:00:27. > :00:39.Hello and welcome to Film 2015. We are on Twitter. Get in touch. Coming
:00:40. > :00:45.up on the show. Hard drives and heartache, Michael Fassbender stars
:00:46. > :00:51.as Steve Jobs. What do you do? I play the orchestra. Maggie Smith is
:00:52. > :00:58.not a happy camper in Alan Bennett's the Lady in the Van. Merry
:00:59. > :01:09.Christmas! Shut the door! I would not go up there if I were you, Irish
:01:10. > :01:14.horror flick the Hallow. And we will take a look at Tangerine. Danny
:01:15. > :01:22.Leigh and the Daily Telegraph's Robbie Collin. Hello. It never gets
:01:23. > :01:29.tired. First up Steve Jobs written by Aaron Sorkin and directed by
:01:30. > :01:35.Danny Boyle. Michael Fassbender stars as the digital Messiah who
:01:36. > :01:38.gave us Apple. What if the computer was a beautiful object, something
:01:39. > :01:43.that you want to look at and have in your home. What if, instead of it
:01:44. > :01:48.being in the right hands it was in everyone's hands? You would be
:01:49. > :01:57.talking about the most tectonic shift in the status quo ever. Steve
:01:58. > :02:02.Jobsis a fictional retelling about how he became Steve Jobs, but it is
:02:03. > :02:07.about creative genius. He has changed the world and the way it
:02:08. > :02:14.works and the way we communicate with one another. Fix it! We are not
:02:15. > :02:20.a pit crew at Daytona, this can't be fixed in seconds. The universe was
:02:21. > :02:27.created in a third of that time. Someday you will have to tell us how
:02:28. > :02:31.you did it! All these guys can see the next idea and Aaron Sorkin did a
:02:32. > :02:39.great job of burrowing into that and exposing what made him tick. What
:02:40. > :02:44.did you do? ! You can't write code, you are not an engineer, you can't
:02:45. > :02:48.put a hammer to a nail. The graphical interface was stolen and
:02:49. > :02:52.someone else designed the box so how come ten times a day I read that
:02:53. > :03:00.Steve Jobs is a genius? What do you do? I play the orchestra. I thought
:03:01. > :03:09.the script was the best modern-day script I have ever read. For sure. I
:03:10. > :03:14.knew I did not want to write about the life of Steve Jobs where we land
:03:15. > :03:20.on his greatest hits. That seemed like dramatising a Wikipedia page. I
:03:21. > :03:25.am begging you to manage expectations out there. This reminds
:03:26. > :03:31.you of a friendly face, warm and playful. It needs to say hello. It
:03:32. > :03:34.is set in a pressurised backstage environment and what you get is this
:03:35. > :03:40.almost action movie with words, the pace with which it moves is
:03:41. > :03:44.incredibly exciting. You are issuing contradictory instructions, you are
:03:45. > :03:50.making people miserable. Even if it were true that does not sound that
:03:51. > :03:54.diabolical. Danny is without doubt the most positive and energetic
:03:55. > :04:00.director I have ever worked with. I think he injects the same energy in
:04:01. > :04:04.his visual storytelling and the sort of energy that he puts into the
:04:05. > :04:09.camera. I was thrilled with what Danny Boyle did because it's not
:04:10. > :04:13.easy, you have a lot of dialogue. Danny Boyle took that and with
:04:14. > :04:17.angles and editing he married it to the words and the rhythm of the
:04:18. > :04:23.words. Everything came together and everything was going into making the
:04:24. > :04:35.same movie. That does not often happen. Artists lead and hacks ask
:04:36. > :04:40.for a show of hands. What do you think? It's not about Steve Jobs, it
:04:41. > :04:49.is a version of him. For any bad-tempered visionary. It is also
:04:50. > :04:53.about Aaron Sorkin and I think it is mostly about Aaron Sorkin and the
:04:54. > :04:59.film belongs to him. It is filled with dialogue that only Aaron Sorkin
:05:00. > :05:04.writes. Everyone is 200% more articulate than anyone has ever been
:05:05. > :05:10.in life. It is a verbal blockbuster. It is an action movie spectacular.
