremendous chasm, the difference between great oratory and | :26:55. | :26:58. | |
speech-making. All totalitarian regimes, Hitler, Stalin, Chairman | :26:59. | :27:03. | |
Mao, any religious bigot you could care to mention, they all love | :27:04. | :27:07. | |
speeches, they never stop talking, they drill you into submission. Then | :27:08. | :27:12. | |
you hear someone like Malala or even her father who was also a great | :27:13. | :27:16. | |
oratory, and you hear the difference between oratory and rhetoric. And it | :27:17. | :27:22. | |
is there in this film. Film of the week, quickly? Brooklyn. Malala. | :27:23. | :27:28. | |
Well, that's it for another week, how fabulous to be back! | :27:29. | :27:31. | |
Look at his face! Looking especially lovely today, sweetheart. Don't | :27:32. | :28:04. | |
sweetheart me. I'm dying, possibly. We've all got to go sometime. Smells | :28:05. | :28:08. | |
like you already have all stop I'm going to call you lily. The fact is, | :28:09. | :28:14. | |
I believe I am a woman. I believe it, too. Life is a sacred creation. | :28:15. | :28:18. | |
It's alive! We all have one enemy. Tonight, turn | :28:19. | :28:32. | |
your weapons to the capital. Welcome to the 76 hundred games. I am | :28:33. | :28:38. | |
talking about the security of your country. You could prevent a full | :28:39. | :28:42. | |
thermonuclear exchange with the saviour union. We gave each other | :28:43. | :28:49. | |
the most breathtaking of gifts. Don't ever think that the world owes | :28:50. | :28:51. | |
you anything, because it doesn't. My name's joy, by the way. We are | :28:52. | :28:55. | |
home. The Osgood Box can wipe out | :28:56. | :29:23. | |
humankind. | :29:24. | :29:26. |