:05:11. > :05:14.You have to love dialogue to have a good time with the movie but I do.
:05:15. > :05:17.Part of the magic of cinema is that everyone looks better than in real
:05:18. > :05:25.life and hear everybody talks about better too. A lot better. I did not
:05:26. > :05:31.get that Aaron Sorkin domination, obviously he is at the four, but
:05:32. > :05:37.this is a collision between Danny Boyle, the effervescent visual
:05:38. > :05:41.stylist, and one of the greatest leading men of his generation,
:05:42. > :05:46.Michael Fassbender. And a handful of blue Smarties and something has to
:05:47. > :05:50.give. There has to be a spirit of compromise and collaboration that
:05:51. > :05:53.the subject never grasped was necessary. The thing that happens is
:05:54. > :05:58.that Danny Boyle recedes into the background although there is a great
:05:59. > :06:06.visual innovation. It is set in three distinct time periods, the
:06:07. > :06:11.first is 1984, shot on 16mm film. The second one shot on 85, and the
:06:12. > :06:18.third in digital with the introduction of the iMac. Even the
:06:19. > :06:23.visual texture of the world is bending to the will ask the jobs. He
:06:24. > :06:27.is there as this in movable object in the centre. It has to be subtle
:06:28. > :06:31.because Danny Boyle has two reel himself in. We think of him as being
:06:32. > :06:37.a kinetic director and that is what he is great at but if you are going
:06:38. > :06:41.to make this script in the style of Trainspotting, there is no space for
:06:42. > :06:45.that. It is like sharing a small lift with a fat man with Aaron
:06:46. > :06:49.Sorkin. You cannot do much. That is why in the West Wing they are
:06:50. > :06:54.walking and talking because you can't do anything more interesting
:06:55. > :06:59.visually. The social network is just back and forth over a table. It
:07:00. > :07:05.would be bedlam if you did anything else. You don't need anything else.
:07:06. > :07:09.Kate Winslet, without her you would be like, stop shouting. She is
:07:10. > :07:18.magnificent. She plays the marketing Guru. If it was just Fassbender and
:07:19. > :07:23.Aaron Sorkin, it would lack humanity and what she does by standing on the
:07:24. > :07:26.sideline, handing him a tissue or a biscuit, she manages to ground the
:07:27. > :07:33.drama and bring it back to the real world which is important. It is not
:07:34. > :07:39.like the social network where it is purely this great man, Citizen Kane
:07:40. > :07:45.like thing. Look at this guy, he is the modern world so pay attention.
:07:46. > :07:49.It is a more intimate character study, more close-up and
:07:50. > :07:55.touchy-feely. It will appeal to some people. It is a much softer film, it
:07:56. > :07:59.is about the modern world but I don't think Aaron Sorkin likes the
:08:00. > :08:06.modern world much. He does not like Marks and about but he likes Steve
:08:07. > :08:09.Jobs. I liked the fact that they are brazen about it and Michael
:08:10. > :08:14.Fassbender looks as though he could have been designed by Apple. He is
:08:15. > :08:20.so perfect. There is nothing superfluous there. He fits the role.
:08:21. > :08:25.What a big role to take on. Kate Winslet said last week, I could not
:08:26. > :08:29.get over the amount of pages I had to learn and it made me feel better
:08:30. > :08:35.because what does Michael had to learn! It is like being in an
:08:36. > :08:42.extraordinary play. There is reams and reams of dialogue. Danny Boyle
:08:43. > :08:46.does it very carefully, making sure supporting characters share the
:08:47. > :08:51.spotlight. Catherine Waterston was great in inherent Vice earlier this
:08:52. > :08:58.year. She plays Steve Jobs' one-time lover. She is in the film briefly
:08:59. > :09:03.but she makes an enormous impact. I know exactly what she is like. And
:09:04. > :09:09.Seth Rogen. That is where Danny Boyle finds a bit of space to work
:09:10. > :09:13.with. He is working with the actors. What Aaron Sorkin gives you
:09:14. > :09:19.is a script with no stage directions and it is just words on a page and
:09:20. > :09:25.it is the director who has to relate to that likes Steve Jobs never did.
:09:26. > :09:29.Alan Bennett's the Lady in the Van finally reaches the big screen. It
:09:30. > :09:36.is directed by Nicholas Hytner, starring Maggie Smith as the in
:09:37. > :09:44.fragrant vagrant who comes to stay. You are not St John are you? Who? My
:09:45. > :09:47.name is Bennett. Alan Bennett bought a house on Gloucester Crescent in
:09:48. > :09:54.Camden Town and shortly after moving in an old lady called Miss Margaret
:09:55. > :10:01.Shepherd drove her van onto his drive and she stayed for 15 years.
:10:02. > :10:07.He could not get rid of her. The idea would be off-street parking.
:10:08. > :10:14.Merry Christmas! Shut the door, I'm a busy woman. It would have been so
:10:15. > :10:21.difficult to get rid of her, she probably had squatters rights after
:10:22. > :10:30.a year or so. The flush is on the blink. Where is it? ! She had an
:10:31. > :10:34.iron will, she never at any point said thank you. I did not want to be
:10:35. > :10:40.banged but at the same time, if she had thank you it would have been a
:10:41. > :10:47.chink in her arm and she never exposed that. I brought three in
:10:48. > :10:52.case she fancied a change. Where am I supposed to put three? Green is
:10:53. > :11:00.not my colour. It throws up questions about what we would do
:11:01. > :11:05.faced with Miss' Shepherd. I don't know what people would do. I don't
:11:06. > :11:12.think I would let it happen, really. A carer will often feel... I am not
:11:13. > :11:16.a carer. I hate caring and I hate the thought and the word. I do not
:11:17. > :11:24.care and I do not care for her, there is no caring. Shooting the
:11:25. > :11:28.film in his house, in his study, looking over his drive where a
:11:29. > :11:34.replica sat, knowing that the van was occupied by Maggie. It occurred
:11:35. > :11:43.to me that if Maggie Smith decided to stay for 15 years no one would
:11:44. > :11:52.dare move her. Would you like to push me up the street? Not
:11:53. > :11:56.particularly. Certainly very physically challenging for Maggie,
:11:57. > :12:02.getting in and out of the van. She was incredibly up for doing this. It
:12:03. > :12:08.was an extraordinary experience, being around her and being with her
:12:09. > :12:18.as she created this thing. This will do. Turn me around. I think it's
:12:19. > :12:25.remarkable what she does in the film, the insights into view that
:12:26. > :12:32.lonely, cantankerous, nightmarish, magnificent woman was. Would you
:12:33. > :12:37.like a cup of coffee? No, I don't want to put you to all of that
:12:38. > :12:41.trouble, I will just have half a cup. I will say this out loud before
:12:42. > :12:47.you say anything, I loved this film. When I came out of the screening I
:12:48. > :12:52.asked if I could go to another and they thought I was weird. Go ahead.
:12:53. > :12:57.I had certain expectations that I will blame on down to an abbey.
:12:58. > :13:04.Smith's character is in sconce tin the public imagination. -- Downton
:13:05. > :13:08.Abbey. She takes a waspish comedy turn the next minute. Having not
:13:09. > :13:15.seen the original play on which this is based I was expecting more of the
:13:16. > :13:18.same. The film strikes a difficult balance and you can tell from the
:13:19. > :13:22.clips that it is middle ground and quite safe and there is nothing to
:13:23. > :13:30.frighten the horses but what it's able to do is within that very tight
:13:31. > :13:34.framework it is able to say important things about the way in
:13:35. > :13:38.which we respond to family members because it's a parable about how
:13:39. > :13:41.difficult it is to love your family members directly. Something that is
:13:42. > :13:46.not mentioned in the clips is that it's about Alan Bennett's
:13:47. > :13:54.relationship with his mother after he hits the big-time in London. A
:13:55. > :13:57.lot of his concerns his mother our misdirected towards this strange
:13:58. > :14:03.woman and it's about the difficulty of the directness of that love of a
:14:04. > :14:10.parent. He does a compare and contrast in the film. I totally love
:14:11. > :14:16.agree that asks big questions -- I totally agree that. I was struck by
:14:17. > :14:20.the fact that when you said Alan Bennett and Maggie Smith people
:14:21. > :14:27.would have already been sold. It's a done deal. You have made the right
:14:28. > :14:31.choice. We could say that the film gives you manger and people would
:14:32. > :14:37.still be there! It's Alan Bennett, funny, perceptive, spiky. I like it
:14:38. > :14:43.when they have this gentle to hours of Alan the human being moving in to
:14:44. > :14:48.the flat in Camden and also the writer and there is interplay. There
:14:49. > :14:52.is a nice line in the film where the writer says, he looks out the window
:14:53. > :14:56.and says, I'm never going to write about her, this is just something
:14:57. > :14:59.that's happening. I can't help but thinking that he meant that at the
:15:00. > :15:06.time and I don't know why he changed his mind. This thing happened. All I
:15:07. > :15:10.want to say is that that is right but that is the point at the end,
:15:11. > :15:14.just when you think you are writing about something else in life
:15:15. > :15:18.happens. She was there for 15 years. He had to write about her. The point
:15:19. > :15:23.of the device is that you can have one of them being an active
:15:24. > :15:26.participant in the story and the other one standing apart and
:15:27. > :15:30.commentating. A large part of what the film is about is our need to
:15:31. > :15:37.impose a fiction like order on the real world. It is fantastic. He
:15:38. > :15:42.plays two parts, not just one impersonation of Alan Bennett twice
:15:43. > :15:46.over, the writer and the living Alan are different. There is a great
:15:47. > :15:50.chemistry between them which is just one man bouncing off himself. I feel
:15:51. > :15:54.as though I'm being pushed into a corner of not liking it because I'm
:15:55. > :15:58.not sold as you and I did not get the sense that Alan Bennett knew
:15:59. > :16:03.why, apart from having this extraordinary woman in his driveway
:16:04. > :16:08.for 15 years, I don't know why he was writing it. It is beautifully
:16:09. > :16:13.acted. Everybody already knows Maggie Smith already. It's an
:16:14. > :16:22.extraordinary character. Miss Marple needs Golem. I like Camden as well.
:16:23. > :16:26.That is the unsung hero. Kate Winslet was the secret weapon of
:16:27. > :16:30.Steve Jobs and Camden Town is the secret weapon here. When Alan
:16:31. > :16:38.Bennett moves in in 1970, it is the Camden of Withnail and I. Then you
:16:39. > :16:46.follow it through the 70s and into the 80s and the yuppie Camden and
:16:47. > :16:49.the end of misses Vacha's power. -- end of Margaret Thatcher's power.
:16:50. > :16:57.They end with him talking about property prices. We have to move on.
:16:58. > :17:02.It's good. It is better than God, it's brilliant. Tangerine was born
:17:03. > :17:05.out of a collaboration between film-makers and the transgender
:17:06. > :17:14.world of West Hollywood. Filmed on an iPhone. This is no ordinary love
:17:15. > :17:17.story. Contains strong language. The oestrogenic has been kicking in. The
:17:18. > :17:19.only thing that has not broken down at these arms. Everything else looks
:17:20. > :17:38.good. A secret about me and Chester.
:17:39. > :17:41.What? She get out of jail and fines that
:17:42. > :17:46.her man has been cheating with another girl. Instead of checking
:17:47. > :17:56.her man, she goes to find the goal. She is back and she is going hard.
:17:57. > :17:59.We did not want to influence any prescription or plot on this
:18:00. > :18:06.neighbourhood until we did our research, so we had to find
:18:07. > :18:11.collaborators, and she was our passport to that world.
:18:12. > :18:16.Come here. I was at the LG BT centre in Santa
:18:17. > :18:22.Monica, a very attractive director, he was talking to me and he asked me
:18:23. > :18:27.about the area, he wanted to know more information. I started to give
:18:28. > :18:35.him a key stories and some of the background. He fell in love with my
:18:36. > :18:42.personality and the way I looked. He owes me money.
:18:43. > :18:48.He said he wanted it to be real. I knew it would be real because I am
:18:49. > :18:53.going to make sure. She said, I will make this film with
:18:54. > :18:56.you, I trust you, but you have to promise me that it will show the
:18:57. > :19:01.brutal reality of what these women go through on the street, do not
:19:02. > :19:06.hold back, and at the same time, make it hilarious.
:19:07. > :19:10.She is from the Hill. I was like, that will be a balancing
:19:11. > :19:14.act! I will go with you on the one
:19:15. > :19:19.condition, promise me there will be no drama.
:19:20. > :19:24.We shot the entire film on the iPhone, it started from a budgetary
:19:25. > :19:28.constraint, but it became an aesthetic that we were developing
:19:29. > :19:34.and finding. It kept us under the radar, people think we are maybe
:19:35. > :19:43.just doing some little product. What do you see in him?
:19:44. > :19:48.Some people come up to me crying, for two trans-stars to be on the
:19:49. > :19:55.screen, where did you see that? It is all about our hostel, and that
:19:56. > :20:02.is it. Danny? It is a Christmas movie, it
:20:03. > :20:07.is also out on Christmas eve, that is when you get out of jail and hunt
:20:08. > :20:13.down your cheating ex-boyfriend, who is also jaw pain. People at home
:20:14. > :20:19.will be freaking out that this is a seasonal movie, but it is wonderful,
:20:20. > :20:23.really traditional in its way. It is wild and filthy but also warm and
:20:24. > :20:28.fuzzy. It is filled with humanity and it pops off the screen. I like
:20:29. > :20:34.it such a lot, not as much as Robbie Collin! One of the main things I
:20:35. > :20:40.love is it is being sold as the iPhone movie, but it is not found
:20:41. > :20:47.footage or grubby, fingerprints, the way in which it has been made, it
:20:48. > :20:54.feels like it is totally liberating, the camera is so small,
:20:55. > :21:00.it was on a steady cambric, there was a bit of kit, but it feels like
:21:01. > :21:07.you are on ground level with traffic thundering past of this distinctive
:21:08. > :21:13.area. I apologise in advance, it should come with a cravat on it. It
:21:14. > :21:17.reminded me of the early films of Gothard, because of the energy
:21:18. > :21:20.levels, people running around all over the place, and it is set in
:21:21. > :21:25.this particular social million in the city, and there is a subplot
:21:26. > :21:36.involving a taxi driver picking people up who has a liking for what
:21:37. > :21:41.the lead characters have to offer, it is taking place in a coherent
:21:42. > :21:46.part of the city. It is a great LA movie. You can overstate the iPhone
:21:47. > :21:53.thing. I like how you can have a double bill with Steve Jobs, but you
:21:54. > :21:57.forget the iPhone is there. It is good at picking out LA in the
:21:58. > :22:03.sunshine. Everything is too bright and bleached out. It does that job
:22:04. > :22:07.Harry well, but the story and characters are so big and vivid, you
:22:08. > :22:12.forget about the technology. You love them, and the characters are
:22:13. > :22:19.fantastic. How do we find these people? How do we invite them in?
:22:20. > :22:23.This is the importance of it being a Christmas movie, Christmas is about
:22:24. > :22:28.providing for family, reconciling with friends, and if you live so far
:22:29. > :22:33.outside of the turkey and sprouts demographic, what does that mean?
:22:34. > :22:44.There is a joke that LA does not look like it is Christmas. The film
:22:45. > :22:49.is bright orange throughout. The mother-in-law of the taxi driver
:22:50. > :22:52.looks around disparagingly and says LA is a beautifully wrapped life. A
:22:53. > :22:58.lesser film would have left it there, but this film is about
:22:59. > :23:04.appearances, and somebody says, I agree to disagree. They are
:23:05. > :23:09.presenting as who they are very directly and honestly. The honesty
:23:10. > :23:14.would have been drowned out by a bigger budget and buy a more
:23:15. > :23:18.elaborate production. I don't want to say that somebody did it like
:23:19. > :23:24.that, but the editing and music are brilliant, it feels urgent. You can
:23:25. > :23:28.get hung up on the technology, it reminds me of 28 days later, one of
:23:29. > :23:34.the first digital video films. You forget that is happening, it has its
:23:35. > :23:40.own luck. I saw this earlier in the week, I will go again, I will slip
:23:41. > :23:46.into something fierce and sexy. I am excited! Next, The Hallow, never has
:23:47. > :23:56.moving away from the city been such a mistake.
:23:57. > :24:01.You missing London? God, no. There are enough trees to keep that the
:24:02. > :24:08.busy until you are grown-up! Is he in the forest again? He is
:24:09. > :24:13.trespassing. It is his job. It is dangerous for him and the little
:24:14. > :24:20.one. He is trying to scare us, I cannot not do my job. You are making
:24:21. > :24:24.people nervous. They believe the forest you are trampling on belongs
:24:25. > :24:32.to The Hallow. Fairies, banshees, baby Steelers. Are you a believer?
:24:33. > :24:50.This is not London, things go bump in the night. It is just baby
:24:51. > :25:01.dreams. Adam? Wait! If you trespass upon them, they will trespass upon
:25:02. > :25:11.you. Come on. You should have listened. You should never have come
:25:12. > :25:16.here. You should never have come here!
:25:17. > :25:22.That is what I said after I left the cinema. It is structurally not
:25:23. > :25:27.working, you have the lovely scene setting, we saw Michael Smiley as
:25:28. > :25:30.the policeman, you think, this is interesting, but then the film
:25:31. > :25:35.switches to code red and the monsters come out and descend on the
:25:36. > :25:41.house, things burst into flames, people are running around with
:25:42. > :25:44.swords. I thought, why is this not scary? It does not have the central
:25:45. > :25:49.act where they build atmosphere and ramp up potential. You want Michael
:25:50. > :25:55.Smiley to come back and be sceptical again. Because of the missing
:25:56. > :26:00.middle, it did not connect. A good horror has to be resourceful, it has
:26:01. > :26:05.to do a lot with not much, and it does do that, it builds up an
:26:06. > :26:10.unsettling atmosphere with nothing more than Moss, which is an
:26:11. > :26:14.impressive thing to do. There is a mischief as to how it uses the
:26:15. > :26:20.location, a snippet of coastal island, it looks painfully
:26:21. > :26:30.beautiful, but it goes slightly downhill as an advert for tourism.
:26:31. > :26:36.There is one monster, UCD face in the mirror at night, sinister,
:26:37. > :26:44.completely horrible,... I do not want to give too much away, but
:26:45. > :26:49.there was two stories going on. There is a moment where it loses its
:26:50. > :26:53.head slightly, a lot of horror influences get thrown at the screen
:26:54. > :27:00.in a panic to remind everybody, it is a bit like these films. I quite
:27:01. > :27:10.like that, it is such a shameless barrage, ... I was scared. We have
:27:11. > :27:13.to end with your film of the week. Tangerine, the best film that Steve
:27:14. > :27:20.jobs made possible. Tangerine, Steve Jobs. And a film that I have
:27:21. > :27:28.reviewed on the website, and using about it. The Lady In The Van and
:27:29. > :27:33.Steve Jobs. Tangerine, I would not be anything else! Playing is out is
:27:34. > :27:39.moral and Hardy's classic. You can see more of their films in selected
:27:40. > :27:51.UK films -- cinemas throughout November. Good night.
:27:52. > :27:58.# In the blue ridge mountains of Virginia
:27:59. > :28:07.# Where she carved her name and I carved mine
:28:08. > :28:15.# Like the pine, I am lonesome for you
:28:16. > :28:25.# In the blue ridge mountains of Virginia
:28:26. > :28:29.# In the blue ridge mountains of Virginia
:28:30. > :28:42.# In the pale moonshine, our hearts entwined
:28:43. > :28:44.# Where she carved her name and I carved mine
:28:45. > :28:49.# Like the pine, I am lonesome for you
:28:50. > :28:55.# In the blue ridge mountains of Virginia